Science Fiction Asks: Are We Worth Saving?

interstellar-GargantuanBlackHole

Gargantua Black Hole in “Interstellar)

Science fiction, which Ted Gioia of The San Francisco Chronicle calls “conceptual fiction” explores the interaction of humanity with some larger phenomenon that involves science. SF writer Robert J. Sawyer calls it the fiction of the large. Large ideas, large circumstance, large impact. Science fiction is a powerful literature of allegory and metaphor that is deeply embedded in culture. By capturing context, SF is a symbolic meditation on history itself and ultimately a literature of great vision.

Science fiction is the literature of consequence that, in exploring large issues faced by humankind, can provide an important vehicle in raising environmental awareness and a planetary consciousness. Much of science fiction is currently focused in that direction. Terms such as eco-fiction, climate fiction and its odd cousin “cli-fi”, have embedded themselves in science fiction terminology; this fiction has attracted a host of impressive authors who write to its calling: Margaret Atwood, Emmi Itäranta, Jeff VanderMeer, Richard Powers, Barbara Kingsolver, Upton Sinclair, Ursula Le Guin, JoeAnn Hart, Frank Herbert, John Yunker, Kim Stanley Robinson, James Bradley, Paolo Bacigalupi, Nathaniel Rich, David Mitchell, Junot Diaz, Claire Vaye Watkins, J.G. Ballard, Marcel Theroux, Thomas Wharton—just to name a few. The list seems endless. Of course, I’m one of them too. Many of these works explore and illuminate environmental degradation and ecosystem collapse at the hands of humanity.

Lately, science fiction is asking the question of whether humanity is worth saving and at what expense?

It’s a valid question.

As the first swell of the climate change tidal wave laps at our feet, we are beginning to see the planetary results of what humanity has created and exacerbated. Humanity has in many ways reached a planetary tipping point; a threshold that will be felt by all aspects of our planet, both animate and inanimate as the planet’s very identity shifts.

the great acceleration copyScientists have suggested that we have now slid from the relatively stable Holocene Epoch to the Anthropocene Epoch—the age of humanity. The term arose not from hubris, but in recognition of our ubiquitous and overwhelming influence on large systems and planetary cycles.

GreatDerangement climatechange copyTake water, for instance. Today, we control water on a massive scale. Reservoirs around the world hold 10,000 cubic kilometres of water; five times the water of all the rivers on Earth. Most of these great reservoirs lie in the northern hemisphere, and the extra weight has slightly changed how the Earth spins on its axis, speeding its rotation and shortening the day by eight millionths of a second in the last forty years. Ponder too, that an age has a beginning and an end. Is climate change the planet’s way of telling us that the  Anthropocene Epoch too shall end? Is that when we end … or transcend?

A tidal wave of TV shows and movies currently explore—or at least acknowledge—the devastation we are forcing on the planet. Every week Netflix puts out a new show that follows this premise of Earth’s devastation: 3%; The 100; The Titan; Orbiter 9; even Lost in Space.

Are we worth saving? Below are a few examples of movies, TV series I’ve lately watched and books I’ve lately read that address this key question to an irresponsible humanity that seems unconcerned that we are destroying our very home. In some the question is subtly implied; in others, not so subtle.

Battlestar Galactica (2004)

Battlestar-Galactica.jpg

In the pilot of Battlestar Galactica, Commander Adama gives an impromptu speech (not the one he prepared; but one provoked by an argument with his son), which resonates throughout the entire series as cylon and human must refashion themselves and their relationship to each other while they discover the cyclical recursive nature of all things and that “all this has happened before and will again.”

The Galactica ship is about to be decommissioned and has now become a museum since the cylons have disappeared forty years ago. The great battle between the cylons and their human creators ended forty years ago with the cylons disappearing suddenly, never to be heard from again. But that is about to change; as Adama gives his speech, the first strike occurs, followed by a massive attack that almost wipes out the human race.

Adama

Commander Adama

In his speech Adama says:

“The cost of wearing the uniform can be high…but sometimes it’s too high. When we fought the cylons, we did it to save ourselves from extinction. But we never answered the question why. Why are we as a people worth saving. We still commit murder because of greed, spite and jealousy. And we still visit all of our sins upon our children. We refuse to accept the responsibility for anything that we’ve done. Like we did with the cylons. We decided to play God. Create life. When that life turned against us, we comforted ourselves in the knowledge that it really wasn’t our fault, not really. You cannot play God then wash your hands of the things you’ve created. Sooner or later the day comes when you can’t hide from the things that you’ve done anymore.”

Interstellar (2014)

interstellar-GargantuanBlackHole

Voyaging to Gargantua Black Hole

Interstellar

Cooper explores the ice planet

Early on in the science fiction movie Interstellar, NASA astronaut Cooper declares that “the world is a treasure, but it’s been telling us to leave for a while now. Mankind was born on Earth; it was never meant to die here.”

After showing Cooper how their last corn crops will eventually fail like the okra and wheat before them, NASA Professor Brand answers Cooper’s question of, “So, how do you plan on saving the world?” with: “We’re not meant to save the world…We’re meant to leave it.” The human-centred hubris in this colonialist mentality lies in what we have left behind—a planet suffocating from the effects of humanity’s careless and thoughtless activities. What Interstellar circles but does not address is the all-important question: is humanity even worth saving?

The suggestion during the movie’s final moments, is that we are worth saving because we will transcend into wiser benevolent beings: a hopeful gesture based on the power of love.

The Three Body Problem (2014)

ThreeBodyProblem-film

Cixin Liu’s The Three Body Problem was set against the backdrop of China’s Cultural Revolution, because, says Liu, “The Cultural Revolution provides the necessary background for the story. The tale I wanted to tell demanded a protagonist [Ye Wenjie] who gave up all hope in humanity and human nature. I think the only episode in modern Chinese history capable of generating such a response is the Cultural Revolution. It was such a dark and absurd time that even dystopias like 1984 seem lacking in imagination in comparison.” (I suppose Cixin did not experience the holocaust of Germany or Stalin’s purge in the Soviet Union).

ThreeBodyProblemIn the story, a secret military project sends signals into space to establish contact with aliens. An alien civilization on the brink of destruction captures the signal and plans to invade Earth. One of the main protagonists is Ye Wenjie, a young woman traumatized after witnessing the execution of her scientist father in a brutal cleansing at the height of the Cultural Revolution. Considered a traitor, young Wenjie is sent to a labour brigade in Inner Mongolia, where she witnesses further destruction by humans:

“Ye Wenjie could only describe the deforestation that she witnessed as madness. The tall Dahurian larch, the evergreen Scots pine, the slim and straight white birch, the cloud-piercing Korean aspen, the aromatic Siberian fir, along with black birch, oak, mountain elm, Chosenia arbutifolia—whatever they laid eyes on, they cut down. Her company wielded hundreds of chain saws like a swarm of steel locusts, and after they passed, only stumps were left.

