Pan’s Labyrinth: Innocence Has a Power Evil Cannot Resist–Film Review

“Pan’s Labyrinth” is a dark and disturbing allegorical adult fairy tale by writer-director Guilermo del Toro. Set in 1944 Spain (the aftermath of the Spanish Civil War) 12-year old Ofelia (Ivana Baquero) travels with her frail and pregnant mother, Carmen (Ariadna Gil) to a remote village to meet her new stepfather, a sadistic Fascist captain named Vidal (Sergi Lopez), who is bent on exterminating the last Republican resistance to Franco scattered in the nearby hills. Clutching her books of myths and fantasy, which her mother suggests she cast aside to face the real world, Ofelia refuses to call Vidal “Father.” From the start, she pegs him rightly as a ruthless monster, and her unruly behavior only invites wrath from this psychopath who tortures and kills innocent victims without remorse. Ofelia retreats into the dark labyrinth and down a William Blake-like spiral staircase where she encounters an untrustworthy faun (Doug Jones). This encounter sparks a braided narrative that seamlessly weaves from tragic reality to magical mystery as Ofelia struggles to keep them apart. Alas, collision is imminent. The faun tells Ofelia that she is really a princess, but to prove it and gain entrance into the underworld kingdom of immortality, she must complete three dangerous tasks. Each task is progressively more daunting, from scolding a giant toad in a bug-infested cave to fleeing a Goya-like child-devouring ‘Satan’ with eyes in his hands. And each adventure draws her closer on a terrifying collision with the real world.

The faun with Ofelia

The horrors of both the realistic and surrealistic worlds are woven into the beautifully aligned narrative structure of del Toro’s story,” said Gene Seymour of Newsday. Glenn Whipp of U-Entertainment, calls Pan’s Labyrinth “dark poetry set to startling images, a one-of-a-kind nightmare that has a soaring, spiritual center.” Gene Seymour further suggests that “as hard as it may be to watch Guillermo del Toro’s dark fairy tale unravel, one comes away from this magical-realist masterwork oddly invigorated by the way the movie and its principal character triumph over the banality of evil through the autonomy of imagination. The movie may give you nightmares, but it may also give you a few more good reasons to get out of bed the next morning.”

“Pan’s Labyrinth” can be interpreted on many levels from literal to metaphorical allegory to psychological and mythic journey. Every aspect of the film, from tiny visual to people’s names (think of Ofelia’s name, for instance) has metaphoric meaning. Several excellent reviews by Harry Tuttle (Screenville) and Julian Walker (Julian’s Blog) tease out both mythic and Jungian elements of this dark poetic fantasy and I urge you to check these sites for their excellent commentary. From describing the classic Hero’s Journey (described by Joseph Campbell) to making references to the mythic Psyche, these two reviewers insightfully unveil the nuance and filigree that weave the complicated tapestry of “Pan’s Labyrinth”. For me, the allegorical symbol represented by Ofelia’s last task brought out the metaphor that struck me the most: the death of innocence required to protect the birth of freedom. Ofelia is the embodiment of the nation’s innocence. Refusing to obediently accept the deviant orders of the didactic father figure of Fascism (embodied by both Vidal and the faun), Ofelia (innocence) defies authority and sacrifices her life to “die” to protect her baby brother (freedom). Her sacrifice is rewarded by her immortal ‘re-birth’ (hope and faith).

The cruel beauty of “Pan’s Labyrinth” shows the power of innocence over evil and the triumph of imagination over prosaic servitude.

Indian River, ON (photo and dry brush rendition by Nina Munteanu)

Nina Munteanu is a Canadian ecologist / limnologist and novelist. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Visit www.ninamunteanu.ca for the latest on her books. Nina’s bilingual “La natura dell’acqua / The Way of Water” was published by Mincione Edizioni in Rome. Her non-fiction book “Water Is…” by Pixl Press(Vancouver) was selected by Margaret Atwood in the New York Times‘Year in Reading’ and was chosen as the 2017 Summer Read by Water Canada. Her novel “A Diary in the Age of Water” was released by Inanna Publications (Toronto) in June 2020.

‘Buried in Print’ Reviews “A Diary in the Age of Water”

Nina Munteanu’s novel A Diary in the Age of Water (2020) will not suit every reader.” 

“It’s hard to resist identifying the author with Lynna, the most prominent character, who also works as a limnologist, although her employment is increasingly precarious, as her timeline hastens toward ecological devastation.

A predominantly female cast, a mythic forming narrative and, most saliently, the focus on water, all made this an interesting read for me.

The book’s epigraphs are from Maude Barlow and the chapter’s epigraphs from textbook definitions (sometimes excerpts from limnology tests), and there are even cutaway diagrams that you’d expect in lecture hall.

Ultimately it exists in an in-between place, some mystical elements of the generational tale possibly alienating the dedicated science-y readers and the instructional elements possibly alienating fiction devotees. And, yet, I read on: strangely compelling.”

Buried in Print
Forest swamp in Kawarthas in spring, ON (photo and dry brush rendition by Nina Munteanu)

Nina Munteanu is a Canadian ecologist / limnologist and novelist. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Visit www.ninamunteanu.ca for the latest on her books. Nina’s bilingual “La natura dell’acqua / The Way of Water” was published by Mincione Edizioni in Rome. Her non-fiction book “Water Is…” by Pixl Press(Vancouver) was selected by Margaret Atwood in the New York Times ‘Year in Reading’ and was chosen as the 2017 Summer Read by Water Canada. Her novel “A Diary in the Age of Water” was released by Inanna Publications (Toronto) in June 2020.

“A Diary in the Age of Water” Listed as Ecological Fiction That Inspires Action

In the Spring issue of Ecology & Action, Mary Woodbury, author and publisher of Dragonfly.eco, lists some of her favourite Eco-Fiction that Inspires Action. Among them is Nina Munteanu’s eco-novel “A Diary in the Age of Water.”

“Fiction exploring humanity’s impacts on nature is becoming more popular. It has the distinct ability to creatively engage and appeal to readers’ emotions. In fact, it can stir environmental action. A survey I took last year showed that 88% of its participants were inspired to act after reading ecological fiction.

Principled by real science and exalting our planet’s beauty, these stories are works of art. They live within classic modes of fiction exploring the human condition, but also integrate the wild. They can be referred to as “rewilded stories.” The following Canadian titles are some of my favourites in this genre.”

MARY WOODBURY

Dirt road to Long Lake in a misty light rain in early spring, ON (photo and dry brush rendition by Nina Munteanu)

Nina Munteanu is a Canadian ecologist / limnologist and novelist. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Visit www.ninamunteanu.ca for the latest on her books. Nina’s bilingual “La natura dell’acqua / The Way of Water” was published by Mincione Edizioni in Rome. Her non-fiction book “Water Is…” by Pixl Press(Vancouver) was selected by Margaret Atwood in the New York Times‘Year in Reading’ and was chosen as the 2017 Summer Read by Water Canada. Her novel “A Diary in the Age of Water” was released by Inanna Publications (Toronto) in June 2020.

