The Paper Hound Bookstore—A Peculiar Stop in a Peculiar Journey

September 25, 2022August 30, 2022 / thealiennextdoor / Leave a comment

*Rod and Kim, owners of The Paper Hound Bookshop, Vancouver*

It was a warmish sunny Friday in the deep of summer and I was in Vancouver for the first time in three years since COVID-19 stopped me from travelling.
I found myself wandering Gastown, retracing the steps of the indomitable character in my upcoming thriller Thalweg.
My wanderings took me along Water Street, past the Steam Clock, south on Cambie, then east on Blood Alley where my character has a sketchy scene with two enforcers involving Gaoler’s Mews, a solid red brick wall, a scurrying rat, and a 9 mm Glock…

*Gastown steam clock about to steam out 6 pm, Vancouver, BC (photo by Nina Munteanu)*

But I was in the general area for another reason: to meet my son and his lady for a wonderful meal in the exquisite Italian restaurant Autostrada Osteria; a Christmas present he’d owed me since COVID hit. Located on the corner of Homer and Pender streets, Autostrada Osteria nestles comfortably in an eclectic mix of old and slightly dilapidated next to trendy and posh chic. Something Vancouver seems to do well.

*The Paper Hound Bookshop on Pender Street, Vancouver*

I was a little early for our reservation at 7:15 pm, so I wandered down the street. Immediately east of the restaurant was a character bookstore selling new and used books, The Paper Hound Bookshop. It’s located in the Victoria Block, a 1908 addition to the old boutique Victorian Hotel.

Always curious about books and wishing to kill some time, I wandered in, blissfully unaware that I was entering another dimension…

I nodded to the young woman at the front desk who exuded friendly intelligence through kind but impish eyes. I ventured deeper, perusing the shelves, high and low. I noted that the books were arranged with lots of front covers on display in tiny category-labeled alcoves that literally covered the walls from floor to ceiling. Several sliding ladders were judiciously placed to provide reach. The categories were odd, bizarre, somewhat arcane, and peculiarly amusing. There was one that proclaimed “Rodent as Hero.” Another read “Indomitable Orphans,” (populated with several Harry Potter books, of course, as well as other lesser known orphans).

Whoever had created these categories—was it the woman at the front?—was either strange or had purposefully flouted the norm to draw attention to a more whimsical, curious way of seeing the world and the books that described it. No mundane alphabetizing within broad normative categories for these people!

*Inside the Paper Hound Bookshop, Vancouver (image by On the Grid)*

As I wandered the labyrinthine rows of books, the place felt like a roadmap to another world. The narratives from the categories alone were worth studying from “Hot Adventure”, “Cold Adventure,” and “Wet Adventure” to “Books with Bears,” “Detection / Deduction,” and “Wanderlust.” Each category was a ‘book’ and each book ‘a chapter’ of a larger funky narrative that depicted one person’s intriguing interpretation of the world.

Keagan Perlette of Sad Mag describes the store this way: “The Paper Hound stocks both used and new books and features an impressive collection of poetry and philosophy. Space is limited, so there is an evident focus on literature, but there are surprises hidden in the shelves: an excellent selection of beautiful children’s books, art books, drawers full of zines and chapbooks, and even a section for unique vintage cookbooks. The store is full of little wonders.”

There is even a funky machine that dispenses poetry like cigarettes for two quarters at the front of the store. Even on its surface books were stacked. The owners had stacked books literally everywhere. On chairs, on tables, on each other. Little books on larger books, balanced wonderfully in a kind of fanciful ordered chaos.

*Poetry dispenser at The Paper Hound (image by Keagan Perlette)*

The Paper Hound website accurately describes the bookstore as “a new, used and rare book store” that doesn’t specialize “in one particular kind of book, but we favour the classic, curious, odd, beautiful, visually arresting, scholarly, bizarre, and whimsical.” In addition to their collection of used books, the Paper Hound carries titles from local small publishers Anvil Press, Arsenal Pulp Press, Talon Books and New Star Books.

Owners Kim Koch and Rod Clarke are veterans of the bookstore world in Vancouver, having worked at several before opening Paper Hound. They set up The Paper Hound in the old boutique hotel in 2013 on what my book collector friend calls ‘book row.’ Located on Pender Street, between Richards and Hamilton, ‘book row’ is apparently expanding according to On the Grid. According to the Vancouver Sun: “in this digital age many people think bookstores are on the verge of extinction. People are buying fewer paper books, and websites like Amazon offer almost anything ever printed, often for cheap.” While the Internet and digital devices appear to be ravaging large chain bookstores (some like Borders closed and others like Indigo have added household goods to bring people into the store), small niche independent bookstores are flourishing.

“Setting up a bookstore in the post-online and big book retailer age is sort of liberating,” says Kim. “We know we can’t carry everything or nearly as many titles as they do, so that liberates us to instead focus on creating the experience we want the customer to have.” Kim describes the perfect bookstore as: “a place that offers people a space where they can explore, get guidance from the proprietors and, when they want to, be left alone amongst the shelves to daydream.”

That’s exactly what I did.

When I left the store at shortly after 7pm, Kim pulled in the book trolley from outside in preparation to close and I apologized if I’d held her up a few minutes. She then informed me that they usually close at six but she had kept the store open for goodness knows why. I smiled and said rather cheekily with sudden inspiration, “I know; because I needed to experience it.” She laughed and those impish eyes twinkled.

And before you ask, yes, I did walk away with something: “Water Babies” by Charles Kingsley, a moral fable that explores the closed-minded approaches of many scientists of the day in their response to Charles Darwin’s ideas on evolution.

