Weaponizing Language: The U.S. Coast Guard Succumbs to TrumpSpeak by Censoring ‘Climate Change’ from its Curriculum

Language, the connective tissue of the body politic—that space where the collective “we” matters so much—is losing its ability to fulfill its most basic duty: to communicate. To correlate. To connect us to the world, and to one another

Megan Garber, The Atlantic
Scene of Winston Smith (John Hurt) in Nineteen Eighty-Four filmed in 1984 shown here with addition for currency

In his dystopian 1949 novel Nineteen Eighty-Four, George Orwell featured Newspeak, a fictional language of the totalitarian superstate Oceania. Created by the Party to meet requirements of Ingsoc (Englilsh Socialism), the Newspeak consisted of simplified grammar and limited vocabulary designed to limit a person’s ability to critically think. If you can’t find a word to articulate something, then it can’t be expressed and in some way no longer exists. Personal identity, self-expression and free speech become casualties of a simpler world.

Science fiction? Think again.

Today, Inside Climate News reported that the U.S. Coast Guard has eliminated the term “climate change” and related terminology from the curriculum of its training academy to conform to President Trump’s polices.

U.S. Coast Guard cutter Healy assists a NASA shipborne investigation into climate change in the Chukchi Sea in the Arctic Ocean (photo Kathryn Hansen NASA)

This comes at a time when scientists report that the effects of climate change and global warming are weakening the world’s most powerful ocean current, the ACC, with projected slowing by a third within decades. A study by international scientists published today in the journal Environmental Research Letters projects that the fresh water from melting Antarctic ice will weaken the Antarctic Circumpolar Currrent (ACC) by 20 percent in the next 30 years. The ACC is the only ocean current to flow around the entire planet unimpeded, carrying more than 100 times more water than all the world’s rivers combined. A paper in the journal Nature Climate Change recently documented how freshwater from melting ice has already weakened the overturning, or vertical circulation, of Antarctic shelf waters, which reduces oxygen in the deep ocean. Effects of the ACC slow down are projected to include more climate variability, with greater extremes in certain regions, and accelerated global warming.

Global warming is a fact.

Anyone negating its existence, let alone its existential threat, is quite simply a fool. But when a fool is in power and negates the bald truth of science—successfully eliminating the most important word to our existence on this planet—then who’s really the fool?

(image from The Atlantic)

In the 1940s, shortly after the end of World War Two, Orwell wrote an essay “Why I Write”; in it he lamented the growing decrepitude of the English language. Orwell argued that the decline of English went hand-in-hand with the decline of intellectualism in society and facilitated the manipulation of listeners, speakers and writers. Richard Weintraub noted in his 2021 article that Trump used ‘Newspeak’ to dismiss the Covid 19 virus, putting Americans at great risk.

Orwell created the term doublethink—a jargon of purposeful obfuscation—which is ability to simultaneously accept two mutually contradictory beliefs as right at the same time: “war is peace”; “freedom is slavery”; “ignorance is strength”. This oxymoron isn’t some wild gesture to the simultaneous wave / particle existence of particle physics or gestalt dualism of Schrödinger’s cat. Orwell’s brilliant fictional concept was predicated on the historical precedent of fascists around the world: the embodiment of “Big Brother”, who uses “doublethink” to confound, sway and control the minds of all people. The term “fake news” has settled in like a damp fog, a casual rejoinder to any truth one wishes to negate and ultimately erase.

On the weaponizing of language, Megan Garber in The Atlantic writes:

“Language, in 1984, is violence by another means, an adjunct of the totalitarian strategies inflicted by the regime. Orwell’s most famous novel, in that sense, is the fictionalized version of his most famous essay. “Politics and the English Language,” published in 1946, is a writing manual, primarily—a guide to making language that says what it means, and means what it says. It is also an argument. Clear language, Orwell suggests, is a semantic necessity as well as a moral one. Newspeak, in 1984, destroys with the same ferocious efficiency that tanks and bombs do. It is born of the essay’s most elemental insight: If thought corrupts language, language can also corrupt thought.”

The hard truths of science are at risk in a world gazing through the lens of confabulation… When the inveigling bits and bites of social media time and again trump scientific fact…

I end with Garber’s solemn call to awareness:

“Orwell published “Politics” at the end of a conflict that had, in its widespread use of propaganda, also been a war of words. In the essay, he wrestles with the fact that language—as a bomb with a near-limitless blast radius—could double as a weapon of mass destruction. This is why clarity matters. This is why words are ethical tools as well as semantic ones. The defense of language that Orwell offered in “Politics” was derived from his love of hard facts. “So long as I remain alive and well I shall continue to feel strongly about prose style, to love the surface of the earth, and to take a pleasure in solid objects and scraps of useless information,” he confessed in his 1946 essay “Why I Write.” His was an elegant dogma. Words matter because facts matter—because truth matters. Freedom, in 1984, is many things, but they all spring from the same source: the ability to say that 2 + 2 = 4.”

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.

Confessions of a Teenage Eco-Warrior

When I was little, I wanted to be a storyteller, a cartoonist specifically. I was reading graphic novels before I could read. That didn’t stop me from understanding what was going on. Being a virtual learner and an artist, I understood context: expressions, body language…

Nina, age three, pretending to read (photo by Martha Munteanu)

I wrote and drew wild adventure thriller detective stories and stories about exploring other planets. While my first love was telling stories, I was called by the needs of the environment. This percolated through me as I grew up and wouldn’t let go. When I could read and write, I still read graphic novels; I wrote and illustrated short stories about the environment, dystopian tales that focussed on how we were destroying our planet.

At school, I loitered in the hallways, pasting subversive posters on the walls. They were a call to action: Restrain … Reuse … Repurpose … Recycle … Remain true to the environment. I wrote in the school paper. I quoted global statistics, mentioned global warming (yes, people knew about it back in the ‘60s and ‘70s), and submitted cheesy emotional drawings of pollution and toxic waste.

I was a teenage eco-warrior.

By the time I was ready to go to university (I’d been accepted early into the fine arts program at Concordia University in Montreal), I switched my major on registration day. Like a horse bolting from a fire, I charged out of the arts and into the sciences. I’d heard environment’s call for help and had notions of becoming an environmental lawyer. I kept a few arts courses as electives but focused on a biology degree in the environmental sciences. I understood that the tools I needed to wield as an eco-warrior in law were rooted in science.

A twenty-some old Nina exploring the forest

I learned something about ecology, botany, animal, plant, and cell physiology, genetics and biochemistry, and limnology (the study of water systems). The sciences fascinated me and I became entranced in the study of how the natural world worked. I was particularly attracted by lichens, plant-like organisms called cryptogams that grow like miniature forests on substrates—trees, fence posts, rock, cement. My attraction was partly because these often overlooked organisms were actually more of a symbiotic community or mini-ecosystem: an intriguing community of fungi, algae, cyanobacteria, bacteria and yeast growing together. I felt that on some level, lichen had much to teach us on lifestyle and approach to living on this planet. They’d been around for millennia, a lot longer than we’ve been.

Having long abandoned law (I convinced myself that I wasn’t cut out for it; maybe I was but that’s another universe), I decided to pursue lichen ecology for my masters degree. But fate had another path in mind for me. The botany professor who I wished to study under was retiring and no one was taking her place. She referred me to the limnology professor and he got me interested in another microscopic community: periphyton (the algae and associated organisms that colonize plants, rock and cement in water).

I published some papers, moved out west and eventually got married and raised a beautiful son. My limnological expertise led me to a position at the local university and as a scientist with several environmental consulting firms, where I consulted with clients, did field research, wrote reports, and published and presented papers at conferences.

Nina and son Kevin explore nature (photo by Herb Klassen)

I’d come somewhat full circle to be an eco-warrior, pursuing environmental problems (and corporate mischief) through biology rather than law. I designed and conducted environmental impact assessments and recommended mitigation, restoration, and remediation procedures to various clients from lakefront communities and city planners to mining companies dealing with leaky tailings ponds and pulp mills discharging effluent into the ocean.

Various reports, scientific papers and articles I’ve written or been interviewed for

It worked for me. I consulted for twenty-some years. It was for the most part both satisfying and encouraging. I felt as though I was making a difference: mostly through educating my clients. But that became less and less the case as the consulting firms I worked for, and the corporations they worked for, seemed to have less and less integrity. They also seemed to care less about the environment and more about profit.

So, just as I’d done on the day of registration at university, I bolted like a horse in a fire and quit my job as a consultant. I never returned to consulting.

Nina photographing pollution of a small creek entering a drinking water source (photo by Matthew Barker, Peterborough Examiner)
My article in the Niverville Citizen on understanding watersheds

My sights went back to storytelling, journalism, and reporting/interviews. Mostly eco-fiction. Creating narratives that would hopefully move people, nudge them to act for the environment. Change their worldview somewhat into eco-friendly territory. Make them care. I’m still an eco-warrior, but my pen and my storytelling is my tool.

The word is a powerful tool. And the stories that carry them are vehicles of change.

