Word Is Wild Literary Festival in Ontario’s Near North

WordIsWild Festival-presentersB

presenters Nina Munteanu, Merridy Cox, Sharon Berg, Albert Saxby, Carol Williams, Dallas Ray Bader, and Honey Novick

WriterFestival posterI was recently invited by organizer and poet Kathy Figueroa to participate in The Word Is Wild Literary Festival III in Cardiff in Ontario’s northern community. I joined poet and author Sharon Berg from Sarnia, poet and vocalist Honey Novick and poet naturalist Merridy Cox from Toronto, singer / songwriter Albert Saxby from Essenville and other locals for a day of readings, musings, and singing.

I’d not yet ventured to this northern part of Ontario, so I was excited to drive there. I caught a ride with Merridy and Honey and the three of us took turns driving north from Toronto into the rolling hills that blazed in a chaos of fall colour. Dominated by the bright orange of the Sugar Maple, the hills formed a rolling carpet of coppers, yellows, reds and greens of American Beech, Yellow Birch, Red Maple, Eastern Hemlock and White Pine.

Northern Ontario colour

Cardiff is a tiny village-suburb of Highlands East, and is a former mining community. The township is located between Haliburton and the old mining town of Bancroft to the north. Bancroft was purchased from the Chippewa and Mississauga First Nations in the 1850s by Irish and English settlers who logged and mined the area for gold and other minerals.

fall colour northern ontario

Not far north of Bancroft, Algonquin Park—a provincial park that spans over 7500 km2 between Georgian Bay and the Ottawa River—beckons. Established in 1893—making it the oldest provincial park in Canada—Algonquin Park was frequented by several artists of The Group of Seven, including Tom Thomson. His oil painting entitled The Jack Pine remains an iconic representation of Canada’s most broadly distributed pine species and well-represents this area’s landscape.

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oil painting “The Jack Pine” by Tom Thomson

The three of us settled at the Cardiff House Writers’ Retreat, located right in the middle of Cardiff, then proceeded to the community centre where the festival was held.

 

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Nina Munteanu

I shared how I came to write my latest book, “A Diary in the Age of Water,” coming out in 2020 with Inanna Publications. You can read about it in my post “On Writing ‘A Diary in the Age of Water’ ” I mentioned how it started with a talk by Maude Barlow in a church on Bloor Street in Toronto, which led to a short story, to my non-fiction book “Water Is…” and finally to the novel.

The festival is hosted by Cardiff House Writers’ Retreat along with sponsorship by The League of Canadian Poets & Canada Council Poetry Tours, The Writers’ Union of Canada, and the National Public Reading Program. I hope to return next year. I think I will go for a longer time and explore this spectacular countryside and provincial park.

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Haliburton County

 

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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 Water” will be released by Inanna Publications (Toronto) in 2020.

Why Women Will Save the Planet

I was recently told I was fear-mongering and missing the facts by a person on Facebook when I revealed the environmental dangers of using (and abusing) single-use plastics (specifically Styrofoam); earlier that day a gentleman called me an anarchist after I promoted individual responsibility over government and corporate responsibility on the issue of bottled water in Canada.

At the time, these accusations upset me—I’m a scientist, after all, and truth is #1. Then I realised that they were part of my journey toward activism to save this planet and humanity along with it. It was, in fact, a good day for me. I did have the facts; and they were scary. And, in revealing them and expressing my opinions, I had succeeded in breaking people’s inertia and had challenged them to think outside their comfort zone.  I had created fear in them and I had created anarchy in their ordered world. This promted a strong defensive response. The more intense their defence, the more I’d upset their comfortable inertia. That is what happens when you break through a hegemony or dogma and challenge people to re-evaluate and change their actions or habits—essentially forcing them out of their complacency and bringing it back to personal responsibility.

In both cases, I’d brought it back to personal responsibility and personal action. Too many of us settle for a narrative in which others—often not clearly identified—are responsible–not us.

So, perhaps I am inciting fear. Fear in those who have become or choose to remain too complacent. Good; we are in a planetary and existential crisis. And perhaps I am rather an anarchist; disrupting a system and self-belief that is entrenched and not sustainable.

But that comes at a price.

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Greta Thunberg begins a wave of climate activism

I’m thinking of young climate activist Greta Thunberg, who recently captured the attention of the world in her brave sail across the Atlantic to attend the UN’s Climate Summit and other meetings in the US in addition to her climate strike and rally march in Montreal, Canada, which drew close to half a million people (old and young).