*1935 edition of Ward, Lock & Co. publication of “Water Babies” by Charles Kingsley (originally published in 1863 by London Macmillan and Company) with illustrations by Harry G. Theaker*

After he is chased from the home of an upper-class young girl, chimney-sweep Tom falls asleep and tumbles into a river. There he is transformed into a ‘water-baby’ and his adventures truly begin. Beneath the surface, he enters a magical world full of strange and wonderful creatures, where he must prove his moral worth in order to earn what he truly desires.

Macmillan describes The Water Babies this way:

“One of the most unusual children’s books ever written, The Water-Babies, subtitled ‘A Fairy Tale for a Land-Baby’, was originally intended as a satire in support of Charles Darwin’s On the Origin of Species, and explores the issues at the forefront of biologists’ minds at the time. First published as a complete novel in 1863 [originally illustrated by Linley Sambourne], Charles Kingsley’s classic tale also explores ideas about religion, the Victorian education system and the working conditions of children and the poor.”

The vintage version I picked up at The Paper Hound was illustrated by Harry G. Theaker and published in 1935 by Ward, Lock & Co. Ltd. with 24 colour plates.

For a great taste of Kim and Rod’s unique vision of the world of literature and their pithy humour and wit, go to their blog The Paper Hound. Here’s a taste:

*Vancouver street lined with plane trees (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.

Climate Cultures Magazine Lists Nina Munteanu’s “A Diary in the Age of Water” Among Eight Eco-Fiction Novels to Read

September 18, 2022July 13, 2022 / thealiennextdoor / Leave a comment

Writer and curator Mary Woodbury shares eight novels about water where fact and fiction mingle, tried by imagination, to reveal important truths about our shifting relationships with this vital and lively agent in an era of climate crisis,” writes the magazine Climate Cultures.

In an article entitled, “Where Waters and Fictions Meet,” Mary Woodbury opens with this:

“While facts are something we can and should pay attention to as we follow scientific integrity, models, and reports, another mode of telling the story about water has been alive forever: churned, spoken, and written by authors who dream up fictional stories related to our past, present, and future world. Where fact and fiction mingle like this is an area of reflection and speculation, tied by imagination. These tales of water ripple out once the pebble sinks in. The intersectionality of diverse water fiction results in reader empathy, learning, inspiration, and shared commonalities around the world. Local dignity comes alive against a backdrop of planetary crises.”

She chooses the following eco-novels to discuss:

“Land-Water-Sky (Ndè-Ti-Yat’a)” by Katłıà
“Oil on Water” by Helon Habila
“A Diary in the Age of Water” by Nina Munteanu
“The Water Knife” by Paolo Bacigalupi
“Memory of Water” by Emmi Itäranta
“Fever Dream” by Samanta Schweblin
“Lagoon” by Nnedi Okorafor
“Bangkok Wakes to Rain” by Pitchaya Sudbanthad

Here’s what she writes about my novel:

*Ancient Eastern Hemlock in Catchacoma old-growth forest, ON (photo by Nina Munteanu)*

Nina Munteanu Interviewed on her latest short story “Robin’s Last Song”

September 11, 2022July 14, 2022 / thealiennextdoor / Leave a comment

*Left: cover of Apex Magazine Issue #128 in which my story appears; Right: cover of 2021 anthology published in fall 2022.*

I was recently interviewed by Alberta writer Simon Rose about my latest eco-fiction short story “Robin’s Last Song”, which was recently published by Apex Magazine in its 2021 Compilation Anthology. Below is the interview:

Simon: Congratulations on publishing your short story “Robin’s Last Song” in Issue 128 of Apex Magazine and soon in the Apex Magazine 2021 Compilation Anthology. I’m curious about the title? Whose last song is it? Is Robin the name of a human or the bird?

Nina: Both, actually. The title is both literal and metaphoric. The premise of the story is based on the alarming trend of disappearing birds. The robin, a common bird in Ontario where the story takes place, is a good sentinel for what is happening with bird populations around the world. Robin is also the protagonist’s name; she was named after the robin, her mother’s favourite bird.

*Recently fledged robin rests on patio chair, Mississauga, ON (photo by Merridy Cox)*

Simon: Robin’s Last Song is obviously eco-fiction. What’s it about?

Nina: Robin’s Last Song first appeared in the #128 Issue of Apex Magazine in 2021. It tells the story of Robin, a blind elder whose digital app failed to warn the world of the sudden global loss of birds with disastrous ecological consequences. After years of living in self-exile and getting around poorly on sight-enhancing technology, a discovery gives her new hope in rekindling her talents in the field of Soundscape Ecology.

*Discarded robin’s egg to deter predators, found on a woody trail in Ontario (photo by Nina Munteanu)*

Simon: How did you come to write this particular story about birds and what is “soundscape ecology”?

Nina: Since I was a child, the burgeoning SF writer in me had dared to imagine a world without the sound of birds—I thought it utterly bleak and, recognizing an ever-polluting world, I feared for my feathered relatives. I didn’t follow through with a story until September 2019, when I was approached by Oliver Hockenhull, the guest editor of subTerrain Magazine, to write a piece on technology and the environment. The timing was interesting; I’d just read two impactful things that resonated with me.

The first was the October issue of Science Magazine that reported a staggering decline in North American birds. Kenneth V. Rosenberg and his team of researchers had estimated that three billion birds of various species had disappeared in Canada and the US since 1970. That’s a third of the entire bird population lost in five decades. To make it clear, we aren’t talking about rare birds going extinct; these declines are of common birds throughout the world. The wrens, sparrows, starlings, and, of course, the robins. I was devastated; I could not imagine a world without the comforting sound of birds. What would it be like if the birds all disappeared? This brought me back to my childhood fears.

The second article I ran across talked about an emerging bioacoustics tool, soundscape ecology, that measures biodiversity and the health of an ecosystem, mostly through bird sound which well represents ecosystem health. Bernie Krause, a soundscape ecologist who had been conducting long-term recordings for decades noted how the dawn chorus in many areas had greatly diminished if not vanished altogether.

