Science Fiction On Water Justice & Climate Change

TheWaterKnife-Paolo BacigalupiThere were stories in sweat. The sweat of a woman bent double in an onion field, working fourteen hours under the hot sun, was different from the sweat of a man as he approached a checkpoint in Mexico, praying to La Santa Muerte that the federales weren’t on the payroll of the enemies he was fleeing…Sweat was a body’s history, compressed into jewels, beaded on the brow, staining shirts with salt. It told you everything about how a person had ended up in the right place at the wrong time, and whether they would survive another day.

So begins Paolo Bacigalupi’s speculative thriller The Water Knife, set in the near-future in the drought-stricken American southwest. Where corrupt state-corporations have supplanted the foundering national government. Where water is the new gold—to barter, steal, and murder for. Corporations have formed militias and shut down borders to climate refugees, fomenting an ecology of poverty and tragedy. Massive resorts—arcadias—constructed across the parched landscape, flaunt their water-wealth in the face of exploited workers and gross ecological disparity. Water is controlled by corrupt gangsters and “water knives” who cleverly navigate the mercurial nature of water rights in a world where “haves” hydrate and “have nots” die of thirst.

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Paolo Bacigalupi is just one of many authors of compelling dystopian eco-thrillers that engage readers in climate change—many with strong water themes: Margaret Atwood, Emmi Itäranta, Jeff VanderMeer, Richard Powers, Barbara Kingsolver, Upton Sinclair, Ursula Le Guin, JoeAnn Hart, Frank Herbert, John Yunker, Kim Stanley Robinson, James Bradley, Nathaniel Rich, David Mitchell, Junot Diaz, Claire Vaye Watkins, J.G. Ballard, Marcel Theroux, Thomas Wharton—just to name a few.

My upcoming novel by Inanna Publications—A Diary in the Age of Water coming out in 2020—explores the socio-political consequences of corruption in Canada, now owned by China and America as an indentured resource ‘reservoir’; it is a story told through four generations of women and their unique relationship with water during a time of great unheralded change. On February 17, 2046, limnologist Lynna writes in her diary about her mother Una:

Bald, alle das wasser verschwindet,” She said in her quiet voice of certainty. She always spoke in her mother tongue when it came to water. Soon, all the water will be gone. “Und so werden wir.” And so will we. “Es wird das Ende des Zeitalters des Wassers sein.” It will be the end of the Age of Water. 

Una always seemed to follow the thalweg. She seemed to always know what water was doing. Even when it braided and curled in on itself. Even when human-made obstructions got in the way; like the increased water tax, followed by the severe water-use quota. Like water, Una found a way around it.  

I wish I had that skill.

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Science fiction explores our water crisis through premises of extreme water shortage and devastating violence (floods, droughts and storms), water diversion, and hoarding. Premises explore weather manipulation, the consequences of extensive deforestation and the massive extinction of species. Some—such as Claudiu Murgan’s Water Entanglement—even explore water as a character, as though water has gone rogue, unruly. Perhaps even vengeful…

Today, we control water on a massive scale. Reservoirs around the world hold 10,000 cubic kilometres of water; five times the water of all the rivers on Earth. Most of these great reservoirs lie in the northern hemisphere, and the extra weight has slightly changed how the Earth spins on its axis, speeding its rotation and shortening the day by eight millionths of a second in the last forty years.

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Millennia ago, we adapted and lived by the rhythms of the global water cycle. We have since harnessed the power of water; we captured it and diverted it and changed it in ways to suit our own rhythms. Our unprecedented power over the planet’s water has advanced our civilizations immeasurably. But water remains our Achilles’ heel; it has the potential to limit our ambition like no other resource on Earth.

If climate change is the planet’s response to humanity’s relentless exploitation, water is its archangel.

Three Percent TVshowA tidal wave of TV shows and movies currently explore—or at least acknowledge—the devastation we are forcing on the planet. Every week Netflix puts out a new science fiction show that follows this premise of Earth’s devastation: 3%; The 100The TitanOrbiter 9; even Lost in Space.