Greta Thunberg Sails Carbon-neutral  Yacht To New York

Greta Thunberg

Earlier, at the World Economic Forum Annual Meeting in Davos, Switzerland, Greta delivered her now iconic speech:

“Adults keep saying we owe it to the young people, to give them hope,” Thunberg said, “But I don’t want your hope. I don’t want you to be hopeful. I want you to panic. I want you to feel the fear I feel every day. I want you to act. I want you to act as you would in a crisis. I want you to act as if the house is on fire, because it is.”

In a recent poll, one out of three Germans said that Thunberg has changed their views on climate change. But that, too, has come at a price.

A tsunami of rage and shameless vitriol was unleashed by conservative men (many with close ties to the fossil fuel profit machine) at this young and brave girl during her 15-day trip across the Atlantic. Their attacks have grown increasingly more personal and vulgar as she has gained world attention. For example, political scientist, economist and climate “skeptic” Bjorn Lomborg (associated with the Heartland Institute and Competitive Enterprise Institute) repeatedly mocked and criticized the 16-year old activist. Using highly inappropriate and unprofessional language (the worst I won’t repeat here), he and others have accused her of being a “puppet”, “naïve”, “unrealistic”, and a “fanatic.” Others like Australian columnist Andrew Bolt have personally attacked Thunberg with reprehensible and boorish remarks about her age and mental health.

Lobbyists Against Greta

oil-profit lobbyists behind shameless vitriol against Greta Thunberg (from Desmog UK)

Andrew Mitrovica’s Opinion piece entitled “Who Is Afraid of Greta Thunberg?” provides eloquent summary: “Of course, the marauding swarm of vitriolic right-wing climate-change deniers see Thunberg—not how the prophetic Zinn envisioned her—but as a tiny, pretentious zealot who threatens the existing order. Their order. Their comforts. Their traditional ‘way of life’.”

Greta—who wears a windbreaker that reads “Unite Behind the Science”— responded in a brave and wonderful tweet:

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Her tweet was followed immediately by one by Alexandria Ocasio-Cortez:

 

AlexandriaOcasio-Cortez Tweet

This follows a recent finding by researchers that 99% of Republicans are science illiterate and 44% believe that the scientific method can be used to produce any conclusion the researcher wants. Of course the whole point of the scientific method is to prevent this.

Soon after, Martin Gelin wrote an article entitled, “The Misogyny of Climate Deniers” in the August 2019 issue of The New Republic. The subtitle reads: “Why do right-wing men hate Greta Thunberg and Alexandria Ocasio-Cortez so much? Researchers have some troubling answers to that question.”

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Greta Thunberg sailing to New York

Gelin writes, “On [Thunberg’s] first day of sailing, a multi-millionaire Brexit activist (Arron Banks) tweeted that he wished a freak accident would destroy her boat. A conservative Australian columnist (Andrew Bolt) called her a ‘deeply disturbed messiah of the global warming movement,’ while the British far-right activist David Vance attacked the ‘sheer petulance of this arrogant child.’ … Former Trump staffer Steve Milloy recently called Thunberg a ‘teenage puppet,’ and claimed that ‘the world laughs at this Greta charade,’ while a widely shared far-right meme showed Trump tipping The Statue of Liberty to crush her boat.”

Fierce and undeterred by cohorts of grown human males unable to deal with her, Greta Thunberg gave a scorching speech at the United Nations during her visit to America: “We are in the beginning of a mass extinction, and all you can talk about is money and fairy tales of eternal economic growth,” she admonished a crowd of world leaders. “How dare you.” Her equally scorching look of Donald Trump who rudely ignored her to mumble some nonsense to the press, has become a popular meme. The mashup by Fatboy Slim of Greta Thunberg’s UN speech “Right here, right now” went viral on YouTube.

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Greta Thunberg and Donald Trump at the UN climate summit

Of course, this was followed by utterly shameless and cruel vulgarisms by adult bullies that included suggestions to punish her and give her a spanking.

Disinterested in whether she’s liked and undeterred by childish name calling, the activist teenager remained resolute with her weapon: shame.  At every opportunity, Greta Thunberg steadfastly called out adults over twenty years her senior on what they have failed to do; she did it in words that are simple, precise and direct.

After Senator Tom Carper tried to placate her by telling her that young people would soon have the chance to run for office themselves, she returned: “We don’t want to become politicians; we don’t want to run for office. We want you to unite behind the science.”

Carrying herself with admirable focus and buoyed by her dedication to her cause, Greta Thunberg delivered a scintillating speech to close to half a million climate marchers in Montreal:

“Some would say we are wasting lesson time; we say we are changing the world… The people have spoken. And we will continue to speak until our leaders listen and act. We are the change and change is coming.”