*Bernie Krause, soundscape ecologist recording a soundscape in Florida*

I now had my premise and my connection with technology. The title of my original story for subTerrain was “Out of the Silence”. This story focused on the technical aspects of the premise and solution. When I was approached for a story in February 2021 by Francesco Verso, the guest editor of Apex Magazine Issue #128, I rewrote the story with a stronger focus on the protagonist’s personal journey and connection with the bird catastrophe, how she coped with Asperger’s syndrome and the failure of her tool to predict the disaster. Hence the change in the title to “Robin’s Last Song”.

*Cover of subTerrain Issue #85 in which “Out of the Silence” appears*

Simon: Without wanting to bring in spoilers, isn’t there a twist to the story, suggesting a cautionary tale that touches on the dangers of genetic engineering?

Nina: Yes, thanks for bringing that up. I was already primed with research into genetic engineering for the sequel to my 2020 eco-novel “A Diary in the Age of Water.” I wanted to make the bird disappearance in “Robin’s Last Song” into a dramatic catastrophe linked to our own dangerous ecological tampering. I had the notion of using a gene hacking disaster to create ecological calamity and how this might affect birds. I wanted to make “Robin’s Last Song” a realizable work of fiction in which science and technology play both instigator of disaster and purveyor of salvation. Our biogenetic technology comes to us as a double-edged sword in the form of gene-editing, proteomics, DNA origami, and CRISPR—just to name a few. These biotechnological innovations promise a cornucopia of enhancements: from increased longevity and health in humans to giant disease-resistant crops. But, for every ‘magic’ in technology, there is often unintended consequence. Unforeseen—or even ignored—casualties and risks. I suppose my ultimate question with this story is: will synthetic biology redesign Nature to suit hubris or serve evolution? Science doesn’t make those decisions. We do.

Simon: Tell us a little bit about the Apex Magazine 2021 Compilation Anthology (that came out in both print and digital versions August).

Nina: The 350+ page anthology compiles all original short stories published in Apex Magazine during the 2021 calendar year. Published through Apex Book Company, it features 48 stories from a diverse group of new and established writers and the cover features award-winning artwork “Entropic Garden” by Marcela Bolivar. Check this link for more about the anthology and where to get it.

*Cover art for Apex 2021 Compilation Anthology* *(art by Marcela Bolivar)*

Simon: Are you still coaching writers and such?

Nina: Yes, I am, Simon. Did you know that I’ve been coaching writers to publication for close to twenty years? When I’m not teaching writing at the University of Toronto or George Brown College, I help writers with craft on their novels and short stories through my coaching services. You can find out more at: www.NinaMunteanu.me.

*Nina teaches a writing class in Bridgewater, Nova Scotia*

Simon: Tell us a little about any writing projects you’re working on these days.

Nina: I’m always busy with science articles for various online and print magazines and my own blogs. I’m also currently finishing a speculative eco-fiction novel that is a loose sequel to “A Diary in the Age of Water.” It’s set throughout Canada, from the Maritimes to the Arctic Circle, and spans a wide timeline from the Halifax Explosion of 1917 to the vast NAWAPA reservoir created a century and a half later by drowning British Columbia’s Rocky Mountain Trench. It’s a fast-paced thriller that focuses on four homeless people who battle corporate intrigue, kidnapping, human experiments and a coming climate plague.

*Robin’s First Song: fledgling sits on a black walnut tree branch, ON (photo by Merridy Cox)*

Interview with Author Simon Rose About His Latest Book “Royal Blood”

August 28, 2022July 9, 2022 / thealiennextdoor / Leave a comment

My guest today is Calgary author Simon Rose, who has published eighteen 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 release, Royal Blood, the second novel in the Stone of the Seer series.

Remind us about the Stone of the Seer series. What’s it all about?

The Stone of the Seer is an exciting historical fantasy series for young adults, primarily set during the English Civil War in the mid-seventeenth century. The Stone of the Seer, is the first book in the series. At Habingdon House, Lady Elizabeth Usborne, Kate, and Tom discover a magical black stone, mysterious ancient manuscripts, and the tempus inpectoris, an incredible time viewing device. They are also in grave danger from Daniel Tombes, who has a fearsome reputation as a witchfinder.

And without giving too much away, what can readers look forward to in the second novel?

In Royal Blood, Lady Elizabeth, Kate, and Tom move to London in the middle of the Civil War, experiencing the great political changes taking place at the time, including the

trial and execution of Charles I. They are also still under threat from Tombes, who is also in the city. The story has many twists and turns, and I doubt if any of the readers will expect the novel’s cliffhanger ending.

And then they’ll have to wait for the third book?

Yes, they certainly will. I’m hoping that Revenge of the Witchfinder, the final novel and the conclusion of the story,will be published later this year. After that, people will be able to buy all three books in the series.

And what’s the story behind the story?

The story, main characters, and some of the settings in Royal Blood are fictional, but like in The Stone of the Seer, they’re based on real events and historical characters, such as King Charles I, appear in the story. The English Civil War broke out as a result of the struggle between Charles I and Parliament, regarding how the country should be governed. The king’s defeat in the war was followed by his trial and execution in January 1649. The monarchy was abolished and replaced first by the Commonwealth of England and then the Protectorate. However, although the monarchy was restored in 1660, in the person of Charles II, his father’s defeat confirmed that an English monarch couldn’t rule the country without the consent of Parliament. This was eventually legally established in 1688 after the Glorious Revolution.

Did you conduct extensive historical research for this book, as you did with the first one?