Science fiction is suited to this role; it is the literature of consequence that explores large issues faced by humankind and can provide an important vehicle in raising environmental awareness. Literature in general has always served as a cultural reporter on themes important to humanity.  The science fiction genre—and speculative fiction particularly—explores premises based on current scientific and technological paradigms. What if we kept doing this?…What if that went on unchecked?… What if we decided to end this?… These are conveyed through the various predictive visions from cautionary tales (e.g., Atwood’s Year of the Flood) to dystopias (e.g., Itäranta’s The Memory of Water). Science fiction has always been the pre-eminent literature of metaphor and history; it has lately matured in the Anthropocene to incorporate the edgy realism of literary fiction to give us potent environmental relevance. Sub-genres now include eco-fiction, climate fiction, and cli-fi.

MemoryOfWater_Emmi ItarantaEllen Szabo, author of Saving the World One Word at a Time: Writing Cli-Fi suggests that the ability to make environmental issues less political and more personal (through story) permits more engagement by readers and a higher likelihood of action toward justice: we are more likely to take action on the things we love and know. It’s all about connection.

“Science doesn’t tell us what we should do,” Barbara Kingsolver wrote in Flight Behavior “It only tells us what is.” Stories can never be a solution in themselves, but they have the capacity to inspire action, which is perhaps why cli-fi’s appeal among young adult readers holds such promise. As the scientists and leaders of tomorrow, they may be most capable of addressing climate and water issues where previous generations have failed, writes J.K. Ullrich of The Atlantic. As Margaret Atwood wrote in MaddAddam, “People need such stories, because however dark, a darkness with voices in it is better than a silent void.”

We tend to live very much in the here and now, Bacigalupi told an audience at the University of Seattle when describing humanity’s lack of planning for the future.  But, he added, “with science fiction, I can give you a [here and now] experience far into the future,” and allow a reader to truly experience “what it’s like to be a climate refugee” or be someone with no legal access to water. An extrapolated science fiction future provides a visceral opportunity to see our future selves in a way that promotes serious consideration, says Bacigalupi. By putting us there, we have a better chance of making those extrapolations into consequence.

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For centuries we have hubristically and disrespectfully used, discarded and destroyed just about everything on this beautiful planet. According to the World Wildlife Federation, 10,000 species go extinct every year. That’s mostly on us. They are the casualty of our selfish actions. We’ve become estranged from our environment, lacking connection and compassion. That has translated into a lack of consideration—even for each other. In response to mass shootings of children in schools, the U.S. government does nothing to curb gun-related violence through gun-control measures; instead they suggest arming teachers. We light up our cigarettes in front of people who don’t smoke and blow cancer-causing second-hand smoke in each other’s faces. We litter our streets and we refuse to pick up after others even if it helps the environment and provides beauty for self and others. The garbage we thoughtlessly discard pollutes our oceans with plastic and junk, hurting sea creatures and the ocean ecosystem in unimaginable ways. We consume and discard without consideration.

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We do not live lightly on this planet.

We tread with incredibly heavy feet. We behave like bullies and our inclination to self-interest makes us far too prone to suspicion and distrust: when we meet the unknown—the “other” so often portrayed in science fiction—we tend to respond with fear and aggression over curiosity, hope and kindness. Something we need to work on if we are going to survive.

Science fiction—the highest form of metaphoric and visionary art—is telling us something. Are we paying attention?

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Rainforest on southern Vancouver Island, B.C. (Photo by Kevin Klassen)

 

 

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Nina Munteanu is a Canadian ecologist / limnologist and novelist. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Visit www.ninamunteanu.ca for the latest on her books. Nina’s bilingual “La natura dell’acqua / The Way of Water” was published by Mincione Edizioni in Rome. Her non-fiction book “Water Is…” by Pixl Press (Vancouver) was selected by Margaret Atwood in the New York Times ‘Year in Reading’ and was chosen as the 2017 Summer Read by Water Canada. Her novel “A Diary in the Age of Water” will be released by Inanna Publications (Toronto) in 2020.

Climate Change: What We Can Do—Nina talks to the Toronto Star

Nina Munteanu

Nina Munteanu (photo by Richard Lautens)

The Toronto Star recently spoke to Nina Munteanu with two questions about climate change. These were included in a recent handbook published by the Star entitled “Undeniable: Canada’s Changing Climate—What We Can Do Now.” In it, The Star showed how the majority of Canadians place climate change as a top priority. In “Let’s Talk” The Star interviews computer scientist and head of UofT’s School of the Environment Steve Easterbrook. Questions involving local community action and the importance of hope.