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Greta Thunberg speaking in Montreal

In a recent article in the Washington Post, entitled “Greta Thunberg Weaponized Shame in an Era of Shamelessness”, Monica Hesse writes: “We live in an era that has become impervious to shame. An era defined by a president who views it as a weakness. Shame has become an antiquated emotion and a useless one. It’s advantageous, we’ve learned, to respond to charges of indecency with more indecency: attacks, misdirection, faux-victimhood.”

But real shaming—the kind that mothers do with their errant boy-bullies—is precisely what Greta is doing. This kind of shaming cuts deep, because it is the deep and recognizable truth. And it is done through the “mother archetype”—the most powerful energy on this planet.

Gelin tells us that the prominently older white men who are leading these attacks on Greta Thunberg (and by association, other prominent female climate activists such as Alexandria Ocasio-Cortez) “is consistent with a growing body of research linking gender reactionaries to climate-denialism.”

Alexandria Ocasio-Cortez

Alexandria Ocasio-Cortez

Scientists Jonas Anshelm and Martin Hultman in the journal NORMA  analyzed the language of a focus group of climate skeptics, to discover a major theme:

“for climate skeptics … it was not the environment that was threatened, it was a certain kind of modern industrial society built and dominated by their form of masculinity.”

On the heels of the #MeToo movement, climate activism—largely led by strong females—appears to threaten gender identity of conservative males. Right-wing nationalism, anti-feminism, and climate denialism appear inextricably linked. I would add that their lack of respect for and acknowledgement of indigenous peoples is by default part of the package, given that indigenous peoples are so tied to the land and the ecosystem (being destroyed). One need only look to what is currently happening in Brazil for an atrocious example of this kind of male-bully behaviour.

Climate science for skeptics becomes feminized and viewed as “oppositional to assumed entitlements of masculine primacy,” write Hultman and Paul Pule in the 2019 book “Climate Hazards, Disasters, and Gender Ramifications.” Hultman identifies a set of values and behaviours connected to a form of masculinity identified with industrial patriarchy. These males “see the world as separated between humans and nature. They believe humans are obliged to use nature and its resources to make products out of them. And they have a risk perception that nature will tolerate all types of waste. It’s a risk perception that doesn’t think of nature as vulnerable and as something that is possible to be destroyed. For them, economic growth is more important than the environment,” which they choose not to understand—just like women.

The gender gap in the United States is characterized by men who perceive climate activism as inherently feminine. This was demonstrated in a 2017 article in Scientific American entitled, “Men Resist Green Behavior as Unmanly.”  Researchers Aaron R. Brough and James E.B. Wilkie argue that “women have long surpassed men in the arena of environmental action; across age groups and countries, females tend to live a more eco-friendly lifestyle. Compared to men, women litter less, recycle more, and leave a smaller carbon footprint.” While some researchers have demonstrated that women’s prioritization of altruism may help explain this gender gap in green behaviour, the research done by Brough and Wilkie’s—involving more than 2,000 American and Chinese participants— showed that men linked eco-friendliness with femininity and a risk to their masculinity. These findings, coupled with a natural inclination for anti-feminism by older white conservative males, places them at the centre of a major reactionary backlash against climate action.

Gelin ends on a sober note: “As conservative parties become increasingly tied to nationalism, and misogynist rhetoric dominates the far-right, Hultman and his fellow researchers at Chalmers University worry that the ties between climate skeptics and misogyny will strengthen. What was once a practical problem, with general agreement on the facts, has become a matter of identity. And fear of change is powerful motivation.”

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Nina Munteanu hiking with her son

When fear powers motivation, we must counter with something stronger: hope through action, compassion, and community. And, again, women are in great abundance of these.

“Keep inspiring and organizing,” says Alexandria Ocasio-Cortez to young Greta. “We’re going to save the planet. All of us, together.”

We are all, after all, “the mother.” So, while the old guard of conservative immature men obsess in saving their egos and identities in this crisis, and put up walls of vitriol, name-calling, “flaming”, and “trolling,” it’s up to us, mature women, to really save the planet, the mother of us all.

So, why will women save the planet? Because “Mother Knows Best,” after all…

Time for a paradigm shift. We’re not in the fifties anymore…

 

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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 Water” will be released by Inanna Publications (Toronto) in 2020.

 

International Writers’ Festival at Val David

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International Writers’ Festival & Retreat with Flavia Cosma, Val David

In the middle of June 2019, I drove to Val David, Quebec, with poet-songstress and friend Honey Novick. We had been invited to participate in Les Mots du Monde, the nineteenth international writers’ and artists’ festival of readings, songs, and discussions. The location was the residence of international poet Flavia Cosma. Cosma has been hosting the writer’s event for close to a decade in her large house in the forest just outside the resort town of Val David in the Laurentians.

