Gaia’s Revolution explores a collapsing capitalist society in Canada through ravages of climate change and a failing technology. The story is told through the lives of ambitious twin brothers Eric and Damien Vogel, and the woman who plays them like chess pieces in her gambit to ‘rule the world.’ The novel starts out in Berlin—with a scuffle between police and climate activists of Letzte Generation-then moves to Toronto Canada, where an unlikely revolution is brewing…
This day is special for me in a number of ways. Today is also my dad’s birthday. He passed away a while ago, but I know he is here with me as this is happening. You see, when I was just 15, I’d written my first book, an early version of Angel of Chaos. My dad, who had met and befriended an editor at Doubleday, and proud of my accomplishment, arranged a meeting with me and the editor to look at my book. I put on my highest pumps—I could barely walk in them!—and best outfit and met with the gentleman. He did not take my book for publication but praised my work and gave me some wonderful advice. “Keep writing!” he said. I have carried that meeting and advice to this day and thank my dad for his belief in me as a writer—particularly given that he had been pushing for me to become a teacher or nurse. Four decades later, a more polished version of that same book was published in 2010 by Dragon Moon Press (as Angel of Chaos, the prequel to Darwin’s Paradox, which was published in 2007).
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Birch forest in Ontario (photo and rendition by Nina Munteanu)
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The Icaria Trilogy by Dragon Moon Press
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Now, with newly written Gaia’s Revolution (the prequel to the prequel) released, Dragon Moon has reissued new covers for the entire trilogy. Here they are! Oh! And look who’s already reading Gaia’s Revolution!
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Aliens get to read everything before we do…
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Nina Munteanu is an award-winning novelist and short story writer of eco-fiction, science fiction and fantasy. She also has three writing guides out: The Fiction Writer; The Journal Writer; and The Ecology of Writing and teaches fiction writing and technical writing at university and online. Check the Publications page on this site for a summary of what she has out there. Nina teaches writing at the University of Toronto and has been coaching fiction and non-fiction authors for over 20 years. You can find Nina’s short podcasts on writing on YouTube. Check out this site for more author advice from how to write a synopsis to finding your muse and the art and science of writing.
Twin brothers—a brilliant scientist and a gifted engineer—escape the growing racial violence of Berlin, to ‘peaceful’ Canada in a rivalry to control the evolution of the human race.
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My novel Gaia’s Revolution, the first of The Icaria Trilogy—releasing March 10, 2026, by Dragon Moon Press—explores a collapsing capitalist society in Canada through ravages of climate change, water shortages, plague, and a failing technology. The story is told through the lives of ambitious twin brothers Eric and Damien Vogel, and the woman who plays them like chess pieces in her gambit to rule the world.
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The novel starts on December 13th, 2022, in Berlin, the day several members of the climate activist group Letzte Generation* to which Damien belongs, are raided by police who seize their computers and phones. Damien is a quiet scholar, an introvert and deep ecologist*, devoted to the teachings of Arne Næss and George Sessions, who promoted an environmental philosophy of eight basic principles of deep ecology. Næss and Sessions advocated that all living beings have intrinsic value, independent of their utility to human needs. Their philosophy has become a movement that promotes a holistic, eco-centric worldview demanding radical, structural changes to human society to prioritize nature’s flourishing.
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Road through a beech tree forest, ON (photo and rendition by Nina Munteanu)
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Damien later meets with his extrovert anarchist brother in Treffpunkt, near the university campus, and they argue ideology and revolution. Eric contends that the only way humanity will survive is to adapt to climate change by somehow overthrowing the bourgeois plutocrats through violent revolution: preventing the small ruling class carving out a comfortable life for itself while the rest of the world suffers terrible deprivation. Eric pulls out the worn copy of B.F. Skinner’s Walden Two from his jacket pocket, slaps it on the table and pushes it toward Damien. “That’s the answer, Dame.”
Each brother plans to create a new humanity: Eric’s plan is to control humanity through gene manipulation and behaviour engineering (aka Walden Two); Damien’s plan is to draw on deep ecology and use environmental triggers with biotechnologies to empower humanity with physical/chemical abilities to adapt to climate and its changing environment via transhumanist AI.
Neither addresses the elephant in the room: population. Only a much-reduced population will ensure success for either plan.
To this point, Eric, who is far more cynical and ruthless, thinks Damien naïve and feckless in his deep ecological view:
Damien too easily prescribes to the old leftist shibboleth of Nature being the answer to everything and Market being evil. His deep ecology utopia would spring from an atavistic rejection of modern life, a return to ‘the ancient farm.’ But how that fantasy could be achieved without a drastic population reduction is beyond his brother’s imagination. Damien fetishizes the natural world. Just like he does their mother. The naïve fool is a blind romantic, refusing to see reality right in front of him: that Nature is ultimately cruel, cold, and preoccupied with its own survival. Just like their mother.–Eric Vogel, Gaia’s Revolution
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Foggy morning on an Ontario marsh in winter (photo and rendition by Nina Munteanu)
The well-being and flourishing of human and nonhuman Life on Earth have value in themselves (synonyms: intrinsic value, inherent value). These values are independent of the usefulness of the non-human world for human purposes.
Richness and diversity of life forms contribute to the realization of these values and are also values in themselves.
Humans have no right to reduce this richness and diversity except to satisfy vital needs.
The flourishing of human life and cultures is compatible with a substantial decrease of the human population. The flourishing of nonhuman life requires such a decrease.
Present human interference with the nonhuman world is excessive, and the situation is rapidly worsening.
Policies must therefore be changed. These policies affect basic economic, technological, and ideological structures. The resulting state of affairs will be deeply different from the present.
The ideological change is mainly that of appreciating life quality (dwelling in situations of inherent value) rather than adhering to an increasingly higher standard of living. There will be a profound awareness of the difference between big and great.
Those who subscribe to the foregoing points have an obligation directly or indirectly to try to implement the necessary changes.
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Finn Slough old shed, BC (photo by Nina Munteanu)
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Eric plans to address the 5th Basic Principle of Deep Ecology—present human interference with the nonhuman world is excessive and the situation is rapidly worsening— by using nefarious means to meet the 4th Basic Principle of Deep Ecology: the flourishing of human life and cultures is compatible with a substantial decrease of the human population and the flourishing of nonhuman life requires such a decrease. With a reduced population, he plans to make the remaining principles (e.g. 6th and 7th) realizable through his behaviour engineering.