What Ecology Can Teach Us: “Rogue Harvest” by Danita Maslan

Farmer’s field, ON (photo and rendition by Nina Munteanu)

Sometime in the future, Earth is recovering from a devastating 50-year plague that has destroyed most of its natural forests and grasslands and killed two out of every three people. Environmental technocrats now run the world under strict rule: while virgin ecosystems are re-created from original templates through genetic engineering, no human is permitted to set foot in these sanctuaries. As sanctuaries grow ever larger, humanity is pressed into over-crowded cities where boredom and strife dominate. The Emerald Coalition hires reclamation company EcoTech to “recreate the world their great, great grandparents lost.” But their ecosystems are morphing into “aberrations” (new species with surprising properties), which would shock the applied Ecology community—except EcoTech is keeping it a secret. So begins Danita Maslan’s eco-thriller Rogue Harvest by Red Deer Press. Published in 2005, this powerful environmental story is as relevant today as it was fifteen years ago. Perhaps more so.

In his Foreword to Maslan’s book, Hugo-winning author Robert J. Sawyer, shared a story from a 2004 presentation he gave at Mount Royal College in Calgary. In his presentation, Sawyer lamented that science fiction seemed to pull in opposite directions to such an extent that any message was cancelled by its opposition. The example he gave in the Foreword came from two bestselling authors: Kim Stanley Robinson whose Forty Signs of Rainwarned of rising temperatures due to climate change; and Michael Crichton, who denied global warming as fearmongering in State of Fear. According to Sawyer, Rogue Harvest provided a fresh story grounded in the balance of a third perspective—not a neutral middle-ground, but “one that shears away at right angles from the current polarized debate, taking our thinking in new directions by predicting both environmental collapse andenvironmental salvation.” 

Told through the unruly character of Jasmine, Rogue Harvest explores a post-plague world in recovery. After radical environmentalists from Green Splinter assassinate her father, Jasmine enlists a street-smart mercenary to help her vindicate her father’s call to open the forbidden preservesto the public. This leads Jasmine into the depths of the genetically re-created South American rainforest, where political intrigue, corporate greed and violence collide in a combustible mix. This is where it gets messy—which biology certainly is. But it gets messy for other reasons. Human-reasons. Reasons of power-mongering and lack of compassion. The very reasons why the environmental technocrats established their hands-off edict in the first place. This is explored through great irony in Rogue Harvest. An irony that L.E. Modesitt, Jr. astutely notes, “[the environmental technocrats] prove that, given power, they’re just like everyone else.” Just as there remain uncompassionate exploiters and pillagers in the likes of harvester Gunther Vint, who heedlessly pollutes the rainforest as he harvests it.

buttressed strangler fig in Costa Maya jungle (photo by Nina Munteanu)

The South American rainforest provides some of the most vivid, colourful and memorable scenes in the book. Maslan traveled to the tropics and ensured accurate science of this incredibly rich ecosystem through Mark W. Moffett’s The High Frontierand Donald Perry’s Life Above the Jungle Floor, as well as Tropical Nature: Life and Death in the Rain Forests of Central and South America by Adrian Forsyth and Ken Miyata. It is in the South American recreated jungle that the key elements—and posed questions—of the story play out. 

In his testimonial to Rogue Harvest, Hugo Award Finalist James Alan Gardner poses: “We see both sides of an ecological conundrum that resonates with the present day: how can we live in harmony with our environment, neither vandalizing it nor walling it off as too precious to touch?”

This is the tantamount question. Can our species achieve this balance? Rogue Harvest answers this clarion call with mixed optimism. While showcasing the propensity for greed and careless exploitation, the book also reveals a more altruistic and kinder side of humanity. One that promises hope and light to our darker side. But, is this realistic, given our current dominant worldview? 

On page 149 in Rogue Harvest, Jasmine’s politician father Owen Lamberin defends his position of wishing to open up the protected Nature preserves to regular folk by proclaiming, “Do they want to keep us out forever? Then who are we reseeding the globe for if not for us?” This is later echoed by Jasmine to justify flouting the preservationist edicts of the Emerald Coalition. When I first read this passage, part of me rankled. Does not the natural world have an intrinsic value and right to simply be? Must we justify all things by our own presence and direct use of them? Surely functional ecosystems provide ecosystem services for planetary wellness that benefit ALL life, not just humans, and not all directly. For example, our terrestrial and marine forests provide necessary oxygen and climate balance (by removing excess carbon dioxide) that benefits all life on the planet. Ecologists—particularly Canadians—recognize the benefit of ‘preservation’ (wilderness that is not accessed by humans) over ‘conservation’ (areas where humans extract resources with some environmental risk) and the need for both to exist for the planet’s overall well-being. This is based on the simple fact that not all humans behave as they should. Those of us who follow a utilitarian neo-liberal worldview of consumption and “othering nature” are not acting as efficient partners in the natural world. Many see themselves as apart from Nature, above Her, even, and will act less than kindly. Current deforestation of the Amazon and the old-growth forests of British Columbia, are just two examples that reflect this destructive “Nature othering” force. 

Ancient red cedar tree in Lighthouse Park, BC (photo by Nina Munteanu)

In contrast, indigenous peoples on the planet incorporate Nature in their beliefs, philosophies and way of life. They conduct themselves with humility and the utmost respect for the natural world of which they are a part. Knowing that they are part of Nature, they act accordingly, with respect. They are efficient partners, taking only what they need, thanking Nature for her gifts, and giving back in return in a process of reciprocal altruism and mutualism.

Robin Wall Kimmerer, author of “Gathering Moss” and “Braiding Sweetgrass” writes:

“In indigenous ways of knowing, it is understood that each living being has a particular role to play. Every being is endowed with certain gifts, its own intelligence, its own spirit, its own story. Our stories tell us that the Creator gave these to us, as original instructions. The foundation of education is to discover that gift within us and learn to use it well. 

These gifts are also responsibilities, a way of caring for each other. Wood Thrush received the gift of song; it’s his responsibility to say the evening prayer. Maple received the gift of sweet sap and the coupled responsibility to share that gift in feeding the people at a hungry time of year. This is the web of reciprocity that the elders speak of, that which connects us all. I find no discord between this story of creation and my scientific training. This reciprocity is what I see all the time in studies of ecological communities. Sage has its duties, to draw up water to its leaves for the rabbits, to shelter the baby quail. Part of its responsibility is also to the people. Sage helps us clear our minds of ill thoughts, to carry our good thoughts upward. The roles of mosses are to clothe the rocks, purify the water, and soften the nests of birds … Traditional knowledge is rooted in intimacy with a local landscape where the land itself is the teacher.”

Robin wall kimmerer

  

Wall-Kimmerer is talking about a way of life through willing participation and an attitude of great respect and humility. But many non-indigenous people do not ascribe to this philosophy and way of life—with dire consequence to our environment and our own welfare. In Rogue Harvest Maslan rightfully demonstrated the continued presence of this destructive force in humanity even as a respectful and thankful attitude was shown by Jasmine and her harvesting team. The question is: How many does it take to spoil this balance?