In “Your Carbon Footprint” The Star showed how China and the US together produce over half of the entire greenhouse gases emitted annually by the top ten countries that include EU 28, India, Russia, Japan, Brazil, Indonesia, Canada, and Iran. These ten countries currently emit seventy percent of the world’s greenhouse gases. China (11.912 Mt CO2) continues to lead in greenhouse gas emissions, being over twice the US, the next large emitter (6.371 Mt CO2).

Top Ten GreenhouseGas Countries

However, when The Star looked at per capita greenhouse emissions, Canada jumped to the top rank at 21 tonnes per person annually, followed by the US (20 tonnes/person). By comparison, China—ranked the highest for total emissions—measured only 8.73 tonnes per person annually. And Bangladesh measured 1.1 tonnes/person.

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“Most scientists agree that in the coming decades we need to limit our individual annual carbon footprint to 1-2 tons,” says The Star. This entails making personal changes to cut our carbon output. One example is driving less or converting to a hybrid or electric car. “Our behaviours, whether good or bad, are contagious,” says The Star. I agree. It is important to not only do what we can but to share with others and provide our reasons. Seth Wynes, a geographer at the University of British Columbia concurs: “It’s not just about what you do, it’s about setting an example for others.” Research suggests, for example that homeowners are more likely to install solar panels when someone else does it first in their neighbourhood. Wynes in 2017 co-authored a study that ranks the most effective lifestyle changes to curb an individual’s carbon footprint.

In “Four Things You Can Do”, The Star suggests the following key initiatives:

  1. Eat less beef
  2. Live car-free or go hybrid / electric
  3. Invest in green infrastructure
  4. Reduce air travel

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The Star also provided good advice on how to talk to children about our changing climate. They provide excellent examples of children empowering themselves by making a difference—instead of becoming depressed with what they are inheriting. In “Political Checkup” The Star discusses with experts how we can best interact with our political leaders to engage and ensure positive change. In “Faith and Community” The Star showcases examples of faith communities addressing our waste stream.

In “The ChangeMakers” The Star asked the same two questions of five Canadians who are making climate change a top priority. They included:

  • Franny Ladell Yakelashek: 12-year old environmental rights activist from Victoria, BC
  • Jocelyn Joe-Strack: Indigenous scientist and storyteller, Whitehorse, Yukon
  • Kathy Bardswick: director of the Institute for Clean Growth and Climate Change, Guelph, ON
  • Gordon McBean: climatologist and professor emeritus at Western University, London, ON
  • Nina Munteanu: ecologist, instructor at The University of Toronto and author of eco-fiction and climate fiction, Toronto, ON.

Q1: What is the one thing about climate change that keeps you up at night?

Nina: I worry that my son and his kids will end up experiencing one of my dystopias from one of my books. My son lives in Vancouver, and my main concern is that he and his kids won’t have the chance to live safely and enjoy a stable and beautiful planet because we have wrecked it for them.

That leads me to the second thing that keeps me up at night, which is that nobody cares. Or that they are scared to care. We’re still going about our business like nothing is happening.

That really frustrates me. I’m a scientist and we’ve been talking about this for a long time; for me it’s been decades. My frustration is that we are still debating climate change, and we should be acting on it.

Q2: What is the one thing Canadians can do to act on climate change?

Nina: I think it has to be three things. First, plant a tree; make an actual difference through action. By doing that, we get out from hiding under the bed and face the monster of climate change and show that we care and that we are not alone. And that — taking direct action — will give us courage and hope.

Second, vote for green politicians. Politicians need to hear directly from their communities, they need you to push them to act on climate change.

Third, find your tribe and create a movement. Everyone says that people have the power, but that power comes best through numbers and solidarity. Find your tribe, and you’ll find yourself more motivated.

For answers to these two questions by the other changemakers, please go to the Toronto Star’s “What You Can Do About Climate Change” site.

 

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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. Nina’s short story collection of eco-fiction can be found in “Natural Selection” published by Pixl Press. Her novel “A Diary in the Age of Water” will be released by Inanna Publications (Toronto) in 2020.

International Writers’ Festival at Val David

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

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

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

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International Festival among the trees

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

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

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

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

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Lunch at Flavia’s

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

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

 

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

C'est La Vie Cafe

C’est la Vie Cafe, Val David

Val David

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

 

 

 

 

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Nina Munteanu is a Canadian ecologist / limnologist and novelist. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Visit www.ninamunteanu.ca for the latest on her books. Nina’s bilingual “La natura dell’acqua / The Way of Water” was published by Mincione Edizioni in Rome. Her non-fiction book “Water Is…” by Pixl Press (Vancouver) was selected by Margaret Atwood in the New York Times ‘Year in Reading’ and was chosen as the 2017 Summer Read by Water Canada. Her novel “A Diary in the Age of Water” will be released by Inanna Publications (Toronto) in 2020.