But Eric hasn’t accounted for fanatical deep ecologist / eco-terrorist Monica Schlange in his plan… (More on this shapeshifting character in Part 2).
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The Icaria Trilogy by Dragon Moon Press
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You can pre-order the ebook of Gaia’s Revolution by Dragon Moon Press on Amazon. Release date is March 10, 2026. The print version will release soon after. Book 2 (Angel of Chaos) and Book 3 (Darwin’s Paradox) of theThe Icaria Trilogy are already available in both ebook and print form.
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Oak leaves light up a dark pine forest in fall, ON (photo by Nina Munteanu)
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References:
Munteanu, Nina. 2026. “Gaia’s Revolution, Part 1 of Icaria Trilogy.” Dragon Moon Press, Calgary, AB. 369 pp.
Munteanu, Nina. 2010. “Angel of Chaos, Part 2 of Icaria Trilogy.” Dragon Moon Press, Calgary, AB. 518 pp.
Munteanu, Nina. 2007. “Darwin’s Paradox, Part 3 of Icaria Trilogy.” Dragon Moon Press, Calgary, AB. 294 pp.
Sessions, George, Bill Devall. 2000. “Deep Ecology: Living as if Nature Mattered.” Gibbs Smith. 267pp.
Skinner, B.F. 1948. “Walden Two” The Macmillan Company, New York. 301pp.
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Terminology:
*Deep Ecology: An environmental philosophy and social movement advocating that all living beings have intrinsic value, independent of their utility to human needs. Coined by Arne Næss in 1972, it promotes a holistic, ecocentric worldview—often termed “ecosophy”—that demands radical, structural changes to human society to prioritize nature’s flourishing.
*Letzte Generation: a prominent European climate activist group, founded in 2021, known for its acts of civil disobedience—such as roadblocks, defacing art, and vandalizing structures—to pressure governments on climate action. The term was chosen because they considered themselves to be the last generation before tipping points in the earth’s climate system would be reached. They are mostly active in Germany, Italy, Poland and Canada. In Germany, they have faced accusations of forming a criminal organization, leading to police raids.
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Root-covered cedar-pine forest in early winter, ON (photo and rendition by Nina Munteanu)
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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. For the latest on her books, visit www.ninamunteanu.ca. 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.
My short story “The Way of Water” was recently translated into German (“Der Weg des Wassers”) and published in Nova 37. The issue has illustrations for each story and a beautiful cover. When I got my author’s copy in the mail, I was blown away! It was as though they had tapped my love for mushrooms. Bright orange and floating in a sea of green vegetation, the aerial fungi that hovered over a jungle village resembled giant Micenas.
“The Way of Water” follows a young woman (Hilda) in near-future Toronto who has run out of water credits for the public iTap; by this time houses no longer have potable water and their water taps have been cemented shut (as was done in Detroit in 2014); the only way to get water is through the public iTaps—at great cost. She’s standing two metres from water—in a line of people waiting to use the tap—and dying of thirst.
“The Way of Water” captures a vision that explores the nuances of corporate and government corruption and deceit together with global resource warfare. In this near-future, Canada is mined of all its water by thirsty Chinese and US multinationals—leaving nothing for the Canadians. Rain has not fallen on Canadian soil in years due to advances in geoengineering and weather manipulation that prevent rain clouds from going anywhere north of the Canada-US border. If you’re wondering if this is possible, it’s already happening in China and surrounding countries.
I’ve written several articles on how The Way of Water came about. Briefly, it all started with an invitation in 2015 by my publisher in Rome to write about water and politics in Canada. I had long been thinking of potential ironies in Canada’s water-rich heritage. The premise I wanted to explore was the irony of people in a water-rich nation experiencing water scarcity: living under a government-imposed daily water quota of 5 litres as water bottling and utility companies took it all.
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Various publications in which my short story “The Way of Water” has appeared
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The Way of Waterwas first published in 2016 as a bilingual print book by Mincione Edizioni(Rome) in Italian (La natura dell’acqua, translated by Fiorella Moscatello), and English along with a recounting of what inspired it: The Story of Water (La storia dell’acqua). To date, The Way of Waterhas been published and republished eight times throughout the world and translated into Italian and German. Anthologies include, among others, Metastellar something, “Canadian Tales of Climate Change” (Exile Editions) edited by Bruce Meyer, “Future Fiction” Anthology (publisher), and “Climate in Crisis” (Little Blue Marble). I think this success is less a reflection of my writing than the immediacy and importance of the topic covered: growing water scarcity, its commodification, and its politicization.
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This latest publication of The Way of Water (Der Weg des Wassers) in Nova 37 represents its eighth publication. Nova Magazin für spekulative Literatur is one of the most respected short story and essay magazines for science fiction in the German-speaking world. Most recently it was called “NOVA Science-Fiction,” and since issue 31 it has been “NOVA – Magazine for Speculative Literature”; the name change reflects the desire to broaden the readership and interest beyond the pure science fiction scene. The magazine’s website is now part of the larger pmachinery.de news feed.
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“In a short story in which every word has its weight, Nina Munteanu manages to describe a dystopia with ecological, political, social and economic elements and Hilda’s reactions to her situation with a great intensity. To avoid thirst, Hilda ends up embracing an extreme idea, a last hope linked to water. The Way of Water is a story of the kind you hope is science fiction but you fear is not.”—Massimo Luciani
“In the Way to Water, Nina Munteanu pens her love letter to water, exulting it as a liquid that has semi-magical properties… 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
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Ice edge on the Otonabee River, ON (photo and rendition by Nina Munteanu)
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In her masters thesis published in November 2025 at the University of Graz, Austria, Seyma Yonaruses my short story The Way of Water, along with several others to explore and discuss the importance of eco-literature in establishing ecological awareness and ultimately ecological and sustainable action.
“The Way of Water is a strong eco-story that possesses many layers and elements that strengthen its narrative while encouraging readers to engage with its world…The notion what water constitutes the essence of life is the central theme of the story … Munteanu’s knowledge as a scientist enables her to create a convincing scientist protagonist whom she embeds into a powerful fictional story. Water, particularly in this eco-story acts not only as a symbolic entity but also as a body of force…the agency of water is presented as a dynamic, living entity, central to the narrative’s ecological themes.”