The fallen Dahurian larch, now bereft of branches, was ready to be taken away by tractor. Ye gently caressed the freshly exposed cross section of the felled trunk. She did this often, as though such surfaces were giant wounds, as though she could feel the tree’s pain… The trunk was dragged away. Rocks and stumps in the ground broke the bark in more places, wounding the giant body further. In the spot where it once stood, the weight of the fallen tree being dragged left a deep channel in the layers of decomposing leaves that had accumulated over the years. Water quickly filled the ditch. The rotting leaves made the water appear crimson, like blood.”

Already cynical about humanity’s failed culture and science—Wenjie acquires a contraband copy of Rachel Carson’s Silent Spring. The book and revelation she experiences from it sets in motion her remaining trajectory.

“More than four decades later, in her last moments, Ye Wenjie would recall the influence Silent Spring had on her life. The book dealt only with a limited subject: the negative environmental effects of excessive pesticide use. But the perspective taken by the author shook Ye to the core. The use of pesticides had seemed to Ye just a normal, proper—or, at least, neutral—act, but Carson’s book allowed Ye to see that, from Nature’s perspective, their use was indistinguishable from the Cultural Revolution, and equally destructive to our world. If this was so, then how many other acts of humankind that had seemed normal or even righteous were, in reality, evil?

As she continued to mull over these thoughts, a deduction made her shudder: Is it possible that the relationship between humanity and evil is similar to the relationship between the ocean and an iceberg floating on its surface? Both the ocean and the iceberg are made of the same material. That the iceberg seems separate is only because it is in a different form. In reality, it is but a part of the vast ocean.…It was impossible to expect a moral awakening from humankind itself, just like it was impossible to expect humans to lift off the earth by pulling up on their own hair. To achieve moral awakening required a force outside the human race.

This thought determined the entire direction of Ye’s life.”

Ye is sent to the Chinese version of SETI and succeeds in sending a message to aliens on Trisolaris. Despite a warning that the Trisolarians mean only to invade, Wenjie invites them to Earth. To ensure the arrival of the Trisolaris aliens, she collaborates with Michael Evans—an oil billionaire’s son who is disgusted with human’s destruction of Nature. Despising humankind in its current state, Wenjie believes the aliens will somehow ensure humanity’s transcendence; Evans, however, applauds the coming invasion as the best route to achieve the eradication of humanity and the survival of the rest of the planet.

The Expanse (2015) 

TheExpanse-GanymedeStation

Bobby Draper and crew face an unknown enemy on Ganymede Station

 

TheExpanse-Holden-Naomi

Naomi and Holden

The Expanse is a stylish and intelligent science fiction (SF) TV series (on Syfy Channel) based on books by James S.A. Corey. It is set 200 years in the future when humanity has colonized the moon, Mars and the Asteroid Belt to mine minerals and water. This sophisticated SF film noir thriller elevates the space opera sub-genre with a meaningful metaphoric exploration of issues relevant in today’s world—issues of resource allocation, domination & power struggle, values, prejudice, and racism. Ever-expanding outward in a frantic search for resources as Earth’s own resources fester in pollution and Earthers languish on “the dole”, colonizing humans on Mars and the Belt have even changed their physiology, culture, language and identity.

The tag line of the first season poster for The Expanse reads: “We’ve gone too far.” The series begins on Ceres with a Belter activist inciting a crowd with talk about how Mars and Earth are squeezing Belters for all their water.

NUP_166219_0638.JPG

Avasarala and DeGraaf

Not so subtle signs of our destructive jingoistic determination runs through this series (now in its third season). After Under Secretary Avasarala’s friend Degraaf (Earth ambassador to Mars) becomes a casualty of one of her intel games, Degraaf quietly shares: “You know what I love about Mars?… They still dream; we gave up. They are an entire culture dedicated to a common goal: working together as one to turn a lifeless rock into a garden. We had a garden and we paved it.”

miller and dawes copy 2

Miller and Dawes sparring

Ceres born militant activist Anderson Dawes confides to Detective Miller: “All we’ve ever known is low G and an atmosphere we can’t breathe. Earthers,” he continues, “get to walk outside into the light, breathe pure air, look up at a blue sky and see something that gives them hope. And what do they do? They look past that light, past that blue sky. They see the stars and they think ‘mine’… Earthers have a home; it’s time Belters had one too.”

The Martians hold Earth in contempt for their cavalier approach to their resources. Onboard the MCRN Donnager, Martian Lopez asks his prisoner Jim Holden if he misses Earth and Holden grumbles, “If I did, I’d go back.” Lopez then dreamily relates stories his uncle told him about Earth’s “endless blue sky and free air everywhere. Open water all the way to the horizon.” Then Lopez turns a cynical eye back on Holden. “I could never understand your people. Why, when the universe has bestowed so much upon you, you seem to care so little for it.” Holden admits, “Wrecking things is what Earthers do best…”

bobbie-draper-the-expanse

Martian marine Bobbie Draper

Then he churlishly adds, “Martians too, by the look of your ship.” Lopez retorts, “We are nothing like you. The only thing Earthers care about is government handouts. Free food, free water. Free drugs to forget the aimless lives you lead. You’re shortsighted. Selfish. It will destroy you. Earth is over, Mr. Holden. My only hope is that we can bring Mars to life before you destroy that too.” When a Ceres-born Detective Miller asks Holden why he left Earth, Holden responds: “everything I loved there was being destroyed.”

The show makes a few opportunities to point out what we are doing to our planet. Cherish what you have. Cherish your home and take care of it. We’re reminded that time and again, we aren’t doing a good job of that. When Martian marine Bobbie Draper travels to Earth for the first time and is compelled to find the ocean, she is met with the stench of sewage and garbage; yet, she looks longingly out to sea, seeing a dream…

Incorporated (2016)

 Incorporated-green-red zone copy

Incorporated is a science fiction thriller that provides a chilling glimpse of a post-climate change dystopia. Created by David and Alex Pastor and produced by Ben Affleck, Matt Damon, Ted Humphrey and Jennifer Todd, the TV show (filmed in Toronto, Canada) opens in 82 °F Milwaukee in November 2074 after environmental degradation, water level rise, widespread famine and mismanagement have bankrupted governments. We learn later that Milwaukee Airport served as a FEMA climate relocation centre that resembles an impoverished shantytown. In the wake of the governments demise, a tide of multinational corporations has swept in to control 90% of the globe and ratified the 29th amendment, granting them total sovereignty.

