Interview with Author Simon Rose on “The Stone of the Seer”

Calgary author Simon Rose has published eighteen novels for children and young adults, eight guides for writers, more than a hundred nonfiction books, and many articles on a wide variety of topics. Simon has agreed to talk to me about his latest release, The Stone of the Seer, the first novel in the Stone of the Seer series.

Here’s my interview with Simon:

Nina: What’s the new series all about?

Simon: The Stone of the Seer is an exciting historical fantasy series of adventure novels for young adults, primarily set in the turbulent period of the English Civil War.

The Stone of the Seer, book one in the series, features the Vikings, Leonardo da Vinci, and the political turmoil of the 1640s. At Habingdon House, Lady Elizabeth Usborne, Kate, and Tom encounter a magical black stone, mysterious ancient manuscripts, and the incredible time viewing device known as the tempus inpectoris, all while under constant threat from the murderous witchfinder, Daniel Tombes.

The other novels in the series are Royal Blood and Revenge of the Witchfinder, which will be published in the coming months. There will be a box set including all three novels at some point in the future as well.

Nina: What’s the story behind the story?

Simon: The story, main characters, and some of the settings in The Stone of the Seer are fictional but are based on true events and the story features real historical characters, such as King Charles I. The English Civil War was a series of conflicts in England, Scotland, and Ireland in the 1640s and early 1650s. The war originated in the struggle between Charles I and Parliament, regarding how the country should be governed.

The king’s defeat in the civil war led to his trial and execution in January 1649. The monarchy was abolished and replaced first by the Commonwealth of England and then the Protectorate, before the monarchy was restored in 1660. However, the defeat of Charles I confirmed that an English monarch could not rule the country without the consent of Parliament, although this wasn’t legally established until the Glorious Revolution in 1688.

Nina: You must have done quite a lot of historical research for this book.

Simon: Yes, it’s a time period I’ve always been interested in, but it still involved considerable research. I’ve included a glossary at the end of each of the three novels in the series where you can learn more about the historical events, settings, and leading characters from the English Civil War, locations that are mentioned in the text, life in the seventeenth century, and details from other historical periods that are featured in the story. There’s also a page on my website all about the historical background behind the books, with links to online sources about the time period.

Nina: What are you currently working on?

Simon: I always have a current project or two and right now I’m writing another historical fantasy novel series set in World War II. I’m also working on sequels to the Flashback series of paranormal novels, which includes Flashback, Twisted Fate, and Parallel Destiny, which you can learn more about on my website at simon-rose.com. In addition, I’m working on screenplay adaptations of the Shadowzone series and have also completed a number of picture books for younger readers, which I hope will be published soon.

Nina: You also work with other authors, don’t you?

Simon: Yes, I do quite a lot of that these days. I provide coaching, editing, consulting, and mentoring services for writers of novels, short stories, fiction, nonfiction, biographies, inspirational books, and in many other genres. I also work as a writing instructor at the University of Calgary and have served as the Writer-in-Residence with the Canadian Authors Association. You can find details of some of the projects I’ve worked on, along with some references and recommendations, on my website.

Nina: Where can people buy The Stone of the Seer?

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

Ebook: Amazon CanadaAmazon USAKoboiBooksBarnes and NobleSmashwords 

Paperback: Amazon Canada, Amazon USA

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

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

The Otonabee River glinting on a sunny winter day, ON (photo and rendition by Nina Munteanu)

The Beauty & Magic of Snow

Nina, the snow bear, enjoying a heavy snowfall in early winter, ON (photo by M. Cox)

I grew up in southern Quebec, where the first snow of the season often came from the sky in a thick passion. Huge flakes of unique beauty settled on my coat sleeves and within minutes I was covered in snow. I would stand enraptured and study each one as I could. Snow wraps everything in a blanket of soft acceptance. It creates a dazzling face on a dark Earth. It refuses to distinguish between artificial and natural. It covers everything—decorated house, shabby old car, willowy trees, manicured lawn—beneath its white mantle. It quiets the Earth.

