My guest today is Calgary author Simon Rose, who has published nineteen novels for children and young adults, eight guides for writers, more than 100 nonfiction books, and many articles on a wide variety of topics. Today, we’re going to chat about his Shadowzone series, which was first published in 2017, with a second edition in 2025.
Nina: So, what’s the Shadowzone series all about?
Simon: The series involves the discovery of a grim dystopian version of Earth that’s ruled by a totalitarian dictatorship, the threat of a deadly virus, and a race against time to save the lives of millions. Without giving too much away, here’s a synopsis for each of the novels.
While watching intense flashes of lightning during a violent storm, Ben experiences mysterious and disturbing visions of another world, one that’s very different from his own. In the chain of events that follow, Ben encounters Charlie, a girl from a dark version of Earth, a planet doomed by the effects of environmental catastrophe, where the leaders will stop at nothing to complete their deadly mission.
On a doomed version of Earth, the sinister schemes of the Ministry are moving ever closer to completion, with dire consequences for the inhabitants of two worlds. For Ben and Charlie, an unlikely alliance, unexpected reunions, and the mysterious prophecy of the Chosen One offer a glimmer of hope, with the ever-present prospect of betrayal, as they embark on an unpredictable journey into the unknown.
In a dark parallel world, following attacks by its most determined opponents, the Ministry has been forced to change its plans. Yet the ruthless Director-General is prepared to sacrifice anyone to achieve an entirely new beginning, no matter what the cost. In a deadly race against time, as events spiral out of control, Ben and Charlie must risk their lives in a desperate attempt to save two worlds from destruction.
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Nina: What inspired you to write these three books? What’s the story behind the story?
Simon: The original idea was about someone capturing mysterious images on a video camera of a person that no one else could see. It was around the time that a local hospital was about to be demolished. I imagined that my character was filming the event and captured the image of the person stepping seemingly unharmed from the rubble as the building came down.
For a while, that’s all I had, and it was one of those ideas that I was never sure would come to anything. It was early in my writing career, and I put it aside and worked on other stories, but I’d periodically add another element to the story about the camera and the mysterious individual. At one point, I decided that the person that the boy caught on film wasn’t a ghost but from another dimension or perhaps a parallel universe and they were attempting to contact him for some reason. I then began to add details of this other Earth and the reasons for the connection to our world, and it went from there. An initial concept involving kidnappings from hospitals didn’t quite work, so instead, and before the arrival of the recent pandemic, I developed the idea of a deadly virus, which was a good fit with the type of government running the other Earth. Once that was all in place, I was able to get to work.
Nina: Was it always going to be a series?
Simon: Shadowzone was originally only one novel, but once I’d finished it, I immediately realized that the story wasn’t over and that I need to write more. The final installment was written very quickly, and, in the process, I knew that I needed to expand the earlier sections too, so in the end I had a trilogy.
Nina: So of course, people need to read all three 🙂
Simon: You could certainly just read Shadowzone, but there’s a cliffhanger ending and hopefully most people will feel utterly compelled to read on and learn what happens next. Into The Web and Black Dawn also don’t make sense if you haven’t read the first book in the series. Taken together, it’s an exciting, fast paced adventure that I hope everyone will really enjoy.
Nina: So, is it a good idea for authors to write a series of books?
Simon: It can be, but only if you have enough material for multiple books. If readers are sufficiently interested in the story and the characters after completing the first installment, they’d usually like to read more. However, the story or theme has to be strong enough to warrant more adventures. The reader won’t appreciate a novel that’s overloaded with filler, just for the sake of creating a series, and might avoid any books by the same author in the future.
Nina: And you’re doing adaptations of the Shadowzone books for TV and movies, aren’t you?
Simon: Yes, I’ve created a synopsis for a three-season TV series based on the Shadowzone books. I’ve also created a script for the initial episode, based on the first novel in the series. The three books involve a dark parallel version of Earth, mysterious portals, and the threat of a deadly virus. The dystopian setting has proved popular over the years and will probably continue to appear on screen. There has been interest in the project from people involved in film and TV projects and I’m certainly open to working with others to bring this one to life.
I’ve also seen some TV shows recently in which although there were adult characters, the main ones were in their mid or late teens and the show could be watched and enjoyed by adults. The lead characters were the same age as those in the Shadowzone books and in the novels in my paranormal Flashback series. That encouraged me to work on adaptations of the stories for the screen, since it seemed that there might be a market for them. I’m continuing to work on further episodes for the first season of the Shadowzone TV series.
Nina: What are you currently working on?
Simon: I always have a few current projects and right now, along with the script adaptations, I’m working on another historical fantasy novel series, this time set in the early years of World War II. I’m also working on more books in the same genre as my previously published paranormal Flashback novels, a fantasy series, and a historical fiction novel. I also teach writing courses at the University of Calgary and am working with some authors in the Alexandra Writers Centre’s Author Development Program.
Anyone interested in keeping up to date with the projects that I’m working on is always welcome to subscribe to my monthly newsletter, which you can do at www.simon-rose.com.
Nina: You work with other authors looking to publish, don’t you?
Simon: Yes, I offer coaching, editing, consulting, and mentoring services for writers of novels, short stories, fiction, nonfiction, biographies, and in many other genres, plus do work with writers of scripts and screenplays. I’m a writing instructor and mentor at the University of Calgary and served as the Writer-in-Residence with the Canadian Authors Association. You can find details of some of the projects I’ve worked on with other authors, along with some references and recommendations, at www.simon-rose.com.
Nina: So where can people buy all the books in the Shadowzone series?
Simon: The books can be purchased at most of the usual places, as follows:
“It is a novel to learn from, and it is a novel to take forward into life as inspirational guide. Each of us is called upon to examine, not only our relationship with water, but with all Earth gifts.”
Jane Buchan, author & educator
Vermont author Jane Buchan recently wrote a review of my 2020 eco-fiction novel A Diary in the Age of Water. Here is an excerpt:
As climate, social, and political crises escalate, one source of guidance becomes essential to our continued optimism and activism: a Numinous Story… A Diary in the Age of Water by Nina Munteanu, is, for many of us alive in these terrifying times, a numinous story. It meanders through our consciousness with the enlightening science of fresh-water lakes and rivers and streams, sometimes heavy with sediment and toxicity, sometimes fast flowing and cleansing, sometimes terrifying with truths smacking us down with the force of a tidal bore. Its characters are story tellers and story receivers, and despite their diverse natures, all the stories they tell reveal the many threats to our source of life on Earth – our water.
Nina Munteanu’s novel structure is perfect for the weaving of human scientific and mystical relationships with water. It’s initial and final sections create a frame for the inner story of bitterness, despair, self-serving behaviours, and corporate rapaciousness described by a professional scientist, a limnologist named Lynna. In the outer story we meet Kyo and Nam, Kyo’s mentor, as well as Ho, a librarian and keeper of a remnant of rare books. These characters exist on the other side of a mysterious cataclysm, the causes of which are the novel’s key themes.
Kyo, a small, four-armed blue being whose story begins and ends the novel, introduces us to the characters who form the larger diary section framed by the opening Library section and final Seed Ship section. Kyo makes glancing references to Una, mother of Lynna, and Lynna, mother of Hilde. Only Lynna is fully realized through her own perceptions and thoughts, these expressed in diary entries beginning in the spring of 2045 and ending in the late fall of 2066. Her diary, taking up 250 pages of this 303-page novel, provides the chronological spine connecting our past and present to a possible future that is not the one most humans want to think about, let alone welcome.