Nina Munteanu wandering the Emily Tract forest, ON (photo by Merridy Cox)

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

My Eco-Journey with DuPont…                           

In his 2006 book The Seven Basic Plots: Why We Write Stories, Christopher Booker tells us that there are seven types of plots in story. One is entitled “Overcoming the Monster,” an underdog story where the hero sets out to destroy an evil to restore safety to the land. It is a story I admire and never tire of. The evil force is typically much larger than the hero, who must find a way, often through great courage, strength, inventive cunning—and help from her community—to defeat the evil force. This is the story of David and Goliath, of Beowulf and Grendel, of Luke Skywalker and Darth Vader in Star Wars, of Jake Sully and Miles Quaritchs in Avatar—notice, all men who, for the most part, do their hero-ing alone. I may get to that later (in another post)…

The “Overcoming the Monster” plot, whether told literally or through metaphor, reflects an imbalance in the world—usually of power—that the hero must help right.

Enter the “Monster” DuPont…

DuPont Washington Works plant in Parkersburg, West Virginia

The true story of DuPont’s decades-long evil maleficence reflects the great power imbalance of many large corporations and the evil they enact through willful deception and mischief to increase profit, their god.

This brings me to my heroic journey. For in some terrible way, the story of DuPont is also my story. One of power imbalance, of deception and ignorance. Their deception; my ignorance:

In 1954, the year I was born, during the ramp up for the Teflon rollout at DuPont’s Washington Works plant in Parkersburg, toxicologist R.A. Dickison noted possible toxicity of the surfactant C8 (PFOA or Perfluorooctanoic Acid) used to make Teflon. DuPont ignored the warning and proceeded to roll it out for mass use.

1950s DuPont ad for the Teflon “Happy Pan”

In 1961, while I was contending with recess bullies in grade two, DuPont rolled out their Teflon-coated “Happy Pan” with the full knowledge that C8 was a toxic endocrine disruptor and caused cancer. DuPont’s chief toxicologist Dorothy Hood cautioned executives in a memo that the substance was toxic and should be “handled with extreme care.” She explained that a new study had found enlarged livers in rats and rabbits exposed to C8, confirming that the chemical was toxic. It didn’t stop the roll out.

In 1962, while I was exploring my artistic talents at school, DuPont scientists conducted tests on humans, asking a group of volunteers to smoke cigarettes laced with C8. Nine out of ten people in the highest-dosed group were noticeably ill for an average of nine hours with flu-like symptoms that included chills, backache, fever, and coughing. Further experiments by DuPont linked C8 exposure to the enlargement of rats’ testes, adrenal glands, and kidneys.

In 1964, I was ten years old and struggling with my Grade 5 teacher who was trying to curb my unique self-expression. I was already aware of environmental imbalance and destruction in the world. My pet peeve was littering because it demonstrated great disrespect for others and the environment. I told environmental stories. That year DuPont had already begun its great deception; having confirmed the toxicity of C8, they simply watched (and recorded) as this cancer-causing endocrine disruptor injured, maimed and killed their own workers. The company did nothing to prevent it and they told no one.

In 1965, I was in the process of figuring out my heroic self and my unique gift to the world in Grade seven: was it in fine arts and advertising? Writing and storytelling? Environmentalism and law? Internal DuPont memos revealed that preliminary studies showed even low doses of a related surfactant to Teflon could increase the size of rats’ livers, a classic response to poison.

In the mid- to late-60s, I became an environmental activist, putting up posters and writing in the school paper. I wrote letters to industry and politicians, trying to incite interest in being good corporate citizens and promoting global environmental action. I remember a well-meaning teacher chiding me for my extravagant worldview. “Stick to little things and your community—like recycling,” he suggested patronizingly. I remember the shock of realizing that not everyone felt the planet like I did. Perhaps it was a teenage-thing, or a girl-thing, or a nina-thing. I prayed it wasn’t just a nina-thing

I started writing stories in high school. Mostly eco-fiction, though I didn’t know that’s what it was at the time. There was no genre called eco-fiction back then. It all went under the umbrella of scifi.

In 1969, at fifteen, I wrote my first dystopia, Caged in World.  The eco-novel was about a subway train driver and a data analyst caught in the trap of a huge lie. The story later morphed into Escape from Utopia. Several drafts and years later the novel became the eco-medical thriller Angel of Chaos, published in 2010. The story is set in 2095 as humanity struggles with Darwin’s Disease—a mysterious neurological environmental pandemic assaulting Icaria 5, an enclosed city within the slowly recovering toxic wasteland of North America. The city is run by deep ecologists who call themselves Gaians, and consider themselves guardians of the planet. The Gaians’ secret is that they are keeping humanity “inside” not to protect humanity from a toxic wasteland but to protect the environment from a toxic humanity.

Lawyer Robert Bilott (Mark Ruffalo) investigates leachate-infected cows from nearby DuPont landfill (photo from film “Dark Waters”)

In the early 1970s, I entered university and contemplated becoming an environmental lawyer; I wrote short stories, mostly eco-fiction, and joined marches protesting environmental destruction by large corporations.  DuPont confirmed that C8 not only persisted in the environment; it bioaccumulated in animals. In 1979, when I graduated with a Master of Science degree in limnology/ecology, DuPont circulated an internal memo in which humans exposed to C8 were referred to as “receptors,” describing how scientists found “significantly higher incidence of allergic, endocrine and metabolic disorders” as well as “excess risk of developing liver disease.”  DuPont kept this knowledge to themselves and withheld it from EPA.  

In the late 1970s early ‘80s, while I was addressing local environmental issues as a practicing limnological consultant, DuPont was dumping 7,100 tons of PFOA-laced sludge into unlined ‘‘digestion ponds’’: open, unlined pits on the Washington Works property, from which the chemical could seep straight into the ground. PFOA entered the local water table, which supplied drinking water to the communities of Parkersburg, Vienna, Little Hocking and Lubeck — more than 100,000 people.

Effects of PFOA (birth defect in Bucky Bailey whose mother was on the Teflon line without protection during her first trimester; blackening teeth from the excessive fluoride, from scene in “Dark Waters”)

In 1981, when I got my first job as a limnologist and environmental consultant in Vancouver, DuPont confirmed that C8 caused birth defects in its own workers—and did not warn its workers. A DuPont pathologist confirmed that the observed fetal eye defects were due to C8. With that confirmation the pregnancy study was quietly abandoned and a decision made not to inform EPA. Less than a year later DuPont created false data for EPA then moved women of childbearing age back into areas with C8 exposure. Many in the company coined the term “Teflon flu” to describe the ill-effects of working close to the compound. By 1982, DuPont had confirmed the high toxicity of C8/PFOA in humans.

In 1984, a year after I formed my own consulting company Limnology Services in Vancouver, DuPont staffers secretly tested their community’s drinking water and found it to contain alarming levels of C8. Deciding that any cleanup was likely to cost too much and tarnish their reputation, DuPont chose to do nothing. In fact, they scaled up their use of C8 in Teflon products and bought land to dump their toxic sludge in unlined landfills. Deaths in DuPont workers from leukemia and kidney cancer climbed.

In 1989, at 35 years old, and still blissfully unaware of DuPont’s nefarious activities, I continued consulting for my own company Limnology Services, addressing mostly local environment issues with communities and local governments. By that year, DuPont employees found an elevated number of leukemia deaths at the West Virginia plant, followed by an inordinately high number of kidney cancers among male workers. Earl Tennant, whose farm was close to the DuPont landfill at Dry Run creek, sent videos of foamy water and diseased cows to the West Virginia Department of Environmental Protection; state regulators documented “numerous deficiencies in the landfill operation and erosion gullies that funnelled waste into Dry Run creek; DuPont made a deal with the department: the company paid a $250,000 fine and the department took no further action against the landfill. (The official who negotiated the deal later became a DuPont consultant.)

Throughout the 90s, I started teaching college biology and university environmental education courses in Vancouver. The magazine Shared Vision Magazine published my first article “Environmental Citizenship” in 1995. Meantime, DuPont’s Washington Works plant pumped hundreds of thousands of pounds of PFOA sludge, powder and vapor through stacks into the atmosphere and outfall pipes into the Ohio River.

In 1996, I was consulting for local industry and municipalities. By then, C8 was in the drinking water of Parkersburg and other communities. Despite what they knew of C8’s toxicity, DuPont kept it a secret (no one else was testing for PFOA because it was unregulated).

Farmer Tennant and lawyer Rob Billot encounter a leachate-infected mad cow in the 2019 film “Dark Waters”

In 1999, still serving as environmental consultant to mining and pulp mill companies, I still knew nothing about DuPont’s duplicitous environmental atrocities. 3M—troubled by its studies on C8 with monkeys—notified EPA and phased out PFOS and PFOA; DuPont started producing its own PFOA. On behalf of Earl Tennant whose cattle were dying adjacent to DuPont’s landfill site, lawyer Rob Bilott filed a small suit against DuPont to gain legal discovery and starting the decade-long process of finally unravelling the buried truth of their insidious criminality–over thirty years after DuPont knew and did nothing.