“Munteanu’s impactful storytelling highlights her significant contribution to Canadian literature, particularly through her engagement with pressing environmental issues and her commitment to fostering ecological awareness through fiction.”
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The Way of Water, in turn, inspired my dystopian novel A Diary in the Age of Water(Inanna Publications, 2020), which chronicles the lives of four generations of women and their relationship to water during a time of severe water restriction and calamitous climate change. The novel features the main character Hilda from The Way of Water and her limnologist mother; A Diary in the Age of Water is essentially the mother’s diary embedded in a larger story. Through a series of entries, the diarist reflects on the subtle though catastrophic occurrences that will eventually lead to humanity’s demise.
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Ice pearls forming in Jackson Creek, ON (photo and rendition by Nina Munteanu)
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References:
Munteanu, Nina. “The Way of Water” Mincione Edizioni, Rome. 113pp.
Munteanu, Nina. “A Diary in the Age of Water.” Inanna Publications, Toronto, ON. 328pp.
Fi: Anthology #14. Edited by Bruce Meyer. Exile Editions, Toronto.304pp.
Yonar, Seyma. 2025. “Short Texts—Long Term Effects: The Canadian Eco-Story.” Masters Thesis, University of Graz, Austria. 70pp.
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Jackson Creek in the fall, ON (photo and rendition by Nina Munteanu)
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Nina Munteanu is an award-winning novelist and short story writer of eco-fiction, science fiction and fantasy. She also has three writing guides out: The Fiction Writer; The Journal Writer; and The Ecology of Writing and teaches fiction writing and technical writing at university and online. Check the Publications page on this site for a summary of what she has out there. Nina teaches writing at the University of Toronto and has been coaching fiction and non-fiction authors for over 20 years. You can find Nina’s short podcasts on writing on YouTube. Check out this site for more author advice from how to write a synopsis to finding your muse and the art and science of writing. For more on her work as a limnologist and ecologist, see The Meaning of Water.
A fanatical deep-ecologist, Monica Schlange, harnesses two orphans in her bid to reshape humanity and its place in the natural world.
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My upcoming book Gaia’s Revolution(Book 1 of The Icaria Trilogy by Dragon Moon Press) explores a collapsing capitalist society in Canada through ravages of climate change and a failing technology. The story is told through the lives of ambitious twin brothers Eric—a gifted engineer—and Damien Vogel—a brilliant scientist and deep ecologist*—and the woman who plays them like chess pieces in her gambit to ‘rule the world.’
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The brothers meet at Treffpunkt, a café near Humboldt University in Berlin, nursing Kellerbiers over a late lunch of Einsbeinmit Sauerkraut. They argue ideology and reform. Canada represents an ideal canvas for revolution, argues Eric. Damien is puzzled by this. To him Canada represents a quietly reposed nation of polite intellectuals who accept a healthy multicultural society and whose practical leaders are connected with their people. Not a restive rabble ripe for change.
As if reading his brother’s mind, Eric replies:
“Because it’s a huge nation with a lot of space and few people,” Eric argues. “Did you know that Canada holds on average only 4 people per square kilometer? Germany stuffs 240 people in the same area. And China, which is virtually the same size as Canada, holds 153 people per square kilometer.” He picks up Walden Two and waves it at Damien. “Canada is a perfect place to start these [Walden Two colonies called Icarias*]. And, with global warming, we could settle in the boreal.” He then slides the book back in his pocket and leans back, eyes sparkling with purpose. “But the real reason to start a revolution there is because, like you, Canadians are naïve. Even their leaders. And this is because, unlike the rest of the world, they are still asleep…
“Climate is not our enemy, Dame; it’s our friend. Climate is our fierce archangel of change. And let’s not forget that ‘crisis is opportunity…” … He grins, self-pleased, like a wolf in a hen house. Then he practically snarls out, “We must first destroy before we can create. We must be unruly like climate. We must be relentless like climate. We must ride that wave before we can become the wave, Bruder. And then by being that wave, we change the world.”
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Pine cedar forest in Ontario (photo and rendition by Nina Munteanu)
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The brothers escape the growing racial violence of Berlin, to ‘peaceful’ Canada in a rivalry to control the evolution of the human race. Years later, Eric Vogel, who has created a niche for himself in the technocratic government*, sits in the Canadian prime minister’s office and imagines what a post-capitalist world will look like and how his twin brother Damien—left behind in Germany—would disagree with his vision:
Damien too easily prescribes to the old leftist shibboleth of Nature being the answer to everything and Market being evil. His deep ecology utopia would spring from an atavistic rejection of modern life, a return to ‘the ancient farm.’ But how that fantasy could be achieved without a drastic population reduction is beyond his brother’s imagination. Damien fetishizes the natural world. Just like he does their mother. The naïve fool is a blind romantic, refusing to see reality right in front of him: that Nature is ultimately cruel, cold, and preoccupied with its own survival. Just like their mother.
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First snow in an Ontario marsh (photo and rendition by Nina Munteanu)
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Each brother plans to create a new humanity: one to control through gene manipulation and behaviour engineering; the other to empower through biotechnology and transhumanist AI. The warring brothers end up in Canada and set off a violent revolution that destroys the Canadian technocratic government and whose weapons ultimately risk the survival of humanity. Deep ecologist Monica Schlange snares the brothers in her gambit to reshape humanity and its place in the natural world. Three orphaned children, caught in the web of intrigue and violence, will ultimately determine the direction of humanity by introducing the first veemelds (people who can communicate with machines), a new environmental disease (Darwin), and a new set of rules neither brother envisioned.
Birch trees in a winter marsh, ON (photo and rendition by Nina Munteanu)
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References:
Munteanu, Nina. 2026. “Gaia’s Revolution, Part 1 of Icaria Trilogy.” Dragon Moon Press, Calgary, AB. 369 pp.
Munteanu, Nina. 2010. “Angel of Chaos, Part 2 of Icaria Trilogy.” Dragon Moon Press, Calgary, AB. 518 pp.
Munteanu, Nina. 2007. “Darwin’s Paradox, Part 3 of Icaria Trilogy.” Dragon Moon Press, Calgary, AB. 294 pp.