A Diary in the Age of Water is best sipped and savoured rather than gulped. Gulping will lead to choking for most non-scientist readers, and this book deserves to be experienced as it is written, in slow, undulating, revelatory waves… Like all complex stories, A Diary in the Age of Water requires patience, something our video-oriented age does not foster. The richest stories ask that we learn to hold many apparently divergent story threads at once. One of my fears as I read the diary was that the darkness of greed and short-sighted thinking and feeling would win out over that wondrous mystical relationship with the world that Una carried. While Una does her best to pass the experience of the sacred on to Lynna, Una’s spiritual influence is eclipsed by Lynna’s oppressive dependence on scientific knowledge to the exclusion of all else.
Through these characters, Nina Munteanu offers a warning for our times. Science is vitally important to our understanding of natural systems but science best serves us when it is balanced with an experience of the responsiveness of the natural world, a responsiveness that evokes our reverence and respect. Every culture honours the spiritual nature of the greater-than-human world, encoding its reverence in mythology, folktales, and wisdom traditions. – all keepers of numinous stories that transform our relationships with one another and the world. When we live honouring the sacred nature of all life, we become partners and co-creators. When we do not, we are highly dangerous parasites…
Lynna is called to hold the science of water firmly in her mind as her heart slowly opens to water’s responsiveness, water’s intelligence, water’s generosity, water’s love. It is a huge transformation for her, because science has been her safe place, her refuge. But knowing how something works is only the first part of the journey for those of us alive on this watery planet; we must all experience the why – the joy of unbreakable interconnections that make our lives meaningful… It is not Una’s daughter, Lynna, who carries this numinosity forward. It is Hilde, Una’s granddaughter, whose name means, significantly, Warrior Woman. How Kyo fits in to this lineage is one of the novel’s most unique speculations, one best discovered by reading the entire novel.
This novel is rich with information about water’s evolutionary journeys; it also describes the horrors of human greed that directly impact our relationships with water. It is not an easy book, but it is an important one, especially for people ready to engage, to advocate, to stand against the corporate insanity currently destroying Earth’s delicate balances. It is a novel to learn from, and it is a novel to take forward into life as inspirational guide. Each of us is called upon to examine, not only our relationship with water, but with all Earth gifts.
Go to Jane’s site Winterblooms to read the full review, worth reading in its entirety for its rich and poetic narrative.
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Jane Buchan is a writer currently living in Vermont and originally from southwest Ontario. Her books include Under the Moon, Kinder Sadist and her latest, The Buttes. She is also an emotional Freedom Techniques (EFT) coach, Master Trainer and educator.
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Jackson Creek flowing through ice formations (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. 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 recently participated in author readings from the eco-fiction anthology “Through the Portal: Tales from a Hopeful Dystopia.” Co-editor Lynn Hutchinson Lee and I opened the session with some introductory remarks, followed by readings by four of the anthology writers: Annaliese Schultz, Jade Wallace, Isabella Mori, and Matt Freeman.
Co-editors Lynn Hutchinson Lee and Nina Munteanu introduce the anthology at the reading; authors and moderator pictured above
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The readings generated a lot of discussion about the nature and role of eco-fiction and stories in general on how we view the world and how that, in turn, influences the choices we make in life. Below, I include a short story excerpt and audience reaction for each author who read.
Annaliese Schultz read from her story Water & Oil. “Bursting from months, maybe years, of inertia born of dismay (engendered by the unending disasters of the world), Zip is instantly galvanized and greater than himself and gone.” One audience member shared that her story “sounded horrifyingly too possible.”
Jade Wallace read from her story Pluck. “It was only after I started working at the florist a few months ago that I began to think of plants as things that move. I learned that algae may swim towards the light; sundew can catch insects in their stalks; the leaves of touch-me-nots will slouch when they feel rain.” A member of the audience shared that “with what we now know about the way trees/plants communicate with each other, it was a neat story of crossing over to try to tell humans something.”
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Jade Wallace reads from her story “Pluck”
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Isabella Mori read from her story Shift. “Red Nelly, that’s what they called my grandmother; always looked a little dishevelled. So did her living room. Four book shelves were squeezed into the small room, sagging with dark tomes, oversized coffee-table books, Greenpeace brochures, and video cassettes that even her questionable looking TV couldn’t play anymore.” Someone in the audience mentioned that the author had woven a very human story. “Stories are sometimes better teachers than all other forms available to us. I felt moments of warmness and reflection.” Another audience member added, “The wisdom of animals and plants—there’s hope for the planet. I’m ordering this book from my local independent as soon as I close his meeting!”
Matt Freeman read from his story Birdseed: “Near the end I began to devote the bulk of my time to what I believed to be a gregarious individual of the species Corvus brachyrhynchos—the American Crow. By then a chemical scythe had begun to carve up the clouds hanging over the lands of ‘Vancouver’ in a psychedelic frenzy, and the shocked blue skyline often bled in shades of lime.” One audience member shared, “I loved he way ‘birdish’ words kept appearing: perch, cage. This may be Matt’s first published story, but I’m sure it won’t be the last.” Another audience member shared, “I loved the connection with the wisdom and personification of your crow.”
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Nina Munteanu commenting on one of the readings
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The readings generated a lot of discussion about the nature and role of eco-fiction and stories in general on how we view the world and how that, in turn, influences the choices we make in life.
Audience members shared that they found the readings inspiring. One member shared, “I find stories and poems have a more transcendent or at least deeper connection when read aloud. I wasn’t sure what to expect. So glad to be a part of this reading. The book sounds amazing.” Another member shared, “Keep hope alive!”
For more about how this anthology came about go to my previous post on Through the Portal.
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Hopeful dystopias are so much more than an apparent oxymoron: they are in some fundamental way the spearhead of the future – and ironically often a celebration of human spirit by shining a light through the darkness of disaster. In Through the Portal: Tales from a Hopeful Dystopia, award-winning authors of speculative fiction Lynn Hutchinson Lee and Nina Munteanu present a collection that explores strange new terrains and startling social constructs, quiet morphing landscapes, dark and terrifying warnings, lush newly-told folk and fairy tales.–Exile Editions
“A stunning collection of short stories and poetry that address our most existential concerns.”
“Will ingenuity, love, and respect for the earth help us work through whatever changes might lie ahead? Through the Portal offers hope that these qualities, if not enough in and of themselves, will help us find our way.”
Farmer’s field at sunset, winter in Ontario (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. 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.
Through the Portal anthology continues to garner attention and accolades by reviewers, booksellers, and readers throughout Canada. Released December 31, 2024 and launched in several locations in Canada, Portal is celebrated for its hopeful lens on an otherwise bleak future with thirty-five unique short stories, flash fiction, and poetry and an afterward.
There are many faces for hope; this anthology has thirty-six of them. Each story in the anthology features a unique hopeful lens that draws from a diversity of authors from around the world and throughout Canada. Stories that touch on nostalgia to respect, enlightenment to endurance. In these tales that range from compassion and healing to cautionary warnings of dark insight, hope may wear a human face or the face of a tree, black crow, or leaf.