In 2003, I continued consulting as an environmental scientist in ignorance of DuPont’s misdealings, though by now much had come out in the press. By that year, DuPont had knowingly dispersed almost 2.5 million pounds of harmful C8 from its Washington Works plant into the air and water of the mid-Ohio River Valley area.

DuPont’s Washington Works plant in Parkersburg, West Virginia

In 2004, DuPont agreed to settle the class-action suit filed by lawyer Rob Bilott. Under the terms of the settlement, the company was not obliged to pull C8 from the market. The best the EPA could negotiate was a voluntary phase-out by 2015. That same year There It Is reported on how DuPont denied poisoning consumers with Teflon products. The dangers and spread of PFOA and other forever chemicals appeared more and more in the scientific literature (see the reference list below, which is by no means exhaustive).

In 2007, Darwin’s Paradox, my eco-fiction novel about an environmental pandemic, was published by Dragon Moon Press in Calgary, Alberta. Four years earlier, the law had finally caught up to DuPont, but not before they had dispersed 2.5 million pounds of harmful C8 from their Washington Works plant into the air and water of the mid-Ohio River Valley area. It would be another twelve years before DuPont would stop making C8 (in 2015) and another four years after that when C8 would be banned from use globally (2019). PFOA is still unregulated by EPA; the best they can do is issue a non-enforceable health advisory set at 70 parts per trillion.

In 2012, shortly after I moved to Nova Scotia to write for a living (having quit environmental consulting due to disillusionment with integrity of companies I worked for), the C8 Science Panel, tasked to study the possible health effects of PFOA in a highly exposed population in the mid-Ohio Valley, determined a probable link between C8 exposure and six disease categories: kidney cancer, testicular cancer, ulcerative colitis, thyroid disease, preeclampsia, and high cholesterol.  

In 2015, two years after I began teaching writing at the University of Toronto, DuPont began a series of complex transactions that transferred its responsibility for environmental obligations and liabilities associated with PFAS (C8) onto other entities such as Chemours, Corteva, and NewDupont. A year later New York Times Magazine ran a story “The Lawyer Who Became DuPont’s Worst Nightmare” and Sharon Lerner of The Intercept ran an in-depth series on DuPont’s duplicitous criminality: “The Teflon Toxin: DuPont and the Chemistry of Deception.”

In 2017, DuPont and its spinoff company Chemours agreed to settle a lawsuit with roughly 3,500 people living near the Parkersburg plant in both West Virginia and Ohio and many ailing from toxicity-related problems. The company agreed to pay $671 million. That’s one day’s sales in a $27 billion annual profit stream. The Fayetteville Observer reported that this “Discontinued chemical [was] still in well water” after DuPont agreed in 2009 to stop using C8. They noted that the company was facing a class action lawsuit from thousands of people in Ohio and West Virginia for discharging the toxic chemical into the Ohio River since the 1950s.

In 2019—sixty-seven years after DuPont knew PFOA was toxic and did nothing—this forever chemical was finally banned globally under the Stockholm Convention. Unfortunately, by 2019, PFOA was already literally everywhere on the planet in concentrations considered unsafe. Given its high water-solubility, long-range transport potential, and lack of degradation in the environment, PFOA persists in groundwater and is ubiquitously present in oceans and other surface water around the globe. It is found in remote areas of the Arctic and Antarctic (where it was not used or manufactured), no doubt transported there through ocean currents and in the air, bound on particles. NBC News ran a news piece about ‘forever chemicals’ contaminating drinking water near military bases. The Guardian ran a news article: “Companies deny responsibility for toxic ‘forever chemicals.’” In Maine, The Portland Press Herald ran a story: “Households are awash in ‘forever chemicals’.”

In 2020, NBC News revealed that DuPont was still avoiding its responsibility to clean up its C8 mess and compensate those harmed by DuPont’s negligence.

In 2022, I finally learned about DuPont’s decades-long environmental dispersal of toxic PFOA (C8) and their criminal deception throughout this life time. I’d lived through DuPont’s entire six decades of deception in ignorance.

Poster for the 2019 film “Dark Waters” on DuPont’s criminal activities and the lawyer who exposed them

In 2022, three years after its release, I chanced upon “Dark Waters,” the 2019 film starring Mark Ruffalo who plays lawyer Robert Bilott, the man who took DuPont to court in 2002. I found out seven years after DuPont was forced to stop using PFOA and a lifetime after they started their egregious pollution and deception in the 1950s. For over six decades, from when I was born to well into my sixties, DuPont executives chose to:

1. continue using toxic C8 despite its proven toxicity;
2. expose C8 to their own workers without telling them (and even testing their workers without telling them why);
3. dispose of C8 unsafely, releasing the toxin into the communities and the environment;
4. cover up and deny that they did, when they were caught in the act.

No one went to jail.

Below are the faces of the DuPont men and women who sanctioned–encouraged–the willful harm of other life. Despite knowing the danger posed by exposure to PFOAs to people, these DuPont CEOs chose to: 1) continue to poison the environment and people, 2) cover up their actions from authorities, and 3) fight the courts and regulators from doing the right thing when they were caught. No one went to jail. No one was fired. They just paid $$$ and shamefully kept going. These people are criminals. 

DuPont CEOs from 1950-2019 who sanctioned release of PFOA into the environment then covered it up: Crawford H. Greenewalt, Lammot Copeland, Charles B. McCoy, Edward G. Jefferson, Richard E. Heckert, Edgar S. Woolard, John A. Krol, Charles O. Holliday Jr., Ellen Kullman, Edward D. Breen

It’s not over either; DuPont currently uses other PFAS compounds that are unregulated but whose toxicity is being found to be as potent. And, of course, these other ‘forever chemicals’ are finding themselves everywhere. I was ignorant of all this the whole time. Meantime, I am drinking DuPont’s forever chemicals, I am eating DuPont’s forever chemicals, and I am feeling DuPont’s forever chemicals falling on my face in the rain.

My hard lesson: Ignorance breeds complacency and hubris; both will lead to downfall.

To return to the “Overcoming the Monster” story plot and the monster archetype, I’m convinced that it isn’t the Darth Vaders or Miles Quaritchs we must overcome. Yes, they are monsters, but they serve a greater monster. For Vader it was Emperor Palpatine and for Quaritch it was the executives of the RDA Corporation. While Vader and Quaritch may be the face of evil, true evil lurks behind them, orchestrating, in the shadows. It is an evil we must fight internally, because each of us carries that potential evil inside us—in the urge to cheat on our taxes; in looking for the free ride (there are no free rides); in coveting what others have when what we have is enough; in embracing self-deception through unsubstantiated narratives and confabulation; and in choosing to remain ignorant to suit a short-sighted and self-serving agenda. I’m guilty too.

I hope some aspects of the hero that live in me, as with everyone, are helping to overcome the monster by writing about it in articles I share here and elsewhere and by presenting a different narrative—one of resistance and hope—through my fiction.

A recent example is the December 31, 2024 release of Through the Portal: Tales from a Hopeful Dystopia, published by Exile Editions and edited by Lynn Hutchinson Lee and me. The anthology features over thirty eco-fiction short stories, flash fiction, and poetry that celebrate the spirit of humanity in a changing world.

In a post on The Meaning of Water, I list which CEO was on watch and responsible for each criminal atrocity enacted. The post also goes into more detail on the six decade history of DuPont’s criminal atrocities and great deception. For more detail on each decade of atrocity and deception, check out my posts by decade: 1950s, 1960s, 1970s, 1980s, 1990s, and 2000s. What follows into the present day is perhaps even more atrocious, given that all is supposedly out in the open. This predatory company continues to bribe officials, lie and deny, threaten the weak, and so much more.

p.s. To understand the nature of industrial duplicity of large corporations such as DuPont, I highly recommend reading the 2023 study by Nadia Gaber and colleagues in the Annals of Global Health. The authors evaluated previously secret industry documents on PFAS to understand the significant delayed disclosure of harm posed by PFAS: from its production in the 1940s, to suggestions of toxicity in the 1950s, to irrefutable knowledge of PFAS toxicity in the 1960s, and–due to lack of transparency and suppression of scientific findings–public knowledge of this only arising in the late 1990s (mainly because of legal suits and discovery).

References:

Ahrens L. 2011. “Polyfluoroalkyl compounds in the aquatic environment: a review of their occurrence and fate.” J Environ Monit 13: 20–31. 10.1039/c0em00373e

Barton CA, Butler LE, Zarzecki CJ, Laherty JM. 2006. Characterizing perfluorooctanoate in ambient air near the fence line of a manufacturing facility: comparing modeled and monitored values.” J Air Waste Manage Assoc 56: 48–55. 10.1080/10473289.2006.10464429

Barton CA, Kaiser MA, Russell MH. 2007. “Partitioning and removal of perfluorooctanoate during rain events: the importance of physical-chemical properties.” J Environ Monit 9: 839–846. 10.1039/b703510a

Busch J, Ahrens L, Xie Z, Sturm R, Ebinghaus R. 2010. “Polyfluoroalkyl compounds in the East Greenland Arctic Ocean.” J Environ Monit 12: 1242–1246. 10.1039/c002242j

Gaber, Nadia, Lisa Bero, and Tracey J. Woodruff. 2023. “The Devil they Knew: Chemical Documents Analysis of Industry Influenc on PFAS Science.” Ann Glob Health 89(1): 37.