Old barn after a fresh snow near Wolfville, NS (photo by Nina Munteanu)

Have you ever gone for an evening walk in the fresh crisp snow, boots crunching, snow glistening in the moonlight? Each step is its own symphony of textured sound. A kind of collaboration with the deep of the night and Nature’s own whisperings.

Heavy snowfall in a forest during early winter, ON (photo by Nina Munteanu)
A heavy snow falls in the Beach in Toronto, ON (photo by Nina Munteanu)

Snow is a shape shifter, charging down in a fierce blizzard and as glittering hoarfrost that forms on cold, clear nights. Snow is a gypsy, conspiring with the clever wind to form mini-tornadoes and swirling on the cold pavement like misbehaving fairies. It drifts like a vagabond and piles up, cresting over the most impressive structure, creating phantoms out of icons. Some people, fearful of the chaos and confusion that snow brings, hide indoors out of the cold. Others embrace its many forms, punching holes through the snow crust to find the treasure of powder beneath or ploughing through its softness, leaving behind an ivory trail of adventure.

Snow crystals poised on the leaves of a white cedar, ON (photo by Nina Munteanu)

Snow is magic. It reveals as it cloaks. Animals leave their telltale tracks behind their silent sleuthing. No two snowflakes are alike. Yet every non-aggregated snowflake forms a six-fold radial symmetry, based on the hexagonal alignment of water molecules when they form ice. Tiny perfectly shaped ice-flowers drift down like world peace and settle in a gentle carpet of white. Oddly, a snowflake is really clear and colourless. It only looks white because the whole spectrum of light bounces off the crystal facets in diffuse reflection (i.e., at many angles). My son, who skies, extols “champagne powder”—very smooth and dry snow, ideal for gliding on. On powder days, after a fresh snowfall, mountain trees form glabrous Henry Moore-like sculptures. Skiers wind their way between the “snow ghosts,” leaving meandering double-helix tracks behind them.

Pump Peak, north view with snow ghosts, Mount Seymour, BC (photo by Kevin Klassen)
Skier shushing through powder among snow ghosts, Kaslo BC (photo by Kevin Klassen)
Snow ghosts at sunset, BC (photo by Kevin Klassen)

Snow is playful. It beckons you to stick out your tongue and taste the clouds. Snow is like an unruly child. Snow is the trickster. It stirs things up. Makes a mess. It is the herald of change, invigorating, fresh and wondrous. Cars skid in it and squeal with objection. Grumpy drivers honk their horns, impatient to get home; while others sigh in their angry wake. Brown slush flies in a chaotic fit behind a bus and splatters your new coat. Boys and girls of all ages venture outside, mischief glinting in their eyes, and throw snowballs. Great battles are fought in backyards where children build awesome forts and defend them with fierce determination.

The author’s son and friends playing in a snowstorm, BC (photo by Nina Munteanu)
Laundry left out during a snowfall, BC (photo by Nina Munteanu)

In the end, snow—a solid form of water—remains implacable, untouched by our spurious activities. It lies beyond our tedious attempts to salt it, dirty it, move it or make it, turn it into slush, sublimate it or even desublimate it. Snow, like the water it is, cannot be ‘owned’ or kept. Ultimately, it will do its job to energize the earth, give life, then quietly transform, take its leave, and move on. Along with its various water cousins, it will move mountains particle by particle with a subtle hand; it will paint the world with beauty then return to its fold and rejoice; it will transcend time and space to share and teach and transform a world.

Skier exploring a high mountain bowl, Cloudburst Mountain, Squamish, BC (photo by Kevin Klassen)

This article is an excerpt from “Water Is…The Meaning of Water”(Pixl Press)

Jackson Creek flows through a forest after a fresh snowfall in early winter, ON (photo by Nina Munteanu)

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

My Story … And My Dream

Nina, age four, pretending to read, Granby, Quebec (photo by Maria Munteanu)

I started writing and drawing as soon as I could hold a pencil. Even before I could read, I wanted to become a “paperback writer” like in the old Beatles song.