Sessions, George, Bill Devall. 2000. “Deep Ecology: Living as if Nature Mattered.” Gibbs Smith. 267pp.
Skinner, B.F. 1948. “Walden Two” The Macmillan Company, New York. 301pp.
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Jackson Creek in the fall, ON (photo and rendition by Nina Munteanu)
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Terminology:
*Deep Ecology: An environmental philosophy and social movement advocating that all living beings have intrinsic value, independent of their utility to human needs. Coined by Arne Naess in 1972, it promotes a holistic, ecocentric worldview—often termed “ecosophy”—that demands radical, structural changes to human society to prioritize nature’s flourishing.
*Icaria: the name of Étienne Cabet’s utopia. Cabet was a French lawyer in Dijon, who published his novel Voyage en Icarie in 1839. The novel was a sort of manifesto-blueprint of utopian socialism, with elements of communism (abolished private property and individual enterprise), influenced by Fourierist and Owenite thinking. Key elements, such as the four-hour work day, are reflected in B.F. Skinner’s Walden Two. The novel explores a society in which capitalist production is replaced by workers’ cooperatives with a focus on small communities.
*Technocracy: A form of government in which the decision-maker(s) are selected based on their expertise in a given area; any portion of a bureaucracy run by technologists. Technocracies control society or industry through an elite of technical experts. The term was initially used to signify the application of the scientific method to solving social problems.
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Nina Munteanu is an award-winning novelist and short story writer of eco-fiction, science fiction and fantasy. She also has three writing guides out: The Fiction Writer; The Journal Writer; and The Ecology of Writing and teaches fiction writing and technical writing at university and online. Check the Publications page on this site for a summary of what she has out there. Nina teaches writing at the University of Toronto and has been coaching fiction and non-fiction authors for over 20 years. You can find Nina’s short podcasts on writing on YouTube. Check out this site for more author advice from how to write a synopsis to finding your muse and the art and science of writing.
“Bourgeois society stands at the crossroads, either transition to socialism or regression into barbarism.”—Rosa Luxemburg, 1915
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I wrote my first novel in 1969 when I was fifteen. Caged in World was a hundred-page speculative story about a world that had moved “inside” to escape the ravages of a post climate-change environment. It would later become Book 2 of The Icaria Trilogy. I was already disillusioned with my world. I saw how corporations and governments and society in general—individuals around me—‘othered’ the environment by either treating it with disrespect and apathy or outright ignoring it in a kind of torpor of obliviousness. As though it didn’t exist.
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I remember being chastised by a school teacher for thinking globally about what was happening to the planet at our hands: worldwide deforestation (e.g., clearcutting the old-growth forests of Canada), infilling saltwater and freshwater marshes, massive use of pesticides and fertilizers, contamination of lakes, unregulated mining and toxic pollution, and ultimately climate change. Stick to local concerns, he advised me; recycling and such.
I remember wondering if I was just being weird. That my odd sensibility for the planet-entire was just a nina-thing. I prayed that I was not alone and it wasn’t just a nina-thing.
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(Photo: Nina Munteanu, Salk Institute, California)
Throughout high school and university, I read scientific papers, news articles and books on revolution. I became a student of climate change long before the term entered the zeitgeist. I studied industrial capitalism and its roots in neoliberalism and colonialism. I noted how the post-war expansion of capitalism shifted from Fordist mass production to flexible automation, technology and AI. I saw the rise of multinational corporations, income inequality, and the commodification of everything—from water to human beings (Foucault’s homo economicus).
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I pursued a university degree in ecology and limnology to study and help protect the environment and educate industry and their governments in the process. I became an expert on water. See my book Water Is…The Meaning of Water, which celebrates water from twelve perspectives (and got a shout out from Margaret Atwood!).
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I soon concluded that a hegemony that follows the economic system of late capitalism inevitably commodifies and ‘others’ with ruthless purpose. Once something (or someone) is commodified, they are given a finite value and purpose outside their own existence. They become an object, a symbol to use and trade. They become a resource to manipulate, exchange, and dispose of with impunity. And through this surrender to utility, they become ‘othered.’ The consumer. The trees of the forest. Water. Homo sacer*. Each has a role to play in the late capitalist narrative of digital abundance and physical scarcity.
Capitalism hasn’t been kind to the environment. Economic pundits and sociologists insist that Capitalism is devolving. But what will replace it? Cloud capital? Technofeudalism? Something else?
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Deep Ecology* & Gaia’s Revolution
The Icaria Trilogy (Dragon Moon Press)
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My three Icaria novels—starting with Gaia’s Revolution, (the first of The Icaria Trilogy, releasing March 10, 2026, by Dragon Moon Press)—chronicle the collapse of a capitalist society in Canada as climate change, water shortages, habitat destruction, plague and a failing technology devastate the Canadian population.
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Gaia’s Revolution (Book 1 of The Icaria Trilogy) explores a transition in Canada from semi-socialized capitalist system to a technocratic* meritocracy of technologists and scientists. Triggered by catastrophic environmental and sociological tipping points and following violent revolution, a dictatorship of deep ecologists* called Gaians seize power. By the end of the book, enclosed cities called Icarias* now populate North America. Separated from their environment, humans now live inside domes protecting them from a hostile and toxic environment.
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In truth, the deep ecologists are keeping people “inside” not to protect humanity from a toxic wasteland but to protect the environment from a toxic humanity.
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How realistic is this vision? Well, it is science fiction, after all, and though it takes liberties with its narrative, it is science-based and ultimately draws on precedent. As Margaret Atwood so astutely attested of her cautionary SF book The Handmaid’s Tale: “I didn’t put in anything that we haven’t already done, we’re not already doing, we’re seriously trying to do, coupled with trends that are already in progress.”
Science fiction is itself powerful metaphor; it is the fiction of political and social allegory or satire and makes astute social commentary about a world and civilization: how it has come to be, how it works—or doesn’t—and how it may evolve.
So, it is visionary and predictive? I prefer to think as Ray Bradbury:
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“The function of science fiction is not only to predict the future, but to prevent it.”–Ray Bradbury
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Jackson Creek in winter, ON (photo and rendition by Nina Munteanu)
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References:
Angus, Ian. 1012. “The Spectre of 21st Century Barbarism.” Climate & Capitalism, August 20, 2012.