Hopeful dystopias are so much more than an apparent oxymoron: they are in some fundamental way the spearhead of the future – and ironically often a celebration of human spirit by shining a light through the darkness of disaster. In Through the Portal: Tales from a Hopeful Dystopia, award-winning authors of speculative fiction Lynn Hutchinson Lee and Nina Munteanu present a collection that explores strange new terrains and startling social constructs, quiet morphing landscapes, dark and terrifying warnings, lush newly-told folk and fairy tales.—Exile Editions
“A stunning collection of short stories and poetry that address our most existential concerns.”
Dragonfly.eco
“Will ingenuity, love, and respect for the earth help us work through whatever changes might lie ahead? Through the Portal offers hope that these qualities, if not enough in and of themselves, will help us find our way.”
The Seaboard Review
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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.
In his 2006 book The Seven Basic Plots: Why We Write Stories, Christopher Booker tells us that there are seven types of plots in story. One is entitled “Overcoming the Monster,” an underdog story where the hero sets out to destroy an evil to restore safety to the land. It is a story I admire and never tire of. The evil force is typically much larger than the hero, who must find a way, often through great courage, strength, inventive cunning—and help from her community—to defeat the evil force. This is the story of David and Goliath, of Beowulf and Grendel, of Luke Skywalker and Darth Vader in Star Wars, of Jake Sully and Miles Quaritchs in Avatar—notice, all men who, for the most part, do their hero-ing alone. I may get to that later (in another post)…
The “Overcoming the Monster” plot, whether told literally or through metaphor, reflects an imbalance in the world—usually of power—that the hero must help right.
Enter the “Monster” DuPont…
DuPont Washington Works plant in Parkersburg, West Virginia
The true story of DuPont’s decades-long evil maleficence reflects the great power imbalance of many large corporations and the evil they enact through willful deception and mischief to increase profit, their god.
This brings me to my heroic journey. For in some terrible way, the story of DuPont is also my story. One of power imbalance, of deception and ignorance. Their deception; my ignorance:
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In 1954, the year I was born, during the ramp up for the Teflon rollout at DuPont’s Washington Works plant in Parkersburg, toxicologist R.A. Dickison noted possible toxicity of the surfactant C8 (PFOA or Perfluorooctanoic Acid) used to make Teflon. DuPont ignored the warning and proceeded to roll it out for mass use.
1950s DuPont ad for the Teflon “Happy Pan”
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In 1961, while I was contending with recess bullies in grade two, DuPont rolled out their Teflon-coated “Happy Pan” with the full knowledge that C8 was a toxic endocrine disruptor and caused cancer. DuPont’s chief toxicologist Dorothy Hood cautioned executives in a memo that the substance was toxic and should be “handled with extreme care.” She explained that a new study had found enlarged livers in rats and rabbits exposed to C8, confirming that the chemical was toxic. It didn’t stop the roll out.
In 1962, while I was exploring my artistic talents at school,DuPont scientists conducted tests on humans, asking a group of volunteers to smoke cigarettes laced with C8. Nine out of ten people in the highest-dosed group were noticeably ill for an average of nine hours with flu-like symptoms that included chills, backache, fever, and coughing. Further experiments by DuPont linked C8 exposure to the enlargement of rats’ testes, adrenal glands, and kidneys.
In 1964, I was ten years old and struggling with my Grade 5 teacher who was trying to curb my unique self-expression. I was already aware of environmental imbalance and destruction in the world. My pet peeve was littering because it demonstrated great disrespect for others and the environment. I told environmental stories. That year DuPont had already begun its great deception; having confirmed the toxicity of C8, they simply watched (and recorded) as this cancer-causing endocrine disruptor injured, maimed and killed their own workers. The company did nothing to prevent it and they told no one.
In 1965, I was in the process of figuring out my heroic self and my unique gift to the world in Grade seven: was it in fine arts and advertising? Writing and storytelling? Environmentalism and law? Internal DuPont memos revealed that preliminary studies showed even low doses of a related surfactant to Teflon could increase the size of rats’ livers, a classic response to poison.
In the mid- to late-60s, I became an environmental activist, putting up posters and writing in the school paper. I wrote letters to industry and politicians, trying to incite interest in being good corporate citizens and promoting global environmental action. I remember a well-meaning teacher chiding me for my extravagant worldview. “Stick to little things and your community—like recycling,” he suggested patronizingly. I remember the shock of realizing that not everyone felt the planet like I did. Perhaps it was a teenage-thing, or a girl-thing, or a nina-thing. I prayed it wasn’t just a nina-thing…
I started writing stories in high school. Mostly eco-fiction, though I didn’t know that’s what it was at the time. There was no genre called eco-fiction back then. It all went under the umbrella of scifi.
In 1969, at fifteen, I wrote my first dystopia, Caged in World. The eco-novel was about a subway train driver and a data analyst caught in the trap of a huge lie. The story later morphed into Escape from Utopia. Several drafts and years later the novel became the eco-medical thriller Angel of Chaos, published in 2010. The story is set in 2095 as humanity struggles with Darwin’s Disease—a mysterious neurological environmental pandemic assaulting Icaria 5, an enclosed city within the slowly recovering toxic wasteland of North America. The city is run by deep ecologists who call themselves Gaians, and consider themselves guardians of the planet. The Gaians’ secret is that they are keeping humanity “inside” not to protect humanity from a toxic wasteland but to protect the environment from a toxic humanity.
Lawyer Robert Bilott (Mark Ruffalo) investigates leachate-infected cows from nearby DuPont landfill (photo from film “Dark Waters”)
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In the early 1970s, I entered university and contemplated becoming an environmental lawyer; I wrote short stories, mostly eco-fiction, and joined marches protesting environmental destruction by large corporations. DuPont confirmed that C8 not only persisted in the environment; it bioaccumulated in animals. In 1979, when I graduated with a Master of Science degree in limnology/ecology, DuPont circulated an internal memo in which humans exposed to C8 were referred to as “receptors,” describing how scientists found “significantly higher incidence of allergic, endocrine and metabolic disorders” as well as “excess risk of developing liver disease.” DuPont kept this knowledge to themselves and withheld it from EPA.
In the late 1970s early ‘80s, while I was addressing local environmental issues as a practicing limnological consultant, DuPont was dumping 7,100 tons of PFOA-laced sludge into unlined ‘‘digestion ponds’’: open, unlined pits on the Washington Works property, from which the chemical could seep straight into the ground. PFOA entered the local water table, which supplied drinking water to the communities of Parkersburg, Vienna, Little Hocking and Lubeck — more than 100,000 people.
Effects of PFOA (birth defect in Bucky Bailey whose mother was on the Teflon line without protection during her first trimester; blackening teeth from the excessive fluoride, from scene in “Dark Waters”)
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In 1981, when I got my first job as a limnologist and environmental consultant in Vancouver, DuPont confirmed that C8 caused birth defects in its own workers—and did not warn its workers. A DuPont pathologist confirmed that the observed fetal eye defects were due to C8. With that confirmation the pregnancy study was quietly abandoned and a decision made not to inform EPA. Less than a year later DuPont created false data for EPA then moved women of childbearing age back into areas with C8 exposure. Many in the company coined the term “Teflon flu” to describe the ill-effects of working close to the compound. By 1982, DuPont had confirmed the high toxicity of C8/PFOA in humans.
In 1984, a year after I formed my own consulting company Limnology Services in Vancouver, DuPont staffers secretly tested their community’s drinking water and found it to contain alarming levels of C8. Deciding that any cleanup was likely to cost too much and tarnish their reputation, DuPont chose to do nothing. In fact, they scaled up their use of C8 in Teflon products and bought land to dump their toxic sludge in unlined landfills. Deaths in DuPont workers from leukemia and kidney cancer climbed.