It was an incredible moment of clarity for me and despite being challenged by my stern and unimaginative primary school teacher, who kept trying to corral me into being “normal”, I wasn’t going to let anyone stem my creativity and eccentric — if not wayward — approach to literature, language and writing. I was a little brat and I knew it. She and I didn’t exactly get along. But I did okay and, despite her acidic commentary, Miss House awarded me some A’s and B’s…

Country road in late fall, ON (photo and rendition by Nina Munteanu)

I wrote some fan fiction but quickly found my own creations far more interesting and less limiting.

As a teenager, I wrote, directed and recorded “radio plays” with my sister. When we weren’t bursting into riotous laughter, it was actually pretty good. She and I shared a bedroom in the back of the house and at bedtime we opened our doors of imagination to a cast of thousands. We fed each other wild stories of space travel, adventure and intrigue, whispering and giggling well into the dark night, long after our parents were snoring in their beds.

Those days scintillated with liberating originality, excitement and joy.

(Photo: Nina Munteanu and sister Doina Maria Munteanu at Grouse Mountain, BC)

My first attempt at a graphic novel (pencil and ink drawings by a very young Nina)

I also enjoyed animation and drew several cartoon strips, peopled with crazy characters. I dreamt of writing graphic novels like Green Lantern and Spiderman. My hero was science fiction author and futurist, Ray Bradbury; I vowed to write profoundly stirring tales like he did.

I had found what excites me — my passion for telling stories—and I’d inadvertently stumbled upon an important piece of the secret formula for success: 1) having discovered my passion, I decided on a goal; 2) I found and wished to emulate a “hero” who’d achieved that goal and therefore had a “case study”; 3) I applied myself to the pursuit of my goal. Oops … the third one, well … it went downhill from there … Life got in the way.

The Beeches area of Toronto after a heavy snowstorm, ON (photo and rendition by Nina Munteanu)

I grew up.

Well, that, and the environment intervened. In several ways. It started with my parents. Recognizing my talent and interest in the fine arts (I was good in visual arts), they pushed me to get a fine arts degree in university and go into teaching or advertizing. They didn’t see fiction writing as a viable career or a strength of mine (I was lousy at spelling and, despite my ability to tell stories and my love for graphic novels, I didn’t read books much). I can still remember my father’s lecture to me about how perfect the teaching or nursing profession was for me. I wasn’t enamored by either. The second blow to my author-ego came in the form of a school “interest-ability” test, meant to prepare us for our career decisions. I remember the test consisting of an IQ portion (spatial, English and math), and a psychology portion (including problem-solving and scenarios meant to tease out our affinity for a particular career). Secretly harboring my paperback novelist dream, I filled out my forms with great excitement. I still remember the deflating results, which suggested that I was best suited to be a sergeant in the army. “Writing” as a career barely made it on the graph, and scored well below “computer programmer” and “mechanic”; none of which interested me.   

Country road in a heavy snow, ON (photo and rendition by Nina Munteanu)

I got involved in the environmental movement, while quietly holding my dream of being a paperback novelist close to my heart. I got several degrees in ecology and consulted for various companies to help protect the environment. I wrote a lot in those days, although it was more about the ecology of creeks and about industrial pollution. But my passion for writing fiction continued to simmer. Magazines started publishing my articles—my first sale was to Shared Vision Magazine in 1995 on environmental citizenship—and my published articles became my entrance into the world of fiction. Once I began publishing fiction stories—my first short fiction sale was “Arc of Time” to Armchair Aesthete in 2002—I never looked back.