Ben- office copy

Corporations fight a brutal covert war for market share and dwindling natural resources. Like turkey vultures circling overhead, they position themselves for what’s left after short-sighted government regulations, lack of corporate check and FEMA mismanagement have ‘had their way’ with the planet. The world is now a very different place. There is no Spain or France. Everything south of the Loire is toxic desert; submerged New York City reduced to a punch line in a joke. Reykjavik and Anchorage are sandy beach destinations and Norway is the new France—at least where champagne vineyards are concerned. Asia and Canada are coveted for their less harsh climates.

Chad-alert copyIncorporated is less thriller than satire; it is less science fiction than cautionary tale.

 “You look to Incorporated for dystopian fiction that expresses our current anxieties,” writes Jeff Jensen of Entertainment Weekly. “What you get is fitful resonance that makes you realize it might be too soon for any show to meet that challenge.”

Or is it more that we may be too late… The question of whether we are worth saving is never asked—it is shown: and perhaps the real reason the show was cancelled after one season.

3% (2016)

3-percent-players copy

3% is set in the near future after the planet has fallen into a divided haves and have-nots through environmental calamity. Three percent of the population live well on an island in the Atlantic Ocean, called Offshore (Mar Alto). The remaining 97% struggle Inland with poverty and scarcity. A selection process lies between them.

3-poster-title copyEvery year the 97% send their 20-year olds to undergo The Process, a grueling Hunger Games-style contest run by the Offshore elite to replenish their numbers. Only 3% of the candidates will be considered worthy. They must pass psychological, emotional and physical tests to earn a place in Mar Alto.

By the time Season 1 is over, candidates will have committed a full range of desperate and unsavory acts to make the cut—the stakes are high, after all: secure a position in the 3% elite or die in squalor and poverty. After being eliminated during the interview process, one youth throws himself off a balcony of the testing centre.

3% examines the motivations and paradoxes of heroism and villainy, sometimes turning them on their sides until they touch with such intimacy you can’t tell them apart. At its deepest, 3% explores the nature of humanity—from its most glorious to its most heinous—under the stress of scarcity and uncertainty. How we behave under these polarizing challenges ultimately determines who we are. The question of whether we are worth saving is explored through the subtleties—or not so subtle aspects—of a fascist society that practices exterminism. 

Missions (2018) 

Missions-VladimirKomarov-Suyuz1 copy

Missions is a French TV series about the race by two ships—the Ulysses and Z1, representing two ambitious billionaires—to explore Mars. It opens in 1967 with the heroic sacrifice of Vladimir Komarov, the pilot of the faulty Soyuz 1, who knew he would not return and accepted his mission to save his best friend, Yuri Gagarin (his backup). This heroic act is mirrored in the last episode of Season 1 with a similar selfless act of heroism by Ulysses psychologist Jeanne Renoir to save her crewmembers who are trying to escape a fatal dust storm on Mars.

missions-posterAfter the 1967 opening scene with Komarov, we go to the present day with psychologist Jeanne Renoir, conducting an experiment on a child: giving them one marshmallow and leaving the room with the instruction that if they don’t eat the marshmallow but wait for her to return, they’ll get two. Jeanne correctly anticipates the child will eat the marshmallow.

Amid developments between the two ship teams in which self-serving agendas, paranoias and blind ambition reign, Jeanne shares a vision with an entity that looks like Komarov, in which he tells her: “Yes, people dream of other places, while they can’t even look after their own planet…You must remember your past in order to think about your future. Do you think Earth has a future?” When Jeanne says she doesn’t know, Komarov challenges, “Yes, you do. They eat their marshmallow right away, when they could have two. Or a thousand. Do you think humanity can continue like that?” Of course she doesn’t think so. Komarov continues, “People have chosen a brief but exciting life. Your species burns the candle at both ends. You know this. And it terrifies you…”

jeanne renoir copy

Jeanne Renoir

From the beginning, we glimpse a surreal connection between Jeanne and Komarov and ultimately between Earth and Mars: from her childhood admiration for the Russian’s heroism on Earth to the “visions” they currently share that link key elements of her past to Mars and Komarov’s strange energy-giving powers, to Jeanne’s own final act of heroism on Mars.

As the storyline develops, linking Earth and Mars in startling ways, and as various agendas—personal missions—are revealed, we finally clue in on the main question that “Missions”—through Komarov and finally Jeanne—is asking: are we worth saving?

The Beyond (2018)

dark orb helicopters sunrise copy

In The Beyond, the sudden appearance of a wormhole causes the disappearance of astronaut Jim Marcell during EVA on Earth’s orbiting space station, followed by associated calamitous phenomena on Earth. Giant dark spherical clouds then appear and settle all over the Earth, disrupting the world’s population, and setting in motion a series of fearful and aggressive reactions by various sectors of humanity.

The Beyond-poster copyThe Beyond’s climax, discovery and resolution is really more of a question. The movie doesn’t have a tidy end; its solution is veiled with more questions.

The film ends with a cautious hope, implicitly asking that big question: are we (humanity) worth saving? When Jessica asks why humanity was offered a second chance by benevolent beings way beyond our comprehension, the returned Jim Marcell (currently a spokesman for the aliens) shows her the GAD (Golden Archive Drive with video images of Earth and humanity—basically our “hello” message to extra-solar life like the one placed onboard NASA’s Pioneer missions) that had accompanied the ship into the wormhole. The message displayed scenes of mothers and their children, people laughing in joy; it also showed scenes of other aspects of this beautiful planet worth saving: the ocean surf, the forests and wildlife. In our hubris, we have lost our perspective about this planet. Perhaps, it wasn’t so much humanity the alien beings intended to save but the Earth itself; we just come along with it. The Earth is, after all, a beautiful, vital and unique world, rich with life-giving water, trees, animals, creatures of all kinds in a diverse network of flowing and evolving beauty. A planet worth saving and that, frankly, functions better without us.

So, the question remains: is humanity worth saving? For centuries we have hubristically and disrespectfully used, discarded and destroyed just about everything on this beautiful planet. According to the World Wildlife Federation, 10,000 species go extinct every year. That’s mostly on us. They are the casualty of our selfish actions. We’ve become estranged from our environment, lacking connection and compassion. That has translated into a lack of consideration—even for each other. In response to mass shootings of children in schools, the U.S. government does nothing to curb gun-related violence through gun-control measures; instead they suggest arming teachers. We light up our cigarettes in front of people who don’t smoke and blow cancer-causing second-hand smoke in each other’s faces. We litter our streets and we refuse to pick up after others even if it helps the environment and provides beauty for self and others. The garbage we thoughtlessly discard pollutes our oceans with plastic and junk, hurting sea creatures and the ocean ecosystem in unimaginable ways. We consume and discard without consideration.

We do not live lightly on this planet.

We tread with incredibly heavy feet. We behave like bullies and, as The Beyond points out, our inclination to self-interest makes us far too prone to suspicion and distrust: when we meet the unknown, we tend to respond with fear and aggression over curiosity, hope and kindness.