McMurdo CJ, Ellis DA, Webster E, Butler J, Christensen RD, Reid LK. 2008. “Aerosol enrichment of the surfactant PFO and mediation of the water-air transport of gaseous PFOA.” Environ Sci Technol 42: 3969–3974. 10.1021/es7032026

Paustenbach, Dennis, Julie Panko, Paul K. Scott, and Kenneth M. Unice. 2007. “A Methodology for Estimating Human Exposure to Perfluorooctanoic Acid (PFOA): A Retrospective Exposure Assessment of a Community (1951-2003)” Journal of Toxicology and Environmental Health

Prevedouros K, Cousins IT, Buck RC, Korzeniowski SH. 2006. “Sources, fate and transport of perfluorocarboxylates” Environ Sci Technol 40: 32–44. 10.1021/es0512475

Velez, M.P., T.E. Arbuckle, W.D. Fraser. 2015. “Maternal exposure to perfluorinated chemicals and reduced fecundity: the MIREC study.” Human Reproduction 30(3): 701-9.

Vierke, Lena, Claudia Staude, Annegret Biegel-Engler, Wiebke Drost, and Christoph Schulte. 2012. “Perflurorooctanoic acid (PFOA)–main concerns and regulatory developments in Europe from an environmental point of view.” Environmental Sciences Europe 24: 16

Yamashita N, Kannan K, Taniyasu S, Horii Y, Petrick G, Gamo T. 2005. “A global survey of perfluorinated acids in oceans.” Mar Pollut Bull 51: 658–668. 10.1016/j.marpolbul.2005.04.026

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.

Writing in the Age of Artificial Intelligence: AI and Post-Plagiarism

AI entity performing a myriad of duties (image from Bernard Marr & Co.)

I teach academic writing to students at the University of Toronto Writing Centre. It’s wonderful and fulfilling work and I enjoy helping students in several disciplines (engineering, health sciences, social sciences) learn to write better. As with the rest of the academic world of writing, we are all making sense of the use of AI-generated tools by students, instructors and researchers: large language models (LLMs) such as ChatGPT, Claude, Copilot, and even Grammarly. Students have told me that they found AI helpful in brainstorming and outlining as well as organizing literature reviews and editing for grammar and such. A recent survey of universities and corporations around the world by the Digital Education Council revealed that a majority of students used AI tools. Of those surveyed, close to two thirds used AI as a search engine; a third used it to summarize documents; and a fifth used it to create first drafts. 

In her 2024 article “The Future Is Hybrid”, Beth McMurtrie suggested that genAI “may eventually take its place in the pantheon of game-changing technologies used every day in education—alongside calculators, search engines, and Excel.”

In my other pursuit as a professional fiction author, I see the artistic and communication industries embracing AI, particularly in the visual arts. I’m now told that several publishing houses and magazines have dedicated efforts to publish AI-generated work. Some magazines are entirely AI generated, Copy Magazine, for instance. Author futurist Bernard Marr writes that “Generative AI is already being adopted in journalism to automate the creation of content, brainstorm ideas for features, create personalized news stories, and produce accompanying video content.” Marr then goes on to provide 13 ways that all writers should embrace Generative AI that includes anything from drafting plot lines to world building. Sports Illustrated was recently found to publish AI generated stories. Even newspapers, such as the LA Times, the Miami Herald, and Us Weekly acknowledge AI-written content. And I recently learned that one of the top five online science fiction magazines, Metastellar, accepts AI-assisted stories with the proviso that “they better be good.” And Metastellar provides some convincing reasons. This has become a hot topic among my fellow professional writers at SF Canada.  One colleague informed me that a “new publisher Spines plans to disrupt industry by publishing 8000 AI books in 2025 alone.” On checking the news release, I discovered that Spines is, in fact, a tech firm trying to make its mark on publishing, primarily through the use of AI. The company offers the use of AI to proofread, produce, publish, and distribute books. They are, in fact, a vanity publishing platform (essentially a service for self-publishing), charging up to $5000 a book and often taking just three weeks to go from manuscript to a published title.

The emerging field of AI-assisted writing and communicating is a burgeoning field that promises to touch every person in some way—writers and readers alike. Tech companies are scrambling to use it to save time and effort. Others are involved in improving current and developing new models. Many are training LLMs for improved use. Even I was headhunted as a creative writer by one tech firm to help create more safe, accurate and reliable LLMs.

Generative AI applications (Image from Neebal Technologies)

Universities and Other Educational Institutions Use of AI

How universities and other educational institutions are dealing with the challenge and promise of these emerging tools in communication varies from out right forbidding AI use in the classroom to full on acceptance and obligatory use in some classroom projects. McMurtrie described how two instructors at Rollins College, Dan Myers and Anne Murdaugh, had students collaborating with AI on semester-long research projects. They were instructed to use Claude and Copilot to brainstorm paper topics, conduct literature reviews, develop a thesis, and outline, draft, and revise their papers. Myers and Murdaugh asserted that “the skills that students use to engage thoughtfully with AI are the same ones that colleges are good at teaching. Namely: knowing how to obtain and use information, thinking critically and analytically, and understanding what and how you’re trying to communicate.”

In fall of 2024, Stephanie Wheeler and others at the department of writing and rhetoric in the University of Central Florida, along with their philosophy department, set up an interdisciplinary certificate in AI. Their purpose was to develop conceptual knowledge about AI. Wheeler asserted that writing and rhetoric have long been concerned with how technology shapes these disciplines. Sharon L.R. Kardia, senior associate dean of education at the University of Michigan argued that AI could greatly benefit public health in its ability to aid in data analysis, research review, and the development of public-health campaigns. However, she cautioned that LLMs also absorb and reflect the social biases that lead to public-health inequities.

One of my Writing Centre colleagues at UofT recently shared some thoughts about a conference session he’d participated in, in which a student panel listed tasks that they thought genAI cannot do (yet). These included: generate music, offer interpersonal advice, and verify facts; I think AI can already help with two of these. Chad Hershock, executive director of the Eberly Centre for Teaching Excellence and Educational Innovation at Carnegie Mellon University shared that they are researching key questions about whether AI enables or impedes: does using AI while brainstorming generate more or fewer ideas? Can generative AI give less-experienced students a better chance to be successful in technical courses? To what extent does using AI help or hinder writing skills? Does having generative AI as a thought partner enhance students’ ability to make a claim and support it with evidence?

My own experience with a less-experienced student’s use of genAI was often abysmal. The student had used the tool as a crutch and had failed to learn from their use of the tool. This suggests that the most important limitations of the tool lie with the user’s own limitations and it points to the need for guidance by educators.

In her 2024 Axios article “Why AI is not substitute for human teachers” Megan Morrone described findings of the Wharton School on access to genAI: while genAI tutors improved student performance on practice math problems, students who used these tools performed significantly worse on exams (where they couldn’t use AI). The school concluded that the students used genAI to copy and paste answers, which led them to engage less with the material. Wharton School associate professor Hamsa Bastani argued that, “if you just give unrestricted access to generative AI, students end up using it as a crutch…[and] end up performing a lot worse.” This is partly because students—often stressed-out by heavy work loads—find that LLMs save time and can produce content close to what the user might produce themselves. Researchers have even come up with a term for this: Cognitive Miserliness of the User, which, according to writer Stephen Marche, “basically refers to people who just don’t want to take the time to think.”

Melanie M. Cooper, chemistry professor at Michigan State University cautioned that while “there’s a lot of ebullience in the AI field, it’s important to be wary.” She argued that it is easy  to misuse AI and override the system to get a quick answer or use it as a crutch.  McMurtrie shares that, while “AI evangelists promise that these tools will make learning easier, faster and more fun,” academics are quick to reject that rhetoric. McMurtrie ends her article with a cautionary statement by Jennifer Frederick of Yale: “Universities really need to be a counterpoint to the big tech companies and their development of AI. We need to be the ones who slow down and really think through all the implications for society and humanity and ethics.”

Considering the impact of artificial intelligence on writing, Dr. Sarah Elaine Eaton, professor at the University of Calgary, introduced the idea of life in a postplagiarism world. She expanded on her ideas to come up with six tenets that characterize the post-plagiarism age. These include:

  1. Hybrid human-AI writing will become normal
  2. Human creativity is enhanced
  3. Language Barriers disappear
  4. Humans can relinquish control, but not responsibility
  5. Attribution remains important
  6. Historical definitions of plagiarism no longer apply
6 tenets of Postplagiarism (image from Sarah Elaine Eaton)

Eaton’s fifth point (attribution remains important), I think becomes all that more important in the presence of AI use. Transparency in presentation, particularly in an academic setting, takes on a new level of importance when communicating with tools such as generative AI. Where things come from, which tool was used and how it was used are key to understanding and interpreting the nature of the writing itself. The path taken to the destination becomes all important when interpretation and comprehension (and replication) is required. To fully understand “where you are”; we need to know “how you got there.” It’s like solving math problem; if you don’t show your work and just provide the answer, I have no way of knowing that you actually understood the problem and really solved it.