Eventually, I was publishing a novel and several short stories every year. My fiction most often focused on environmental issues, humanity’s relationship with the natural world, and how we reconcile our reliance on technology with our respect for the natural world.

Publications of long or short eco-fiction that include my writing or editing

Throughout my writer’s journey, and particularly early in my journey, I weathered the threshold guardians, tricksters and shadows: friends and family who called what I did a hobby, something I did just to pass the time; people who didn’t believe in me, envied my drive or simply thought I was wasting my time; even industry scammers who preyed on my dreams and wanted my money for nothing in return; and ultimately my own fears and frustrations on query after query and rejection after rejection. Throughout it all, I never stopped dreaming.

Nina’s family hiking and boating in British Columbia over the years

I’ve travelled through Europe, Africa, parts of Asia, and Australia. I raised a family and lived all over Canada from the Pacific to the Atlantic coast. I worked as a barista, shopkeeper and science lab instructor, then as environmental consultant, writing instructor and writing coach.  During these wonderful life-adventures, I never stopped writing. 

Nina Munteanu in the castle at Gruyères, Switzerland (photo by Jane Raptor)

To date, I have written and sold over three dozen eco-fiction, science fiction and fantasy novels, non-fiction books, short stories and articles. I have sold short stories to magazines in Canada and the U.S. with translations and reprints in Israel, Poland, Greece, and Romania. My short fiction has appeared in Neo-Opsis Science Fiction Magazine, Chiaroscuro, subTerrain, Apex Magazine, Metastellar, and several anthologies. I’ve seen my short stories nominated for the Aurora Prix Award (Canada’s premier award for writing science fiction and fantasy) and the Foundation of Speculative Fiction Fountain Award. Recognition for my work includes the Midwest Book Review Reader’s Choice Award, finalist for Foreword Magazine’s Book of the Year Award, the SLF Fountain Award, and The Delta Optimist Reviewers Choice Award.  

Nina celebrates her adventures in Toronto (left) and Paris (right)

I’ve published nine novels with nominations for the Aurora Prix, Foreword Magazine Book of the Year (several times), and various Reader’s Choice awards.  My non-fiction book “Water Is…” (Pixl Press)—a scientific study and personal journey as limnologist, mother, and teacher—was Margaret Atwood’s pick in 2016 in the New York Times ‘The Year in Reading.’ My recent eco-novel released in 2020 by Inanna PublicationsA Diary in the Age of Water“—about four generations of women and their relationship to water in a rapidly changing world—was a silver medalist for the Literary Titan Award, the Bronze winner of Foreword Magazine’s Book of the Year in 2020, longlisted for the Miramichi Review’s ‘Very Best Book of the Year Award,’ and a finalist for the 2021 International Book Award. Reviewers have described it as “lyrical…thought-provoking…unique and captivating…insightful…profound and brilliant…unsettling and yet deliciously readable…” One reviewer described it as a “a bit of a hybrid” and the writer “a risk taker”—which I quite liked. Another reviewer acknowledged that this was not a book for everyone and yet she found it “strangely compelling.”—which I found delicious.

It’s been twenty years since I seriously started my writing career with my first publication in 1995; my work is now recognized and translated throughout the world and I frequently get writing commissions from reputable magazines and publications. I am also frequently invited for speaking engagements and radio/podcast/TV interviews about my science and my writing. In short, I’ve come home; I’d taken a rather long detour but I’ve acquired some tools along the way. It’s been and continues to be a wonderful and exciting journey; and part of what made it so was that I never stopped dreaming and writing.

“…If you have nothing at all to create, then perhaps you create yourself…”

Carl Jung
A sampling of literary publications up to 2021-end that have included something of mine (short fiction, long fiction, non-fiction)

Two people walk through snowy path after a fresh heavy snowfall, ON (photo and rendition 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.