The program spanned two days of lecture, readings, performance and art by artists and writers from Argentina, Romania, Mexico, USA, Laval, Montreal, and Toronto.

Festival-group outside

International Festival among the trees

Poets, writers, musicians and artists included Honey Novick, Hélène Dorion, Tito Alvarado, Dinorah Gutiérrez Andana, Flavia Cosma, Gerette Buglion, Yvan-Denis Dupuis, EcologyOfStoryJeremiah Wall, Nina Munteanu, Nancy R. Lange, Nicole Davidson, Carmen Doreal, MarieAnnie Soleil, Luis Raúl Calvo, Louis-Philippe Hébert, Melania Rusu Caragioiu, Anna-Louise Fontaine.

I talked about my experience and process of writing my upcoming speculative novel “A Diary in the Age of Water”, coming out in 2020 with Inanna Publications. The novel chronicles four generations of women and their relationship with water during a time of extreme change.

I also shared examples of my recently launched writing guidebook “The Ecology of Story: World as Character” (Pixl Press). The 3rd guidebook in my Alien Guidebook Series, “Ecology of Story” focuses on place and environment and how these form the heart of a good story.

Throughout the festival, we were treated to magnificent ethnic food and refreshments. Interesting discussions on the international literary scene over wine and desert followed.

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Lunch at Flavia’s

I shared good conversation with fellow poet and water advocate Nancy R. Lange. She had given a compelling presentation on her recent book “Les Cantiques de l’eau” (Marcel Broquet) and knew about my book “Water Is: The Meaning of Water” (Pixl Press). Of course, the best thing to do was exchange books—which we did. Nancy is the literary ambassador for the Eau Secours organization and has promoted responsible water stewardship through her writing and presentations for many years.

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“It is not the cliff that shapes the ocean. It is the ocean that shapes the cliff. Fluidity is always the greater force than rigidity.”—Nancy R. Lange

 

On the final day, the writers and artists put on a public performance at the Val David Centre d’Exposition.

C'est La Vie Cafe

C’est la Vie Cafe, Val David

Val David

Val David is a small resort town located in the Laurentian Mountains about 80 kilometers from Montreal, Quebec. The village is known for its food scene and its artistic character. When I was there, I sampled the local cafes and experienced the street market, which offered a diversity of locally made and sourced produce and crafts.

 

 

 

 

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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 Water” will be released by Inanna Publications (Toronto) in 2020.

 

“Ecology of Story: World as Character” Workshop at When Words Collide, Calgary

EcologyOfStoryI recently gave a 2-hour workshop on “ecology of story” at Calgary’s When Words Collide writing festival in August, 2019.

The workshop—based on my third writing guidebook: “The Ecology of Story: World as Character”explored some of the major relationships in functional ecosystems and how to effectively incorporate them in story. We  briefly explored how ecosystems and ecological processes work and looked at several of the more bizarre examples of ecological adaptation.

I showed how treating world and place as character provides depth and meaning to story through its integration with plot, theme, and other characters. We looked at these story components as integral to help ground the reader in context and meaning of story. We explored place / setting as metaphor, symbol, archetype, and allegory.

Through literary examples of setting and place, we looked at how readers are drawn into story through metaphor, sensual description, and thematic integration through POV character.

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Reviewing the story we created through an exercise

Then came the story-building part of the workshop—a snappy, fast-paced dialogue among all workshop participants. Using the book’s cover image as story-prompt, we worked through the story components of premise, theme, character, plot and setting. Following a lively discussion, we succeeded in creating a stunning first crack at a story that was both original and intriguing. And at whose heart was a strong sense of place and identity.

creating a story

“The Ecology of Story” had only recently been launched at Type Books in Toronto and saw its first use at the Calgary When Words Collide conference. Books were sold out an hour after the workshop.

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“The Ecology of Story” recently achieved Amazon Bestseller status in the Ecology category.

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Nina starts her “The Ecology of Story” workshop with Part 1: ecology

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Nina talks about some interesting adaptations in reproduction

nina-2014aaaNina is a Canadian scientist and novelist. She worked for 25 years as an environmental consultant in the field of aquatic ecology and limnology, publishing papers and technical reports on water quality and impacts to aquatic systems. Nina has written over a dozen eco-fiction, science fiction and fantasy novels. An award-winning short story writer, and essayist, Nina currently lives in Toronto where she teaches writing at the University of Toronto and George Brown College. Her non-fiction book “Water Is…”—a scientific study and personal journey as limnologist, mother, teacher and environmentalist—was picked by Margaret Atwood in the New York Times as 2016 ‘The Year in Reading’. Nina’s most recent novel “A Diary in the Age of Water”— about four generations of women and their relationship to water in a rapidly changing world—will be released in 2020 by Inanna Publications.