Something we need to work on if we are going to survive.

Science fiction—the highest form of metaphoric and visionary art—is telling us something. Are we paying attention?

 

References:

Carson, Rachel. 1962. “Silent Spring.” Houghton Mifflin. 336pp.

Corey, James S.A. “The Leviathan Wakes.” Orbit. 592 pp.

Liu, Cixin. 2014. “The Three Body Problem.” Tor Books. 400pp.

 

 

 

National Observer Praises Nina Munteanu’s “The Way of Water”

Exile-CanTales ClimateChange copyNina Munteanu’s “The Way of Water” and the anthology in which it appears was recently praised by Emilie Moorhouse in Prism International Magazine, in a review entitled “Courage and Imagination in Cli-Fi: Canadian Tales of Climate Change”. The review was also carried by the National Observer:

“The seventeen stories in this book edited by Bruce Meyer examine how humankind might struggle with the potential devastation of climate change in the near or distant future. Soon after I finished reading the book, Cape Town—known in precolonial times as “the place where clouds gather”—announced that it was only a few months away from what it called “Day Zero,” the day the city would officially run out of water, making the similarities between fiction and reality more than unsettling.

Munteanu’s story is set in a futuristic Canada that has been mined of all its water by thirsty corporations who have taken over control of the resource. Rain has not fallen on Canadian soil in years due to advances in geoengineering and weather manipulation preventing rain clouds from going anywhere north of the Canada-US border. . . I believe that fiction offers up two much-needed ingredients in the fight to prevent climate change: courage and imagination. It is my hope that more fiction writers will take up the task of writing in this promising new genre and use their imagination to inspire readers to collectively work towards a more sustainable future.”—Emilie Moorhouse, Prism International

La natura dell'acqua copy 3The Way of Water” (La natura dell’acqua) was translated by Fiorella Smoscatello for Mincione Edizioni. Simone Casavecchia of SoloLibri.net, describes “The Way of Water” in her review of the Italian version:

” ‘The Way of Water’ is to be ‘a shapeshifter,’ says Nina Munteanu in her dystopian narrative, where she draws a dark scenario and, unfortunately, not too improbable in the near future. In the universe of the story water has become a very precious commodity: rationed consumption, credits (always of water) accounted for and debts collected…The Chinese multinationals have exchanged the public debt of other states with their water reserves with which, now, they can control the climate, deciding when and where it will rain. Who understands this dirty game has been silenced, like Hilda’s mother, a limnologist, inexplicably arrested and never returned; like the daughter of two water vendors, mysteriously disappeared, after having decided not to bow to economic powers: Hanna, who now prefers secure virtual identities to evanescent real appearances. Water. The two, like the covalent bond of a complex molecule, develop a relationship of attraction and repulsion that will first make them meet and then, little by little, will change into a tormented love but, at the same time, so pure as to cause Hilda at great risk, to make an extreme decision that will allow Hanna to realize the strange prophecy that the internal voice, perhaps the consciousness of water, had resonated in the two women for a long time.

Nina Munteanu recounts that this element is also a form of love; a story to read, not only to deal with the possible but, above all, to understand that the time still available to “love” may be less than what we believe.”—Simone Casavecchia, SoloLibri.net

Derek Newman-Stille of Speculating Canada, offers the following insight on “The Way of Water”:

WayOfWater-SpecCanada-REVIEW-pg2

FF - Rosarium Cover copyThe Way of Water” will also appear alongside a collection of international works (including authors from Greece, Nigeria, China, India, Russia, Mexico, USA, UK, Italy, Canada (yours truly), Cuba, and Zimbabwe) in Bill Campbell and Francesco Verso’s Rosarium Publishing / Future Fiction’s anthology “New Dimensions in International Science Fiction” in April 2018.

 

nina-2014aaaNina Munteanu is an ecologist, limnologist and internationally published author of award-nominated speculative novels, short stories and non-fiction. 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 Munteanu Interviewed on Splintered Universe Trilogy

I was recently interviewed by writer Simon Rose on my space detective thriller trilogy Splintered Universe, now available in all three formats: print, ebook, and audiobook. 

 

Below is the interview:

My guest today is Nina Munteanu, author of science fiction and fantasy novels, non-fiction books and essays on writing and science. Her latest in a series of prolific works is the recent completion of the audiobook of her science fiction space-thriller trilogy, Splintered Universe.

Can you tell us a little about the Splintered Universe Trilogy?

OuterDiverse-cover-web copy

Book 1 of Splintered Universe

The Splintered Universe Trilogy is a detective mystery-thriller that explores metaphysical and existential questions through a high-test space adventure. The three books include Outer Diverse, Inner Diverse and Metaverse.

The main character Rhea Hawke is a Galactic Guardian and the only human in an otherwise alien race of 7-foot tall purple-skinned Eosians—who she actually despises (for reasons you find out later). She’s a loner and a misfit in an elite police force tasked with keeping order in the galaxy; Rhea’s unruly tactics grate on them—particularly her boss. In Outer Diverse, Rhea investigates the genocide of an entire spiritual sect; but instead she kills her only lead.

Following the scent of Glitter Dust, Rhea connects the massacre to the murders of several prominent galactic citizens and finally to the deadly Vos, who invaded our galaxy, then disappeared. She realizes that the Vos have quietly returned, infiltrating every aspect of the civilized world—with dark menace in mind. But no one believes her—particularly her boss, who fires her instead for incompetence: badge, Great Coat and MEC weapon confiscated and her sentient ship Benny put in storage. Compelled by an urgency she herself doesn’t understand, she goes rogue and enlists the aid of surprising allies to save the galaxy.

You mention that Splintered Universe explores issues of existentialism and metaphysics. Can you speak to them?

 

Inner-diverse-front-cover-WEB copy

Book 2 of Splintered Universe

The Splintered Universe Trilogy explores the fractal fabric of paradox, where the flow of particle, energy, wave and intention embrace: black holes, quasars, neutrinos, intuition, déjà vu, clairvoyance, altruism, faith…

The prediction by Gnostic priest Raphael Martinez (The coming of the Suntelia Aeon will be signified by the joining of twin souls) weaves many disparate threads of existence to Atlantis and the Eosian alien race (who resemble the Bible’s Nephilim), the sacred vishna tree (part of L’Ordre de l’Arbre Sacré in Quebec) and the precious mythical metal Orichalcum used by the Eosians. The prediction ties to an ancient knowledge that describes our very existence through déjà vu, synchronicity, sacred geometry, phi and the golden mean and the notion that “diverses” are mirror universes linked through dreams. The key is Rhea herself—who discovers that she is not who or what she thinks.