In 1989, at 35 years old, and still blissfully unaware of DuPont’s nefarious activities, I continued consulting for my own company Limnology Services, addressing mostly local environment issues with communities and local governments. By that year, DuPont employees found an elevated number of leukemia deaths at the West Virginia plant, followed by an inordinately high number of kidney cancers among male workers. Earl Tennant, whose farm was close to the DuPont landfill at Dry Run creek, sent videos of foamy water and diseased cows to the West Virginia Department of Environmental Protection; state regulators documented “numerous deficiencies in the landfill operation and erosion gullies that funnelled waste into Dry Run creek; DuPont made a deal with the department: the company paid a $250,000 fine and the department took no further action against the landfill. (The official who negotiated the deal later became a DuPont consultant.)
Throughout the 90s, I started teaching college biology and university environmental education courses in Vancouver. The magazine Shared Vision Magazine published my first article “Environmental Citizenship” in 1995. Meantime, DuPont’s Washington Works plant pumped hundreds of thousands of pounds of PFOA sludge, powder and vapor through stacks into the atmosphere and outfall pipes into the Ohio River.
In 1996, I was consulting for local industry and municipalities. By then, C8 was in the drinking water of Parkersburg and other communities. Despite what they knew of C8’s toxicity, DuPont kept it a secret (no one else was testing for PFOA because it was unregulated).
Farmer Tennant and lawyer Rob Billot encounter a leachate-infected mad cow in the 2019 film “Dark Waters”
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In 1999, still serving as environmental consultant to mining and pulp mill companies, I still knew nothing about DuPont’s duplicitous environmental atrocities. 3M—troubled by its studies on C8 with monkeys—notified EPA and phased out PFOS and PFOA; DuPont started producing its own PFOA. On behalf of Earl Tennant whose cattle were dying adjacent to DuPont’s landfill site, lawyer Rob Bilott filed a small suit against DuPont to gain legal discovery and starting the decade-long process of finally unravelling the buried truth of their insidious criminality–over thirty years after DuPont knew and did nothing.
In 2003, I continued consulting as an environmental scientist in ignorance of DuPont’s misdealings, though by now much had come out in the press. By that year, DuPont had knowingly dispersed almost 2.5 million pounds of harmful C8 from its Washington Works plant into the air and water of the mid-Ohio River Valley area.
DuPont’s Washington Works plant in Parkersburg, West Virginia
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In 2004, DuPont agreed to settle the class-action suit filed by lawyer Rob Bilott. Under the terms of the settlement, the company was not obliged to pull C8 from the market. The best the EPA could negotiate was a voluntary phase-out by 2015. That same year There It Is reported on how DuPont denied poisoning consumers with Teflon products. The dangers and spread of PFOA and other forever chemicals appeared more and more in the scientific literature (see the reference list below, which is by no means exhaustive).
In 2007, Darwin’s Paradox, my eco-fiction novel about an environmental pandemic, was published by Dragon Moon Press in Calgary, Alberta. Four years earlier, the law had finally caught up to DuPont, but not before they had dispersed 2.5 million pounds of harmful C8 from their Washington Works plant into the air and water of the mid-Ohio River Valley area. It would be another twelve years before DuPont would stop making C8 (in 2015) and another four years after that when C8 would be banned from use globally (2019). PFOA is still unregulated by EPA; the best they can do is issue a non-enforceable health advisory set at 70 parts per trillion.
In 2012, shortly after I moved to Nova Scotia to write for a living (having quit environmental consulting due to disillusionment with integrity of companies I worked for), the C8 Science Panel, tasked to study the possible health effects of PFOA in a highly exposed population in the mid-Ohio Valley, determined a probable link between C8 exposure and six disease categories: kidney cancer, testicular cancer, ulcerative colitis, thyroid disease, preeclampsia, and high cholesterol.
In 2015, two years after I began teaching writing at the University of Toronto, DuPont began a series of complex transactions that transferred its responsibility for environmental obligations and liabilities associated with PFAS (C8) onto other entities such as Chemours, Corteva, and NewDupont. A year later New York Times Magazineran a story “The Lawyer Who Became DuPont’s Worst Nightmare” and Sharon Lerner of The Intercept ran an in-depth series on DuPont’s duplicitous criminality: “The Teflon Toxin: DuPont and the Chemistry of Deception.”
In 2017, DuPont and its spinoff company Chemours agreed to settle a lawsuit with roughly 3,500 people living near the Parkersburg plant in both West Virginia and Ohio and many ailing from toxicity-related problems. The company agreed to pay $671 million. That’s one day’s sales in a $27 billion annual profit stream. The Fayetteville Observer reported that this “Discontinued chemical [was] still in well water” after DuPont agreed in 2009 to stop using C8. They noted that the company was facing a class action lawsuit from thousands of people in Ohio and West Virginia for discharging the toxic chemical into the Ohio River since the 1950s.
In 2019—sixty-seven years after DuPont knew PFOA was toxic and did nothing—this forever chemical was finally banned globally under the Stockholm Convention. Unfortunately, by 2019, PFOA was already literally everywhere on the planet in concentrations considered unsafe. Given its high water-solubility, long-range transport potential, and lack of degradation in the environment, PFOA persists in groundwater and is ubiquitously present in oceans and other surface water around the globe. It is found in remote areas of the Arctic and Antarctic (where it was not used or manufactured), no doubt transported there through ocean currents and in the air, bound on particles. NBC Newsran a news piece about ‘forever chemicals’ contaminating drinking water near military bases. The Guardian ran a news article: “Companies deny responsibility for toxic ‘forever chemicals.’” In Maine, The Portland Press Herald ran a story: “Households are awash in ‘forever chemicals’.”
In 2020, NBC News revealed that DuPont was still avoiding its responsibility to clean up its C8 mess and compensate those harmed by DuPont’s negligence.
In 2022, I finally learned about DuPont’s decades-long environmental dispersal of toxic PFOA (C8) and their criminal deception throughout this life time. I’d lived through DuPont’s entire six decades of deception in ignorance.
Poster for the 2019 film “Dark Waters” on DuPont’s criminal activities and the lawyer who exposed them
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In 2022, three years after its release, I chanced upon “Dark Waters,” the 2019 film starring Mark Ruffalo who plays lawyer Robert Bilott, the man who took DuPont to court in 2002. I found out seven years after DuPont was forced to stop using PFOA and a lifetime after they started their egregious pollution and deception in the 1950s. For over six decades, from when I was born to well into my sixties, DuPont executives chose to:
Below are the faces of the DuPont men and women who sanctioned–encouraged–the willful harm of other life. Despite knowing the danger posed by exposure to PFOAs to people, these DuPont CEOs chose to: 1) continue to poison the environment and people, 2) cover up their actions from authorities, and 3) fight the courts and regulators from doing the right thing when they were caught. No one went to jail. No one was fired. They just paid $$$ and shamefully kept going. These people are criminals.
DuPont CEOs from 1950-2019 who sanctioned release of PFOA into the environment then covered it up: Crawford H. Greenewalt, Lammot Copeland, Charles B. McCoy, Edward G. Jefferson, Richard E. Heckert, Edgar S. Woolard, John A. Krol, Charles O. Holliday Jr., Ellen Kullman, Edward D. Breen
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It’s not over either; DuPont currently uses other PFAS compounds that are unregulated but whose toxicity is being found to be as potent. And, of course, these other ‘forever chemicals’ are finding themselves everywhere. I was ignorant of all this the whole time. Meantime, I am drinking DuPont’s forever chemicals, I am eating DuPont’s forever chemicals, and I am feeling DuPont’s forever chemicals falling on my face in the rain.