Cathedral Grove

Cathedral Grove, Vancouver Island, BC

 

One-Day Writing Intensive in Georgian Bay

On June 22, 2019, I joined Honey Novick and Cheryl Antao-Xavier as presenters of a one-day writing intensive at Noël’s Nest Country Bed & Breakfast near Port McNicoll.

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writing group at Noel’s Nest

A small group of dedicated writers joined the intensive and we explored topics to do with writing, manuscript preparation and submission, as well as publishing models. This included meaningful discussions and writing exercises, readings and sharing.

writers writing2I talked about the importance of theme to help determine a story’s beginning and ending. We also discussed the use of theme in memoir to help focus the memoir into a meaningful story with a directed narrative. I discussed the use of the hero’s journey plot approach and its associated archetypes to help determine relevance of events, characters and place: all topics explored in my Alien’s Guidebook series.

As part of the intensive at Noël’s Nest, a magnificent lunch was served along with refreshments. The day was sunny and warm. And perfect in the shade. We ended the intensive with a short nature walk led by naturalist Merridy Cox.

Liana-Lillian writingWhile everyone left at six, I stayed on with a friend. I’d booked the night and looked forward to a restful evening among deer, rustling trees and a chorus of birdsong. The owner had left us some leftovers for supper, and, as we dined on a smorgasbord of gourmet food and wine, I reveled in Nature’s meditative sounds. The night sky opened deep and clear with a million stars.

The next day we enjoyed exploring southern Geogrian Bay, which included the small towns of Port McNicoll, Midland and Penetanguishene. Georgian Bay is part of Lake Huron, one of the Great Lakes.

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Pine Island by Tom Thompson

The bay itself is quite large, comprising about four-fifths the size of Lake Ontario. Eastern Georgian Bay, where we were exploring, is part of the southern edge of the Canadian Shield. Granite bedrock exposed by the glaciers at the end of the last ice age about 11,000 years ago, forms a rugged coastline dotted by windswept eastern white pine. The rugged beauty of the area inspired landscapes by artists of the Group of Seven.

The shores and waterways of the Georgian Bay are the traditional domain of the Anishinaabeg First Nations peoples to the north and Huron-Petun (Wyandot) to the south.

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Georgian Bay at Port McNicoll

The bay was a major Algonquian-Iroquoian trade route when Champlain, the first European to explore and map the area in 1615–1616, arrived and called it “La Mer douce” (the calm sea). Originally named Waasaagamaa by the Ojibwe, the bay was renamed Georgian Bay by Lieutenant Bayfield of a Royal Navy expedition after King George IV.

After driving through Port McNicoll, we drifted into Midland, where we enjoyed a delicious crepe at La Baie Creperie. On the recommendation of a local, we then moved on to Penetanguishene to the Dock Lunch for the best ice cream in Southern Georgian Bay.

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La Baie Crêperie in Midland

Upon leaving, I realized that I’d only seen a small portion of the Georgian Bay area and vowed to return soon.

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Eager writers work on an exercise I’ve given them

Writing intensive June 22, 2019

 

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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 Water” will be released by Inanna Publications (Toronto) in 2020.

 

 

“The Ecology of Story: World as Character” Launched at Type Books, Toronto

ECOLOGY_Poster-web2UofT instructor and writer Nina Munteanu launched the third book in her acclaimed “how to write” series at Type Books, Toronto, on July 4th, 2019. The launch of “The Ecology of Story: World as Character” celebrated writing and place through readings, songs and talks by local writers, poets and singers.

“The Ecology of Story” was created to address the need for writers to better acknowledge the central role of place in story and better address the interrelatedness of environment with character on a journey.

“The Ecology of Story” appears in two parts; Part 1 is dedicated to basic ecology with a focus on strange and wonderful relationships in the natural world; Part 2 integrates metaphoric connections between character and place/environment to deepen meaning in story.

 

 

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Launch at Type Books

From Habitats and Trophic Levels to Metaphor and Archetype…

The Ecology of Story” teaches the fundamentals of ecology, insights of world-building, and how to master layering-in of metaphoric connections between setting and character in fiction. For excerpts of the book go to EcologyOfStory.