I am certain that generative AI will continue to take on various forms that will continue to astonish. Its proper use and development will serve humanity and the planet well; but there will always be abusers and misusers and those who simply don’t care. We must be mindful of them all. We must remain vigilant and responsible. Because, just as with freedom, if we grow lazy and careless, we run the risk of losing so much more.    

Generative AI (image from techvify-software.com)

References:

Eaton, Sarah Elaine. 2021. “Plagiarism in Higher Education: Tackling tough Topics in Academic Integrity.” Bloomsbury Publishing, 252pp.

Marr, Bernard. 2024. “13 Ways Writers Should Embrace Generative AI.” Bernard Marr & Co. February 5, 2024.

Marche, Stephen. 2024. “AI Is a Language Microwave.” The Atlantic. September 27, 2024.

McMurtrie, Beth. 2024. “The Future Is Hybrid.” The Chronicle of Higher Education. October 3, 2024.

Morrone, Megan. 2024. “Why AI is no substitute for human teachers.” Axios, August 15, 2024.

Niloy, Ahnaf Chowdhury, et al. 2024. “Why do students use ChatGPT? Answering through a triangulation approach.” Computers and Education: Artificial Intelligence 6.

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.

Gaia’s Revolution:  A View of a Post-Capitalist Future

My upcoming book Gaia’s Revolution (Book 1 of The Icaria Trilogy by Dragon Moon Press) explores a collapsing capitalist society in Canada through ravages of climate change and a failing technology. The story is told through the lives of ambitious twin brothers Eric and Damien Vogel, and the woman who plays them like chess pieces in her gambit to ‘rule the world.’

It is 2032 and Eric Vogel sits in the Canadian prime minister’s office, ruminating on the changes coming. He imagines what a post-capitalist world will look like and how his twin brother Damien—left behind in Germany—would disagree with his vision:

Over a hundred years ago, Spartacist Rosa Luxemburg—who was shot by the right-wing Freikorps—argued that the “Bourgeois stands at the crossroads, either transition to socialism or regress into barbarism.” Both he and Damien agree with sociologist Wolfgang Streeck who argues that the end of capitalism—of a reigning bourgeois, in love with the objects that define them—is already underway. The signs are neon loud: a ruthless downward trend in economic growth, social equality, and financial stability. All reinforced by climate change and the ongoing collapse of the planet’s sustaining environment. Any system and dialectic based on a concept of infinite resources in a finite world is bound to fail eventually. That collapse has already begun and its catastrophic end is imminent. Already, climate refugees and refugees of resource war (which amounts to the same thing) have flooded northern nations, like Canada, and caused tension and strife. Germany is just one example where left and right have torn the country apart as an influx of foreigners challenged the already tenuous German identity. When Canada granted asylum to over two million climate-refugees in ‘28, with no viable plan for the new residents during a time when unemployment was higher than it had been in decades and housing prices were skyrocketing due to environmental uncertainty, this sparked renewed tensions between ultra-right and ultra-left and opened the gap for a new party based on science and reason. The party now in power: the Technocratic Party of Canada.

But what will life after capitalism look like?

It’s no surprise that he and his brother disagree on what a post-capitalist world should look like and how to best achieve that world. Damien too easily prescribes to the old leftist shibboleth of Nature being the answer to everything and Market being evil. His deep ecology utopia would spring from an atavistic rejection of modern life, a return to ‘the ancient farm.’ But how that fantasy could be achieved without a drastic population reduction is beyond his brother’s imagination. Damien fetishizes the natural world. Just like he does their mother. The naïve fool is a blind romantic, refusing to see reality right in front of him: that Nature is ultimately cruel, cold, and preoccupied with its own survival. Just like their mother.

Brother Damien recalls an earlier argument the two brothers had in Berlin that ultimately motivated him to follow his twin to Canada. They’d been debating about the effect of climate change on the human population:

Pulled down by a truculent mood, Damien responds to Eric’s usual glib solutions by painting a dark vision of a humanity descending into some pre-technological ‘dark age’ apocalypse.

Eric just laughs. He pokes his fork into the sauerkraut as if to make a point in his argument and scoops up a pile that he shoves into his mouth. He leans forward and argues with a full mouth, “The real question is not whether humanity will survive an ecological collapse, but what part of humanity will survive. You can be sure that the stinking boujee plutocrats will find a way to survive at the expense of everyone else.” He chews down the sauerkraut followed by a gulp of beer and a loud burp. “The stinking rich are already doing it, Dame. They’re already creating their Elysium right here, right now.” Fork now swings like a conductor’s baton. “The future is already here; it’s just unevenly distributed.”

Using his fingers, Damien pulls apart some crisp skin off the pork knuckle—his favourite part—and feeds his mouth. Arguing with Eric always makes him hungry despite his surly temper. He crunches down, enjoying the tasty juices of brazed salty pork skin, and retorts, “You politicize everything and resort to cheap references in pop culture. You always do that: over-simplify the crisis and Nature’s existential power to sustain life. Trophic cascades caused by ecosystem simplification would irreparably devastate the planet and all adapted life. With the Sixth Extinction Event there won’t be any boujee plutocrats because there won’t be anything left to monetize—”

“You’re such a doom-gloom lefty, Dame!” Eric grabs the last of the pork skin—also his favourite— and shoves it into his mouth. He smacks his lips and counters, “The stinking rich will always have technology at their disposal. I’m talking about genetic engineering, nano-technology, gene modification, cybernetics, and even environmental control. For instance, look at Harvard’s RoboBee: tiny robots that mimic flying insects that can fill in as pollinators for the crashing bee populations.”

“You over-estimate technology’s ability to save the planet—and us by extension.”

Eric finishes the pork skin and wipes his mouth on his sleeve with a sniff. “I’m not talking about saving the entire planet—just enough of it. You underestimate what we’re willing to do to survive.”

That is when he brings up E.P. Thompson’s paper on stages of a neoliberal capitalist civilization and the ‘extermination endgame.’ “You’re the population ecologist, Dame, but it’s obvious that when a neoliberal capitalist society exceeds its carrying capacity— when technology makes the masses surplus—there’s no alternative in the scramble for resources and ecological support. Get rid of the surplus. That simple. Thompson tells us that under military capitalism—and you have to accept that all countries are militarizing—the ‘outcome must be the  extermination of multitudes.’”

“For God’s sake, Eric!”

“Technology will save humanity, Dame,” Eric insists. He leans back and stretches his legs under the laminate table in self-pleased satisfaction. “One way or another.”

Damien shakes his head and gulps down the last of his beer. “Whatever is left of humanity, you mean. And you accuse me of giving up on humanity. So, the greedy capitalist wins?”

“That’s why the world needs us, Dame. To keep humanity from going down the wrong road.”

And what is that for Eric, Damien wonders. Increasingly, he feels discomfort at what that might be. Eric leans forward, eyes bright with inspiration. He resembles a great bird of prey, long hawk-like nose—the iconic Vogel nose—and copious dark hair cresting back from a high forehead. It’s like looking at a more confident version of himself in the mirror, thinks Damien. And sometimes disconcerting, particularly when it reminds him of what he is not.

“You and I know that humanity won’t stop climate change,” Eric goes on animatedly. “Too many tipping points are already upon us and the direction we’re all going in now…” He swings his fork around the room to indicate this place, Germany, the world. “… isn’t promising to check that. Change is inevitable.” He points the fork at Damien. “But, if we can direct how humanity adapts to our changing environment, we can still win…” Before Damien can charge in with a rebuttal, Eric pushes his face forward, raptor eyes scintillating like sapphires on fire. “So, how do we de-thrown the ultra-rich elite—who are mostly a rabble of materialist self-serving hedonists with no vision or care for the future—and ensure a meritocracy of responsible citizens who can take humanity through the changes to come? … Like establishing a universal basic income toward an egalitarian society. Putting a full stop to fossil fuel mining and adopting clean energy. Re-wilding key ecosystems. Engaging reforestation and dedicating large areas to Nature.”

Damien shakes his head, lost for words. Where is his brother going with this? Will he suggest violent revolution to establish a dictatorship? How else would the rich give up their riches? And how is that any different from the Bolsheviks of 1917 or the Nazis of 1933 or the Stasi-run DDR? Those fascist Reichsbürgers would happily reinstate a society of surveillance, repression, and incarceration that would threaten to slide into the final solution of genocide of an unwanted ‘surplus’. A society of disposable bodies, a biopolitical world of exterminism. Damien thinks of Nietzsche’s aphorism: Beware that, when fighting monsters, you yourself do not become a monster … for when you gaze long into the abyss, the abyss gazes also into you. Violent revolution is not the answer, he decides.