You’re a bit known for your world building. Tell us a little about that in this trilogy.

Metaverse-FRONT-web copy

Book 3 of Splintered Universe

I’m an ecologist, so world building with realistic ecosystems is more than fun for me. I enjoy doing the research to create realistic and meaningful worlds. I consulted authorities in the areas of space exploration and habitable zones, AI, biotechnology, sleep biology, neuroscience, and ecology to design alien worlds and systems, populated with extremophiles.

In her pursuit of justice, Rhea travels to all parts of the galaxy and encounters some very strange worlds. In Book 1, Rhea pursues dust trafficker V’mer to the sulphurous AI-run water planet (Mar Delena), located inside the hole of the gaseous “donut” of Fomalhaut; it’s always raining acid. That’s where Book 1 starts: acid rain painfully spattering Rhea’s face as she lies injured and waiting to be dusted (with a lethal dose) by V’mer, surrounded by the oily fur-covered rodent-like Delenians—all dust addicts.

Rhea almost drowns in a high-speed skipboat chase of the murderer of a spiritual sect on the icy moon, Uma 1, (orbiting 47 Uma b of 47 Ursae Majoris b). The moon is mostly ocean beneath a thick layer of ice with thermal vents that provide the inhabitants—a spiritual sect called the Schiss—a home.

NinaMunteanuHalfPage-AD-Astra47 Uma a (also called Horus) was colonized in ancient times by the Khonsus, a raptor-like biped race with mind-probing capability. It is also the home of the ancient migrating trees, ammuts (giant flying insects), and the weeping mountains with their narcotic boiling seas used by the giant apophus to attack and set its millions of babies to devour Rhea in Book 1.

Virgil 9 is a tidally locked moon that orbits the gas giant 70 Virginis b; day and night last for weeks while water swings the extreme from deluge flood to desert conditions. In Virgil City, Rhea does commerce with information broker Shlsh Shle She, a moody amoeba-like photosynthetic Ngu who is just a pseudopod of a larger hive-entity.

Sekmet is a bog planet, where the raw materials of dust are harvested by the Rill, bulbous short smelly bog creatures with tube eyes, webbed limbs and large sexual organs; and who Rhea pretty much wipes out with her MEC weapon. Sekmet is also the location of a galactic penal colony (Hades) where Rhea is sent in Book 2. When she tries to escape, she must contend with other native creatures of Sekmet such as the giant crocodile-like sobeks and the terrifying kepry—giant flying crustaceans.

In Book 3, Rhea returns to Earth, transformed by Eosian settlers from its former polluted state dominated by urban concrete cities to an entirely natural world, now unpolluted and featuring the ancient purple vishna tree and a crystal symbiotic organic technology.

 

Rhea on Iota Hor

Rhea on Iota Hor b

Worlds always have cool bling associated with them. What technologies or devices are featured in Splintered Universe?

I created an entire fleet of ships, all run on various technologies, from crystals, to wave-energy to dreams. That was fun to create. Two main ship builders include: Zeta Corp from Earth and Tangent Shipping run by the Fauche from Sigma Draconis. Rhea’s own ship, Benny, is an old ray class Fauche-built corvette, a two-man hybrid organic/nano-tech vehicle with folding wings and fuel scoops (so it can mine energy fuel from gas giants). Benny is a sentient ship that jacks the particle-stream and with whom Rhea has an interesting relationship. The ship serves essentially as butler, administrator, companion, and rescuer.

I also created a wide range of weapons, based on which alien race created them and for what purpose. Rhea gained some notoriety with her own created weapon, the MEC (short for Magnetic-Electro Concussion) pistol, a versatile wave-weapon that can target DNA signatures and do almost anything you want with a single sweep. Her proprietary MEC design is coveted by many groups—from shady crime syndicates such as Eclipse to her own Guardians.

I hear that the last audiobook (the third book) in the trilogy is finally out this January. That means that all three books of the Splintered Universe are now available in print, ebook and audiobook format. How does it feel to have a trilogy available in three complete formats?

It feels great! I’m so excited that readers can now obtain my trilogy in those different ways. It speaks to our different ways of consuming story. Some prefer to settle back by the fire or our favourite place to read with a “real” book; others like a mobile ebook so we can read while we travel and play; and then some like to lean back in the car and listen to a great story.

What was your experience with the narrator of the three books?

Dawn-Harvey

Dawn Harvey of “Dawn of Voice”

The experience was truly cosmic. When Iambik took on the books as audiobooks, they provided me with three voice artists to audition. I chose Dawn Harvey because I could visualize my main character through her voice, and given that the entire trilogy is told in the first person, the narrator’s voice had to be just right. Dawn’s voice is dark and sultry like coffee. It is sexy and irreverent with a hidden vulnerability and sensitivity that perfectly captured the main character Rhea Hawke. What I didn’t realize then was how well Harvey would represent the 30-odd other characters, mostly aliens—one who spoke through several mouths.

OuterDiverse-audiobook-Iambik

Audiobook of Outer Diverse

Working with Dawn was a pleasure. Dawn is a dedicated professional; she created unique and consistent voices for the book’s thirty-odd mostly alien characters. She ensured that each character had the appropriate vernacular, tone, accent and cadence. Then she did proofs and confirmed them with me. She also tackled the “alien” vocabulary; Rhea’s universe is full of strange and foreign terms (I have a comprehensive glossary at the back of each book). Dawn sent me a list to make sure she was pronouncing everything correctly—mostly made-up words. Dawn is a professional dedicated to her craft and her art. She literally breathed life into Rhea Hawke and all the other characters. The result is three audiobooks that will blow your socks off. I mean it. If you like audiobooks, get the first one and tell me different. When I first listened to Outer Diverse in the car on my way to Nova Scotia, I lost myself in her storytelling and forgot that I’d written it.

Where can people find the Splintered Universe Trilogy?

The best place, of course is Amazon (Amazon.ca or Amazon.com). All three formats are available through Amazon. The Audiobooks are currently available for free through Audible on Amazon. The books are also available through Barnes & Noble, Chapters/Indigo, Kobo, and many other book selling sites and brick and mortar stores.

When you’re not writing what do you do?

These days I’m mostly on the University of Toronto campus, teaching health science and engineering students how to write. When the students find out that I write science fiction, they get all excited. It’s a lot of fun. I also teach a science fiction writing coarse at George Brown College. When I’m not teaching or writing, I’m doing something in Nature, usually by the water. I’ve always had an interest in water. I studied and researched freshwater ecology as a limnologist for three decades. I’m a bit of an environmentalist these days, hoping to raise awareness and action for water. My latest novel—hopefully coming out next year—arose from my nature walks and my research in water. The story chronicles the lives of four generations of women and their relationship with water.