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Launch presenters

Launch at Type Books

Poet and song writer Honey Novick opened the launch with an inspirational song. Ted Nolan, Maureen Scott Harris and Nehal El-Hadi read poems and works that addressed lost rivers, particularly of Toronto. Merridy Cox discussed the science of binomials. Costi Gurgu read from his most recent work Reciparium, and Cheryl Xavier read her poem to the Banyan tree. Honey closed with another song, ending the formal part of the event.

Launch Presenters

Honey NovickHoney Novick is a poet, voice teacher, singer and songwriter. Honey is the winner of the Empowered Poet Award, CAPAC, Yamaha Classical Music Competition in Japan, among others. Honey wrote music for CBC’s Morningside and sang for Prime Minister Pierre Elliot Trudeau.

 

Ted NolanTed NolanE. Martin Nolan—is a poet, essayist, editor and voice of the trees. He teaches in the Engineering Communication Program at the University of Toronto and is a PhD Candidate in Applied Linguistics at York University. His latest work is a chapbook written in collaboration with some trees entitled: “Trees Hate Us.”

 

MaureenScottHarrisMaureen Scott Harris is a poet, essayist, and rare books cataloguer. A UofT grad in Library Science, she received the Trillium Book Award for poetry for Drowning Lessons and was the first non-Australian to be awarded the 2009 WildCare Tasmania Nature Writing Prize for her essay, “Broken Mouth: Offerings for the Don River, Toronto.”

 

Nehal El-HadiNehal El-Hadi is a writer, researcher, editor and journalist, who explores the intersections of body, technology, and space. Her writing has appeared in academic journals, literary magazines, and forthcoming in anthologies and edited collections. She is currently a visiting scholar at York University and sessional faculty at the University of Toronto.

 

MerridyCoxMerridy Cox is a naturalist, photographer, editor, indexer and poet. She is also managing editor of Lyrical Leaf Publishing. Merridy has a degree in biology and museum studies;  her poetry focuses mostly on the natural world around her; her poems and photographs are published in several literary anthologies. She has edited several books, including this one!

 

Costi GurguCosti Gurgu is a graphic designer and illustrator as well as an award-winning science fiction and fantasy novelist and short story writer who is published in anthologies and magazines throughout the world. He is a former lawyer and was art director for lifestyle and fashion magazines in Europe before moving to Canada. His latest novel—RecipeArium—was called the new new weird by Robert J. Sawyer and was nominated for an Aurora Award.

 

cheryl-xavierCheryl Antao-Xavier is an editor, interior book designer and publisher with IOWI. She has been publishing emergent writers since 2008 and continues to offer self-publishing solutions to writers and companies and organizations. She recently released her book: “Self-Publishing the Professional Way: 5 Steps from Raw Manuscript to Publishing.”

 

Launch sign outside

 

 

 

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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 Water” will be released by Inanna Publications (Toronto) in 2020.

 

 

 

Can Dystopian Eco-Fiction Save the Planet?

NewYork 2140By failing to engage with climate change, artists and writers are contributing to an impoverished sense of the world, right at the moment when art and literature are most needed to galvanize a grassroots movement in favor of climate justice and carbon mitigation.”—Amitav Ghosh, 2017

…Margaret Atwood’s The Year of the Flood. Paolo Bacigalupi’s The Windup Girl or The Water Knife. Kim Stanley Robinson’s New York 2140. Nina Munteanu’s A Diary in the Age of Water. Richard Power’s Overstory. Annie Proulx’s Barkskins. Emmi Itäranta’s The Memory of Water

Diary Water cover finalWhat these novels have in common is that they are all Dystopian Eco-Fiction. Humanity’s key role in environmental destruction serves a strong thematic element. In eco-fiction dystopias (as opposed to political or socio-cultural dystopias such as Brave New World, 1984, The Handmaid’s Tale) the environment—whether forest, ocean, water generally, or the animal world—plays a key character.

Our Literature in the Anthropocene

In 2017, Amitav Ghosh observed that the literary world has responded to climate change with almost complete silence (The Great Derangement: Climate Change and the Unthinkable). “How can we explain the fact that writers of fiction have overwhelmingly failed to grapple with the ongoing planetary crisis in their works?” writes Fredrick Albritton Jonsson of The Guardian, who observes that, “for Ghosh, this silence is part of a broader pattern of indifference and misrepresentation. Contemporary arts and literature are characterized by ‘modes of concealment that [prevent] people from recognizing the realities of their plight.’”

Windup GirlAccording to Ghosh, plots and characters of contemporary literature tend to reflect the regularity of middle-class life and the worldview of the Victorian natural sciences, one that depends on a principle of uniformity. Change in Nature has been perceived as gradual (or static by some) and never catastrophic. Extraordinary or bizarre happenings were left to marginal genres like the Gothic tale and—of course—science fiction. The strange and unlikely have been externalized: hence the failure of modern novels and art to recognize anthropogenic climate change.