It would be close to fifteen years after Rogue Harvest was published that I would finally read Maslan’s book—this year, in 2020, during an ongoing planetary-wide plague. Ironically, only two years after Danita’s debut novel, my own debut eco-thriller Darwin’s Paradox was released by Dragon Moon Press in 2007. And the theme was eerily similar: struggling with the devastation of an environmental plague (Darwin Disease), the Gaians—environmental technocrats who run the world—have isolated humanity from Earth’s treasured natural environment. One main difference between Rogue Harvest and Darwin’s Paradox is that in the latter book the technocrats have kept the public ignorant of how the environment has recovered, ensuring its safety from destructive human hands—except for the ‘enlightened’ Gaians, who secretly live out in the beauty of a recovered natural world and commute to the indoor world. However, as the environment recovers, humanity deteriorates in its cloistered indoor world. Darwin’s Disease—related to indoor living—sweeps across humanity with debilitating genetic deterioration, violent death and the promise of extinction.  This is something the self-professed deep ecology Gaians—akin to Maslan’s Emerald Coalition—are content to see in—if it means preserving the natural world.

Both the Gaians and Maslan’s Emerald Coalition demonstrate a lack of faith in humanity and an unrealistic need to restore environments to their pristine pre-human levels; something that is highly unrealistic—and doomed to fail. “Aberrations” (as Maslan’s characters called them) are part of the natural process of adaptation and change inherent in the natural world. As a practicing ecological consultant, I was constantly running against an idealised and unrealizable notion to put everything back to what it used to be. For several decades ecologists were tasked to restore habitats to their pristine condition—when the notion of “pristine” was impossible to achieve, let along discern. It would have been like turning back the clock of history to prevent John F. Kennedy from being shot–with its own unknown consequences. Ecologists finally realized that in lieu of “restoration” and looking back, we needed to “rehabilitate” by looking forward. This is what Nature has always done. Nature adapts. So must we. Our management programs must incorporate Nature’s ever-changing processes of resilience and look forward—not backward—to achieve a sacred balance. 

If there is a deeper message in Maslan’s book, it is this: that our salvation—and the salvation of the world—lies in not obsessing on returning to a past pristine state (with attempts at over-protection), but in looking forward to healing and nurturing a world in which we have a place. This would involve reimagining our niche (our job) as efficient partners in an ever-evolving and changing natural world, by casting off the parasitoid1 role we’ve all too often assumed and replacing with a role of mutualism2. But … and there is a huge BUT here. This will only work if we pursue this approach with integrity. With our eyes and hearts open to Gaia’s sacred plan of which we are a part. Robin Wall Kimmerer shows us the way through Traditional Ecological Knowledge:

“If each plant has a particular role and is interconnected with the lives of humans, how do we come to know what that role is? How do we use the plant in accordance to its gifts? The legacy of traditional ecological knowledge, the intellectual twin to science, has been handed down in the oral tradition for countless generations. It passes from grandmother to granddaughter gathering together in the meadow, from uncle to nephew fishing on the riverbank … How did they know which plant to use in childbirth, which plant to conceal the scent of a hunter? Like scientific information, traditional knowledge arises from careful systematic observation of nature, from the results of innumerable lived experiments. Traditional knowledge is rooted in intimacy with a local landscape where the land itself is the teacher. Plant knowledge comes from watching what the animals eat, how Bear harvests lilies and how Squirrel taps maple trees. Plant knowledge also comes from the plants themselves. To the attentive observer, plants reveal their gifts.”

Robin Wall Kimmerer, Gathering Moss

But is this possible? To return to Sawyer’s remark and Gardner’s question, can we achieve this sacred balance and harmony? For many of us, I think, yes. But for many more, I’m not sure. And that is what worries me. It is my firm belief that until our worldview embraces humility in partnership with the natural world—until we cast off our parasitoid archetype of self-serving, neo-liberal, capitalist ideologies—we will remain hampered in our journey forward towards a sacred balance. And time is running out for us. Time to rewrite our story.

In Maslan’s book, humanity is given a second chance to prove itself worthy of inclusion. Her book is a call to action. Can we do this before it’s too late for us? Time to listen and learn from our indigenous peoples. Time to learn about Traditional Ecological Knowledge. Time to slow down, set aside our egos, and use all our senses to learn from Birch, Bear, and Beaver…

Cedar pine forest in early winter, Jackson Creek Park, ON (photo by Nina Munteanu)

1.parasitoid is a term that describes a parasite that grows on the body of another organism from which they get nutrients and shelter. Unlike typical parasites, a parasitoid usually kills its host (Munteanu, 2019).

2.mutualism describes an ecological interaction between two or more species that increases fitness in both, through direct interaction and co-adaptation. Two examples include vascular plants and mycorrhizae, their fungal partners, and flowering plants and their pollinating insects. Even predators act in some form of mutualism when their role of culling weaker individuals from the prey gene pool is considered (Munteanu, 2019). 

References:

  • Kimmerer, Robin Wall. 2003. “Gathering Moss.” Oregon State University Press, Corvalis. 168pp.
  • Munteanu, Nina. 2019. “The Ecology of Story: World as Character.” Pixl Press, Vancouver. 198pp.
White cedar tree and stump in early winter, Jackson Creek Park, ON (photo by Nina Munteanu)

Nina Munteanu is a Canadian ecologist / limnologist and novelist. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Visit www.ninamunteanu.ca for the latest on her books. Nina’s bilingual “La natura dell’acqua / The Way of Water” was published by Mincione Edizioni in Rome. Her non-fiction book “Water Is…” by Pixl Press(Vancouver) was selected by Margaret Atwood in the New York Times ‘Year in Reading’ and was chosen as the 2017 Summer Read by Water Canada. Her novel “A Diary in the Age of Water” was released by Inanna Publications (Toronto) in June 2020.

Nina Munteanu Reads on “Sample Chapter Podcast”

I recently appeared on Episode #142 of award-winning “Sample Chapter Podcast” where I had a wonderful interview with Jason Meuschke and read a sample chapter from my recent eco-novel “A Diary in the Age of Water.” 

Jason and I talked about the writing process; what makes good and compelling fiction; creating realistic and interesting characters with flaws–like my flawed detective Rhea Hawke in The Splintered Universe Trilogy‘ writing eco-fiction in which environment can be a character; the “what ifs” in historical fiction and where we get our ideas (The Last Summoner came to me in a dream and later through a single image).

This is what Jason said about Episode 142 of The Sample Chapter Podcast with Nina Munteanu:

Episode 142 is here with a truly delightful author from Canada, Nina Munteanu. In the episode, Nina and Jason discuss character flaws, having the environment be a character in our prose, the “what ifs” in historical fiction, the writer’s “wavelengths”, and much more all before enjoying a magical chapter reading. Enjoy!

Here’s the podcast:

First snow in Thompson Creek marsh, ON (photo by Nina Munteanu)

Nina Munteanu is a Canadian ecologist / limnologist and novelist. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Visit www.ninamunteanu.ca for the latest on her books. Nina’s bilingual “La natura dell’acqua / The Way of Water” was published by Mincione Edizioni in Rome. Her non-fiction book “Water Is…” by Pixl Press(Vancouver) was selected by Margaret Atwood in the New York Times ‘Year in Reading’ and was chosen as the 2017 Summer Read by Water Canada. Her novel “A Diary in the Age of Water” was released by Inanna Publications (Toronto) in June 2020.