Although the English Civil War is a time period I’ve always been interested in, I still engaged in lots of research. I needed to study what life was like in seventeenth century London, the political and religious beliefs that were around at the time, the influence of real witchfinders such as Matthew Hopkins and others like him, and of course the trial and execution of Charles I. The trial itself was very well recorded and I was able to ensure that the words spoken by both the king and his accusers were accurate. There were also many witnesses to the execution, so I was able to include established facts about that aspect as well.

As I did in The Stone of the Seer, I’ve included a glossary at the end of Royal Blood, where readers can learn more about the events, settings, and leading characters from the era, locations that are mentioned in the text, life in the seventeenth century, and about other historical periods that are featured in the story. On my website, there’s also a page with details about the historical background behind the books, with links to online sources about the time period.

Do you have any current projects?

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 another series of paranormal novels, in the same genre as my previously published series that includes Flashback, Twisted Fate, and Parallel Destiny. You can learn more about those books at www.simon-rose.com. In addition, I’m in the early stages of another couple of historical projects, and am also working on some screenplays, including adaptations of my Shadowzone series, and on several other topics.

Do you still work with other authors as well?

Yes, I offer coaching, editing, consulting, and mentoring services for writers of novels, short stories, fiction, nonfiction, biographies, inspirational books, and in many other genres, plus work with writers of scripts and screenplays. I’m also a writing instructor 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 references and recommendations, at www.simon-rose.com.

Where can people buy Royal Blood and The Stone of the Seer?

The novel can be purchased at most of the usual places, as follows:

Royal Blood

Ebook: Amazon Canada, Amazon USA, Kobo, iBooks, Barnes and Noble, Smashwords

Paperback: Amazon Canada, Amazon USA

The Stone of the Seer

Ebook: Amazon Canada, Amazon USA, Kobo, iBooks, Barnes and Noble, Smashwords

Paperback: Amazon Canada, Amazon USA

Thanks Simon, for being my guest here today and the very best of luck with Royal Blood and the Stone of the Seer series. I hope the books sell thousands and thousands of copies in the coming weeks and months.

You can learn more about Simon and his work on his website at www.simon-rose.com, where you can also link to his social media sites and other locations online.

*Tangle of roots of an old yellow birch tree, ON (photo and rendition by Nina Munteanu)*

Mistakes Authors Make (When We Don’t Pay Attention to Place and Things

August 14, 2022June 30, 2022 / thealiennextdoor / Leave a comment

*Marsh outlet of Thompson Creek, ON (photo and rendition by Nina Munteanu)*

In “A Dance of Cranes” (Dundurn, 2019) author Steve Burrows erroneously describes the actions and motions associated with canoeing. In the following scene, the protagonist Jejeune is canoeing on a river in the boreal wilderness of northern Canada:

The low sun seemed to light the stand of birches from within, flickering through the trunks like a strobe light as Jejeune rowed past.

One does not row a canoe; one paddles—with a paddle.

You might think that this is a small error, hardly worth mentioning; however, the friend who pointed out this mistake to me, was thrown out of the novel by it. She is a naturalist and has often gone canoeing in the lakes and rivers of Ontario. This mistake suggested a lack of professional attentiveness from both author and editor of the publication. By compromising the authenticity of the fictional setting the error stopped the reader from participating. We were no longer paddling with Jejeune; we were looking at the book.*

Some of you may rail at me for being overly harsh. You would remind me that this is a work of fiction, after all, not fact. You’d remind me that fiction is a work of the imagination, of characters and journeys; not a dry documentary.

I would agree with you—up to a point. Certainly, in fiction we can and do take liberties with “facts” so long as the narrative keeps the reader moving in the “fictive dream.” Authors have managed to successfully bend reality considerably in the past to great effect because the reader was fully engaged in the narrative and the characters.

But ultimately, beginning-to-end factual accuracy remains important in a made-up story for various reasons. While some “fake facts” or mistakes (such as the example above) may slip by many readers unnoticed, someone will notice. Guaranteed. And, as with my naturalist friend, it can make the difference between a seamless read and a jarring one. Writer Dorian Box shares that, “Some readers may even post reviews criticizing your book on that basis.” Dorian adds that when they spot large factual inaccuracies in a novel, “it detracts from the reading experience. I start to question other things. Credibility is damaged.”

All good fiction is anchored by consistent and believable world-building, whether the story is set in contemporary New York City or a made up planet in some made up solar system. The key to this believability is the use of grounding ‘facts’ or world-consistencies that immerse the reader in the story world. The reader relies on the author to realistically represent the world they are reading about. This allows the reader to experience the story as though it was real. Representing the facts accurately enables the writer to take liberties with other aspects of the story. Because the reader is nicely embedded in the world through accurate depiction, they will follow your characters through it eagerly.

*Forest and marsh on Ontario (photo and rendition by Nina Munteanu)*

The Importance and Ease of Research in Fiction Writing

To prevent what happened in the example I gave above, authors must exercise due diligence in world building, in representation of setting and place, and in other elements of the story. Writers have easy access to so much knowledge about so many topics through local libraries, local experts, the internet, social media, and more. In other words, no excuse.

In the novel I’m currently working on I needed to understand what it felt like to handle, load and shoot a particular make of shotgun. I had handled one in the past but not actually used it. The internet provided exceptional instructional videos and sites that I could use to come close to the actual experience. I paid particular attention to nuances and sensual aspects such as texture, smell, weight, as well as mechanical aspects, like recoil; anything that would more viscerally help me experience it. When I had written the scenes, I showed them to someone who had handled a shotgun for their verdict on accurate depiction.

For more examples and discussion on place and doing research, check out Chapter H and R of my first book in The Alien Guidebook Series “The Fiction Writer: Get Published, Write Now!” and Part 2 of my third book in the series “The Ecology of Story: World as Character.”