Atwood, Margaret. 2004. “The Handmaid’s Tale and Oryx and Crake ‘In Context'”. PMLA. 119 (3): 513–517.
Bradbury, Ray. 1991. “Yestermorrow: Obvious Answers to Impossible Futures” and “Beyond 1984: The People Machines” by Ray Bradbury, dated 1982, Page 155, Joshua Odell Editions: Capra Press, Santa Barbara, California.
Foucault, Michel. 2010. “The Birth of Biopolitics (Naissance de la biopolitique): Lectures at the Collège de France, 1978-1979.” Picador. 368pp.
Luxemburg, Rosa. 1915. “The Junius Pamphlet: The Crisis in the German Democracy”, Marxist.org.
Munteanu, Nina. 2026. “Gaia’s Revolution, Part 1 of Icaria Trilogy.” Dragon Moon Press, Calgary, AB. 369 pp.
Munteanu, Nina. 2010. “Angel of Chaos, Part 2 of Icaria Trilogy.” Dragon Moon Press, Calgary, AB. 518 pp.
Munteanu, Nina. 2007. “Darwin’s Paradox, Part 3 of Icaria Trilogy.” Dragon Moon Press, Calgary, AB. 294 pp.
Neuman, Sally. 2006. “‘Just a Backlash’: Margaret Atwood, Feminism, and The Handmaid’s Tale“. University of Toronto Quarterly. 75 (3): 857–868.
Sessions, George, Bill Devall. 2000. “Deep Ecology: Living as if Nature Mattered.” Gibbs Smith. 267pp.
Skinner, B.F. 1948. “Walden Two” The Macmillan Company, New York. 301pp.
Streeck, Wolfgang. 2014. “How Will Capitalism End?” New Left Review 2 (87): 47p.
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Terminology:
*Deep Ecology: An environmental philosophy and social movement advocating that all living beings have intrinsic value, independent of their utility to human needs. Coined by Arne Næss in 1972, it promotes a holistic, ecocentric worldview—often termed “ecosophy”—that demands radical, structural changes to human society to prioritize nature’s flourishing.
*Homo sacer: a figure from Roman law denoting a person excluded from society who is outside human law (can be killed) and divine law (cannot be sacrificed). The term represents “bare life”: stripped of political rights, legal protection, and social value. Philosopher Giorgo Agamben popularized the term to describe individuals excluded from the political community, such as refugees, stateless persons, or camp detainees. The term illustrates the power of a sovereign in deciding which lives are worthy of protection and which are not.
*Icaria: the name of Étienne Cabet’s utopia. Cabet was a French lawyer in Dijon, who published his novel Voyage en Icarie in 1839. The novel was a sort of manifesto-blueprint of utopian socialism, with elements of communism (abolished private property and individual enterprise), influenced by Fourierist and Owenite thinking. Key elements, such as the four-hour work day, are reflected in B.F. Skinner’s Walden Two. Cabet’s novel explores a society in which capitalist production is replaced by workers’ cooperatives with a focus on small communities.
*Letzte Generation: a prominent European climate activist group, founded in 2021, known for its acts of civil disobedience—such as roadblocks, defacing art, and vandalizing structures—to pressure governments on climate action. The term was chosen because they considered themselves to be the last generation before tipping points in the earth’s climate system would be reached. They are mostly active in Germany, Italy, Poland and Canada. In Germany, they have faced accusations of forming a criminal organization, leading to police raids.
*Technocracy: A form of government in which the decision-maker(s) are selected based on their expertise in a given area; any portion of a bureaucracy run by technologists. Technocracies control society or industry through an elite of technical experts. The term was initially used to signify the application of the scientific method to solving social problems.
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Nina Munteanu is an award-winning novelist and short story writer of eco-fiction, science fiction and fantasy. She also has three writing guides out: The Fiction Writer; The Journal Writer; and The Ecology of Writing and teaches fiction writing and technical writing at university and online. Check the Publications page on this site for a summary of what she has out there. Nina teaches writing at the University of Toronto and has been coaching fiction and non-fiction authors for over 20 years. You can find Nina’s short podcasts on writing on YouTube. Check out this site for more author advice from how to write a synopsis to finding your muse and the art and science of writing.
My flash fiction story “Alien Landscape” was recently accepted by the online magazine Sudden Flash and released on December 30, 2025—making it my last story published that year. The story follows Blika who crash lands in potential hostile territory of an alien planet after responding to a distress call. What Blika discovers is not what she expected…
“Alien Landscape” first appeared in the 2019 celebratory ekphrastic anthology, edited by Karen Schauber and published by Heritage House: “The Group of Seven Reimagined.” The anthology celebrated the centenary of the formation of the Canadian iconic Group of Seven artists. Check my article which describes more about the Group of Seven movement. The Group of Seven movement “dragged Canadian art into the modern age,” writes Christine Sismondo of The Toronto Star in her review of “The Group of Seven Reimagined.” Sismondo astutely identifies and encapsulates the resonant meaning of the Group of Seven, then and now:
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“A hundred years ago, seven Canadian painters got together and decided to start a movement. It was born out of the horrors of war. Now, the potential horrors of climate change are giving the movement an unexpected new life and meaning.”
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I joined twenty other flash fiction authors who linked our flash fiction to one the Group of Seven’s works. My “Alien Landscape” was inspired by J.E.H. MacDonald’s Lake O’Hara.
Lake O’Hara by J.E.H. MacDonald
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Karen had invited me to contribute a piece of flash fiction (a piece of less than 500 words), inspired by a Group of Seven piece I would choose to inspire me. I took my time; this would be the first flash fiction piece I would write. It was an art form I was not familiar with, but was happy to experiment with. But I waited too long to decide and when I finally submitted my first choice for a painting, Karen informed me that it had already been selected by another writer. To my great frustration, this went on for a few pieces.
I finally took a short trip to the McMichael Gallery in Kleinburg to find my piece. In the main hall, I passed the pieces already claimed by my twenty colleagues; I sighed that I had waited so long. By chance, a large selection of artwork by J.E.H. MacDonald—one of the founders of the group—was currently on exhibit on the second floor. That was where I first saw the original oil sketch called Lake O’Hara by MacDonald. It was perfect! My story “Alien Landscape” emerged from the sketch like they had always belonged together.