My hard lesson: Ignorance breeds complacency and hubris; both will lead to downfall.
To return to the “Overcoming the Monster” story plot and the monster archetype, I’m convinced that it isn’t the Darth Vaders or Miles Quaritchs we must overcome. Yes, they are monsters, but they serve a greater monster. For Vader it was Emperor Palpatine and for Quaritch it was the executives of the RDA Corporation. While Vader and Quaritch may be the face of evil, true evil lurks behind them, orchestrating, in the shadows. It is an evil we must fight internally, because each of us carries that potential evil inside us—in the urge to cheat on our taxes; in looking for the free ride (there are no free rides); in coveting what others have when what we have is enough; in embracing self-deception through unsubstantiated narratives and confabulation; and in choosing to remain ignorant to suit a short-sighted and self-serving agenda. I’m guilty too.
I hope some aspects of the hero that live in me, as with everyone, are helping to overcome the monster by writing about it in articles I share here and elsewhere and by presenting a different narrative—one of resistance and hope—through my fiction.
In a post on The Meaning of Water, I list which CEO was on watch and responsible for each criminal atrocity enacted. The post also goes into more detail on the six decade history of DuPont’s criminal atrocities and great deception. For more detail on each decade of atrocity and deception, check out my posts by decade: 1950s, 1960s, 1970s, 1980s, 1990s, and 2000s. What follows into the present day is perhaps even more atrocious, given that all is supposedly out in the open. This predatory company continues to bribe officials, lie and deny, threaten the weak, and so much more.
p.s. To understand the nature of industrial duplicity of large corporations such as DuPont, I highly recommend reading the 2023 study by Nadia Gaber and colleagues in the Annals of Global Health. The authors evaluated previously secret industry documents on PFAS to understand the significant delayed disclosure of harm posed by PFAS: from its production in the 1940s, to suggestions of toxicity in the 1950s, to irrefutable knowledge of PFAS toxicity in the 1960s, and–due to lack of transparency and suppression of scientific findings–public knowledge of this only arising in the late 1990s (mainly because of legal suits and discovery).
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References:
Ahrens L. 2011. “Polyfluoroalkyl compounds in the aquatic environment: a review of their occurrence and fate.” J Environ Monit 13: 20–31. 10.1039/c0em00373e
Barton CA, Butler LE, Zarzecki CJ, Laherty JM. 2006. “Characterizing perfluorooctanoate in ambient air near the fence line of a manufacturing facility: comparing modeled and monitored values.” J Air Waste Manage Assoc 56: 48–55. 10.1080/10473289.2006.10464429
Barton CA, Kaiser MA, Russell MH. 2007. “Partitioning and removal of perfluorooctanoate during rain events: the importance of physical-chemical properties.” J Environ Monit 9: 839–846. 10.1039/b703510a
Busch J, Ahrens L, Xie Z, Sturm R, Ebinghaus R. 2010. “Polyfluoroalkyl compounds in the East Greenland Arctic Ocean.” J Environ Monit 12: 1242–1246. 10.1039/c002242j
Gaber, Nadia, Lisa Bero, and Tracey J. Woodruff. 2023. “The Devil they Knew: Chemical Documents Analysis of Industry Influenc on PFAS Science.” Ann Glob Health 89(1): 37.
McMurdo CJ, Ellis DA, Webster E, Butler J, Christensen RD, Reid LK. 2008. “Aerosol enrichment of the surfactant PFO and mediation of the water-air transport of gaseous PFOA.” Environ Sci Technol 42: 3969–3974. 10.1021/es7032026
Paustenbach, Dennis, Julie Panko, Paul K. Scott, and Kenneth M. Unice. 2007. “A Methodology for Estimating Human Exposure to Perfluorooctanoic Acid (PFOA): A Retrospective Exposure Assessment of a Community (1951-2003)” Journal of Toxicology and Environmental Health
Prevedouros K, Cousins IT, Buck RC, Korzeniowski SH. 2006. “Sources, fate and transport of perfluorocarboxylates” Environ Sci Technol 40: 32–44. 10.1021/es0512475
Velez, M.P., T.E. Arbuckle, W.D. Fraser. 2015. “Maternal exposure to perfluorinated chemicals and reduced fecundity: the MIREC study.” Human Reproduction 30(3): 701-9.
Vierke, Lena, Claudia Staude, Annegret Biegel-Engler, Wiebke Drost, and Christoph Schulte. 2012. “Perflurorooctanoic acid (PFOA)–main concerns and regulatory developments in Europe from an environmental point of view.” Environmental Sciences Europe 24: 16
Yamashita N, Kannan K, Taniyasu S, Horii Y, Petrick G, Gamo T. 2005. “A global survey of perfluorinated acids in oceans.” Mar Pollut Bull 51: 658–668. 10.1016/j.marpolbul.2005.04.026
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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.
The environment and how we treat it has always been important to me since I was a child. My passion for storytelling morphed into writing, but the underlying spark came through environmental activism. I got a university degree in aquatic ecology, published numerous papers, and now write eco-fiction that is grounded in accurate science with a focus on human ingenuity and compassion. The most meaningful and satisfying eco-fiction is ultimately optimistic literature that explores serious issues with heroic triumph. Each of these five favourites intimately connects human to environment. Each novel moved me to think and deeply care.
The Books I Picked & Why
The Overstory
by Richard Powers
What resonated with me on so many levels was the author’s use of lyrical and beautiful language in describing trees and forests: as characters. I’m an ecologist and I felt a particular kinship with the botanist Patricia Westerford, a disabled introvert who must swim against the hegemonic tide with heretical ideas. When she argues that trees communicate, learn, trade goods and services, have intelligence and society, her scientific peers ridicule her and end her university career. This story is as much her triumph over overwhelming challenges as it is about the dwindling majestic forests that must quietly endure our careless apathy as they continue to offer their gift of life-giving oxygen and medicinal aerosols for hundreds of years.
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Barkskins
by Annie Proulx
This 600-year saga about human-environment interaction through the forest industry in Canada evoked emotional connections with my environment, the Canadian forests, and the plight of indigenous Canadians. From the arrival of the Europeans in pristine forest to its destruction under the veil of global warming, Proulx weaves generational stories of two settler families into a crucible of terrible greed and tragic irony. The bleak impressions by the immigrants of a harsh environment crawling with pests underlie their combative mindset of a presumed infinite resource. I was particularly moved by the linked fate between the Mi’kmaq and the majestic pine forests, how both were similarly mistreated and changed. This history is also my legacy. As the daughter of immigrants, I felt both educated and moved.
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The Breathing Hole
by Colleen Murphy, Siobhan Arnatsiaq-Murtphy and more
What struck me most was the use of simple language to portray powerful intimacy and connection between human and animal, and by extension, environment. Murphy’s humorous dialogue, together with sparing, often ironic, descriptions, struck deep into my heart. The play starts in 1535 on an ice shelf up north—when an Inuk widow risks her life to save a lost one-eared polar bear cub on an ice floe, and adopts him. In the last scene five hundred years later in the oily waters of the Northwest Passage, the same bear—starving and cruelly injured by eco-tourists on a cruise ship—struggles to keep from drowning. No one on the ship cares. No one weeps for him. But I did. I wept for him and for his world destroyed by apathy.