“The Best Books I Have Read This Year—2020

Author and reviewer Lee Hall recently compiled their list of the twenty best books they read in 2020. Says Lee:

It’s hard to believe that we’ve got to this point but we have. For all the words you could use to describe the dumpster fire that is and was 2020 I am going to use the word grateful. 

Grateful for the authors who have provided me with not only an escape through their wonderful works but grateful to them for providing a vital centre pillar of content for this blog – reviews. Some of these creators have become friends and important connections in the world of online authoring for me. This post is dedicated to them and the best books I have read this year. 

While the criteria of ‘best books’ is derived mainly from my own personal taste it is also influenced by how many views the review got on here along with my admiration for the author. These works are an extension of some wonderful personalities who make up an incredible community.

A Diary in the Age of Water was among the books Lee chose for 2020 reading:

‘A Diary in the Age of Water’ by Nina Munteanu

A truly important once in a generation read that flows like a wild river right through your imagination and heart– Quote from my review

I’m being 100% serious when I say ‘A Diary in the Age of Water’ is one of the most powerful books I’ve ever read. For what it stands for is truly a statement towards our own damning of this beautiful planet and our most precious resource – water. Canadian Author Nina Munteanu has put together a masterful look at where we could possibly end up if we don’t act. This one was another Reedsy Discovery find and thus totally justified my joining of the platform well and truly!

LEE HALL

Country road in winter, ON (photo and rendition by Nina Munteanu)

Nina Munteanu is a Canadian ecologist / limnologist and novelist. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Visit www.ninamunteanu.ca for the latest on her books. Nina’s bilingual “La natura dell’acqua / The Way of Water” was published by Mincione Edizioni in Rome. Her non-fiction book “Water Is…” by Pixl Press(Vancouver) was selected by Margaret Atwood in the New York Times ‘Year in Reading’ and was chosen as the 2017 Summer Read by Water Canada. Her novel “A Diary in the Age of Water” was released by Inanna Publications (Toronto) in June 2020.

“A Diary in the Age of Water” Reviewed by Kirkus Reviews, The Winnipeg Free Press and The Miramichi Reader

Nina Munteanu’s cli-fi eco-novel “A Diary in the Age of Water” just released in summer of 2020 received several favourable reviews from Kirkus ReviewsThe Winnipeg Free Press, and The Miramichi Reader. The speculative novel about four generations of woman and their unique relationship with water was recently awarded the Literary Titan Award for a book that “expertly delivers complex characters, intricate worlds, and thought provoking themes. The ease with which the story is told is a reflection of the author’s talent in exercising fluent, powerful, and appropriate language.”

“While bringing attention to the current politicization of climate change, the story maintains important underlying themes like family, love, forgiveness, and the complexity of the human soul. The author has gone to great lengths to show that there are different layers to each character, none fully evil nor fully good. A Diary in the Age of Water is an exceptional and thought-provoking dystopian fiction.”
—LITERARY TITAN (4-star)

“In Canadian ecologist Munteanu’s novel, a child in a world of climate disaster discovers hidden truths about the past in a mysterious journal. In a story set centuries in the future, a young girl with four arms named Kyo lives on the last vestige of a planet damaged by climate crisis, water scarcity, and a cataclysm brought on by semi-divine figures called the Water Twins. Kyo comes across the 21st-century journal of a limnologist named Lynna; over two decades, the journal’s author details Earth’s fate with scientific observations on the harm wrought by corporate greed, as well as her own personal struggles raising a child in a world of catastrophe and authoritarianism. She’s a deeply relatable and tragically flawed character who’s wracked by doubt, fear, and cynicism—a stark contrast to her fierce environmentalist mother, Una, and her spiritual, idealistic daughter, Hildegard. What unites them all is the study of water: its intrinsic properties, its mysteries, and ultimately its necessity to the planet. In poetic prose (“We’re going down in a kind of slow violence”) with sober factual basis, Munteanu transmutes a harrowing dystopia into a transcendentalist origin myth…the author asks uncomfortable questions and explores the effects of one generation’s actions upon the next as they ripple outward like a stone dropped in a pond. A sobering and original cautionary tale that combines a family drama with an environmental treatise.”
—KIRKUS REVIEWS

Futuristic novel awash with water warnings

“An engaging epistolary novel. An ecologist and environmental activist herself, Munteanu has no difficulty voicing a fully formed literary character who is both scientifically literate enough to understand how quickly human society is entering its final ebb, and humane enough to mourn the fullness of this tragedy.

The prose here is beautiful and purposeful in the tradition of environmentally and socially minded novelists such as Ursula K. Le Guin and Margaret Atwood… It comes down to water: ice sheets, rain and drought, the loss of water tables and the collapse of marine ecologies in an acidifying ocean. The pulse and rhythm of life on this planet is water. Its death throes, too, can be read in the flow of water.

Munteanu has produced something which joins George Orwell and Aldous Huxley, Le Guin and Atwood, a warning of the direction we are heading that will be valuable even if we manage to avert disaster.”
—Joel Boyce, WINNIPEG FREE PRESS

“A Diary in the Age of Water commands reader interest on a number of levels…a chilling but believable portrayal of what might happen as fresh water becomes scarcer… Munteanu’s novel provides a cautionary note for what might happen if we fail to pay attention to this precious resource.”
—Lisa Timpf, MIRAMICHI READER

Short Synopsis

A Diary in the Age of Water follows the climate-induced journey of the Earth and humanity through four generations of women, each with a unique relationship to her world and to water. Water plays both metaphoric and literal roles in this allegorical tale of humanity’s final journey from home—where male sterility, heat-shock proteins, horizontal gene transfer, and virgin-births rule a changing world of water securitization through ambitious environmental manipulation (e.g., resurrecting the US Army Corps of Engineers 1960s NAWAPA/CeNAWP plan to create the 800 km long Rocky Mountain Trench reservoir and divert most of northern Canada’s water to the USA—drowning a fifth of BC). 

Told in far-future and near-future frames, the central part of the story is a diary by a limnologist, whose personal account creates a terrifying realism to the geo-political tension of water securitization, plague containment, and police oppression—the diary spans from 2045 to 2064 (when the diarist disappears herself). 

The cli-fi novel begins centuries from now in the dying northern boreal forest with young KYO, a blue water nymph with multiple arms who dreams of the past and of being a normal human. She is on her way to the library to memorize a textbook on the Age of Water and there discovers a piece of her past from that age when The Water Twins destroyed the world. Kyo discovers a diary by a limnologist (who happens to be the mother of one of the Twins). Intrigued, Kyo drops the textbook and reads the diary. The diary, by cynical limnologist LYNNA, describes a near-future Toronto in the grips of severe water scarcity. The gritty memoir describes Toronto in a time when China owns the USA and the USA owns Canada, and aggressively mines its water. While lamenting the greed and destructive nature of her race, Lynna self-servingly helps murder three people; she also gives birth to rebel daughter HILDA (one of the Water Twins) who destroys her world through water and gives virgin-birth to the next stage in human evolution: a mutant who becomes one of the Disappeared who returns centuries later in a dying world as the water keeper Kyo. 