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Christine Sismondo of The Toronto Star wrote: “while you might expect a lot of peaceful communing with nature on the page, a surprising number of the written pieces are actually dark tales of conflict and danger—forest fires, mining accidents, boat thieves and murderous plots in the woods.
Nina Munteanu, a Canadian ecologist and science-fiction writer, takes J.E.H. MacDonald’s Lake O’Hara in a novel direction in ‘Alien Landscape’ by reimagining it as a refuge for a space heroine fleeing a world that had destroyed nature in pursuit of progress and ended in post-apocalyptic chaos.”
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Nina Munteanu with cover and selected Group of Seven art to write about
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Nina Munteanu is an award-winning novelist and short story writer of eco-fiction, science fiction and fantasy. She also has three writing guides out: The Fiction Writer; The Journal Writer; and The Ecology of Writing and teaches fiction writing and technical writing at university and online. Check the Publications page on this site for a summary of what she has out there. Nina teaches writing at the University of Toronto and has been coaching fiction and non-fiction authors for over 20 years. You can find Nina’s short podcasts on writing on YouTube. Check out this site for more author advice from how to write a synopsis to finding your muse and the art and science of writing.
The Greenling by David Booram is an exploration of an intriguing ‘Nature evolving’ premise, told through a coming-of-age narrative.
Responding to continued human tampering, a growing sentient Nature calls a young environmental activist to action in a planetary reset. The main character is Noah, ostracized by her peers due to her unique perspective on the world and her activism for Nature. This makes her a candidate for Nature’s planetary reset.
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While I felt that the story used over-simplified fantasm and eco-terrorism in a way not to my liking, I found most intriguing Booram’s use of biosemiosis, the notion that all life finds meaning.
Coincidently, I had agreed to read Booram’s eco-fiction novel (without knowing much about it) after a social media conversation we’d had during a time when I was working on my most recent novel, tentatively called (Re)Genesis. My novel relied heavily on the concept of biosemiosis. Its premise of dark karma—when Nature learns to reflect back what we send out—made use of real examples of learning, pattern recognition, anticipation and adaptation in non-human life. (Another coincidence at this same time occurred when another author approached me to read their work on coincidence, which I am currently reading).
In the 1930s, Jakob von Uexküll coined the term Umwelt (species-specific reality or subjective environment) to define a life process that involved semiotic interactions. He argued that an organism’s behaviour results from activity that attributes meaning to the world around it, rather than merely mechanically reacting to stimuli. Building on this notion, Friedrich S. Rothschild coined the term “biosemiosis” in 1962 to postulate that life has its subjective interpretation of the world around it (its Umwelt), a segment of the world that has significance and meaning based on that life’s biology and needs. Developing biosemiosis further, Thomas Sebeok later contended that all organisms are enveloped in a cloud of messages about themselves and their situation, which they constantly transmit, receive, and interpret. Life itself is a process of signification and meaning-making, from bacteria and plants to mammals and birds. Biosemiosis involves pattern recognition, anticipation, flexibility, goal-directed movement, memory, and learning.
Perhaps most intriguing is how The Greenling touches on humanity’s growing zeitgeist of not just planetary awareness but of sensibility, a sense that we are interlinked with all other life and nonlife, that we are all more than the sum of our parts. And only then—when we make meaning of our Umwelt—can we transcend from our toxic insecurities and bullying ways.
The Greenling is worth reading for how it weaves climate facts into compelling personal story. I also find refreshing that Booram gives full agency to the environment, Nature, and its nonhuman representatives.
I have been writing, reading, and studying eco-fiction for several decades and what I found noteworthy is how agency of the environment, as character, has changed over the years and how Nature’s portrayal has evolved from ‘other’ with little agency to ‘not other’ with much agency. For more on this concept and change, I urge you to read my two essays on this evolution:
David Booram is the cofounder and director of Fall Creek Abbey, an urban retreat center in Indianapolis, where he and his wife Beth lead The School of Spiritual Direction and offer individual and group spiritual direction. He is the founder of Direction 4 Life Work, through which he is a career counselor.
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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.
I’ve selected ten TV series that have intrigued me, moved me, and stayed with me for various reasons that touch on: abuse of justice, including eco-justice and environmental abuse; technology use and abuse; and the effects and horrors of climate change.
Some are well known; others not so well known. All approach storytelling with a serious dedication to depth of character, important themes, realistic world building, and excellent portrayal by actors. The world-building is extremely well done—in some cases rivalling Ridley Scott’s best—with convincing portrayals of worlds that are at times uncanny in their realism. Worlds that reflect story from an expansive landscape to the mundane minutiae of daily life: like the cracked phone device of Detective Miller in The Expanse or the dirty fingernails of engineer Juliette Nichols in the Down Deep of Silo. Stories vary in their treatment of important themes from whimsical and often humorous ironies to dark and moody treatises on existential questions. In my opinion, these TV series rival the best movies out there, often reflecting large budgets (but not always) and a huge commitment by producers. The ten TV series I’ve selected in this series come from around the world: Brazil, Germany, France, Norway, Canada and the United States.
In Part 2, I focus on five TV series that explore issues to do with resource allocation, adaptations to climate change and corporate / government biopolitics.
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SILO: An Underground Murder Mystery & an Engineer’s Search for the Truth
This science fiction thriller is a dark cautionary tale based on Hugh Howie’s bestselling trilogy Wool, Shift, and Dust about a population living in an underground silo, humanity’s last refuge from a toxic outside world. Juliette Nichols (Rebecca Ferguson) is a humble and gutsy engineer in the Down-Deep who is relentlessly motivated in her journey to seek the truth. When Juliette inexplicably lands the job of sheriff of the Silo, she treats her new position as a tool to seek the truth about the suspicious death of her lover, George—a collector of illegal relics (artifacts from before the rebellion which precipitated the destruction of all information prior to it). In fact, no one seems to recall anything about before the rebellion some 140 years ago.