“Sunlight on Snow” an ekphrastic poem by Bev Gorbet

Snow glitter rains down from cedar tree on a sunny day after a major snowfall, ON (photo by Nina Munteanu)

Bright lit: the great cedar forest,
Cathedral dome skies bright sunlit above…
All of a fulgent blue, all of an azure glow…
Everywhere, the peace of a radiant sunlight

Pine tree with snow glitter behind in Jackson Creek Park, ON (photo and rendition by Nina Munteanu)

Worlds of magic and a most sacred light
Bright sunlit day, bright shafts 
Through a portico of treetops high above
The trees reaching so very high,
Deep into the sheltering skies

Snow-covered Buckthorn with path through a snowy meadow, ON (photo and rendition by Nina Munteanu)

Snow decked branch and bough: gently swaying memory;
Movement into the swaying winter winds
The gentle whispers, the gentle sighs 
The treetops,
Their  song, their gentle touch, their toss, their glide

Snow dust falls in a cedar forest, ON (photo by Nina Munteanu)

A deepest silence, a most profound contemplation
Midst snowdrift and snowlit mists as they shift
Between icy branch and snow covered green bough

Dust of snow and cedar lights:
All the ethereal wonders of a snowy day, 
The snow blessed, lost ephemeral lands
In a full clothed beauty, snowy wonders: of sunlight, of shadow

Snow-covered shrub on a snowy day, ON (photo and rendition by Nina Munteanu)

Oh! sacred forest, this great beauty of place
To overwhelm, to protect, to shelter…
Here, a deepest meditation, a deepest circumspection…
Snow and ice and all the wonder of a  glorious sunlit day
All the ephemeral beauty in a winter’s sunlight world.

Snow dust rains down from snow-laden cedar trees in Jackson Creek Park, ON (photo by Nina Munteanu)

Bev Gorbet is a Toronto poet and retired school teacher. She has published several poems with the Retired Teachers Organization and most recently in “Literary Connection IV: Then and Now” (In Our Words Inc., 2019), edited by Cheryl Antao Xavier.

“Virtually Yours” Reprinted in Speculative North Issue #6

Nina Munteanu with her copy of Speculative North, Issue #6

My speculative short story “Virtually Yours” was published for the eighth time, most recently in December 2021 in Speculative North, Issue #6. Originally published in Issue #15 of Hadrosaur Tales in 2002, the story explores concepts of cyber-spying, virtual workspace, anonymity, and identity.

A short excerpt follows below.

You can find the short story’s publication history in the Publications page on this site. You can see some of the main publications below. The story was translated into Polish and published by Nowa Fantastyka in 2006.

A selection of publications in which “Virtually Yours” appears from 2002 to 2021
Illustration by Duncan Long for the Amazing Stories publication of “Virtually Yours”
Snow-covered shrub after new snow in mid-winter, ON (photo and rendition 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.

The Journal Writer: Benefits of Expressive Writing

Boardwalk through marsh in a swamp forest, ON (photo and rendition by Nina Munteanu)

The creation of something new is not accomplished by the intellect but by the play instinct acting from inner necessity. The creative mind plays the objects it loves

Carl Jung

You don’t have to take my word for it or that of my writing colleagues either. Psychologists, neuroscientists and other researchers have revealed health and emotional benefits of expressive writing. The meditative action of handwriting alone has proven beneficial. Think of the poetry of laying down an intelligent pattern over a surface: the subtle “prayer” of pen to paper to the renewal of self-discovery.

Over the past 20 years, a growing body of literature has shown beneficial effects of writing about traumatic, emotional and stressful events on physical and emotional health. For instance, researchers have shown that college students writing about their deepest thoughts and feelings for only 15 minutes over 4 consecutive days experienced significant health benefits four months later (Pennebaker & Beall, 1986). Table 1 summarizes some of the long-term benefits of expressive writing.