“A Diary in the Age of Water” explores identity and our concept of what is “normal”—as a nation and an individual—in a world that is rapidly and incomprehensibly changing.

Poplar trees in northern Ontario in fall (photograph by Nina Munteanu

Nina Munteanu is a Canadian ecologist / limnologist and novelist. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Visit www.ninamunteanu.ca for the latest on her books. Nina’s bilingual “La natura dell’acqua / The Way of Water” was published by Mincione Edizioni in Rome. Her non-fiction book “Water Is…” by Pixl Press (Vancouver) was selected by Margaret Atwood in the New York Times ‘Year in Reading’ and was chosen as the 2017 Summer Read by Water Canada. Her novel “A Diary in the Age of Water” was released by Inanna Publications (Toronto) in June 2020.

Twelve Books on Climate and Environment for the Holidays

Gift guide: 12 books on climate can environment for the holidays

“For this year’s holiday gift guide,” writes Dr. Michael Svoboda, “Yale Climate Connections has gathered celebrated anthologies, deep-dives into climate-related science and solutions, inspiring books from or about spiritual leaders, and visionary works of climate fiction.”

All were recently published, some within the month, writes Svoboda. These twelve books address decades of writing on climate change, reassess the challenges, offer hope and guidance for action, and envision very different climate-changed futures.

There is, for instance, the anthology The Fragile Earth: Writing from the New Yorker on Climate Change (Harper Collins),which includes Bill McKibben’s seminal essay “The End of Nature.” The anthology All We Can Save(Penguin Random House) edited by Ayana Elizabeth Johnson and Katharine K. Wilkinson is a collection of works dedicated to leadership “more characteristically feminine and more faithfully feminist, rooted in compassion, connection, creativity, and collaboration.”

Hope, guide to action and challenges are provided by Future Sea (University of Chicago Press) by Deborah Rowan Wright, The New Map (Penguin Random House) by Daniel Yergin, Solved:How the World’s Great Cities are Fixing the Climate Crisis (University of Toronto Press) by David Miller, Let Us Dream (Simon & Schuster) by Pope Francis. Tales of Two Planets (Penguin Random House) edited by John Freeman explores inequality and the impact of climate change.

Stand Up! Speak Up! (Penguin Random House) by Andrew Joyner celebrates the inspiration of youth in taking up action through hope, activism and community. Our Only Home: A Climate Appeal to the World (Hanover Square) by the Dalai Lama and Franz Alt is a manifesto that will empower us to take action and save the environment. 

The novel The 2084 Report (Simon & Schuster) by James Lawrence Powell provides an “oral history” through interviews of the devastating effects of the Great Warming, which are both fascinating and frightening. My own novel A Diary in the Age of Water (Inanna Publications) chronicles the journeys of four generations of women, each carrying a unique relationship with water over a time of catastrophic change. Told in the form of a diary by a limnologist, the story explores a Canada mined for its water by United States, which, in turn, is owned by China. The Ministry for the Future (Hachette Book Group—Orbit) a novel by Kim Stanley Robinson uses fictional eyewitness accounts to tell the story of how climate change will affect us all.

Yale Climate Connections:

Edited by veteran journalist and journalism educator Bud Ward, Yale Climate Connections provides content developed by a network of experienced independent freelance science journalists, researchers, and educators across the country.Yale Climate Connections is an initiative of the Yale Center for Environmental Communication (YCEC), directed by Dr. Anthony Leiserowitz of the Yale School of the Environment, Yale University.

Dr. Michael Svoboda, an expert on climate change, is a professor at George Washington University and frequent contributor to Yale Climate Connections.

Jackson Creek in early winter, ON (photo and rendition by Nina Munteanu)

Nina Munteanu is a Canadian ecologist / limnologist and novelist. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Visit www.ninamunteanu.ca for the latest on her books. Nina’s bilingual “La natura dell’acqua / The Way of Water” was published by Mincione Edizioni in Rome. Her non-fiction book “Water Is…” by Pixl Press(Vancouver) was selected by Margaret Atwood in the New York Times ‘Year in Reading’ and was chosen as the 2017 Summer Read by Water Canada. Her novel “A Diary in the Age of Water” was released by Inanna Publications (Toronto) in June 2020.

Nina Munteanu Interviewed About “A Diary in the Age of Water” by Simon Rose

Diary Water cover finalI was recently interviewed by Canadian writer Simon Rose on my recent novel release “A Diary in the Age of Water” by Inanna Publications. Set mostly in near-future and far-future Toronto area, the book has already received some praise:

Evoking Ursula LeGuin’s unflinching humane and moral authority, Nina Munteanu takes us into the lives of four generations of women and their battles against a global giant that controls and manipulates Earth’s water…In language both gritty and hauntingly poetic, Munteanu delivers an uncompromising warning of our future.”—Lynn Hutchinson Lee, Toronto playwright

Dragonfly.eco calls the book “an insightful novel…a cautionary tale rummaging through the forgotten drawers of time in the lives of four generations…This whirling, holistic, and evolving novel comes alive, like we imagine water does.”

The novel received a five-star review in Foreword Clarion Review and Kirkus Reviews writes: “Munteanu transmutes a harrowing dystopia into a transcendentalist origin myth. A sobering and original cautionary tale that combines a family drama with an environmental treatise.”

Part of the story is told through the diary of a limnologist (someone who studies freshwater) who witnesses and suffers through severe water taxes and imposed restrictions, dark intrigue through neighbourhood water betrayals, corporate spying and espionage, and repression of her scientific freedoms. Some people die. Others disappear… Here’s an excerpt from the interview:

What is “A Diary in the Age of Water” about? 

The book is essentially a journey of four generations of women who have a unique relationship with water, through a time of extreme change through climate change and water shortage. The book spans over forty years (from the 2020s to the 2060s) and into the far future, mostly through the diary of a limnologist, which is found by a future water-being. During the diarist’s lifetime, all things to do with water are overseen and controlled by the international giant water utility CanadaCorp—with powers to arrest and detain anyone. This is a world in which China owns America and America, in turn, owns Canada.

You mention the” Age of Water” in your book. Are there other ages/epochs?

Yes. The story begins in the far future with young Kyo during the Age of Trees, after the end of the Age of Water. It is, in fact, the end of that age as well and that is why she prepares for the Exodus to “humanity’s” new home.

What inspired you to write this book? 

The Way of Water-COVERMy publisher in Rome (Mincione Edizioni) had asked me for a short story on water and politics. I wanted to write about Canada and I wanted something ironic… so I chose water scarcity in Canada, a nation rich in water. The bilingual story “The Way of Water” (“La natura dell’acqua”) resulted, which has been reprinted in several magazines and anthologies, including Cli-Fi: Canadian Tales of Climate Change (Exile Editions), Future Fiction: New Dimensions in International Science Fiction (Future Fiction/Rosarium Publishing), Little Blue Marble Magazine, and Climate Crisis Anthology (Little Blue Marble). The story was about young Hilde—the daughter of the diarist (of the novel). Hilde was dying of thirst in Toronto and the story begged for more … so the novel came from it…

Why did you choose to write your novel as a diary?