Eric pulls out the worn copy of Walden Two from his jacket pocket. He slaps it on the table and pushes it toward Damien. “That’s the answer, Dame.”

Models of a Post-Capitalist Future Society

In his book Four Futures: Life After Capitalism , sociologist Peter Frase considers effects of climate change and automation in possible outcomes of a post-Trump election America. Frase envisions four scenarios based on abundance and scarcity and whether a society operates by equality (e.g., communism under abundance / socialism under scarcity) or hierarchy (rentism under abundance / exterminism under scarcity).

With scarce resources, the following scenarios are possible:

Socialism (aka Ecotopia) may arise within an egalitarian society if driven by altruistic notions of self-limitation. Ecologists describe such a self-limiting system as K-selected (see my discussion of K-selection and r-selection in “Water Is…”). A K-selected population is at or near the carrying capacity of the environment, which is usually stable and favors individuals that creatively compete, through cooperation, for resources and produce few young. The K-selected strategy runs on a successive gradient of maturity, from initially competitive to ultimately cooperative. Competition is a natural adaptive remnant of uncertainty and insecurity and forms the basis of a capitalist economy that encourages monopolization and hostile takeovers. Competition results from an initial antagonistic reaction to a perception of limited resources. It is a natural reaction based on distrust—of both the environment and of the “other”—both aspects of “self” separated from “self.” The greed for more than is sustainable reflects a fear of failure and a sense of being separate, which ultimately perpetuates actions dominated by self-interest in a phenomenon known as “the Tragedy of the Commons.” Competition naturally gives way to creative cooperation as trust in both “self” and the “other” develops and is encouraged through continued interaction.

Exterminism (aka Mad Max) may arise under a hierarchical model, driven by greed and exacerbated by uncertainty in the environment—not unlike what we are currently experiencing with the planet’s system and cyclical changes. In this scenario, in which resources are both limited and uncertain, those with access to them would guard or hide them away with desperate fervor.

“When mass labor has been rendered superfluous [through automation], a final solution* lurks: the genocidal war of the rich against the poor.”—Peter Frase

References:

Frase, Peter. 2016. “Four Futures: Life After Capitalism.” Verso Press, London. 150pp.

Luxemberg, Rosa. 1915. “The Junius Pamphlet: The Crisis in the German Democracy.” Marxists.org.

Munteanu, Nina “Gaia’s Revolution.” Book 1 of the Icaria Trilogy, Dragon Moon Press, upcoming.

Munteanu, Nina. 2016. “Water Is…The Meaning of Water.” Pixl Press, Vancouver. 586pp.

Streeck, Wolfgang. 2014. “How Will Capitalism End?” New Left Review 2 (87): 47p.

Thompson, E.P. 1980. “Notes on Exterminism: the Last Stage of Civilisation, Exterminism, and the Cold War.” New Left Review 1(121).

*the Final Solution was originally used by Nazi Germany as “the Final Solution to the Jewish Question”: the Nazi plan to exterminate the Jews during World War II, formulated in 1942 by Nazi leadership at the Wannsee Conference near Berlin, culminated in the Holocaust, which murdered 90 percent of Polish Jews.

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

My Books at VPL Central Library, Vancouver

The Vancouver Central Library (photo by Nina Munteanu)

I was recently at Vancouver’s Central Library on Georgia Street to listen to my colleague Craig Bowlsby give a reading from his much anticipated novel Requiem for a Lotus. He was joined by four other crime writers who gave readings that evening, including Daniel Kalla who read from his 2024 book High Society.

Book reading at VPL Central Library

My Books

Feeling whimsical on my way out, I asked the librarian if the library carried any of Nina Munteanu’s books. They did, and plenty of them! Most of my science fiction books were on their shelves as well as my historical fantasy The Last Summoner, my writing guide The Fiction Writer, and my nonfiction book on water Water Is…The Meaning of Water.

I returned the next day to check out my books and to enjoy the wonderful setting of this large and iconic Coliseum-inspired library in downtown Vancouver. It was a typical Vancouver drizzly day; a good day to spend in a library, I thought.

My book “Water Is…” at the Vancouver Central Library; note how my book answers the question posed by the book next to it (photo by Nina Munteanu)

I found Water Is… on the ground floor among other books on water. My science fiction books were up on the fourth floor, clustered with my historical fantasy The Last Summoner. Books included Darwin’s Paradox and two books of my Splintered Universe Trilogy, Inner Diverse and Metaverse; Outer Diverse was out with a customer. They also had my short story collection Natural Selection

My science fiction and fantasy books at the Vancouver Central Library (photo by Nina Munteanu)
“Water Is…” sits at a desk overlooking the atrium, Vancouver Central Library (photo by Nina Munteanu)

The Library

Nina Munteanu and Vancouver poet Lucia Gorea share a Blenz coffee in the atrium of the library complex, Vancouver (photo by

The Vancouver Central Library is an iconic feature of downtown Vancouver. Its Coliseum-style architecture lends a note of gravitas and traditional beauty to the nouveau chic revitalized downtown. Occupying an entire city block in the eastward expansion of Vancouver’s downtown core, the library complex along with federal office building tower is made of sandstone-coloured precast concrete. The building exterior is covered in granite quarried in Horsefly, BC and built to the highest seismic standards. In the words of Safdie Architects: “the heart of the Vancouver Public Library is a spiraling grand urban room that draws the public into Library Square as both a quiet place for study and contemplation and a vital community meeting place.”

Vancouver Central Library complex (photo by Nina Munteanu)

The library opened in May of 1995; then expansion of the upper floors began in June 2017.  As the lease came due on the upper two floors (levels 8 and 9), the library undertook planning to transform the area and offer much needed community spaces.  Rather than featuring traditional collections, the expansion now provides meeting rooms, a glass enclosed reading room, an 80-seat theatre (where I listened to Craig read his book), an exhibition space, as well as a long awaited public rooftop garden and outdoor terraces. Original architects (Moshe Safdie & Associates with local partners DA Architects) were retained to design the new expansion. Cornelia Hahn Oberlander, the landscape architect responsible for the green roof, designed the long-awaited rooftop gardens.

Rooftop gardens of the Vancouver Central Library in the fall

The Environs

I spent a drizzly morning and afternoon in the library with its spacious atrium along with bookstore and Blenz coffee bar, and other interesting places on Georgia Street nearby.

Glowbal, outside and inside (photos by Nina Munteanu)

Close by, at Glowbal, I treated myself to a wonderful lunch on their heated patio undercover. I then dashed through the rain to Telus Gardens next door that I found attractive, fresh and welcoming with its succulent jungle of plants, fragrant orchids and swimming koi ponds. I sipped my London Fog and ate a wonderful apple custard caramel croissant (from Café Bisou), while sitting in a flower-petal chair and enjoying the blissful serenade of a piano player.

Telus Gardens, Vancouver (photos by Nina Munteanu)

The day of sensual pleasures and intellectual satisfaction was complete!

Next time you find yourself in Vancouver’s downtown, check out my books at the Central Library and enjoy the vibrant downtown core.

Looking up at various floors of the Central Library from the atrium (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.

My Books Selling at Banyen Books & Sound, Vancouver

Water Is… sits on the shelf at Banyen Books (photo by Nina Munteanu)

My books “Water Is… The Meaning of Water” and “A Diary in the Age of Water” are selling at Banyen Books in Kitsilano, Vancouver. While “A Diary in the Age of Water” is on Banyen’s virtual shelf for order, “Water Is…” sits on a shelf in the Water: Life-force & Resource / Ecology section.

“Water Is…” sits on the ‘water as life-force & resource’ shelf at Banyen Books, Vancouver (photo by Nina Munteanu)

Banyen Books is located in Kitsilano on the south side of W 4th Avenue on the corner of Dunbar under a grove of healthy oak trees. Across the store is Aphrodite’s Organic Pies, itself a destination for awesome pies. Banyen Books is a beautiful store. It is spacious and surrounded with the warmth of wood and plants. Its wonderful atmosphere invites you to browse the shelves and sit on the comfortable chairs to read. Banyen Books has become a destination for me whenever I’m in Vancouver.

Banyen Books on the corner of W 4th and Dunbar, Vancouver, BC (photo by Nina Munteanu)

Since opening in 1970 Banyen Books has become Canada’s most comprehensive metaphysical bookstore, offering a broad spectrum of resources from humanity’s spiritual, healing, and earth wisdom traditions. Here is how they put it:

Banyen is an oasis, a crossroads, a meeting place… for East and West, the “old ways” and current discoveries and syntheses. Our beat is the “Perennial Philosophy” as well as our evolving learning edges and best practices in a wide variety of fields, from acupuncture to Zen, from childbirth and business to the Hermetic Mysteries, from the compost pile to the celestial spheres. We’re “in the philosophy business,” on “a street in the philosophy district” (as an old cartoon wagged). We welcome and celebrate the love of wisdom, be it in art, science, lifecraft, healing, visioning, religion, psychology, eco-design, gardening… Our service is to offer life-giving nourishment for the body (resilient, vital), the mind (trained, open), and the soul (resonant, connected, in-formed). Think of us as your open source bookstore for the “University of Life”.