TALKING-AUDIOBOOKS2 copyYou can also listen to the Podcast interview of Dawn Harvey and Nina Munteanu by Casey Trowbridge of Talking Audiobooks on the process of their collaboration. Learn more about the process between writer and voice artist narrator:

The trilogy has received a fair bit of acclaim from reviewers and readers:

Martha’s Bookshelf
Speculating Canada
Dab of Darkness
Goodreads
Amazon
Amazon Canada

“Rhea Hawke is a Galactic Guardian, and I love to say her name. Her name alone let’s you know that there is a bad ass super hero of a woman on site. I can picture her boots, her great coat, and her side arms. I want to be her when I grow up. Obviously, you can tell I developed some hero worship for her by the end of this book. I really got wrapped up in this novel.”–Goodreads Review of Outer Diverse

 

“Ms. Harvey manages to enthuse the personality of the characters into each voice. The wise, gentle Ka has a soft, strong sound that reminds you of a wise old bird. Shlsh She She, a slippery, slimy creature has a slurry, garbled voice like a mouthful of mushy, wet food. Dawn’s reading conveys the loneliness in Rhea, the sexiness of Serge, the frustrated friendliness of Bas, and the faithful coziness of Benny. She is able to bring emphasis to the action or romance, weariness or fear elements of the story. The narration never takes over the story; but rather enhances it.”–Martha’s Bookshelf on Outer Diverse Audiobook

The excellent cover art for all three books is done by Toronto graphic artist and SF author Costi Gurgu (author of RecipeArium). People keep asking me who the model for the covers is; you’ll have to corner Costi at the next spec fiction con and ask him yourself.

nina-2014aaaNina Munteanu is an ecologist, limnologist and internationally published author of award-nominated speculative novels, short stories and non-fiction. 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.

 

 

 

Fiction Writer on Recommended Reads

FictionWriter-front cover-2nd edWriter Timea Noemi selected The Fiction Writer by Nina Munteanu along with the works of Angela Ackerman and Katie Weiland as her Top books on How to Write.

“[The Fiction Writer]is the most practical book on publishing that I’ve ever read, and I’ve read them all! Not only is each chapter packed with advice for writers at every level of the publishing process, but the text is highly readable and even entertaining. The clear format, the direct style and the playful layout keep the large volume of information from ever becoming dry or boring.”–Lucia Gorea, English Instructor, University of Vancouver

FictionWriter-No1-tweet

scriitorul_de_fictiune_Munteanu_coperta1Timea Noemi also recommended the Romanian translated version of “The Fiction Writer: Get Published, Write Now!” (“Manual de Scriere Creativa. Scriitorul de fictiune”) by Nina Munteanu along with “The Emotion Thesaurus” by Angela Ackerman and the Hungarian “How to Write a Book” by Krisz Nadasi.

Of “the Fiction Writer” Timea said:

“Eu mutumesc enorm! Cartea aceasta ma invatat atat de multe lucruri este bibia mea de scriitor. Din pacate nu prea se gasesc carti despre scriere creative in tara si m-am bucurat tare mult sa gasesc aceasta carte.” (Thank you so much! This book taught me so many things; it is my writer’s Bible. Unfortunately, there are no books on creative writing in the country, and I enjoyed finding this book.)

FictionWriter Tesimonial-Romanian

editura-paralela-45-scriere creativa.Cu plecere, Timi!

In fact, I knew this (that writing guides were lacking in Romania, a country full of writers!) and so did my Romanian publisher Calin Vlasie of Editura Paralela 45. This is why Editura Paralela 45 translated and published a Romanian version of The Fiction Writer. It so gladdens me to hear that this book on writing is making its way around the country.

Gaudeamus-LaunchMy father is originally from Romania and grew up in Bucharest.  So, I was delighted to attend the launch of Manual de Scriere Creativa. Scriitorul de fictiune (The Fiction Writer) in Bucharest in 2011, hosted by Editura Paralela 45 in the Gaudeamus Book Fair. It was a wonderful experience, which included drinking copious amounts of Romania’s national drink Tuica (plum liquor that packs a punch!) with my publisher. You can find out more about my adventure in Bucharest on my good friend’s site, Toulouse On the Loose.

Canadians can purchase “The Fiction Writer” at a very decent price right now from Chapters / Indigo. The Fiction Writer is the first book of The Alien Guidebook Series, which includes The Journal Writer: Finding Your Voice (for journalling and memoir writing) and upcoming The Ecology of Story: World as Character (on setting, place and world building–scheduled release Summer 2019).

 

Nina MunteanuNina Munteanu is an ecologist, limnologist and internationally published author of award-nominated speculative novels, short stories and non-fiction. 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.

 

 

 

 

 

 

RecipeArium Delivers a Full Course Thrill

recipearium-costi gurguIn the Green Kingdom, stimulation through the sense of taste has become a powerful and complex art form that rules the lives of the males—the phrils. Not only does it bring pleasure, it can change a phril’s destiny, even guide him into death and beyond. But only if he can afford the services of the artists called Recipears. Without a Recipear, a phril will live and die a pagan, with no chance of an afterlife. The female of the species, called phriliras, cannot experience RecipeArium; they replace it with their faith in one God with changing names. In the world within the huge body of a monstrous beast, the Recipears rule society.

RecipeArium is a tale of sensation and flesh, in which the very hope of an afterlife is determined by one’s sex. The novel takes us on a journey to discover the meaning of love in a boldly imagined world where art is transformative and immortality the destiny of the few.

Carrying the soul of his RecipeArium master within him, Morminiu comes to the royal Court with two objectives: to exact revenge on his master’s enemies and to win for himself the most desired and treacherous position in the realm: Master Recipear of the Kingdom.

Costi-launch

Costi Gurgu, launching at Pierre Leon Gallery

My own testimonial of the book follows:

Gurgu delivers a full course meal of epic transcendence in an alien landscape that is at once grotesque and wondrously compelling.

From the vast and forgotten lands of the Edge of the World to the corrupt decadence and intrigue of the nobility who dwell inside the monstrous Carami, Gurgu’s Recipearium unveils a fascinating world in transformation. Recipearium is a sensual metaphoric tale that explores the dialectic quest of duality to realize itself as whole.

Imaginative. Outrageous. Original.

Gurgu subverts traditional fantasy and SF with the promise of new heights in storytelling.

Costi-signing

Costi Gurgy signing his book at launch in Pierre Leon Gallery

The publisher, White Cat Publishers interviewed Costi recently; a few choice questions and answers appear below:

Regarding his aspirations for the book, Costi responded:

First of all, this new release will bring Recipearium to the English speaking market, which is quite a big aspiration in itself. And through Recipearium I hope to open the hearts of North American readers to the rest of my fiction as well as to Romanian Speculative Fiction in general.