TABLE 1: Long-Term Benefits of Expressive Writing
HealthSocial & Behavioral
Fewer stress-related visits to the doctorReduced absenteeism from work
Improved immune system functioningQuicker re-employment after job loss
Reduced blood pressureImproved working memory
Improved lung functionImproved sporting performance
Improved liver functionHigher student’s grade point average
Fewer days in hospitalAltered social and linguistic behavior
Greater psychological well-being 
Reduced depressive symptoms 
Fewer post-traumatic intrusion and avoidance symptoms 
Reference: Baikie & Wilhelm, 2005 

DeSalvo shares something a friend of hers confided to her: “Why is it that I always get sick after I finish a book, and not while I’m writing? Crazy as it sounds,” she concluded, “it must be that writing keeps me healthy.” Although writing can’t cure us, some studies suggest that it might prolong our lives, says DeSalvo. It can help us “to accomplish that shift in perspective marked by acceptance, authenticity, depth, serenity and wisdom that is the hallmark of genuine healing.”

Expressive writing produces significant benefits for people with a variety of medical problems. Some of the major ones appear in Table 2 below.

TABLE 2: Medical Conditions Benefiting from Expressive Writing
Lung functioning in ASTHMA
Disease severity (improvements in joint stiffness) in RHEUMATOID ARTHRITIS
Pain and physical health in CANCER
Immune response in HIV Infection
Hospitalisations for CYSTIC FIBROSIS
Pain intensity in women with CHRONIC PELVIC PAIN
Sleep-onset latency in POOR SLEEPERS
Post-operative course
Reference: Baikie & Wilhelm, 2005
Wooden bridge over creek in a forest park, ON (photo and rendition by Nina Munteanu)

This article is an excerpt from The Journal Writer: Finding Your Voice (Pixl Press, 2013) by Nina Munteanu.

The Journal Writer is the second writing guide in the Alien Guidebook Series. This comprehensive guidebook will help you choose the best medium, style and platform for your expressive writing. The guide provides instruction on issues of safety, using the computer and electronic devices, social media and the internet.

Engaging, accessible, and easily applicable…Brava, Nina, brava.”—David Merchant, Instructor, Louisianna Tech University

Straight up, fact-filled, enriching, joyful and thorough…Nina is honest, she is human and she wants you to succeed.”—Cathi Urbonas, Halifax writer

1.7  References

Baikie, Karen & Kay Wilhelm. 2005. “Emotional and physical health benefits of expressive writing.” Advances in Psychiatric Treatment. 11: 338-346.

DeSalvo, Louise. 1999. “Writing as a Way of Healing: How Telling Our Stories Transforms Our Lives.” Beacon Press, Boston. 226pp.

Hieb, Marianne. 2005. “Inner Journeying Through Art-Journaling”. Jessica Kingsley Publishers, London, England. 176pp.

Holly, Mary Louise. 1989. “Writing to Grow. Keeping a personal-professional journal”. Heinemann. Portsmouth, New Hampshire.

Klug, Ron. 2002. “How to Keep a Spiritual Journal: a guide to journal keeping for inner growth and personal discovery.” Augsburg, Minneapolis, 4th ed.

Moon, Jennifer. 1999. “Learning Journals: A handbook for academics, students and professional development”. Kogan Page. London.

Pennebaker, James. W. 1990. “Opening Up: The Healing Power of Confiding in Others”. Morrow, New York, NY.

Pennebaker, James W., and Sandra Klihr Beall. 1986. “Confronting a Traumatic Event: Toward an Understanding of Inhibition and Disease”. Journal of Abnormal Psychology 95, no. 3: 274-81.

Munteanu, Nina. 2013. “The Journal Writer: Finding Your Voice.” Pixl Press, Vancouver. 170pp.

Nina Munteanu enjoys a snowstorm

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.