Whenever I’m in Vancouver to visit family and friends, I make at least one stop at Banyen Books and often come out with an armful of books. On my most recent stop, I purchased a book on plant intelligence and several beautiful journals (I use a journal for each book project I work on).

My latest purchase at Banyen Books (photo by Nina Munteanu)

Banyen Books & Sound:

3608 West 4th Avenue
Vancouver, BC
604-732-7912

HOURS:

Mon-Fri: 10am-9pm
Sat: 10am-8pm
Sun: 11am-7pm

19th Avenue in Vancouver, BC (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.

Why Writing and Reading Eco-Fiction Will Save the World—From CliFi to Solarpunk

Fence and post at marsh during a rain, ON (photo by Nina Munteanu)

The Universe is made of stories, not atoms—Muriel Rukeyser

Canadian writer Mary Woodbury tells us that: “Fiction exploring humanity’s impacts on nature is becoming more popular [and] has the distinct ability to creatively engage and appeal to readers’ emotions. In fact, it can stir environmental action.” A survey she took in 2020 showed that “88% of its participants were inspired to act after reading ecological fiction.”

Eco-Fiction (short for ecological fiction) is a kind of fiction in which the environment—or one aspect of the environment—plays a major role, either as premise or as character. “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,” writes Woodbury. At the heart of eco-fiction are strong relationships forged between the major character on a journey and an aspect of their environment and place. Environment and place can illuminate through the sub-text of metaphor a core aspect of the main character and their journey. 

Green architecture design by Vincent Callebaut

All great literature distills its art form through the exploration of relationship: our relationship with technology, with science, Nature, God, our children, each other, our history. Science fiction illuminates our history and our very humanity by examining our interaction with “the other”—the unfamiliar, the feared, the often downtrodden, the invisible, the ignored. This is the hero’s journey. And it is through this journey relating to the “other” (whether it’s Earth or an alien planet, its water, environment and issues, and its varied peoples and cultures) that our hero discovers herself and her gift to the world. When will we stop portraying Nature as “other”?…

Green neighbourhood design by Vincent Callebaut

We currently live in a world in which climate change and associated water crisis pose a very real existential threat to most life currently on the planet. The new normal is change. And it is within this changing climate that eco-fiction is realizing itself as a literary pursuit worth engaging in. The emergence of the term eco-fiction as a brand of literature suggests that we are all awakening—novelists and readers of novels—to our changing environment. We are finally ready to see and portray environment as an interesting character with agency and to read this important and impactful literature.

Lavender farm and house design by Vincent Callebaut

Many readers are currently seeking fiction that describes environmental issues but also explores a successful paradigm shift: fiction that accurately addresses our current issues with intelligence and hope. This is reflected in the growing popularity of several emerging sub-genres of fiction such as solar punk, optimistic climate fiction, clifi, eco-lit, hope punk, and others. The power of envisioning a certain future is that the vision enables one to see it as possible. Eco-fiction—and all good science fiction—uses metaphor to study the world and the consequences of humanity’s actions through microcosmic dramatization. What makes this literature particularly exciting is: 1) its relevance to our current existential situation; and 2) that it often provides a way forward. 

Solarpunk world imagined (image by Imperial Boy)

The Way Forward with Solarpunk

In his 2014 article “Solarpunk: Notes toward a manifesto” in Hieroglyph Adam Flynn writes of under-30 futurists: “Many of us feel it’s unethical to bring children into a world like ours. We have grown up under a shadow, and if we sometimes resemble fungus it should be taken as a credit to our adaptability.”

“We’re solarpunks because the only other options are denial or despair.”

ADAM FLYNN

Solarpunk, says Flynn, “is about finding ways to make life more wonderful for us now, and more importantly for the generations that follow us—i.e., extending human life at the species level, rather than individually.” Our future, asserts Flynn, “must involve repurposing and creating new things from what we already have (instead of 20thcentury “destroy it all and build something completely different” modernism).” Solarpunk futurism “is not nihilistic like cyberpunk and it avoids steampunk’s potentially quasi-reactionary tendencies: it is about ingenuitygenerativityindependence, and community.”

“Hydrogenase” algae-powered airships by Vincent Callebaut

The ‘punk’ suffix comes from the oppositional quality of solarpunk; opposition that begins with infrastructure as a form of resistance. Flynn tells us that solarpunk draws on the ideal of Jefferson’s yeoman farmer, Ghandi’s ideal of swadeshi, and countless other traditions of innovative dissent

“Hyperion” eco-neighbourhood design by Vincent Callebaut

“Solarpunk is a future with a human face and dirt behind its ears.”

ADAM FLYNN

In response to Flynn’s article, Bob Vanderbob writes, “going solar is a deep mental shift: it will be the central metaphor of our future civilization.” 

Green Paris design by Vincent Callebaut

Musician photographer Jay Springett calls solarpunk, “a movement in speculative fiction, art, fashion, and activism that seeks to answer and embody the question ‘what does a sustainable civilization look like, and how can we get there?’… At once a vision of the future, a thoughtful provocation, and an achievable lifestyle.” Jennifer Hamilton observes in The Conversation that “as a category of fiction, solarpunk remains a fringe dweller…Nevertheless, the aesthetic sensibilities of the subculture are starting to emerge.” Hamilton asserts that “the focus on the cultural change that will necessarily accompany the full transition to renewable energy is the defining feature of solarpunk.” She adds, “we usually ask ‘can renewables replace fossil fuels?’ … solarpunks ask ‘what kind of world will emerge when we finally transition to renewables?’ and their [works] are generating an intriguing answer.”

Beach house design by Vincent Callebaut

How Eco-Fiction Inspires and Galvanizes

Readers responded to Mary Woodbury’s survey question “Do you think that environmental themes in fiction can impact society and if so, how?” with these observations:

  • Environmental fiction encourages empathy and imagination. Stories can affect us more than dry facts. Fiction reaches us more deeply than academic understanding, moving us to action.
  • Environmental fiction triggers a sense of wonder about the natural world, and even a sense of loss and mourning. Stories can immerse readers into imagined worlds with environmental issues similar to ours.
  • Environmental fiction raises awareness, encourages conversations and idea-sharing. Fiction is one way that helps to create a vision of our future. Cautionary tales can nudge people to action and encourage alternative futures. Novels can shift viewpoints without direct confrontation, avoid cognitive dissonance, and invite reframed human-nature relationships through enjoyment and voluntary participation.
  • Environmental themes can reorient our perspective from egocentrism to the greater-than-human world.
Dirt road in Kawarthas during a misting rain, ON (photo and rendition by Nina Munteanu)

Why Our Stories Are Important

We are all storytellers. We share our curiosity with great expression; our capacity and need to tell stories is as old as our ancient beginnings. From the Palaeolithic cave paintings of Lascaux to our blogs on the Internet, humanity has left a grand legacy of “story” sharing. Evolutionary biologist and futurist Elisabet Sahtouris tells us that, “whether we create our stories from the revelations of religions or the researches of science, or the inspirations of great artists and writers or the experiences of our own lives, we live by the stories we believe and tell to ourselves and others.”

Compelling stories resonate with the universal truths of metaphor that reside within the consciousness of humanity. According to Joseph Campbell, this involves an open mind and a certain amount of humility; and giving oneself to the story … not unlike the hero who gives her life to something larger than herself. Fiction becomes memorable by providing a depth of meaning. Stories move with direction, compel with intrigue and fulfil with awareness and, sometimes, with understanding. The stories that stir our hearts come from deep inside, where the personal meets the universal, through symbols or archetypes and metaphor.

Ultimately, we live by the narratives we share. “What you think, you become,” said Buddha.

In my writing guidebook The Ecology of Story: World as Character, I write: “When a writer is mindful of place in story and not only accurately portrays environment but treats it as a character, then her story will resonate with multilayers of meaning.”

Poplar stand in the Kawarthas, ON (photo and rendition by Nina Munteanu)

Changing the Narrative…

I was recently interviewed by Forrest Brown on Stories for Earth Podcast in which we discussed the need to change our narrative (particularly our colonial neoliberal capitalist narrative) and various ways to do this, taking into account the challenges posed by belief and language. Lessons from our indigenous wise elders will play a key role in our change toward genuine partnership with the Earth.

“We need to have a whole cultural shift, where it becomes our culture to take care of the Earth, and in order to make this shift, we need storytelling about how the Earth takes care of us and how we can take care of her.” ― Ayana Elizabeth Johnson, All We Can Save: Truth, Courage, and Solutions for the Climate Crisis

“This world, in which we are born and taken our being, is alive. It is not our supply house and sewer; it is our larger body. The intelligence that evolved us from stardust and interconnects us with all beings is sufficient for the healing of our Earth community, if we but align with that purpose. Our true nature is far more ancient and encompassing than the separate self defined by habit and society. We are as intrinsic to our living world as the rivers and trees, woven of the same intricate flows of matter/energy and mind. Having evolved us into self-reflexive consciousness, the world can now know itself through us, behold its own majesty, tell its own stories–and also respond to its own suffering.” 