*There is such a thing as a rowing canoe; canoes can be set up for rowing with oarlocks and sockets, oars, rowing seats and even forward rowing contraptions such as foot brace for efficient rowing. However, this was not the case in the book I gave as an example.

*Fence post covered in vines on water’s edge, ON (photo and rendition by Nina Munteanu)*

When the Meridional Overturning Circulation Shuts Down

August 7, 2022June 23, 2022 / thealiennextdoor / 1 Comment

*Atlantic Meridional Overturning Circulation (AMOC) (drawing by Nina Munteanu, from “A Diary in the Age of Water” Inanna Publications, 2020)*

March 6, 2055
Before leaving for the university this morning, I watched a news report on the storm that devastated the northwest coast of Britain last week. Over a thousand people were affected by the sudden deluge, severe winds, and flooding. Scientists are blaming another major AR (Atmospheric River). That’s the tenth so far this year for both Britain and Western Europe. Not surprising either. Due to the global temperature increase, the air holds more moisture, so these atmospheric rivers are growing in frequency and intensity. They are consequently wreaking havoc on the Atlantic west coast and the European coasts. I can hear Daniel’s ghost hissing in my ear: Between the relentless sea level rise and these storms, we’re fracked. The ARs that roar about like angry banshees have picked up the slack left by the stagnating great ocean conveyor. The conveyor or Atlantic Meridional Overturning Circulation (AMOC)— circulates ocean water very much like in a lake, with dense cold water sinking beneath warmer, less salty water. Sunken water flows south along the ocean floor toward the equator; then warm surface water from the tropics flows north to replace the water that sank, keeping AMOC moving and preventing stagnation. As the Arctic turns into the Atlantic, dumping in more and more freshwater, the sinking is beginning to stop and the machine is slowing down. Freshwater is taking over the world. Like a giant wrench in an anarchist’s hand, it’s jamming the conveyor. Scientists underestimated how climate forcing would accelerate Arctic sea ice melt and increase precipitation. The Atlantic Meridional Overturning Circulation—the great ocean conveyor—is in the process of stalling. It accounts for at least a quarter of the planet’s heat flux. We in the Northern Hemisphere are already seeing its effects: the rivers in Europe are drying up, forcing farmers to try to grow crops in the snow; the angriest storms in history are battering our maritime coast. In the meantime, the entire Southern Hemisphere is growing steadily hotter as the Indian and Asian monsoons dry up. Imagine the dynamic sea turning into a stagnant pond. No one really knows what this all means. It is likely that the oceanic plankton—our last food source—will crash or go toxic. It will probably be both.
—Lynna Dresden (scientist) in “A Diary in the Age of Water”

“Global ocean circulation will not change abruptly, but it will change significantly, in this century,” writes Cecilie Mauritzen, scientist with the Climate Department of the Norwegian Meteorogical Institute in Chapter 2 of “Arctic Climate Feedbacks: Global Implications”. Yet other researchers who study ancient climate change point to evidence that the AMOC can turn off abruptly. I suppose this depends on one’s definition of “abruptly.”

Mauritzen adds that “the potential for a significant change in global ocean circulation is considered one of the greatest threats to Earth’s climate: it presents a possibility of large and rapid change, even more rapid than the warming resulting directly from the build-up of human-induced greenhouse gases in the atmosphere.” An AMOC collapse would promote major cooling in most of the northern hemisphere, but also strengthen storm tracks in the North Atlantic and lead to further warming in regions of the southern hemisphere.

Climate models of an AMOC shutdown suggest a severe cooling in the whole northern hemisphere, particularly the regions closest to the zone of North Atlantic heat loss (the “radiator” of the North Atlantic central heating system). A shut down of the AMOC circulation would bring extreme cold to Europe and parts of North America, raise sea levels on these coastlines and disrupt seasonal monsoons that provide water to much of the world. It would also further endanger the Amazon rainforest and Antarctic ice sheets.

What climatologists like Mauritzen don’t discuss is the profound effects on the Earth’s biological community supported by this global circulation. The result of an AMOC stall may result in a massive ecological collapse and our existential end due to creatures so small only a microscope can see them.

In the above quote from my eco-fiction novel A Diary in the Age of Water the scientist Lynna Dresden highlights one of the most discernable effects of an AMOC shutdown: extreme weather, a cold snap with more angry and wetter storms in the north, particularly Europe, that could last hundreds of years. Scientists report that when AMOC stopped near the end of the last Ice Age, the cold spell lasted a thousand years.

*Illustration of oceanic plankton (by Nina Munteanu, in “A Diary in the Age of Water” Inanna Publications, 2020)*

But Lynna also talks about our primary producers, the phytoplankton (and their cousins the zooplankton). The phytoplankton—which is made up mostly of single-celled diatoms—drift on the ocean currents and sustain all life from producing the first source of a massive food chain to sequestering carbon, creating clouds and rain, and helping to create fifty percent of the oxygen we breathe.

According to Velasco et al. in Nature, “An AMOC shutdown could lead to the collapse of North Atlantic plankton stocks.”

When plankton populations crash, recovery is slow. Plankton ecosystems in Earth’s oceans took 3 million years to fully recover after the mass extinction event 65 million years ago, according to scientists at the University of California—Santa Cruz. In their 2006 paper in the journal Geology, the researchers concluded “that the time required to repair food chains and reestablish an integrated ecosystem is extremely long.”

Perhaps even more likely is that the plankton will only partially crash; more likely is a shift in its distribution and characteristics with many going extinct and some even exploding in numbers. This is called a regime shift—a widespread and prolonged change of a biological system due to climate change—something that is occurring throughout the world right now.