From Adam Smith’s 18th Century economic vision to the conceit of bankers who drove the 2008 American housing bubble, humanity’s men have consistently espoused the myth of a constant natural world capable of absorbing infinite abuse without oscillation. When James Lovelock and Lynn Margulis proposed the Gaia Hypothesis in the 1970s, many saw its basis in a homeostatic balance of the natural order as confirmation of Nature’s infinite resilience to abuse. They failed to recognize that we are Nature and abuse of Nature is really self-abuse.

Jonsson suggests that these Enlightenment ideas are essentially ideological manifestations of Holocene stability, remnants from 11,000 years of small variability in temperature and carbon dioxide levels, giving rise to deep-seated habits and ideas about the resilience of the natural world. “The commitment to indefinite economic growth espoused by the economics profession in the postwar era is perhaps its most triumphant [and dangerous] expression.”

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Louise Fabiani of Pacific Standard suggests that novels are still the best way for us to clarify planetary issues and prepare for change—even play a meaningful part in that change. In her article “The Literature of Climate Change” she points to science fiction as helping “us prepare for radical change, just when things may be getting too comfortable.”

Referring to our overwhelming reliance on technology and outsourced knowledge, Fabiani suggests that “our privileged lives (particularly in consumer-based North America) are built on unconscious trust in the mostly invisible others who make this illusion of domestic independence possible—the faith that they will never stop being there for us. And we have no back-ups in place should they let us down.” Which they certainly will—given their short-term thinking.

TheOverstory“To counteract this epidemic of short-term thinking,” says Fabiani, “it might be a good idea for more of us to read science fiction, specifically the post-apocalyptic sub-genre: that is, fiction dealing with the aftermath of major societal collapse, whether due to a pandemic, nuclear fallout, or climate change.”

I suggest widening the genre to include good dystopian eco-fiction, which includes not just post-apocalyptic tales but also cautionary tales, worlds in upheaval, and satires. Dystopian literature is ultimately an exploration of hope through personal experience. The eco-fiction protagonist navigates their dystopia by learning meaningful lessons—lessons that pertain directly to our reader in their current world. This is because the premise of a dystopia lies squarely in the present world. Good dystopias can enlighten and suggest possibilities; they can warn and herald. At the very least, they incite the necessary conversation.

On the Role of Dystopian Eco-Fiction

NaturalSelection-front-webI recently shared a panel discussion with writer Kristen Kiomall-Evans at the 2019 Limestone Genre Expo in Kingston entitled: “On the Role of (Dystopian) Literature and Environmental Issues: Can Books Save the Planet.” The audience of mostly women shared enlightened input in an open discussion, which spanned a range of topics and directions from what dystopian literature actually is to whether we are turned off by its negativity—that it may be too close to reality and makes us cringe and want to hide. One person even brought up Game of Thrones as an example; which I then bluntly suggested was not real “story”—it is a stream of episodic sensationalism and horror—aimed at thrilling shock value, not fulfilling meaning.

The group explored what Eco-Fiction is and the possibility of how eco-fiction writers can influence their audience to engage in helping the planet and humanity, in turn.

 “Science doesn’t tell us what we should do,” Barbara Kingsolver wrote in Flight Behavior “It only tells us what is.” Stories can never be a solution in themselves, but they have the capacity to inspire action. Margaret Atwood wrote in MaddAddam, “People need such stories, because however dark, a darkness with voices in it is better than a silent void.”

We explored several areas in which writers could elucidate ways to engage readers for edification, connection and participation. We discussed optimism, new perspectives, envisioning our future, and imaginative use of “product placement” to gain reader engagement and galvanize a movement of action.

Optimism in Story

I pointed out that good dystopias—like all good fiction—follow a character and story arc that must ultimately resolve (which Game of Thrones may never do, certainly not well—J.R.R. Martin’s books series upon which it is based are not even finished yet!). Eco-Fiction Dystopias often conclude with a strong element of hope, based on some positive aspect of humanity and the human spirit—which may include our own evolution. Think Day After Tomorrow, Year of the Flood, Windup Girl, The Postman, Darwin’s Paradox.