I was writing about both the far and the near future and much of it was based—like Margaret Atwood and her books—on real events and even real people. I wanted personal relevance to what was going on, particularly with climate change. I also wanted to achieve a gritty realism of “the mundane” and a diary felt right. Lynna—the diarist—is also a reclusive inexpressive character, so I thought a personal diary would help bring out her thoughts and feelings more. There’s nothing like eves-dropping to make the mundane exciting. The diary-aspect of the book characterizes it as “mundane science fiction” by presenting an “ordinary” setting for characters to play out. The tension arises more from insidious cumulative events and circumstances that slowly grow into something incendiary.

Your book has been described by various reviewers and literary types as being anything from literary fiction and FemLit to science fiction, Cli-Fi and eco-fiction How would you describe it?

Reeds and water sparkles drybr Otonabee

Otonabee shoreline, ON (photo by Nina Munteanu)

It’s really all these things. The story carries the personal journeys of four strong and complex women characters. It gives them much agency in dealing with the climate and water crisis—socially, politically, and environmentally. One is a political activist, another a wary scientist, and another an anarchist. However, while A Diary in the Age of Water showcases strong women characters, its main climate and environmental theme carries the story through the four generations to its climax. In the end, the book’s classification will depend on the reader, who will decide which aspect of the novel resonates the most with them. The main protagonist in “A Diary in the Age of Water” is a limnologist (someone who studies freshwater); so are you. Is there any resemblance? Both Lynna and I chose to study water through the discipline of limnology; Lynna did most of her work on Canadian glaciers, while my focus was on small streams in southern Quebec. We also share similar views on the environment and humanity’s place in it. I might even have some of her character foibles … hopefully not ALL of them. However, how she chose to live that worldview—cloistered, repressed, and fearful—is not me at all. I tend to bluster, confront, and generally get into trouble. In that way, I might more resemble Lynna’s daughter. Having said that, I’d say that all good characters have a piece of the writer in them. Some dark and some light. How can they not? In this case, the resemblance with the diarist is heightened because she is depicted through her diary, which adds a gritty realism and a highly personal aspect to the first person fiction. There’s a piece of me in each of the four women depicted in the story.

You mentioned that each of the four generations of women have a singular relationship with water. What role does water play in the book?

Well, in some important way, water is the fifth character. You could say even the main character. Water is the theme that carries each woman on her personal journey with climate change and the devastation that occurs—through water, I might add. Climate change is a water phenomenon, after all… So, water—like place and setting—plays a subtle yet powerful role in the story, influencing each character in her own way and bringing them together in the overall journey of humanity during a time of great and catastrophic change.

Pond lily 2 mouth TC

Pond lily, ON (photo by Nina Munteanu)

The diary spans a twenty-year period in the mid-twenty-first century and describes a Canada in the grips of severe water scarcity. Tell us about that—how does a water-rich country like Canada suffer severe water scarcity?

Water gold-blue patterns

Trent Canal, ON (photo by Nina Munteanu)

Ecologists and economists alike (who truly understand water and its global distribution and movement) will tell you that there is, in fact enough water on the planet; scarcity results from its unequal distribution, pollution and toxic input, squandering, diversion, and manipulation (one example being making rain and instructing it to fall here rather than there). Maude Barlow (Chairperson of the Council of Canadians) will tell you that Canada is currently at risk of giving away much of its water. Foreign companies are now mining Canada’s watersheds with impunity and at minimal cost. Under my premise, United States (and China) aggressively mines Canada’s groundwater, glaciers, rain and surface water through massive diversion projects to rehydrate the dwindling aquifers of the United States.

My premise is based on real events currently ongoing throughout the world. China leads the world in rainmaking and manipulation. Egypt plans to pump water from Lake Nassar into the Sahara as tensions between Egypt, and nine upstream countries for control of water in the Nile watershed increase from dams the Sudanese and Ethiopians build and as Tanzania pumps water from Lake Victoria, and Kenya diverts lakes feeding Lake Victoria to its arid eastern regions. India, Pakistan, Bangladesh, and China are in conflict over control of rivers such as the Indus, Ganges, and particularly the Brahmaputra. India’s River Link Plan impacts Bangladesh. As Pakistan, Kashmir and India fight over more and more water, the Indus dries up and no longer flows into the ocean. Meantime, Russian scientists are reviving a 1930s Soviet plan to reverse some of Siberia’s largest rivers to the parched former Soviet republics of central Asia with plans to replenish the Aral Sea. This is something very similar to the USA’s 1960 plan to divert Canada’s northward waterways south to rehydrate America’s drying midwest. Massive water diversion is also being debated within a single country; Spain’s water-rich northern region has fallen under pressure by Spain’s water-poor southern region, provoking the controversial Ebro diversion project. Norwegian university professor Terje Tvedt aptly concludes: “At the heart of these gigantic enterprises lies one of history’s great paradoxes: the more humans try to tame and regulate water by means of large-scale elaborate projects, the more water will, in turn, control society.”

Back to Canada and my not so outlandish premise: by the 2040s, Canadians are indentured to US needs through massive diversions and resulting water-use restrictions. One example, taken from precedent set in states like Colorado, is an imposed ruling by CanadaCorp that Canadians cannot collect rainwater. Something several states have already implemented.

The novel mentions a huge water diversion plan called NAWAPA. Can you tell us about that?

The original NAWAPA (North America Water Power Alliance) Plan was drawn up by the Pasadena-based firm of Ralph M. Parsons Co. in 1964, and had a favorable review by Congress for completion in the 1990s. The plan—thankfully never completed—was drafted by the US Army Corps of Engineers and entailed the southward diversion of a portion (if not all) of the Mackenzie and Yukon rivers in northern Canada and Alaska, now flowing into the Arctic Ocean as well as the Peace, Liard and other rivers flowing into the Pacific by creating massive dams in the north. This would cause the rivers to flow backwards into the mountains to form vast reservoirs that would flood one-tenth of British Columbia. The water would be channeled south through the 800-km Rocky Mountain Trench Reservoir into the Northern USA, and from there along various routes into the dry regions of the South, to California and reaching as far as Mexico.

NAWAPA proposal Ralph M. ParsonsCo-1960s

NAWAPA was envisioned as the largest construction effort of all times, comprising some 369 separate projects of dams, canals, and tunnels, for water diversion. The water diversion would be accomplished through a series of connecting tunnels, canals, lakes, dams, and pump-lifts, as the trench itself is located at an elevation of 914 m (3,000 feet). To the east, a 9 m (thirty-foot) deep canal would be cut from the Peace River to Lake Superior. NAWAPA’s largest proposed dam would be 518 m (1,700 feet) tall, more than twice the height of Hoover Dam (at 221 m) and taller than any dam in the world today, including the Jinping-I Dam in China (at 305 m).

In the novel, NAWAPA-2 gets completed by 2045, which includes creating a giant inland sea in the Rocky Mountain Trench in British Columbia and a huge diversion in central Canada as well.

Very intriguing. Where can readers purchase the book? 

They can buy the book in most quality bookstores such as Chapters-Indigo, Barnes & Noble, and Amazon. They can also purchase the book through the publisher, Inanna Publications.