JOANNA MACY and CHRIS JOHNSTONE, “Active Hope”
Swamp forest in Kawartha region, ON (photo and rendition by Nina Munteanu)

References:

Campbell, Joseph, Bill Moyers. 1991. “The Power of Myth.” Anchor. 293pp.

Munteanu, Nina. 2016. “Water Is… The Meaning of Water.” Pixl Press, Delta, B.C. 584pp.

Munteanu, Nina. 2019. “The Ecology of Story: World as Character.” Pixl Press, Delta, B.C. 200pp.

Sahtouris, Elisabet. 2014. “Ecosophy: Nature’s Guide to a Better World.” Kosmos, Spring/Summer 2014: 4-9pp. 

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.

Vancouver’s Craig H. Bowlsby wins his second Crime Writers of Canada Award of Excellence in two years.

My good friend author Craig Bowlsby just won the Crime Writers of Canada Award of Excellence for Best Unpublished Crime Novel manuscript.

Requiem for a Lotus takes place in 1917 Shanghai, where police detective Harmon Fletcher must solve the murder of a Chinese sing-song girl he’d failed to protect. Adding his Canadian prairie hunting experience to modern forensic techniques, Fletcher scours Shanghai’s dangerous jig-saw underworld for answers. But while he brings one killer to justice, another escapes, and Fletcher must sacrifice more than he expected before he’s done.

Here’s the opening to Requiem for a Lotus:

“When a man named Hong Song Lin shot his neighbour five times for blowing roasted pig smoke onto his second floor balcony, it wasn’t a hard case to figure out. There was two angry men, a gun, and a hot Shanghai summer.”

The judges selected Craig’s novel for its excellent writing and storytelling, a tense and compelling plot and pace, and intriguing characters:

“… What enjoyable reading! The author quickly pulls the reader into 1917 Shanghai and pins them there with its smells, sights, customs and politics … A very engaging crime novel.”

“… Loved the historical setting of Shanghai and it kept me fascinated … Inspector Fletcher is a solid and clever character, a somewhat rougher Sherlock Holmes.”

Requiem for a Lotus is the first novel of a trilogy. I’m confident that this exciting crime novel and series will be snapped up by a publisher soon. And when it is, I’ll be buying a copy.

Here’s Craig’s podcast interview with CWC interviewer Erik D’Souza when the manuscript was a finalist before it won top prize:

Last year Craig’s short story “The Girl Who Was Only Three Quarters Dead,” published by Mystery Magazine in April 2022, won the Crime Writers of Canada Award for Best Short Story.

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.

When Art Helps Story

No writer works alone. Sure, we may work alone when writing, but all other aspects of getting our writing out to you, the reader, involves a team of other people. Like all good things, writing is a collaborative affair. All professional writers enter a contract with their publisher to work with editors, marketers, and also with cover artists, designers and interior artists. All together create the final artistic expression shared with the reading audience.

I want to focus on the latter here and celebrate how art and design help create more than what the writer alone produces. When my writing career started in earnest in 1995 with my first publication in a professional magazine, I was involved in collaborations with artists, who all improved my work.

Arc of Time was my first short story publication, appearing in Armchair Aesthete in the Summer/Fall issue of 2002. Armchair Aesthete is a small literary magazine in the United States and features funky cover art.

Magazine cover for Ultra! and interior design for “Arc of Time”

Arc of Time was then accepted in the premiere issue of Ultra! (Aardwolf Publications) in 2004. That issue contained a fully illustrated and designed interior, which really set off the story—an epistemological exchange of emails linked with narrative. In 2013, MetaStellar Speculative Fiction and Beyond, which provides illustrations for each story it carries, used one of my own photographs to illustrate Arc of Time.

Feature cover illustration for “Arc of Time” on MetaStellar site

Virtually Yours first appeared in Hadrosaur Tales in Issue #15 in December 2002. Hadrosaur Tales is a small but vibrant literary magazine out of Las Cruces, New Mexico and featured interesting covers.

Cover and story illustrations in Nowa Fantastyka for “Virtually Yours”

Virtually Yours was republished all over the world and is up to its tenth publication this year. Several publications included artwork specifically for the story. Nowa Fantastyka, out of Poland, is a slick magazine that boasts a lot of images, colour interiors and illustrations. My story was introduced with illustrations that enhanced its impact.

Interior illustrations for “Virtually Yours” in Amazing Stories and MetaStellar, respectively

Its reprint in Amazing Stories was illustrated evocatively by Duncan Long. In the story’s later reprint in MetaStellar Speculative Fiction and Beyond, Brigitte Werner created a beautiful illustration for the story.

Nowa Fantastyka cover art and story art for “A Butterfly in Peking”

A Butterfly in Peking first appeared in Issue #17 of Chiaroscuro in 2003. Its reprint in the Polish magazine Nowa Fantastyka in 2005 included interior art that introduced the tone and feel of the story.

Megan Survival Anthology cover art and story art for “Fingal’s Cave”

Fingal’s Cave was first published in The Megan Survival Anthology (Reality Skimming Press) in December 2016. The publication included art by Jeff Doten specific to each story in the anthology and I found his artwork for Fingal’s Cave wonderfully intriguing.

Artwork for “The Way of Water” in various publications

The Way of Water was first published in Future Fiction then in a smart print publication by Mincione Edizioni in Rome, Italy in May 2016. The story was reprinted several times and artwork associated with it included in some of the publications. One is Little Blue Marble, an online magazine that features artwork for each story it runs.

Cover art of Eagle Magazine and story art for “Natural Selection”

Natural Selection first came out in my short story collection of the same name in 2013. It was then reprinted in the premiere issue of Eagle Magazine and featured stellar and evocative interior illustrations by Ionuț Bănuță.

Interior story art for “Natural Selection”

Out of the Silence first appeared in Issue #85 of subTerrain Magazine in May 2020 and featured diverse and rich interior art and design (not pictured here). Its reprint in A House of Dawn in 2021 received its own artwork, which enhanced the tone and subject of the story.

Cover art for subTerrain Magazine and story art for “Out of the Silence” in A House of Dawn

I’d be remiss if I didn’t add the important artwork of artists on the covers of several of my novels and collections. As a reader, I can attest that cover art plays an important role in introducing a book to a potential reader. Whether we pick up a new author’s book to peruse depends upon the image, title and design of the cover. I have been very fortunate with my publishers and their artists.

Book covers for “Collision with Paradise” and “The Cypol”

My first published novel (Collision with Paradise) and novella (The Cypol)—both SF erotica—were designed to intrigue and titillate.

Costi Gurgu illustrated and designed the covers of my space detective thriller The Splintered Universe Trilogy for Starfire. The three books and their covers, formed a tryptic that reflected the journey of the lead character—a badass galactic detective—and her evolution.

Cover art for books of “The Splintered Universe” Trilogy

Costi Gurgu also designed the cover of my short story collection Natural Selection for Pixl Press in 2013 using an illustration by West Coast artist Anne Moody that showed the fluidity of nature.

Tikulin-illustrated covers for “Darwin’s Paradox” and “The Last Summoner”

Tomislav Tikulin illustrated the cover of my novel Darwin’s Paradox for Dragon Moon Press in 2007. The cover image ostensibly represented a work of hard science fiction and attracted much attention from SF fans. Tikulin’s evocative illustration of a knight in a drowning cathedral was then used for the cover of The Last Summoner for Starfire, with attractive typology design by Costi Gurgu. As with all of Tikulin’s work, this mysterious cover attracted the attention of many readers with many questions.

L’Ultima Evocatrice, a novella version of The Last Summoner in Italian was illustrated and designed for Delos Digital Publications in 2021 and draws the reader into the intrigue of the story.

My most recent novel, A Diary in the Age of Water, published by Inanna Publications in 2020, features elegant cover art by Val Fullard and over thirty pieces of interior art work by my own hand.

Interior art representing the diarist’s sketches in “A Diary in the Age of Water

I wasn’t sure if the publisher would agree to use my sketches, but she did, to my surprised delight. She agreed with me that the interior illustrations, which represent sketches by the scientist diarist, lend a tangible reality to the story and a further focus of interest.

Interior art representing the diarist’s sketches in “A Diary in the Age of Water
Interior art representing the diarist’s sketches in “A Diary in the Age of Water”

The excitement never ends for me as a writer … With the newest installation to the Icaria Series imminent, Dragon Moon Press will be re-issuing Darwin’s Paradox and Angel of Chaos, along with the newest addition Gaia’s Revolution along with new covers and interiors. I can’t wait to see what Dragon Moon Press comes up with! …

Cover art of print publications my work has appeared in up to 2021-end

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.