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The Windup Girl
by Paolo Bacigalupi
Paolo Bacigalupi’s biopunk science fiction novelexplores a 23rd-century post-food crash Thailand after global warming has raised sea levels and depleted carbon fuel sources. The main character, Emiko, is a ‘windup,’ a modified human who is vilified and abused by humanity, despite her abilities. I was struck by how well this work of ‘mundane science fiction’ used Emiko as an avatar for a trickster Nature after abuse by humanity through the disrespect of reckless gene-hacking, greedy corporate espionage, and arbitrary foreign takeovers. I cheered Emiko’s breakaway from her oppressors as she emerged from a cloak of obedience and embraced her survival in this changing world of unintended consequences—only realizing later that I was cheering for that changing world and the optimism it promised.
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Memory of Water
by Emmi Itäranta
This book features a passion of mine as an ecologist and mother: water and how we treat it. Life-giving symbols of water flow throughout this story, which explores a post-climate change world of sea level rise in which freshwater is severely rationed due to scarcity. Water’s very nature is tightly interwoven with the main character, Noria, a tea master who guards a secret spring in the fell by her house against cruel government agents who would kill her for water crimes. In prose both sensual and lyrical, this book explores honor, sacrifice, betrayal, and friendship, and how each can be victimized through commodification in a power play of ideology. I found myself pulled in by the intrigue even as I cherished and lingered in the beautiful metaphoric prose.
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Explore my eco-fiction book:
A Diary in the Age of Water follows the climate-induced journey of Earth and humanity through four generations of women, each with a unique relationship to water.
Centuries from now, in a dying boreal forest in what used to be northern Canada, Kyo, a young acolyte called to service in the Exodus, yearns for Earth’s past—the Age of Water—before the “Water Twins” destroyed humanity. Looking for answers and plagued by vivid dreams of this holocaust, Kyo discovers the diary of Lynna, a limnologist from that time of severe water scarcity just prior to the destruction. In her work for a global giant that controls Earth’s water, Lynna witnesses and records in her diary the disturbing events that will soon lead to humanity’s demise.
The feminist book review site Liisbeth recently wrote about A Diary in the Age of Water: “If you believe Canada’s water will remain free forever (or that it’s truly free now) Munteanu asks you to think again. Readers have called A Diary in the Age of Water “terrifying,” “engrossing,” and “literary.” We call it wisdom.”
Marcescent beech leaves among evergreen hemlocks, ON (photo 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. 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.
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 and Damien Vogel, and the woman who plays them like chess pieces in her gambit to ‘rule the world.’
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It is 2032 and Eric Vogel sits in the Canadian prime minister’s office, ruminating on the changes coming. He imagines what a post-capitalist world will look like and how his twin brother Damien—left behind in Germany—would disagree with his vision:
Over a hundred years ago, Spartacist Rosa Luxemburg—who was shot by the right-wing Freikorps—argued that the “Bourgeois stands at the crossroads, either transition to socialism or regress into barbarism.” Both he and Damien agree with sociologist Wolfgang Streeck who argues that the end of capitalism—of a reigning bourgeois, in love with the objects that define them—is already underway. The signs are neon loud: a ruthless downward trend in economic growth, social equality, and financial stability. All reinforced by climate change and the ongoing collapse of the planet’s sustaining environment. Any system and dialectic based on a concept of infinite resources in a finite world is bound to fail eventually. That collapse has already begun and its catastrophic end is imminent. Already, climate refugees and refugees of resource war (which amounts to the same thing) have flooded northern nations, like Canada, and caused tension and strife. Germany is just one example where left and right have torn the country apart as an influx of foreigners challenged the already tenuous German identity. When Canada granted asylum to over two million climate-refugees in ‘28, with no viable plan for the new residents during a time when unemployment was higher than it had been in decades and housing prices were skyrocketing due to environmental uncertainty, this sparked renewed tensions between ultra-right and ultra-left and opened the gap for a new party based on science and reason. The party now in power: the Technocratic Party of Canada.
But what will life after capitalism look like?
It’s no surprise that he and his brother disagree on what a post-capitalist world should look like and how to best achieve that world. 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.
Brother Damien recalls an earlier argument the two brothers had in Berlin that ultimately motivated him to follow his twin to Canada. They’d been debating about the effect of climate change on the human population:
Pulled down by a truculent mood, Damien responds to Eric’s usual glib solutions by painting a dark vision of a humanity descending into some pre-technological ‘dark age’ apocalypse.
Eric just laughs. He pokes his fork into the sauerkraut as if to make a point in his argument and scoops up a pile that he shoves into his mouth. He leans forward and argues with a full mouth, “The real question is not whether humanity will survive an ecological collapse, but what part of humanity will survive. You can be sure that the stinking boujee plutocrats will find a way to survive at the expense of everyone else.” He chews down the sauerkraut followed by a gulp of beer and a loud burp. “The stinking rich are already doing it, Dame. They’re already creating their Elysium right here, right now.” Fork now swings like a conductor’s baton. “The future is already here; it’s just unevenly distributed.”
Using his fingers, Damien pulls apart some crisp skin off the pork knuckle—his favourite part—and feeds his mouth. Arguing with Eric always makes him hungry despite his surly temper. He crunches down, enjoying the tasty juices of brazed salty pork skin, and retorts, “You politicize everything and resort to cheap references in pop culture. You always do that: over-simplify the crisis and Nature’s existential power to sustain life. Trophic cascades caused by ecosystem simplification would irreparably devastate the planet and all adapted life. With the Sixth Extinction Event there won’t be any boujee plutocrats because there won’t be anything left to monetize—”
“You’re such a doom-gloom lefty, Dame!” Eric grabs the last of the pork skin—also his favourite— and shoves it into his mouth. He smacks his lips and counters, “The stinking rich will always have technology at their disposal. I’m talking about genetic engineering, nano-technology, gene modification, cybernetics, and even environmental control. For instance, look at Harvard’s RoboBee: tiny robots that mimic flying insects that can fill in as pollinators for the crashing bee populations.”
“You over-estimate technology’s ability to save the planet—and us by extension.”
Eric finishes the pork skin and wipes his mouth on his sleeve with a sniff. “I’m not talking about saving the entire planet—just enough of it. You underestimate what we’re willing to do to survive.”
That is when he brings up E.P. Thompson’s paper on stages of a neoliberal capitalist civilization and the ‘extermination endgame.’ “You’re the population ecologist, Dame, but it’s obvious that when a neoliberal capitalist society exceeds its carrying capacity— when technology makes the masses surplus—there’s no alternative in the scramble for resources and ecological support. Get rid of the surplus. That simple. Thompson tells us that under military capitalism—and you have to accept that all countries are militarizing—the ‘outcome must be the extermination of multitudes.’”
“For God’s sake, Eric!”
“Technology will save humanity, Dame,” Eric insists. He leans back and stretches his legs under the laminate table in self-pleased satisfaction. “One way or another.”
Damien shakes his head and gulps down the last of his beer. “Whatever is left of humanity, you mean. And you accuse me of giving up on humanity. So, the greedy capitalist wins?”
“That’s why the world needs us, Dame. To keep humanity from going down the wrong road.”