Best of luck, Nina, on this book!

Thanks, Simon!

 

 

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Nina Munteanu is a Canadian ecologist / limnologist and novelist. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Visit www.ninamunteanu.ca for the latest on her books. Nina’s bilingual “La natura dell’acqua / The Way of Water” was published by Mincione Edizioni in Rome. Her non-fiction book “Water Is…” by Pixl Press(Vancouver) was selected by Margaret Atwood in the New York Times ‘Year in Reading’ and was chosen as the 2017 Summer Read by Water Canada. Her novel “A Diary in the Age of Waterwas released by Inanna Publications (Toronto) in June 2020.

The Legacy of Trees: Purposefully Wandering Vancouver’s Stanley Park

Winter on Sea Wall StanleyPark

Winter on the sea wall (Heritage House)

“In the gorgeously colourful fall of 2017, I had a sudden thought: “I live next to Stanley Park, one of the world’s most beloved and best parks. How have I not noticed? Of course I had noticed, but I hadn’t taken that awareness inside. I barely knew the park. I have lived beside this park for twenty-five years. I first saw the crescent beach of English Bay and the storytelling totems in the park in 1961, fifty-nine years ago. Have I been asleep? Can I wake up? Is it time?

If I am going to get to know this park—this Stanley Park—and call it “my park,” I will have to wander it purposefully, path by path, plaque by plaque, monument by monument, rock by rock, tree by tree, blossom by flowering blossom, through every season, and allow its layers of history to seep into me as though it were a living, breathing being.

Actually, it is.

Legacy of Trees Nina Shoroplova

This is how Nina Shoroplova begins her book “The Legacy of Trees” by Heritage House, 2020, a book all about “Purposeful Wandering in Vancouver’s Stanley Park.”

The beautifully laid out 288-page book with colour photos is a feast for the mind and the heart. Although the book provides an excellent human and natural history of the park—from its pre-colonial existence, and logging history, to its creation and uses and description—at its root is an expression of wonder for this natural gem in the middle of a bustling city and a true love of trees.

Shoroplova approaches the forest with the heart of a poet. Her passion for nature—and trees, particularly—lights each page with joyful discovery. Shoroplova brings this passion to Stanley Park, one of Canada’s iconic parks, and one worth both visiting and knowing through many aspects from history to ecology and from forest ecosystem to legacy tree.

Each year, Stanley Park welcomes more than eight million visitors from around the world. In the summer of 2013, Travel & Leisure magazine ranked Stanley Park second among the world’s twenty-eight most beautiful city parks in the world. In 2014, TripAdvisor named Stanley Park the best park in the world. The park features 400-hectares of natural coastal temperate rainforest with 27 km of trails and scenic views of water, mountains, and truly majestic trees. The rainforest holds an old-growth forest of +400-year old Douglas-firs and some of the largest grand firs in the world. The park also features an 8.8 km seawall, totem poles and six beautiful gardens.

Map of Stanley Park

Map of Stanley Park, Vancouver

Early in the book, Shoroplova describes a particular experience with a weeping beech in Shakespeare Garden with something close to reverence:

“When I first walked under its canopy of falling dark green drapery, tears came to my eyes. Somehow, the generosity of that tree, offering its shade and comfort to all who stand, walk, and drive underneath its south-facing leaves, opened my heart.” She then added, “As a friend says, ‘trees are divine beings.’”

Shoroplova shares why she feels calmed, centred, and connected in a forest, particularly in Stanley Park:

Hemlock on Cedar StanleyPark

Hemlock growing on cedar stump (Heritage House)

Maybe it’s because the change in a forest is constant yet unobservable, unobtrusive. Maybe it’s because I, as a human being, am so insignificant in size compared with the giants around me. Or because I, as a human being, have lived for such a short time compared with the ancient living beings around me. Or the green and the tree pheromones are so calming…

I used to feel this way when I skied downhill and when I breastfed my babies. I feel this way when I stand in the ocean and await the next wave and the next. I feel this way with my grandchildren. That’s what being in the forest does for us…It brings us to the present moment. That’s the gift.”

Victorian woman giant trees 1901

Woman wanders among the Seven Sisters giants, 1901 (Heritage House)

There is an abiding quality about trees and a living forest that is reassuring. “Trees are supportive, yet ambitious,” writes Shoropova. They are “quiet yet communicative, flexible yet strong, adaptive yet true to type.” They connect us to a larger world in a way that is both awe-inspiring and familiar.

“Learning the histories of the legacy trees in Stanley Park deepens our knowledge of the people of Vancouver—our history, our origins, our values,” Shoroplova explains in her opening chapter. These stories also show how Vancouver is maturing and evolving alongside its park forests and gardens. “We are shaking off the colonial identity that the park exhibited for so many decades and embracing the values of reconciliation with the first inhabitants of this land, the Squamish, Musqueam, and Tsleil-Waututh. We are also reclaiming what we can of the original nature of this land while honouring our communal history.”

Loggers springboard system Douglas-fir-1890s

Loggers using springboards to chop down a Douglas-fir giant, Stanley Park, 1890s (Heritage House)

Shoroplova arranged her tree stories into three parts: Part 1: The Trees Were Always There—trees that were already growing on the peninsula headland that became the federal reserve and then Stanley Park; Part 2: The First Trees Are Planted—those that were planted during the colonial and imperial years of the park (up to 1960); Part 3: The Park Grows Up—the years of growing independence.

Complete with old photos and original maps, Shoroplova offers several well-described and mapped routes to learn about and appreciate the beauty of the park. Her accurate science and historical accounts are dispensed in easily-digested and understood parcels through the language of conversation. The narrative is both charming and intriguing from the sad tale of the sentinel big Douglas-fir at the entrance to Stanley Park in 1894 to the princess-poet Pauline Johnson’s naming of Lost Lagoon and stories of historic events.

GeorgiaSt Entrance StanleyPark-bigfir-1894

Georgia Street entrance to Stanley Park in 1894 (Heritage House)

In a particularly engaging chapter of the book (Chapter 8), Shoroplova compares humans to trees and, through some interesting observations on tree physiology and behaviour, she draws some interesting conclusions. One example is her description of a tree’s heartbeat: how trunk and branches use a very slow pulse of contraction and expansion to send water up and out to every branchlet and leaf. Or how trees essentially breathe in more oxygen during the day (during active photosynthesis) and breathe out more carbon dioxide at night (during respiration without photosynthesis). Shoroplova likens it to “one slow breath for every twenty-four hours.” Shoroplova extends this fractal idea to the “suggestion that the northern hemisphere of Earth breathes in every summer and breathes out every winter. One slow planetary breath for every twelve months.”

Shoroplova also discusses two theories that explain the phenomenon of crown shyness, only seen in deciduous trees: “One is that trees of the same species avoid both being shaded by and shading each other. They take up space that is not already filled, allowing each other space to grow and breathe and capture the sun’s rays. The opposing theory is that stormy weather breaks off branches that are very close to each other. I suspect a mixture of both theories is at work.”