To their mention that RecipeArium is considered the “new weird” (even in science RecipeArium launchADASTRAfiction, which is itself considered strange), Costi responded:

Several publishers told me that they hadn’t read anything like it, and therefore they couldn’t compare it to any other book. Yes, at first I wanted to thank them because they practically told me it really was an original novel, but only later I realized that they meant they wouldn’t know how to market it and sell it. They didn’t even know if it would sell, because nobody has sold something similar before.

When I signed the contract in Romania, my Romanian publisher also didn’t know how to market it. So, my editor decided to write and talk about it like any other book and completely ignored that one thing that made it different. He hoped that when the readers discovered it, they would already be hooked and therefore it would be too late for them to freeze in awe. J

It paid off. The story proved a success. Not only because of the awards and the numerous reviews but mostly because of the satisfied readers … So, as a conclusion, I won’t tell you what makes it different from the rest. I want my readers to discover it for themselves. And I promise you it’s not the kind of surprise that goes BANG! It creeps on you slowly.

White Cat then asked Costi to elaborate on his earlier comment about the difference between European and American genre writing. Here’s what Costi said:

Sure. In my opinion there are two major differences. The first one is of perception. In Europe we read fiction works by writers from over seventy countries from all around the world. That is over seventy different cultures in which their authors write stories without worrying that maybe a foreign reader would not understand a certain social, political or cultural event, or a certain attitude, habit or tradition.

Yes, maybe the South American characters act according to a different code of social conduct than Romanians, or maybe French characters’ attitude is strange for a Bulgarian reader, or Chinese motivations are weird to Greeks. But if the story or the characters are gripping enough, all those things don’t stop us from getting the underlying concept from the context and we just keep reading.

The stories we read can take place in real cities or villages from different and unfamiliar parts of the world. Usually the European writer doesn’t care that his readers may have never been in his city and he keeps telling the story as if all his readers are his co-nationals, or even his neighbours.

poster-launchWe embrace the exotic, the foreign, the strange, the unknown… the alien.

American editors have rejected translating huge names from European speculative fiction because they’re considered too strange and not easily understood by North American readers. Because the North American readership has read only North American genre writers for the past fifty years and they wouldn’t accept something different than an American way of perceiving reality and interpreting information. Something that may be too far from the North American system of values.

“But they’re readers of Science Fiction! I mean, they read Science Fiction or Fantasy because they want to be transported to different worlds. You mean that the American readers better understand a story happening on a strange planet or in the underworld, but they will find it difficult to follow a story happening in Bruges, or Warsaw?” I replied.

North American editors don’t appear to have that confidence in their readers. I, on the other hand, have that confidence. It has been proven to me over and over again, that the true SF&F reader, European or North American, is thirsty for new and exotic, and strange, and alien.

The second aspect is technical. It’s about the writing techniques, the story structure, the point of view approach, and so on. It’s an aspect I will not detail here. Suffice to say that while in North America a writer is supposed to write according to a certain and more strict system of technical rules if she’s to be accepted by professional markets, in Europe the editors don’t care if the writer abides by the rules or breaks them, as long as it’s good writing and the readers want more of that author.

 

 

Publishers Weekly Praises Cli-Fi: Canadian Tales of Climate Change & “The Way of Water”

Publishers Weekly writes:

cli-fi-exile anthology2017“In his introduction to this all-original set of (at times barely) futuristic tales, Meyer warns readers, “[The] imaginings of today could well become the cold, hard facts of tomorrow.” Meyer (Testing the Elements) has gathered an eclectic variety of eco-fictions from some of Canada’s top genre writers, each of which, he writes, reminds readers that “the world is speaking to us and that it is our duty, if not a covenant, to listen to what it has to say.” In these pages, scientists work desperately against human ignorance, pockets of civilization fight to balance morality and survival, and corporations cruelly control access to basic needs such as water. The most affecting tale, Wendy Bone’s “Abdul,” is also the least futuristic, an emotional story that touchingly contrasts Western guilt against the life of a captive orangutan. The anthology may be inescapably dark, but it is a necessary read, a clarion call to take action rather than, as a character in Seán Virgo’s “My Atlantis” describes it, “waiting unknowingly for the plague, the hive collapse, the entropic thunderbolt.” Luckily, it’s also vastly entertaining. It appears there’s nothing like catastrophe to bring the best out in authors in describing the worst of humankind.”

My story The Way of Water is one of 17 stories in Exile’s anthology, published in May 2017. It was originally published in English and Italian [La natura dell’acqua] by Mincione Edizioni [print] and Future Fiction [ebook] in Rome in early 2016. The Way of Water is a near-future vision that explores the nuances of corporate and government corruption and deceit together with resource warfare. An ecologist and technologist, Nina Munteanu uses both fiction and non-fiction to examine our humanity in the face of climate change and our changing relationship with technology and Nature … through water.

la natura dell'acquaShe imagines its coolness gliding down her throat. Wet with a lingering aftertaste of fish and mud. She imagines its deep voice resonating through her in primal notes; echoes from when the dinosaurs quenched their throats in the Triassic swamps.

Water is a shape shifter.

It changes yet stays the same, shifting its face with the climate. It wanders the earth like a gypsy, stealing from where it is needed and giving whimsically where it isn’t wanted.

Dizzy and shivering in the blistering heat, Hilda shuffles forward with the snaking line of people in the dusty square in front of University College where her mother used to teach. The sun beats down, crawling on her skin like an insect. She’s been standing for an hour in the queue for the public water tap.

The Way of Water takes place in Toronto, Ontario in Canada, mostly on or near the campus of the University of Toronto.

In The Way of Water, Nina Munteanu pens her love letter to water, exulting it as a liquid that has semi-magical properties. Munteanu recognizes the chimerical quality of water, its unique ability to shift and change, to purify and taint, and the incredible way that it makes up most of our body mass and therefore shapes us as well.

nina-TV-nov2015A limnologist (lake ecosystem biologist) by trade, Munteanu recognizes the incredible way that water shapes life and brings attention to the fact that water connects us to each other just as water connects with other water, forming bonds. She evokes in the reader a sense of reverence for water and an awareness that the same water that flows through our bodies have flowed through the bodies of our ancestors, cycling through life since the first life forms coalesced.