 

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

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

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

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

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

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Reviewing the story we created through an exercise

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

creating a story

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

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

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

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Nina talks about some interesting adaptations in reproduction

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

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Cathedral Grove, Vancouver Island, BC

 

One-Day Writing Intensive in Georgian Bay

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

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writing group at Noel’s Nest

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

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

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

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

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

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Pine Island by Tom Thompson

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

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

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Georgian Bay at Port McNicoll

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

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

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La Baie Crêperie in Midland

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

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Eager writers work on an exercise I’ve given them

Writing intensive June 22, 2019

 

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Nina Munteanu is a Canadian ecologist / limnologist and novelist. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Visit www.ninamunteanu.ca for the latest on her books. Nina’s bilingual “La natura dell’acqua / The Way of Water” was published by Mincione Edizioni in Rome. Her non-fiction book “Water Is…” by Pixl Press (Vancouver) was selected by Margaret Atwood in the New York Times ‘Year in Reading’ and was chosen as the 2017 Summer Read by Water Canada. Her novel “A Diary in the Age of Water” will be released by Inanna Publications (Toronto) in 2020.

 

 

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

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

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

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

 

 

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Launch at Type Books

From Habitats and Trophic Levels to Metaphor and Archetype…

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

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Launch presenters

Launch at Type Books

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

Launch Presenters

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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Nina Munteanu is a Canadian ecologist / limnologist and novelist. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Visit www.ninamunteanu.ca for the latest on her books. Nina’s bilingual “La natura dell’acqua / The Way of Water” was published by Mincione Edizioni in Rome. Her non-fiction book “Water Is…” by Pixl Press (Vancouver) was selected by Margaret Atwood in the New York Times ‘Year in Reading’ and was chosen as the 2017 Summer Read by Water Canada. Her novel “A Diary in the Age of Water” will be released by Inanna Publications (Toronto) in 2020.

 

 

 

Nina Munteanu’s Short Story “Natural Selection” features in Eagle Literary Magazine Issue #1

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Illustration by Ionuț Bănuță

Sarah reached the summit, panting for breath, and grinned at her prize. She’d just caught the sun trembling over the horizon, before it dipped out of sight and left a glowing sky under pewter clouds. She glanced behind her, where the towers of Icaria blazed like embers catching fire. Struck by their beauty, Sarah admired their smooth, clean surfaces. When she looked back toward the path, the sanguine images burnt into her eyes.

Which way should she go? The deer path she’d followed now diverged into two smaller ones. She shifted her mind to veemeld with her AI, DEX. Which way should we go, DEX?

Her AI answered in her head: Sarah, shouldn’t you be returning inside? It’s dangerous to stay out this long. Statistics are now against you for getting caught—

Just a few more minutes, DEX. How about to the right?

“Natural Selection” tells the story of Sarah, an unruly veemeld who can speak to the machine world that runs Icaria. Given her immunity to the environmental disease ravaging the enclosed city, Sarah—at least her genetic material—is sought after by the Ecologist government in a bid to maintain order and reshape humanity through “selection”; but Sarah fraternizes with unsavory friends and her truant behaviour poses a great risk to her freedom and survival.

Eagle-1issue-summer2019_Cover_1600“Natural Selection” first appeared in 2013 in my short story collection of the same name by Pixl Press. The story returns in Issue #1 of Eagle Literary Magazine, Pan European Science Fiction & Fantasy Collection (Summer 2019; Nexus Project) edited by Mugur Cornilă and featuring the impeccable artwork of Ionuț Bănuță.

In the 2013 Pixl Press short story collection my introduction describes the theme that embraces the nine stories in the collection:

How do we define today a concept that Darwin originated 200 years ago in a time without bio-engineering, nano-technology, chaos theory, quantum mechanics and the internet? We live in an exciting era of complicated change, where science based on the limitation of traditional biology is being challenged and stretched by pioneers into areas some scientists might call heretical. Endosymbiosis, synchronicity, autopoiesis & self-organization, morphic resonance, Gaia Hypothesis and planetary intelligence. Some of these might more aptly be described through the language of meta physics. But should they be so confined? It comes down to language and how we communicate.