WaterAnthology-RealitySkimmingPress copyIn 2015, I joined Lynda Williams of Reality Skimming Press in creating an optimistic science fiction anthology with the theme of water. My foreword to Water addressed this point:

As we drank Schofferhoffers over salmon burgers, Lynda lamented that while the speculative / science fiction genre has gained a literary presence, this has been at some expense. Much of the current zeitgeist of this genre in Canada tends toward depressing, “self-interested cynicism and extended analogies to drug addiction as a means of coping with reality,” Lynda remarked. Where was the optimism and associated hope for a future? I brought up the “hero’s journey” and its role in meaningful story. One of the reasons this ancient plot approach, based on the hero journey myth, is so popular is that its proper use ensures meaning in story. This is not to say that tragedy is not a powerful and useful story trope; so long as hope for someone—even if just the reader—is generated. Lynda and I concluded that the science fiction genre could use more optimism. [As a result,] these stories explore individual choices and the triumph of human imagination in the presence of adversity. [Each story explores] the surging spirit of humanity toward hopeful shores.

New Perspectives in Story

Evans spoke of the emergence of and need for a strong voice by marginalized groups who would be most affected by things like habitat destruction and climate change. The poor and marginalized will most certainly make up the majority of climate change refugees, starved out and water shorted, and suffering malnutrition, violence and disease.

FifthSeason-JemisinEvans pointed out that afro-American writers (e.g., Octavia Butler, Walter Mosley, Nalo Hopkinson and N.K. Jemisin) and indigenous writers (Cherie Dimaline, Daniel Wilson, Drew Hayden Taylor) are an exciting voice, providing a new and compelling perspective on ongoing global issues.

I would add that the “feminine” voice—the voice of women and the voice of ecology and those who embrace the gylanic voice—are needed. This was strangely not mentioned in the group—perhaps because we were all women—but one. Such a voice can help personalize the experience to readers, by creating discovery, connection and understanding—and ultimately serving a key force in engaging readers to act.

Envisioning Our Future Through Story

One audience member shared a yearning for an optimistic focus through an envisioned world where solutions have successfully created that world. She wasn’t so much suggesting writing a utopia, but including elements of future wishes as an integral part of the world, following Ghandi’s wise advice: be the change you seek. In a recent interview in which I also participated in The Globe and Mail on women science fiction writers, Ottawa writer Marie Bilodeau addressed this concept:

“the best part about writing science fiction is showing different ways of being without having your characters struggle to gain rights. Invented worlds can host a social landscape where debated rights in this world – such as gay marriage, abortion and euthanasia – are just a fact of life.”

People are looking for hopeful fiction that addresses the issues but explores a successful paradigm shift. One that accurately addresses our current issues with intelligence and hope. The power of envisioning a certain future is that the vision enables one to see it as possible.

Product Placement in Story

Editor and naturalist Merridy Cox suggested that writers could make motivating connections through altruistic (not market-driven) “product placement.” She gave the example of an Ash tree. The Ash (Fraxinus species) could subtly make its name, its character and ecology known in the story, along with its plight—its destruction by the non-native invasive emerald ash borer. The use of metaphor and personification would easily link the Ash to a character and at the same time illuminate the reader on a real aspect of the environment to consider. Another example she gave was of the threatened bobolink bird, now all but gone. The bobolink originally made its home in the tallgrass prairie and other open meadows. As native prairies were cleared for farming, the bobolink was displaced and moved to living in hayfields and fallow fields—building their nests on the ground in dense grasses. Changing farm practices (shorter crop rotation and earlier maturing seed mixtures) are now destroying the bobolink’s last refuge.

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Bobolink mother and her chicks

 

Such “product placement” essentially gives Nature and the environmental a personalized face that can easily interact with the story’s theme and its characters. “Product placement”—like symbol—lies embedded in its own story. In the case of the bobolink, it is a story of colonialism, exploitation, and single-minded pursuit at the expense of others not considered, known or understood. These examples have anthropogenic connections to human behaviour, action and knowledge—all related to story and theme.

MockUpEcology copyIn my new writing guidebook The Ecology of Story: World as Character I discuss and explore how some authors do this impeccably. Authors such as Barbara Kingsolver, Richard Powers, Frank Herbert, Ray Bradbury, Thomas Hardy, Margaret Atwood, Alice Munro, Janet Fitch, John Steinbeck, David Mitchell, Joanne Harris and many others.

Writing for the Anthropocene

Learn how to write for the Anthropocene: from Habitats and Trophic Levels to Metaphor and Archetype…

Learn the fundamentals of ecology, insights of world-building, and how to master layering-in of metaphoric connections and symbols between setting and character. “Ecology of Story: World as Character” is the 3rd guidebook in Nina Munteanu’s acclaimed “how to write” series for novice to professional writers.

The Ecology of Story will be released by Pixl Press in July 2019.

 

 

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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 Water” will be released by Inanna Publications (Toronto) in 2020.