*Coccolithophores under electron microscope (image by NASA)*

For instance, a study in NRDC reported a massive surge in plankton in the Arctic Barents Sea in 2020. Researcher Brian Palmer shared that “phytoplankton blooms are growing faster and thicker than ever seen before.” Summer blooms of Coccolithophores (unicellular Protista with calcium carbonate plates) generally occur from July through September in the Barents Sea when this shallow northern sea is ice free. The 2020 study showed that these blooms are thicker and more extensive as nutrients influx from other oceans. A recent Stanford study indicated that the growth rate of phytoplankton in the Arctic Ocean has increased 57 percent in the last twenty years.

While higher productivity may naively seem a good thing, these blooms are problematic: to begin, their growth is often not synchronous with what might feed on them, creating waste and detrimental trophic cascades (see below); although the algal blooms absorb more carbon, this higher carbon also contributes to the acidification of the ocean, which, in turn, impacts the phytoplankton: their growth, behaviour, and succession. The dying blooms may also liberate the excess carbon under certain circumstances. This becomes a positive feedback cycle with ever more impact.

*Algal bloom in the Barents Sea (image by NASA)*

Stephanie Dutkiewicz, principal research scientist in MIT’s Center for Global Change Science, says that while scientists have suspected ocean acidification might affect marine populations, the group’s results suggest a much larger upheaval of phytoplankton—and the species that feed on them. “The fact that there are so many different possible changes, that different phytoplankton respond differently, means there might be some quite traumatic changes in the communities over the course of the 21st century. A whole rearrangement of the communities means something to both the food web further up, but also for things like cycling of carbon.” Dutkeiwicz’s team also found that the interactive behaviour, including competition, among phytoplankton species might change.

Regime shifts also cause trophic cascades.

The guillemot seabird is an example of one casualty. The guillemot, which typically nests on the Isle of Shetland off the coast of Scotland, is starving and few are nesting. This is because the guillemot feed on sandeel fish that have all but disappeared because the cold-water plankton the fish eat have moved north. The historically icy waters between England and Scandinavia have become too warm for the plankton to survive. Of course, if the AMOC stalls, these warming waters may cool substantially.

References:

Dybas, Cheryl Lyn. 2006. “On a Collision Course: Ocean Plankton and Climate Change.” BioScience 56(8): 642-646.

Mauritzen, Celilie. 2009. “Ocean Circulation Feedbacks”, Chapter 2 of “Arctic Climate Feedbacks: Global Implications,” Martin Sommerkorn and Susan Joy Hassol, editors. World Wildlife International Arctic Programme. 97pp.

Munteanu, Nina. 2020. “A Diary in the Age of Water.” Inanna Publications, Toronto. 300pp.

Palmer, Brian. 2020. “A Massive Surge in Plankton Has Researchers Pondering the Future of the Arctic.” NRDC September 09, 2020.

Schmittner, Andreas. 2005. “Decline of the marine ecosystem caused by a reduction in the Atlantic overturning circulation.” Nature 434: 628-633.

Velasco, Julian A. et. al. 2021. “Synergistic impacts of global warming and thermocline circulation collapse on amphibians” Nature, Communications Biology 4(141)

Apex Magazine To Release 2021 Anthology Fall 2022 with Nina Munteanu’s “Robin’s Last Song”

July 24, 2022June 22, 2022 / thealiennextdoor / Leave a comment

“Over increasingly large areas of the United States, spring now comes unheralded by the return of the birds. The early mornings are strangely silent where once they were filled with the beauty of bird song.”
—Rachel Carson, Silent Spring

Apex Magazine will release its 2021 Anthology this fall with my short story, Robin’s Last Song in it.

Robin’s Last Song first appeared in the #128 Issue of Apex Magazine in 2021. It tells the story of Robin, a blind elder whose digital app failed to warn the world of the sudden global loss of birds with disastrous ecological consequences. After years of living in self-exile and getting around poorly on sight-enhancing technology, a discovery gives her new hope in rekindling her talents in the field of Soundscape Ecology.

*Apex Issue #128 and upcoming 2021 Year Issue with Nina Munteanu’s “Robin’s Last Song”*

May, 2071
I rock on the cedar swing on my veranda and hear the wind rustling through the gaunt forest. An abandoned nest, the forest sighs in low ponderous notes. It sighs of a gentler time. A time when birds filled it with song. A time when large and small creatures — unconcerned with the distant thrum and roar of diggers and logging trucks — roamed the thick second-growth forest. The discord was still too far away to bother the wildlife. But their killer lurked far closer in deadly silence. And it caught the birds in the bliss of ignorance. The human-made scourge came like a thief in the night and quietly strangled all the birds in the name of progress.
“Robin’s Last Song” by Nina Munteanu

Bird Population Decline

The number of birds in North America has declined by three billion, some 30 percent, over the last half-century. The October 2019 issue of Science magazine reported a staggering decline in North American birds. Kenneth V. Rosenberg and his team of researchers estimated that three billion birds of various species have disappeared in Canada and the US since 1970.

*Bird population change since 1970 (image The New York Times)*

That’s a third of the entire bird population lost in five decades.

In North America, warbler populations dropped by 600 million. Blackbirds by 400 million. The common robins, cardinals, and blue jays had noticeably declined. Even starlings—once considered a kind of fast-breeding pest—have dwindled by 50%. The Intergovernmental Science-Policy Platform on Biodiversity and Ecosystem Services have determined that three-quarters of Earth’s terrestrial and two-thirds of the its marine environments have been severely altered by human actions.

*Robin’s egg in the forest, discarded from the nest to divert predators (photo by Nina Munteanu)*

Plowing of fields, deforestation, wetland draining, climate change and other land use clearing and treatments have caused great habitat loss. In addition, neonicotinoid pesticides make it harder for birds to put on weight needed for migration, delaying their travel.

