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It was several years ago, in 2020, that Terry Birdgenaw approached me as a writing coach to look at his first novel. When he described its premise, I was hooked right away and agreed to give it an editorial review. It was the beginning of a wonderful and rich experience with Terry’s books, now a series entitled The Antunite Chronicles. From the start, I was impressed and fascinated with his imagination and accurate use of science to produce a diverting allegorical CliFi series about cyborg insects on a far-away planet that serves as metaphor to developing autocracies on Earth.
Terry has three books out, with a fourth upcoming. The three books in this YA series take place on a far-away planet and moon, serving as a political and environmental allegory of an evolving technological society and failed democracy. They include: Antuna’s Story; The Rise and Fall of Antocracy; and Antunites Unite. The theme of induced climate change and environmental destruction runs deeply through the first three books. The fourth book, soon to release, is Cyborg Contact, which returns us to Earth. I’ll let Terry describe the series in the following interview I conducted with him on November 26:
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Nina: Your background and expertise is in neuroscience and psychology with over 150 scientific publications. You are Harold Griffith Professor of Anesthesia Research at McGill University in Montreal and your main research focus is on the mechanisms underlying neuroplasticity and its influence on the perception of pain. What got you started writing this incredible series, an adventure story that embraces ecology and entomology? What gave you the idea to create this imaginative modern allegory on the evolution of a technological society using insects as your main characters?
Terry: Oddly enough, I was not originally planning to write fiction. My inspiration came from my school librarian wife, Ann Birdgenaw, when she began writing the second book of her children’s chapter book series, Black Hole Radio. Her series features fifth-grade kids who travel through a wormhole to different planets, aiding the inhabitants they discover. She was considering what kind of planet and civilization her explorers would encounter, and I gave her some ideas about a giant cyborg-insect world that she ran with. Having some skin in the game, I participated beyond my welcome, offering plotlines that were far too advanced for her 7- to 11-year-old readers. Graciously, Ann suggested I take my ideas and write the backstory for her book, Black Hole Radio – Bilaluna, but target my book at young adults and adults. Thus began my fiction writing adventure. It was a rough start, but with the help of a tolerant book coach, my planned novella rapidly expanded to a trilogy. Perhaps a quick study because of years of scientific writing, I still credit Nina with opening in me an imaginative creativity I never knew I possessed.
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Nina: The narrative of your stories is from the POV of various insects and in some way, the stories are dramatizations of real and accurate ecological relationships of insects with their environment and each other. How did you prepare for this—both in relaying accurate ecologies and in realizable dramatization and characterization of your main characters—all insects? How did you avoid what I would call the Disney-effect: anthropomorphising insect characters into human archetypes to achieve reader engagement? How did you create that balance between realistic representation and empathic portrayal?
Terry: Although my books are parodies with characters who face political and ecological problems and anthropomorphise human dilemmas, I did not want them to be simply furry or slimy stand-ins for the humans they satirize. Thus, I drew on my long-standing expertise as a scientific researcher to delve deeply into entomology, ecology and environmental science. Fascinated by the richness of insect activities and interactions and the similarity between insect and human behaviour, I endeavoured to exploit my newly acquired knowledge within the pages of my story. I was inspired both by Orwellian dystopias and works such as Bernard Werber’s Empire of the Ants and Laline Paull’s The Bees. But more than that, I learned to let myself be taken into the world my insects lived in, experiencing both their instinctive realities and the human predicaments I intended to lampoon in equal measure.
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Nina: I noticed some fun metaphoric descriptions and expressions that incorporated insect terms to represent human counterparts. Did these come to you easily or were they a lot of work over time? Can you describe the process you used? For instance, did you spend a lot of time watching ants on the sidewalk?
Terry: Some phrases like ‘she shook her antenna to tune her attention’, ‘I took that as a back-clawed compliment’, or ‘he is such a hindgut hole’ came easily to me as differences in insect and human anatomy necessitated them. Others, like the expressions explained in my dictionary of pheromonal insect emotions, took much more reflection. This literary technique was inspired by your writing guide, The Fiction Writer, when you described how to add colour to one’s writing by using word pairings that mix up the senses, like the well-known one ‘biting cold’. This excellent advice led me to develop an extensive lexicon of insect emotions/non-verbal speech, including word combinations such as abrasive aroma, bitter bouquet, frosty fragrance, and vacillating vapour. They were not all alliterations, but some, like ‘she emitted an effervescent essence, were clearly intended to be. I didn’t watch ants walking, but I thought a lot about how they might communicate their emotions pheromonally.
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Nina: One of the things I enjoyed throughout your series is how you seamlessly imparted interesting facts about insects on our planet in the storytelling. I learned a lot about various insects! Tell us a little about the process you used to achieve this so effectively.