And what is that for Eric, Damien wonders. Increasingly, he feels discomfort at what that might be. Eric leans forward, eyes bright with inspiration. He resembles a great bird of prey, long hawk-like nose—the iconic Vogel nose—and copious dark hair cresting back from a high forehead. It’s like looking at a more confident version of himself in the mirror, thinks Damien. And sometimes disconcerting, particularly when it reminds him of what he is not.
“You and I know that humanity won’t stop climate change,” Eric goes on animatedly. “Too many tipping points are already upon us and the direction we’re all going in now…” He swings his fork around the room to indicate this place, Germany, the world. “… isn’t promising to check that. Change is inevitable.” He points the fork at Damien. “But, if we can direct how humanity adapts to our changing environment, we can still win…” Before Damien can charge in with a rebuttal, Eric pushes his face forward, raptor eyes scintillating like sapphires on fire. “So, how do we de-thrown the ultra-rich elite—who are mostly a rabble of materialist self-serving hedonists with no vision or care for the future—and ensure a meritocracy of responsible citizens who can take humanity through the changes to come? … Like establishing a universal basic income toward an egalitarian society. Putting a full stop to fossil fuel mining and adopting clean energy. Re-wilding key ecosystems. Engaging reforestation and dedicating large areas to Nature.”
Damien shakes his head, lost for words. Where is his brother going with this? Will he suggest violent revolution to establish a dictatorship? How else would the rich give up their riches? And how is that any different from the Bolsheviks of 1917 or the Nazis of 1933 or the Stasi-run DDR? Those fascist Reichsbürgers would happily reinstate a society of surveillance, repression, and incarceration that would threaten to slide into the final solution of genocide of an unwanted ‘surplus’. A society of disposable bodies, a biopolitical world of exterminism. Damien thinks of Nietzsche’s aphorism: Beware that, when fighting monsters, you yourself do not become a monster … for when you gaze long into the abyss, the abyss gazes also into you. Violent revolution is not the answer, he decides.
Eric pulls out the worn copy of Walden Two from his jacket pocket. He slaps it on the table and pushes it toward Damien. “That’s the answer, Dame.”
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Models of a Post-Capitalist Future Society
In his book Four Futures: Life After Capitalism , sociologist Peter Frase considers effects of climate change and automation in possible outcomes of a post-Trump election America. Frase envisions four scenarios based on abundance and scarcity and whether a society operates by equality (e.g., communism under abundance / socialism under scarcity) or hierarchy (rentism under abundance /exterminism under scarcity).
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With scarce resources, the following scenarios are possible:
Socialism (aka Ecotopia) may arise within an egalitarian society if driven by altruistic notions of self-limitation. Ecologists describe such a self-limiting system as K-selected (see my discussion of K-selection and r-selection in “Water Is…”). A K-selected population is at or near the carrying capacity of the environment, which is usually stable and favors individuals that creatively compete, through cooperation, for resources and produce few young. The K-selected strategy runs on a successive gradient of maturity, from initially competitive to ultimately cooperative. Competition is a natural adaptive remnant of uncertainty and insecurity and forms the basis of a capitalist economy that encourages monopolization and hostile takeovers. Competition results from an initial antagonistic reaction to a perception of limited resources. It is a natural reaction based on distrust—of both the environment and of the “other”—both aspects of “self” separated from “self.” The greed for more than is sustainable reflects a fear of failure and a sense of being separate, which ultimately perpetuates actions dominated by self-interest in a phenomenon known as “the Tragedy of the Commons.” Competition naturally gives way to creative cooperation as trust in both “self” and the “other” develops and is encouraged through continued interaction.
Exterminism (aka Mad Max) may arise under a hierarchical model, driven by greed and exacerbated by uncertainty in the environment—not unlike what we are currently experiencing with the planet’s system and cyclical changes. In this scenario, in which resources are both limited and uncertain, those with access to them would guard or hide them away with desperate fervor.
“When mass labor has been rendered superfluous [through automation], a final solution* lurks: the genocidal war of the rich against the poor.”—Peter Frase
References:
Frase, Peter. 2016. “Four Futures: Life After Capitalism.” Verso Press, London. 150pp.
Luxemberg, Rosa. 1915. “The Junius Pamphlet: The Crisis in the German Democracy.” Marxists.org.
Munteanu, Nina “Gaia’s Revolution.” Book 1 of the Icaria Trilogy, Dragon Moon Press, upcoming.
Munteanu, Nina. 2016. “Water Is…The Meaning of Water.” Pixl Press, Vancouver. 586pp.
Streeck, Wolfgang. 2014. “How Will Capitalism End?” New Left Review 2 (87): 47p.
Thompson, E.P. 1980. “Notes on Exterminism: the Last Stage of Civilisation, Exterminism, and the Cold War.” New Left Review 1(121).
*the Final Solution was originally used by Nazi Germany as “the Final Solution to the Jewish Question”: the Nazi plan to exterminate the Jews during World War II, formulated in 1942 by Nazi leadership at the Wannsee Conference near Berlin, culminated in the Holocaust, which murdered 90 percent of Polish Jews.
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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.
My guest today is author Simon Rose, who has published nineteen novels for children and young adults, eight guides for writers, more than a hundred nonfiction books, and many articles on a wide variety of topics. Today, we’re looking at his latest novel for young adults, An Untimely Death:
Nina: So, what’s the book all about?
Simon: An Untimely Death is an exciting science fiction and historical fantasy adventure for young adults. When Peter’s great-grandfather, Ted, passes away, Peter is looking through his belongings in the attic. Peter knows about Ted’s experiences with the Canadian Army in World War II and absentmindedly flips a coin. To his astonishment, Peter finds himself in the heat of battle in 1944, where he embarks on a highly dangerous mission to ensure that history is placed back on track.
Nina: What’s the story behind the story?
Simon: In the present day, Peter is fourteen and lives in Calgary, Alberta, Canada. He’s long known about the stories concerning the experiences of his great-grandfather during World War II. Peter knows that Ted participated in the invasion of Normandy in 1944, then in the Allied advance across Europe and into the Netherlands and Germany following D-Day.
When Ted passes away, Peter is looking through his great-grandfather’s belongings. Peter looks at some of Ted’s campaign medals, although Ted’s friend, Frank, had received the Military Medal, after saving the life of a young Dutch girl. The medal was awarded posthumously since Frank had been killed in action shortly after his heroic act. Peter also examines an old coin, which he knows Ted had found in a ruined house during the fighting in the Netherlands. The coin depicts the head of Queen Wilhelmina of the Netherlands, and Peter is aware that Princess Juliana, who later became the Queen, lived in Ottawa during the war, establishing strong links between Canada and the Netherlands.
When Peter flips the coin, the attic around him vanishes. To his astonishment, Peter finds himself in the Battle of the Scheldt in the Southern Netherlands in 1944. He encounters the younger versions of Ted and Frank, as well as the Dutch girl, but Peter’s presence in the past has disastrous consequences for the world he knows when he returns to his own era. Suspecting that he may have very limited opportunities to make a difference, Peter embarks on a highly dangerous mission to ensure that history is placed back on track, before it’s too late.
Nina: You must have done quite a lot of historical research for this novel.
Simon: Yes, the story, main characters, and some of the settings in this novel are fictional but are based on true events that took place in World War II. I did lots of research into the latter stages of the conflict, the Canadian soldiers and their battles to liberate the Netherlands, the connections between the Dutch Royal Family and Canada, the beginnings of the Canadian Tulip Festival after the war, and the links between Canada and the Netherlands that still exist today.