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Juliette fixing the huge generator that keeps the Silo working
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At her own peril, Juliette pulls on threads that ultimately reveal a greater conspiracy surrounding the Silo. For instance, why technology is restricted, why relics from the past forbidden, and why all behaviour is closely surveyed and judged through “the Pact,” the arcane bible written by the founders. Questions leading to more questions. For instance, who built the Silo and for what reason? Does it have to do with why it is so toxic outside? Questions point to the egregious actions and tragic circumstances that led to its origin. Actions and circumstances of the ‘before times’ that ultimately point to political intrigue, biological warfare and social oppression.
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Farm level in the Silo
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Juliette’s literal and metaphoric rise from the Down-Deep to the Up-Top is a feminist’s journey that transcends intersectional barriers as she battles small-minded men of power and maintains her integrity by refusing to abide by the inhumane Up-Top rules of order. By the end of Season 1, I sensed a victory for humankind through womankind, as Juliette’s relentless search for the truth disclose lies at all levels of Silo society. Juliette and others who join her unravel a horrific tale of deception, self-serving manipulation, power abuse and genocide that is relevant to the present day we are experiencing now.
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Market in the Silo
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Authentic world building, rivalling the best of Ridley Scott, is matched by superlative acting by a very talented cast. Main character Juliette was played by Rebecca Ferguson with incredible nuance and genuineness as both vulnerable and heroic, shy and assertive, kind and bossy. Silo demonstrates through every scene a meticulous attention to detail that commands a sense of reality. We truly experience the grubby machine room of the Down-Deep, the bustling cafeteria in the Mids, or the posh interior of Judicial chambers in the Up-Top. Reflecting the vertical class hierarchy, characters are dirty, wear worn and repaired clothing, and are attentive to recycling and conservation as befits an enclosed society with limited resources.
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Juliette Nichols
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As with Snowpiercer (another enclosed environment), the people of Silo live highly conscious of their limited space and supplies. Everyone is convinced that they or their group is ultimately most important in maintaining the Silo. Freedom Day, which celebrates freedom from the last rebellion (which existentially threatened the Silo with threats to open the doors to the outside), is followed by Forgiveness Day, in which citizens are encouraged to turn in illegal relics (e.g. any technology, books, or other artifacts from the ‘before times’) without reprisal. But, like a hamster on a wheel—or the generator in the down deep—eventually a wobble is introduced, threatening to crash the silo and put all in perpetual darkness with eventual flooding. It is no coincidence that, before taking on her role as sheriff, engineer Juliette (who refuses to use a band-aid approach) imposes a temporary black out to fix the generator to prevent the Silo’s eventual destruction.
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Lukas Kyle and Juliette Nichols wonder at the stars
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In that one act, her archetype is cemented: she is the herald of change, a disruptive force that, though at some cost, will reveal the greater truth for the greater good. Like a good catalyst hero, she stirs everyone and everything up to dig up the truth. She delivers the call to adventure to Lukas Kyle, who refuses at first, but finds his way. She inspires an entire population to seek the truth.
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Juliette warily seeks the truth
One of the truths Juliette finds at the end of Season One
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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.
I’ve selected ten TV series that have intrigued me, moved me, and stayed with me for various reasons that touch on: abuse of justice, including eco-justice and environmental abuse; technology use and abuse; and the effects and horrors of climate change.
Some are well known; others not so well known. All approach storytelling with a serious dedication to depth of character, important themes, realistic world building, and excellent portrayal by actors. The world-building is extremely well done—in some cases rivalling Ridley Scott’s best—with convincing portrayals of worlds that are at times uncanny in their realism. Worlds that reflect story from an expansive landscape to the mundane minutiae of daily life: like the cracked phone device of Detective Miller in The Expanse or the dirty fingernails of engineer Juliette Nichols in the Down Deep of Silo. Stories vary in their treatment of important themes from whimsical and often humorous ironies to dark and moody treatises on existential questions. In my opinion, these TV series rival the best movies out there, often reflecting large budgets (but not always) and a huge commitment by producers. The ten TV series I’ve selected in this series come from around the world: Brazil, Germany, France, Norway, Canada and the United States.
In Part 2, I focus on five TV series that explore issues to do with resource allocation, adaptations to climate change and corporate / government biopolitics.
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EXTRAPOLATIONS: A Journey into A Climate Changed Future
Extrapolations is an intelligent and vividly filmed mini-series of eight interconnected moral tales told over thirty-three years that extrapolate how our planet’s changing climate will affect family, work, faith, and—ultimately—our survival. Each episode focuses on the perspective of a few key characters whose choices often have significance consequence: from the myopic exploitation of greedy corporate moguls and feckless concessions of bureaucrats to the solidarity of common folk breaking the law to survive and scary solutions of eco-terrorists with messianic complexes. Emotions run raw and these characters you will either love or hate.
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Rebecca Shearer (Sienna Miller) braves a wildfire in “A Raven Story”
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Each episode adds its own installment of personal choice and tragedy. The first episode takes place a decade from now and is named “A Raven Story.” This first installment sets the tone of the entire series with an unsettling tirade of self-serving human actions to a sweeping tide of brewing climate disasters. What follows is a bleak procession of climate change calamity from growing wildfires and powerful hurricanes to sea level rise, melting glaciers, species extinction, and acidifying oceans. A few characters, trying to address environmental disaster, struggle with choices to either gamble the present for the future or gamble the future for the present. In the last scene, a climate activist Carmen Jalilo (Yara Shahidi) sums up the trajectory of the entire series. “What does an increase in global temperatures by two degrees Celsius mean to you and to me? It means that when the temperatures go up, our imagination must increase even more. It means that when the sea level rises we must rise up as well. It means that when forest fires obscure the horizon we must look toward each other and find our way forward. We cannot give up and go home for one simple reason. We already are home; this is our only home.”
Each episode in the procession of climate change is both a literal and metaphoric fable of our relationship to our environment, the creatures that live with us—our nonhuman relatives—and to each other: the real cause—and potential solution—to the calamities of climate change.
Episode 2, “Whale Fall”, features a beautiful heartfelt interaction between marine biologist Rebecca Shearer (Sienna Miller) and the last humpback whale in 2046. It is a solastalgic dirge on the sixth extinction event. When the whale asks the biologist “how might it be different” Shearer answers simply: “It will only change if we do, if we stop lying about the world, if we stop expecting the ones who come after us to fix it because we did not.”