NurseryTree StanleyPark

Decaying log provides nutrients and substrate for other life (Heritage House)

Shoroplova continues her comparison in describing the life and death of a tree. “The death of a tree is a very drawn-out affair, taking years and even decades, as the tree changes from being healthy to having its health impinged on in some way, to losing more of its branches … to becoming a standing snag, and finally to falling to the forest floor. The decomposition—the composting—of one tree provides the soil for the birth and regeneration of many others. When a tree falls in the forest, its fallen form—minerals, fibre, and glucose—nourishes all the other life forms in its environment…Fallen trees become nurse logs for seedling trees, especially for western hemlocks.” In Chapter 9, Shoroplova shares how the forest—like the ocean—releases negative ions that help in general feelings of wellness as these ions “neutralize all the free radicals that result from our natural body processes or that exist as environmental toxins.”

RemainingSevenSister burl

Western red cedar with burl, remaining Seven Sister in Stanley Park (Heritage House)

In Chapter 12, Shoroplova describes the cathedral-like grandeur of the Seven Sisters grove of western redcedars and Douglas-firs as witnessed by Mohawk poet E. Pauline Johnson in 1911 and the sad narrative that followed. The fame of this stately grove of giants became their undoing—in the early 1950s the Park Board cut them down, citing safety reasons. The seven stately trees became seven sad stumps—with just one western redcedar with a large burl of the originals remaining. In 1988 the Park Board planted seven young Douglas-fir trees to replace the Seven Sisters. It will take time but eventually they may rival the Seven Sisters in majestic height. The single original sister still stands, prompting Shoroplova to “return to feel the history embedded in this single sibling.”

PaulineJohnson feather

E. Pauline Johnson

“But in all the world there is no cathedral whose marble or onyx columns can vie with those straight, clean, brown tree-boles that team with the sap and blood of life. There is no fresco that can rival the delicacy of lace-work they have festooned between you and the far skies. No tiles, no mosaic or inlaid marbles are as fascinating as the bare, russet, fragrant floor outspreading about their feet. They are the acme of Nature’s architecture, and in building them she has outrivalled all her erstwhile conceptions. She will never originate a more faultless design, never erect a more perfect edifice. But the divinely moulded trees and the man-made cathedral have one exquisite characteristic in common. It is the atmosphere of holiness.”—E. Pauline Johnson, Legends of Vancouver, 1911.

ProspectPoint 1891

Prospect Point, Stanley Park, 1891 (Heritage House)

Subsequent chapters are devoted to singular trees and charming stories throughout the various gardens and paths of Stanley Park. Shoroplova brings them all to life with an animated history that weaves through the park to the present day.

Nina looking up dougfir-LHP

Nina Munteanu looks up at giant Douglas-fir in Lighthouse Park, BC (photo by M. Ross)

She ends on a high note for me by invoking the wisdom of UBC ecologist and forester Suzanne Simard, who parses out four simple solutions to forest managers. They include: 1) know the local region and ecology and act accordingly; 2) stop or at least curtail most logging of the old-growth forests; 3) save the legacies, the mother trees and networks so they can pass their wisdom onto the next generation of trees; 4) help regenerate the biodiversity of forest ecosystems by planting and allowing natural regeneration. “Forests aren’t just a bunch of trees competing with each other; they’re super-cooperators,” says Simard in a TED talk in June 2016. From Simard’s message I travelled to Ira Sutherland’s TEDx talk in October 2019, about the giant trees in Vancouver, which include Stanley Park; his message was also direct: 1) this is our story; and 2) Nature proves resilient.

I give Shoroplova a top score for ending her wonderful exposé on Stanley Park trees with action. Once we have connected with a forest and with a particular tree, we have walked through a door into awareness and ultimately responsibility. The wisdom and actionable message is clear. It isn’t enough to be a bystander. Just as E. Pauline Johnson raised the flag of awareness a hundred years ago for indigenous peoples and Nature by association, we must do the same. Or it will disappear. Sutherland points out that many of the sites where he has documented giant mother trees are not protected.

Bill Stephen, superintendent of urban forestry (retired), in his foreword to the book, wisely suggests how to use the book:

Read it first in a leisurely manner at home, and internalize the park’s history since its dedication in 1888. Then tuck it into your backpack and take it with you as a companion on your park wanderings. Take it on your smartphone or tablet as an ebook. Follow the maps, and use a maps app to enter the latitude/longitude coordinates of your place of interest for the day. Re-read its tales in the presence of the very trees about which it speaks, time travel with them, and return to the city with a richer sense of the connections between the trees of this great park and its human and animal actors. Then repeat…”

Vancouver StanleyPark bridge

North side of Sea Wall with view of north shore and Lion’s Gate Bridge, Stanley Park, BC (photo by Nina Munteanu)

References:

Johnson, E. Pauline 1911. “Legends of Vancouver.” Library of Alexandria. 196pp. E. Pauline Johnson (Takehionwake) was a daughter of a Mohawk Chief and a white mother.  She was one of Canada’s most famous performers, poet, feminist and indigenous activist of the Victorian era. Pauline Johnson documented legends, told to her by her great friend, Squamish Chief Joe Capilano, in the Vancouver newspaper, The Daily Province, and then a book, ‘Legends of Vancouver’, in print now for over 100 years.

Nombre, Antonio Donato. 2010. “The Magic of the Amazon: A river that flows invisibly all around us.” TEDx Talk, 21:27 min. November, 2010. The Amazon River is like a heart, pumping water from the seas through it, and up into the atmosphere through 600 billion trees, which act like lungs. Clouds form, rain falls and the forest thrives. In a lyrical talk, Antonio Donato Nobre talks us through the interconnected systems of this region, and how they provide environmental services to the entire world. A parable for the extraordinary symphony that is nature.

Simard, Suzanne. 2016. “How Trees Talk to Each Other.” TED Talk, 18:20 min. June, 2016. “A forest is much more than what you see,” says ecologist Suzanne Simard. Her 30 years of research in Canadian forests have led to an astounding discovery — trees talk, often and over vast distances. Learn more about the harmonious yet complicated social lives of trees and prepare to see the natural world with new eyes.

Shoroplova, Nina. 2020. “Legacy of Trees: Purposeful Wandering in Vancouver’s Stanley Park.” Heritage House Publishing Co.Ltd., Vancouver. 288pp.

Sutherland, Ira. 2019. “The Great Vancouver Forest: A Story of Place.” TEDx Talk, 21:04 min. Oct. 2019. Growing up among the tall forests near UBC, Ira Sutherland developed an appreciation and curiosity for forests early on. This talk invites his audience to explore Vancouver’s extensive forests and to hopefully see trees in a new light (for more information, see http://www.vancouversbigtrees.com)

 

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Nina Munteanu is a Canadian ecologist / limnologist and novelist. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Visit www.ninamunteanu.ca for the latest on her books. Nina’s bilingual “La natura dell’acqua / The Way of Water” was published by Mincione Edizioni in Rome. Her non-fiction book “Water Is…” by Pixl Press(Vancouver) was selected by Margaret Atwood in the New York Times‘Year in Reading’ and was chosen as the 2017 Summer Read by Water Canada. Her novel “A Diary in the Age of Waterwas released by Inanna Publications (Toronto) in June 2020.