Following the story, the glossary has links to online sources where readers can learn more about the historical events, military campaigns, settings, and leading characters from World War II that are featured in the story. On my website, there’s a page dedicated to the book, along with links to separate pages featuring information regarding the book’s historical background and links to many online sources.
Nina: What are you currently working on?
Simon: I always have a few current projects and right now I’m working on another historical fantasy novel series, this time set in the early years of World War II. I’m also working on more books in the same genre as my previously published paranormal Flashback series, a fantasy series, and a historical fiction novel. I also continue to work on the adaptations of my Shadowzone series into screenplays for movies and TV shows, some other scripts, as well as teaching writing courses at the University of Calgary.
Anyone interested in keeping up to date with the projects that I’m working on is always welcome to subscribe to my monthly newsletter, which you can do at www.simon-rose.com.
Nina: You work with other authors, as well as on a variety of projects related to writing and publishing, don’t you?
Simon: Yes, I offer coaching, editing, consulting, and mentoring services for writers of novels, short stories, fiction, nonfiction, biographies, and in many other genres, plus do work with writers of scripts and screenplays. I’m also a writing instructor and mentor at the University of Calgary and served as the Writer-in-Residence with the Canadian Authors Association. You can find details of some of the projects I’ve worked on with other authors, along with some references and recommendations, at www.simon-rose.com.
Nina: Where can people buy An Untimely Death?
Simon: The book can be purchased at most of the usual places, as follows:
Nina:Thanks Simon, for being my guest here today and the very best of luck with the AnUntimely Death. I hope that the book sells thousands and thousands of copies in the coming months.
You can learn more about Simon and his work on his website at www.simon-rose.com, where you can also link to him on social media and at other locations online.
I recently gave my lecture / workshop on the Hero’s Journey plot approach to a group of writers for Culture Days in Newmarket, Ontario.
The event, organized by the WCYR (Writing Community of York Region), took place in the art gallery of the Old Town Hall, located in the old downtown part of the city—an attractive section of streets and lanes with eclectic shops, cafés, bistros and bookstores for curious amblers.
Bustling Main Street near the Old Town Hall, Newmarket, ON
Three guidebooks of the Alien Guidebook series for writers
Cathy Miles, the program coordinator, encouraged me to brings books for sale, so I certainly included the three books of my Alien Guidebook Series on writing: The Fiction Writer, The Journal Writer, and The Ecology of Story, all also available at Amazon, Kobo, Barnes & Noble and other quality bookstores, which I sold for a workshop price. Cathy gave me a wonderful introduction to a room full of eager writers and I also had the pleasure of meeting Janice Luttrell, the Recreation Programmer with the City of Newmarket, who was hosting the event as part of Newmarket’s Culture Days.
Drawing from several chapters in The Fiction Writer, I introduced the Hero’s Journey map structure, based on Ingrid Sundberg’s plot structure, and discussed the 12-step hero’s journey according to mythologist Joseph Campbell.
We also discussed the seven chief archetypes associated with the journey steps: hero, mentor, herald, threshold guardian, trickster, shapeshifter, and shadow.
Nina teaching “The Hero’s Journey” plot approach over the years in Nova Scotia, BC and Ontario
I’ve given this workshop many times and always enjoyed the lights that came on in participants; this time was no different. My session was fun and very well received. I saw lots of interest and received many good questions—a sure sign. One participant was quoted as saying:
“What a great event! Your presentation was insightful. I really appreciated being able to follow along in the book while listening to your explanations. That is going to help me remember the concepts as I read the book and then apply them to my writing.”
The WCYR book table at the event (photo by Nina Munteanu)
Elliott sells my books at the WCYR book table (photo by Nina Munteanu)
All in all, it was a good day…
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.
In the passage below of my eco-fiction dystopian novel A Diary in the Age of Water, the year is 2065 and the diarist Lynna (a limnologist at the University of Toronto) reflects on the steeply growing infertility in humans and our tenuous future. Lynna draws on the factual study published close to fifty years earlier (in 2017) by Hagai Levine and others at the Hebrew University of Jerusalem, who found that sperm counts among western men had reduced close to 60% in four decades:
Back in ’49, Daniel and I had several discussions about the environmental triggers and epigenetic mechanisms of infertility in humans. Daniel went on about how it was all about the men. While women showed signs of increased infertility, men’s rate of infertility was more than double that of the women, he said. Taking an inappropriately gleeful tone, Daniel cited the classic 2017 paper by the Hebrew University of Jerusalem, the one that started it all. Their findings were startling: men’s sperm count in North America, Europe, Australia, and New Zealand had diminished by sixty percent in forty years, between 1973 and 2011. The scientists predicted that by 2060, virtually all men in these parts of the world would have little to no reproductive capacity.
It’s 2065 and they’re right. Only it’s worse. Before the twenties, only the developed countries seemed to be affected, but then sperm counts started to plummet in South American countries, like Argentina and Brazil, where GMO, pesticides, and solvent manufacturing were exploding.
You get out what you put into the ground. India and Asia—where endocrine-disruptive chemicals are finding their way into the water—are reporting very low sperm counts in their men as well as higher incidents of intersex humans.
You get out what you put into the water. We are over two thirds water, after all. I find it a little ironic that we’ve inadvertently produced a non-discriminatory way to control the problem of humanity’s overpopulation. Infertility. And that infertility results from defiling the environment we live in.
But now climate change is shouldering its way in. Climate change is shutting us down.
Is this the first sign of our impending extinction?
–excerpt from “A Diary in the Age of Water”
That environmental perturbations impact our ability to reproduce has been proven. In their 2017 article, Levine et al. write that:
“Sperm count and other semen parameters have been plausibly associated with multiple environmental influences, including endocrine disrupting chemicals (Bloom et al., 2015; Gore et al., 2015), pesticides (Chiu et al., 2016), heat (Zhang et al., 2015) and lifestyle factors, including diet (Afeiche et al., 2013; Jensen et al., 2013), stress (Gollenberg et al., 2010; Nordkap et al., 2016), smoking (Sharma et al., 2016) and BMI (Sermondade et al., 2013; Eisenberg et al., 2014a). Therefore, sperm count may sensitively reflect the impacts of the modern environment on male health throughout the life course (Nordkap et al., 2012).”
This rain falling on an Ontario marsh most certainly contains forever chemicals (photo by Nina Munteanu)
Thanks to chemical companies such as DuPont and others, forever chemicalsare currently in rain water globally, and in many places in unhealthy concentrations. These endocrine-disrupting and cancer-causing chemicals often end up in drinking water and include PCBs, phthalates, PFAS, BPAs (used in pesticides, children’s products, industrial solvents and lubricants, food storage, electronics, personal care products and cookware).
Heavy rain in Mississauga, ON (photo by Nina Munteanu)
Nina Munteanu is a Canadian ecologist / limnologist and novelist. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Visit www.ninamunteanu.ca for the latest on her books. Nina’s bilingual “La natura dell’acqua / The Way of Water” was published by Mincione Edizioni in Rome. Her non-fiction book “Water Is…” by Pixl Press (Vancouver) was selected by Margaret Atwood in the New York Times ‘Year in Reading’ and was chosen as the 2017 Summer Read by Water Canada. Her novel “A Diary in the Age of Water” was released by Inanna Publications (Toronto) in June 2020.