*A robin fledgling rests on a patio chair (photo by Merridy Cox)*

Common bird species are vital to ecosystems. They control pests, pollinate flowers, spread seeds and help regenerate forests. When these birds disappear, their former habitats lose their functionality. “Declines in your common sparrow or other little brown bird may not receive the same attention as historic losses of bald eagles or sandhill cranes, but they are going to have much more of an impact,” said Hillary Young, a conservation biologist at the University of California. Kevin Gaston, a conservation biologist at the University of Exeter, lamented that: “This is the loss of nature.”

The Trump administration heinously and foolishly demolished or maimed several key bird protection acts, which hopefully the new administration has or will reinstate in full force: Migratory Bird Treaty Act; Clean Air Act; Clean Water Act; National Fish and Wildlife Act; and the Endangered Species Act.

Useful Tool: Soundscape Ecology

The new science of soundscape ecology can analyze the health of an ecosystem. Bernie Krause, a soundscape ecologist who has been conducting long-term recordings for many decades recently noted that in Sugarloaf Ridge State Park, not far from his home in Northern California, “the effect of global warming and resulting drought has created the first completely silent spring I’ve ever experienced.” Stuart Winter at Express reports that “many of the iconic birds whose mating calls ring out across woodlands and open fields during early May are vanishing at an alarming rate.”

*Bernie Kraus creating one of his soundscapes*

Silent Spring: Rachel Carson’s Ominous Prediction and Warning

Rachel Carson was nothing short of prophetic when she published Silent Spring in 1962 (in reference to the dawn chorus most noticeable in spring during breeding). Silent Spring cautioned burgeoning ag-biotech companies (like Monsanto—now Bayer—Sygenta, Dow, and DuPont) who were carelessly and flagrantly spraying fields with pesticides and herbicides—at the time DDT was the main culprit. This would soon become a GMO world where gene-hacked plants of monocultures can withstand the onslaught of killer pesticides like neonicotinoids (currently killing bees everywhere) and Roundup. Roundup is a carcinogenic glyphosate-based weed killer that has recently been shown to kill beneficial insects like bees) and has been linked to Alzheimer’s disease, ADHD, birth defects, autism, and several kinds of cancer in humans.

*Rachel Carson and her iconic book “Silent Spring”*

Despite Carson’s warnings in 1962 and despite some action eventually taken (e.g. the ban on use of DDT in 1972—the precursor to Roundup and other neonicotinoids currently in use), the use of chemicals in big ag-industry has increased over five-fold since the 1960s. And this is destroying our bee populations, other beneficial insects, beneficial weeds, small animal populations and—of course—our bird life.

And it’s making us sick too.

‘A Diary in the Age of Water’ Listed as Ecological Fiction That Inspires Action

July 17, 2022July 13, 2022 / thealiennextdoor / Leave a comment

In the Spring 2021 Issue of Ecology & Action, author and Dragonfly.eco publisher Mary Woodbury lists some of her favourite eco-fiction that inspires action. Nina Munteanu’s clifi eco-novel “A Diary in the Age of Water” is among them:

“Fiction exploring humanity’s impacts on nature is becoming more popular. It has the distinct ability to creatively engage and appeal to readers’ emotions. In fact, it can stir environmental action. A survey I took last year showed that 88% of its participants were inspired to act after reading ecological fiction.
Principled by real science and exalting our planet’s beauty, these stories are works of art. They live within classic modes of fiction exploring the human condition, but also integrate the wild. They can be referred to as “rewilded stories.” The following Canadian titles are some of my favourites in this genre.”
Mary Woodbury, Dragonfly.eco

*Mossy cedar tree in Trent Nature Sanctuary, ON (image and rendition by Nina Munteanu)*

Now is The Age of Nature…

July 10, 2022July 12, 2022 / thealiennextdoor / Leave a comment

Age of Nature is a series of three films made by PBS and narrated by Uma Thurman about humanity’s relationship with nature and wildlife and how scientists and conservationists study ways to restore the planet. The series, beautifully narrated and filmed, shows how restoring nature might be our best tool to slow global warming. From Borneo to Antarctica, the resilience of the planet is helping us find solutions to cope and even mitigate climate change, providing hope for a more positive future. The series consists of three episodes: Awakening, Understanding, and Changing:

In AWAKENING you will discover how a new awareness of nature is helping to restore mostly collapsed ecosystems; this included: restoring the cod fishery in Norway’s Lofoten Islands; the restoring the Chagres watershed in Panama; rehabilitating the collapsed ecosystem of Mozambique’s Gorongosa Park; and restoring the denuded Loess Plateau in China by planting a forest (and reducing the sediment in the Yellow River by 80%). This episode shows how innovative actions are being taken to repair human-made damage and restore reefs, rivers, animal populations and more.

“We are at a turning point in history,” says narrator Uma Thurman. “and moving in a new direction. How we live with nature now will determine our future. A new age is upon us, the age of nature.” This new awakening comes with a change in philosophy.

“Materialism has suggested that wealth is coming from things. But, in fact, wealth is coming from ecological function.”
—John D. Liu, Ecosystem Ambassador, Commonland Foundation

*Orangutan in Borneo forest (image from “Age of Nature”)*

In UNDERSTANDING you will explore how a new understanding of nature is helping us find surprising ways to fix it. From the salmon runs and connection to forest health of the Pacific Northwest to restoring fireflies in China, and the reintroduction of wolves in Yellowstone—scientists, citizens and activists are restoring the environment, benefiting humans and animals alike.