In recognizing the preciousness of water, she also recognizes its precarity and the danger that capitalist systems pose when they lay claim to water and seek to own it. “The Way of Water” evokes a sense of awareness about issues of access to water and about the dangers of imbalances in that access.”—Derek Newman-Stille, Speculating Canada

 

book-patio2 copy“Water covers every aspect of this science fiction story that pits the vulnerable citizen against the evil multinational corporation in a dystopian Canada sometime in our future. Water is presented in its multiplicity of facets: in the science behind its composition, in its history, in it’s symbolic nature and different physical states; water is a giver and taker of life, and is the form in which the friendship of protagonists Hilda and Hanna functions. Water is also magic and the ultimate righter of wrongs committed to it and to a humanity it gives life to. Within this framework, Munteanu spins a thought-provoking tale that projects where our headlong pursuit of profit may one day lead us to, and how nature will ultimately, with a little human coaxing, be the only one to correct the balance.”—Shane Joseph, Canadian author of Fringe Dwellers

“Nina Munteanu with The Way of Water suggests that this element is also a form of laNaturaDell'Acqua-coverlove; a story to read, not only to deal with the possible but, above all, to understand that the time still available for “love” might be less than what you believe.”—Simone Casavecchia, SoloLibri.net (read the original Italian review here)

The Way of Water is a story of the kind you hope is science fiction but you fear is not.”—Massimo Luciani, NetMassimo (read the original Italian review here)

 

 

nina-2014aaNina Munteanu is an ecologist and internationally published author of award-nominated speculative novels, short stories and non-fiction. 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.

 

“Water Is…” Recommended Summer Read by Water Canada Magazine

water-is-cover-web“Water Is…” (Pixl Press) by Nina Munteanu was among several books recommended by Water Canada as a good summer read for 2017.

One of Canada’s premiere magazines on issues of water and water management, Water Canada suggested recharging this summer with “the latest selection of winning water management fiction and non-fiction.” The list comprised mostly of 2017 publications, but included a few late arrivals from 2016.

Recommendations included:

schmidt comps.indd“Water, Abundance, Scarcity, and Security in the Age of Humanity” (NYU Press) by Jeremy Schmidt is an intellectual history of America’s water management philosophy. Debates over how human impacts on the planet, writes Water Canada, are connected to a new geological epoch—“the Anthropocene”—tend to focus on either the social causes of environmental crises or scientific assessments of the Earth system. Schmidt shows how, when it comes to water, the two are one and the same. The very way we think about managing water resources validates putting ever more water to use for some human purposes at the expense of others.

 

ARiverCaptured“A River Captured: The Columbia River Treaty and Catastrophic Change” (RMB Books) By Eileen Delehanty Pearkes reviews key historical events that preceded the Treaty, including the Depression-era construction of Grand Coulee Dam in central Washington, a project that resulted in the extirpation of prolific runs of chinook, coho and sockeye into B.C. Prompted by concerns over the 1948 flood, American and Canadian political leaders began to focus their policy energy on governing the flow of the snow-charged Columbia to suit agricultural and industrial interests. Water Canada writes, “Referring to national and provincial politics, First Nations history, and ecology, the narrative weaves from the present day to the past and back again in an engaging and unflinching examination of how and why Canada decided to sell water storage rights to American interests. The resulting Treaty flooded three major river valleys with four dams, all constructed in a single decade.”

 

borderflows“Border Flows: A Century of the Canadian-American Water Relationship” (University of Calgary Press), Lynne Heasley and Daniel Macfarlane, editors, explore and discuss Canada-U.S. governance. Water Canada writes, “Ranging across the continent, from the Great Lakes to the Northwest Passage to the Salish Sea, the histories in Border Flows offer critical insights into the historical struggle to care for these vital waters. From multiple perspectives, the book reveals alternative paradigms in water history, law, and policy at scales from the local to the transnational. Students, concerned citizens, and policymakers alike will benefit from the lessons to be found along this critical international border.”

 

NewYork2140“New York 2140” (Orbit) by Kim Stanley Robinson is a novel set in New York City following major sea level rises due to climate change. Water Canada writes, “The book explores a full eight separate narratives: the market trader, who finds opportunities where others find trouble; the detective, whose work will never disappear, along with the lawyers, of course; an Internet star; a building’s manager; and two boys who don’t live there, but have no other home—and who are more important to its future than anyone might imagine. Lastly there are the coders, temporary residents on the roof, whose disappearance triggers a sequence of events that threatens the existence of all– and even the long-hidden foundations on which the city rests.”

 

Death and Life of Great Lakes_FINAL 1129.indd“The Death and Life of the Great Lakes” (WW Norton & Company Inc. Press) by Dan Egan is a frank discussion of the threat under which the five Great Lakes currently suffer. This book, writes Water Canada is “prize-winning reporter Dan Egan’s compulsively readable portrait of an ecological catastrophe happening right before our eyes, blending the epic story of the lakes with an examination of the perils they face and the ways we can restore and preserve them for generations to come…Egan explores why outbreaks of toxic algae stemming from the over-application of farm fertilizer have left massive biological “dead zones” that threaten the supply of fresh water. He examines fluctuations in the levels of the lakes caused by manmade climate change and overzealous dredging of shipping channels. And he reports on the chronic threats to siphon off Great Lakes water to slake drier regions of America or to be sold abroad.”

 

downstream“Downstream: reimagining water” (Wilfred Laurier University Press) by Dorothy Christian & Rita Wong “brings together artists, writers, scientists, scholars, environmentalists, and activists who understand that our shared human need for clean water is crucial to building peace and good relationships with one another and the planet. This book explores the key roles that culture, arts, and the humanities play in supporting healthy water-based ecology and provides local, global, and Indigenous perspectives on water that help to guide our societies in a time of global warming. The contributions range from practical to visionary, and each of the four sections closes with a poem to encourage personal freedom along with collective care,” writes Water Canada.

 

water-is-cover-webWater Is…The Meaning of Water (Pixl Press) by Nina Munteanu “explores the many dimension of H2O—the practical, the physical, and the magical. Water Is… represents the culmination of over twenty-five years of her study of water. During her consulting career for industry and government, Munteanu discovered a great disparity between humanity’s use, appreciation, and understanding of water. This set in motion a quest to further explore our most incredible yet largely misunderstood and undervalued substance. Part history, part science and part philosophy and spirituality, Water Is… combines personal journey with scientific discovery that explores water’s many “identities” and ultimately our own,” writes Water CanadaWater Is…  was recommended by Margaret Atwood as her premiere choice in the New York Times ‘The Year in Reading‘ for 2016.

 

WaterCanada-LOGO

WaterCanada-coversWater Canada is a Canadian magazine that provides news and feature articles on water and water management. They currently co-host the Canadian Water Summit, a gathering of professionals from the water industry including academia, NGOs, local communities, cleantech, industry associations, manufacturing and government. “Delegates will explore opportunities to collaborate on water technology and infrastructure finance, ‘blue economy’ growth and climate change resilience through progressive policies, smart business and bold investment leadership.” This year’s summit will occur June 22, 2017 at the Sheraton Centre Hotel in Toronto.

DS-2008-16 copy

Nina Munteanu kayaking Desolation Sound on the west coast of British Columbia

 

#CanadaReads #Canada150 #WhatIsWATER #TheMeaningOfWater #WaterCanada