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Gurav (Adarsh Gourav) buys a puff of clean air in Mumbai
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Episode 4, “Nightbirds”, oozes with such vivid visuals and angles, you can almost smell the stink in the air of Mumbai in 2056. Venders on the streets sell oxygen masks by the puff and real rice doesn’t exists; just the “synthetic, processed crap.” Driver Gurav (Adarsh Gourav) and handler Neel (Gaz Choudhry) flout the daytime curfew to transport illegal cargo (stolen seeds free of corporate branding) and a crazed geneticist to where they can be used in Varanasi. The drive becomes a nightmarish journey that touches on many aspects of ordinary life under the heel of climate change and the lengths that people will go to simply survive.
In Episode 6, “Lola”, the metaphors continue as this episode in 2066 explores the devastating memory loss of a main character through vascular dementia brought on by excessive carbon dioxide and heat. In the end, he has forgotten enough to forget that it even matters.
In 2017, I wrote an article about environmental generational amnesia. A term coined by Peter Kahn, professor of psychology at the University of Washington to explain how each generation can only recognize—and appreciate—the ecological changes they experience in their lifetimes.
In witnessing the collapse of large fish populations on the west coast, University of British Columbia fisheries biologist, Daniel Pauly observed that people just went on fishing ever smaller fish, resulting in what he called a “creeping disappearance” of overall fish stocks. He called this impaired vision “shifting baseline syndrome,” a willing ignorance of consequence based on short-term gain. This is because we are not connected. And because we aren’t connected, we simply don’t care. Environmental generational amnesia is really part of a larger amnesia, one that encompasses many generations; a selective memory driven by lack of connection and short-sighted greed.
Extrapolations ends in 2070 as Crypto mining has radically increased carbon output, higher temperatures are killing and disabling people en masse, and the weight of water in the higher oceans has altered the tectonic plates. While an element of hope glimmers in each episode, even if just through personal triumph and resilience, it is particularly notable in the last episode for reasons you need to watch to understand.
Each episode showcases an intimate personal journey woven into the larger story and strung in an anthology driven by a relentless changing climate and unruly environment. Make no mistake; the planet Earth, in the throws of climate change, is the main character here. This ambitious series dared to be more than human-centric, transcending beyond anthropocentric and androcratic worldviews in an attempt to elicit empathy for our entire world particularly the non human world. The series pointed to a more eco-centric view of this precious and beautiful world we live in. As a result, it suffered criticism.
Extrapolations was generally panned by critics and viewers alike as less than potent or even uninteresting and “flat” because it apparently traded character depth for scientific extrapolation and exposure. I couldn’t disagree more. I was gripped from the start by this large story. Characters throughout the episodes provided a panoply of understated archetypes to represent a cross section of humanity in the throws of climate catastrophe. Characters I either loved or hated or wanted to smack to wake them up. And I couldn’t help cheering when a certain miserable cruel human was offed by, of all things, a walrus mother protecting her pup.
I found the series incredibly potent for its realistic portrayal of a tortured environment at the hands of human apathy and fecklessness. I felt solastalgia creep into my bones as I witnessed this bleak future. There was something utterly tragic about a young corporate executive escaping her stressful job by retreating to a pretend autumn forest in a virtual chamber—when the real thing was no longer available. The loss of our wildlife and trees. Pure fresh air. Blue skies. Healthy oceans and freshwater. These are all things most of us still take for granted or don’t even care about.
Individual scenes lingered long after they were gone: people wearing galoshes to attend a drowning synagogue in Miami; two seed smugglers defying day curfews against overwhelming heat and noxious air quality to deliver contraband seeds to farmers in Mumbai; a news reel listing the extinction of the Polar Bear and the African Elephant as a young boy cuddles his stuffed animal version. I cried for these majestic creatures, fallen at our hands. And I cried for us at our great loss.
Ultimately, this series is all about the choices we make for this planet and our survival on it. Extrapolations makes it clear that choices, any choices, can be key to saving life on this planet. This series is not just a clear clarion call but a heartfelt exhortation for us to be brave and act now. In any way we can.
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.
Inventor/author Kyo Hwang Cho recently identified Nina Munteanu, Kim Stanley Robinson, Jeff VanderMeer, and Richard Powers as Leading Voices in Eco-Science Fiction in an article on the LinkedIn Skyhome Newsletter.
Cho wrote:
Kim Stanley Robinson: Robinson is renowned for integrating ecological themes into his narratives. His works like The Ministry for the Future and the Mars Trilogy explore climate change, sustainability, and alternative socio-economic systems. His stories often centre around scientists striving for environmental reform.
Jeff VanderMeer: Best known for the Southern Reach Trilogy, beginning with Annihilation, VanderMeer delves into a nature-reclaimed mystery zone called Area X. His work blends ecological concerns with surreal and speculative storytelling, offering a unique lens on environmental collapse.
Richard Powers: While not strictly a science fiction author, Powers’s novels such as The Overstory and Playground revolve around nature’s impact on human lives and vice versa. His writing emphasizes the deep interconnectedness of species and ecosystems.
Nina Munteanu: A Canadian ecologist and writer, Munteanu’s stories explore how humans interact with the environment. Her narratives often examine the intersection of science, climate crisis, and spiritual transformation.
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Cho included the following Noteworthy Eco-Science Fiction Works:
“The Ministry for the Future”: A speculative exploration of global climate crisis responses through policy, activism, and emergent technology.
“Annihilation”: A surreal expedition into a wilderness zone that defies scientific explanation, echoing the unpredictability of nature itself.
“The Overstory”: A web of interconnected lives bound by trees, showing how the natural world can act as both witness and protagonist. [Inclusion of this book in the eco-SciFi subgenre is a stretch: however, like my own book, there are elements of speculation, and some subtle fantastical elements that one can argue place it in a scifi setting]
“A Diary in the Age of Water”: A dystopian look at a future shaped by water scarcity, societal collapse, and ecological memory.
Cho defines Eco-SciFi this way: “Eco-SciFi is a subgenre of SciFi that foregrounds ecological consciousness, blending speculative fiction with climate science, ethics, and planetary survival.” He includes a table that distinguishes Eco-SciFi from traditional Sci-Fi in several core areas from core theme, tone and motivation to protagonists and ‘message.’
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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.
Nina Munteanu Writing Coach 