“If humans get our acts together and start thinking about the whole ecosystem, we’re going to be recovering the whales and ultimately we’re going to be saving ourselves.”
—Dr. Deborah Giles, Killer whale researcher, University of Washington

*Jungle in Borneo (image from “Age of Nature”)*

In CHANGING you will discover why restoring nature might be our best tool to slow global warming. From Borneo to Antarctica, the resilience of the planet is helping us find solutions to cope and even mitigate climate change, providing hope for a more positive future. Bhutan’s negative carbon system is based on “decades of enlightened but courageous policies,” says Tshering Tobgay, former prime minister of Bhutan. By law they maintain over 60% forest cover to maintain a rich biodiversity and help balance climate as a carbon sink. Over 70% of Bhutanese live along river banks where they cultivate rice and other crops. “We’ve always had a strong association with water,” Tobgay adds.

“Ultimately, if we’re going to understand how to stop climate change, we need to understand our planet,” says Professor Tom Crowther, who leads a team of ecologists in categorizing forests and soils around the world from “on the ground information” to understand the carbon they contain and absorb. Crowther stresses that “the key is to restore these ecosystems in the right ecologically-minded way. That means we don’t plant trees in ecosystems that would naturally be grasslands. We also restore trees in a very biodiverse mixture; we don’t just want plantations, monoculture of the same species. We need all the different interacting species which help one another to grow and capture huge amounts of carbon…We absolutely need nature to survive on this planet. If humanity is going to have a chance, we’re going to have to restore ecosystems all across the globe…Biodiversity is the life support for our planet.”

*Rainforest (image from “Age of Water”)*

The movie showcases three major ecosystems of significant carbon sequestration that need to be (and are in some cases) encouraged, nurtured and grown:

1. Old growth forests of the world: Bialowieza in Poland is the oldest forest in Europe:

Malgorzata Blicharska at Uppsala University reminds us of an ecological tenet: the higher the biodiversity of an ecosystem, the more stable and resilient it is. “The more complex the forest is, the more resilient it will be to different environmental pressures, which is really important now in relation to climate change.” A more complex ecosystem has a larger toolkit to draw from when confronted with change. “Even if one species with a particular function disappears because of climate change, there will be other species that take over this function.” This provides a natural buffer to change, helping it cope with disruption. “A natural forest is not a stable forest; it is changing all the time.” Adapting. The simpler the ecosystem, the less likely it will be equipped to adapt to imposed change; the more likely it will collapse with change.

*Bison in Poland ‘wilderness’ (image from “Age of Water”*

2, Ocean phytoplankton, tidal marshes and seagrass meadows: Peter MacReadie, at Deakin University, studies seagrass meadows that store enormous amounts of carbon. They, along with tidal marshes and mangrove forests lock massive amounts of carbon; this is known as blue carbon. Mangroves are incredibly efficient blue carbon sinks. “Blue carbon is definitely one of the new heros in the climate change mitigation scene.” They not only effectively sequester carbon, they protect coastlines, and they support half of the world’s fisheries.

MacReadie acknowledges the role apex predators in achieving balance in the ecosystem that might otherwise be destroyed by an over-abundance of herbivores. The apex predator keeps a balance not so much by eating prey but through what is called “fear ecology” and achieiving a healthy trophic cascade: the shark changes the behaviour of the next trophic level down, the turtle, that would otherwise over-graze the seagrass. “Through fear, they affect how much turtles breed, where they forage, where they move around,” ultimately creating a healthy balance of apex predators at the top, turtles in healthy balance and seagrass meadows thriving.”

*Peatlands in Indonesia (image from “Age of Nature”)*

3. Peatlands: Taryono Darusman, director of research and development of the Katingan Project in Indonesia, tells us that, “globally, peatlands store around five hundred and fifty gigatons of carbon.” Covering only 3% of the land on Earth, peatlands absorb twice the amount of carbon in all the world’s forests—which are ten times the size. Peatland ecosystems also provide for a unique and highly biodiverse community. Peatlands form in wetlands and rainforests; many of these areas have been drained to create canals or for agriculture. The drying peatlands become susceptible to fire. The Borneo fires of 2015 released more carbon than all of North America’s industry of that same year.

The last ten minutes of the film are truly heartwarming and encouraging as the film documents how awareness is growing and inspiring a grass roots movement, particularly with the brave efforts of youth around the world. People like young Dayak activist, Emmanuela Shinta (who worked with youth groups to replant a destroyed ecosystem in Kalimantan, Borneo), and eleven-year old Madison Edwards (who started a social media campaign to stop oil drilling off the shores of Belize).

*Planting in Borneo (image from “Age of Nature”)*

Eco-heroism is sprouting all over the planet in response to her need for balance. Showing us that every single individual can make a difference…

Nina Munteanu Interviewed by Joseph Planta on ‘The Commentary’

July 3, 2022June 13, 2022 / thealiennextdoor / Leave a comment

Joseph Planta had interviewed me before, when my non-fiction book Water Is…The Meaning of Water was published in 2016. He interviewed me again when my latest novel a cli-fi dystopian speculative fiction A Diary in the Age of Water was released by Inanna Publications.

Here’s how Joseph began the interview:

“I am Planta: On the Line, in Vancouver, British Columbia, at TheCommentary.ca.

Nina Munteanu joins me again. She has just published a new novel, A Diary in the Age of Water. The noted writer and limnologist, a freshwater scientist, has written a book that could be considered science fiction. I suppose ‘cli-fi’ is the better term, climate-based science fiction. In the book, far away in a post-climate change world, Kyo finds a diary that gives her insight into the world before water scarcity. I’ll get Nina to tell us about Kyo, about the themes in this book, especially the world ahead if we continue as we do. Nina Munteanu is an author and ecologist. She has published many books of science fiction and fantasy, and was first on the program in 2016 when her book Water Is… The Meaning of Water was published. The website for more is at www.ninamunteanu.ca. This new book is from Inanna Publications. Please welcome back to the Planta: On the Line program, Nina Munteanu; Ms. Munteanu, good morning…”

Here’s the Interview.

Nina Munteanu Writing Coach

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