Terry: As a long-time researcher, I have learned how to find and use facts from scientific literature and reliable web-based information on many subjects within and outside my scientific field. Insect behaviour is little known, but often fascinating, and I enjoyed both discovering many details and incorporating them into fiction scenes. Sometimes I was required to dig even deeper than I initially expected to make my stories scientifically accurate. One of these cases had a very significant impact on a critical component of my book’s key plot. In Antunites Unite, ants are separated into a hierarchy of castes based on exoskeleton colour. Although clearly an anti-racism story, I originally wrote it with black ants as oppressors of both brown and red ants. Perhaps influenced by previous literature and movies, where the bad guys are often dressed in black, I had a feeling that some readers might interpret my choice as having a racist underpinning. I convinced myself that readers would not take the colour choice as representative of human ethnicity. However, the last beta reader to comment on the book made such an interpretation and confirmed my fear that some readers might see it as the opposite of my intention. So, while I debated altering the colour schemes, I dug deeper into the entomological discovery of a phenomenon my story paralleled, involving what entomologists call slave-maker ants. When my extensive research confirmed that red ants are more often the ants using raids to steal the eggs of other ants to be raised as slave-like workers for the dominant reds, I knew I had to reverse the colours. And this was no easy task, because all the characters in each caste took names that reflected their colour, like Ruby and Obsidiant. There were also many humorous references to colour, such as black widow spiders and lava fields, that needed to be reworked. It was an editing nightmare: Rose became Raven, and Raven – Rose, while Cole gave way to Clay, and Jett morphed to Jasper, etc., etc., etc. But in the end, it was true to nature and avoided any unwanted racial interpretations.
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Nina: In your first three books—a political modern satire on developing autocracies and human-induced climate change—you explore the technological and biological evolution of an insect exo-community in which certain species—ants for instance—acquire the ability to become cyborgs, ANTs, growing in size and abilities to navigate their world more effectively with related achievements—and consequences. As an ecologist, I was fascinated by how you portrayed the changing relationship of these beings to their environment as they evolved. Do you see a parallel with human society? Can you elaborate on this?
Terry: Yes, on a macro level. That is, technology can benefit society immensely, but it can also cause significant harm when coupled with greed, wilful ignorance of scientific warnings, and leaders misleading the public. I highlight one line of poetry written by my narrator in The Rise and Fall of Antocracy: “Like Peter and the crows, tis science, truth and reality denied ere climate is crucified.” Cyborg insects were created to enhance the production of honey, which was their currency. Cyborg ants, who most craved both power and honey, deceived the public to the detriment of the environment and ignored the science that provided evidence of environmental changes, which most insectoids on the planet denied. Perhaps an obvious cataclysmic message to those in our world, but many on this Earth apparently need to be hit over the head to see where this all may lead.
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Nina: Tell us about your latest book, the fourth in the series, Cyborg Contact, in which one of the cyborg ANTs returns to Earth through a wormhole with an important mission. I found that, while the first three books served as satirical allegory to a developing technological society through the evolving insect communities, the fourth book—being a first contact—shifts into more of an exploration of ‘the other,’ its perception and treatment by humans and their civilizations. Can you expand on this? How does humanity’s perception and treatment of the ‘other’ factor into our treatment of our environment and the growing phenomenon of climate change?
Terry: I might disagree and point out that ‘exclusion of the other’ is a dominant theme in all four books. The difference is that in Cyborg Contact, the main character embodies ‘the other’, so it hits home more strongly. What could be more ‘otherly’ than an alien (from another planet) who is treated like an illegal alien and hunted by ICE agents? And, too, aside from being hunted, many other dangers the alien experiences on Earth, including hurricanes, droughts, mudslides, and forest fires, are all caused by climate change, which has accelerated in the near-future North America our hero traverses. It seems that for some world leaders, a lack of empathy for others is paired with a disregard for the environment.
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Nina: Who is reading your books? And who should be who isn’t?
Terry: They are read by both young adults and adults; sometimes by parents reading to their pre-teens. They are not New York Times best sellers, but are highly celebrated by those who have read them. They should be read by all sci-fi and fantasy readers aged 13 and up who enjoy a thought-provoking read, except those who support fascism.
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Nina: How have your books been generally received? I understand that your trilogy has won the Firebird Book Award. Congratulations! What are people saying about your books?
Terry: Editorial reviews have been stellar, and the books have received awards from most of the contests to which they have been entered. Awards for all three books include Gold Medal/Badge (Readers’ Favourite, Literary Titan), First Place Prize (Firebird, Entrada Incipere), Silver & Bronze Medal (Firebird, Bookfest), Honourable Mention (Readers’ Favourite), and Finalist (American Writing Awards, Chanticleer, The Wishing Shelf). Most notable review comments describe the books as: “soon-to-be a bestseller”, “takes speculative fiction to a new level”, “fantastical to a degree not seen elsewhere in any Sci-Fi dystopian fiction”, “as big in spirit as any literary giant in the genre” and “holds its ground next to Brave New World, Dune, Animal Farm, and 1984”. These reviews have “blown me away”, like an enthusiastic reader’s comment on Antuna’s Story.
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Nina: What’s next for Terry Birdgenaw?
Terry: Finish editing Book 4 and writing a dystopian novel featuring humans for a change.
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Nina: That sounds very intriguing! Thanks for coming out for the interview, Terry.
Terry: My pleasure, Nina.
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You can find Terry’s books all over the place, including Amazon. Find out more about Terry on his website and check out Terry’s interview on SF Canada in which he talks more about his heritage and interests.
Terry Birdgenaw and one of his fans
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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” was released by Inanna Publications (Toronto) in June 2020.
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Nina Munteanu Writing Coach 