Is it possible for an individual to evolve in one’s own lifetime? To become more than oneself? And then pass on one’s personal experience irrevocably to others—laterally and vertically?

On the vertical argument, the French naturalist Jean-Baptiste Lamark developed a theory of biological evolution in the early 19th century considered so ridiculous that it spawned a name: Lamarkism. His notion — that acquired traits could be passed along to offspring—was ridiculed for over two hundred years. Until he was proven right. Evolutionary biologists at Tel Aviv University in Israel showed that all sorts of cellular machinery — an intelligence of sorts — played a vital role in how DNA sequences were inherited. When researchers inserted foreign genes into the DNA of lab animals and plants, something strange happened. The genes worked at first; then they were “silenced”. Generation after generation. The host cells had tagged the foreign genes with an “off switch” that made the gene inoperable. And although the new gene was passed onto offspring, so was the off switch. It was Larmarkism in action: the parent’s experience had influenced its offspring’s inheritance. Evolutionists gave it a new name. They called it soft inheritance [also known as epigenetics].

NaturalSelection-IonutBanua2

Illustration by Ionuț Bănuță

Horizontal gene transfer (HGT) is the movement of genetic material between organisms other than by vertical transmission of DNA from parent to offspring. Jumping genes (transposons) are mobile segments of DNA that may pick up a gene and insert it into a plastic or chromosome. Pieces of DNA move from one locus to another of a genome without parent-to-offspring by horizontal transposon transfer (HTT). Epigenetics describes the modification of DNA expression through DNA methylation—and results in “Lamarkism.” Transgenerational epigenetic inheritance is the new black: genes and environments interacting. Where do we end and where does environment begin? Researchers have proven the significant role of environmental feedback through HGT in evolutionary success. Researchers showed that up to 20% of a bdelloid rotifer’s genome is made of foreign genes that they stole from the environment through horizontal gene transfer and gene conversion. This compares to about 1% for humans and a fifth for tardigrades.

—excerpts from “A Diary in the Age of Water” due for release in 2020 by Inanna Publications.

Diary Water cover finalAs for passing on one’s experience and acquisitions to others laterally, education in all its facets surely provides a mechanism. This may run the gamut from wise mentors, spiritual leaders, storytellers, courageous heroes to our kindergarten teacher.  Who’s to say that these too are not irrevocable? This relies, after all, on how we learn, and how we “remember”.

Evolution is choice. It is a choice made on many levels, from the intuitive mind to the intelligent cell. The controversial British botanist Rupert Sheldrake proposed that the physical forms we take on are not necessarily contained inside our genes, which he suggested may be more analogous to transistors tuned in to the proper frequencies for translating invisible information into visible form. According to Sheldrake’s morphic resonance, any form always looks alike because it ‘remembers’ its form through repetition and that any new form having similar characteristics will use the pattern of already existing forms as a guide for its appearance.  This notion is conveyed through other phenomena, which truly lie in the realm of metaphysics and lateral evolution; concepts like bilocation, psychic telegraphing, telekinesis and manifestation. Critics condemn these as crazy notions. Or is it just limited vision again? Our future cannot be foretold in our present language; that has yet to be written. Shakespeare knew this…

There are more things in heaven and earth , Horatio, than are dreamt of in your philosophy—Shakespeare

NaturalSelection-front-webEach story in the “Natural Selection” short story collection reflects a perspective on what it means to be human and evolve in a world that is rapidly changing technologically and environmentally. How we relate to our rapidly changing fractal environments—from our cells to our ecosystems, our planet and ultimately our universe—will determine our path and our destiny and those we touch in some way.

My friend Heidi Lampietti, publisher of Redjack Books, expressed it eloquently, “For me, one of the most important themes that came through in the collection is the incredible difficulty, complexity, and importance of making conscious choices — and how these choices, large and small, impact our survival, either as individual humans, as a community, a species, or a world.”

DarwinsParadox-Cover-FINALsmall“Natural Selection” also features the sprawling semi-underground AI-run city of Icaria (a post-industrial plague Toronto) that was first introduced in my novel “Darwin’s Paradox” and is a character itself. Sarah is a “gifted” and troubled misfit—not in sync with the rest of the population. Yet her choices—and how she is treated by her community— will influence an entire species and world.

 

 

 

 

You can purchase Issue #1 of Eagle Literary Magazine in the United Kingdom, United States, Spain, Italy, France, Germany, Japan, Canada.

 

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