A Late Autumn Snowfall–An Ekphrastic Poem by Bev Gorbet

Otonabee River glints in the sun as it snows, ON (photo and rendition by Nina Munteanu)

An autumn’s last days, fierce snowfalls, fall lights and storm
The autumn landscape now full of wild moods,
Hints of a magic wilderness and an encircling cold,
The bitter winds, the fast falling hail:
Landscape echo and retreat

Mallards contently swim the marsh under a heavy snow, ON (photo and rendition by Nina Munteanu)

Snow veil mists over the receiving marsh lands:
Somber cloud grays, shades of amber glow…
Mallard ducks unconcernedly paddling 
On the smooth black marsh waters
The snows above falling in majestic blizzards:
Powerful bursts of snow over treetop
And bended bough,
Moody haze lit skies high falling away
In blasts of snow and wind

Heavy snow falls in the riparian forest, ON (photo and rendition by Nina Munteanu)

Snowy reflections over high treetop above…
Snowy days and last messages of a fading autumn’s glory:
Detritus of bronze leaf, the withered beauty of a fading goldenrod
A final sadness, autumn’s last messages, 
Haunted promises of a brilliant winter sunshine
On snowy fields, velvet days and gold

Snow flies horizontally in a fierce wind, ON (photo and rendition by Nina Munteanu)

Now the forests bend, overwhelmed by the flying snow
Thick tumbling down, shards of ice and rain
Clouds of snow falling everywhere
Forest pathways now covered in a lucent white glow,
The shaded greens of cedar and fir picked out in a forest landscape;
The continuing deluge, wild nature’s primordial powers: 
Mad windstorm and snow drift

Sun emerges over Thompson Creek marsh after the snowstorm, ON (photo and rendition by Nina Munteanu)

The still marsh waters now reflect the gray cloud, the  sky high above
All the windstorm madness, the bog detritus on the still marsh 
Now snow covered and silent, the snowfall ended
The marsh now a sacred retreat: worlds of a glorious and gentle reflection,
A tender, and radiant peace overall.

 –Bev Gorbet

Bev Gorbet is a Toronto poet and retired school teacher. She has published several poems with the Retired Teachers Organization and most recently in “Literary Connection IV: Then and Now” (In Our Words Inc., 2019), edited by Cheryl Antao Xavier.

Thompson Creek marsh after a first snow in late autumn, ON (photo and rendition by Nina Munteanu)
Nina Munteanu revels in a snowstorm in Ontario (photo by Merridy Cox)

When We Burn Books…

Dort, wo man Bücher verbrennt, verbrennt man am Ende auch Menschen


—Heinrich Heine
House of Leaves burning (photo by Learning Lark)

In her 2017 article A Brief History of Book Burning, from the Printing Press to Internet Archives Lorraine Boissoneault writes, “As long as there have been books, people have burned them.” Books were burned to silence a dissonant, threatening and potentially rousing voice; they were burned to wipe out a cultural presence; They were burned to control and curtail intellectual freedom; they were burned to simply ruin and pillage and destroy.

Books and libraries have been targeted by people of all backgrounds for thousands of years, sometimes intentionally and sometimes as a side-effect of war, Boissoneault tells us. “In 213 B.C., Chinese emperor Qin Shi Huang (more widely remembered for his terracotta army in Xian) ordered a bonfire of books as a way of consolidating power in his new empire.” According to historian Lois Mai Chan, “His basic objective was not so much to wipe out these schools of thought completely as to place them under governmental control.” 

Boissoneault adds, “When al-Qaida Islamists invaded Mali, and then Timbuktu in 2012, among their targets were priceless manuscripts—books that needed to be burned.” The damage might have been much worse if not for men like Abdel Kader Haidara, who risked their lives to protect the medieval works. He and others succeeded in smuggling out 350,000 manuscripts.”

“Qin was only one in a long line of ancient rulers who felt threatened enough by the ideas expressed in written form to advocate arson,” says Boissoneault. Qin and religious leaders like him are only a small part of the early book-burning equation. “A lot of ancient book burning was a function of conquest,” writes author Rebecca Knuth. The Library of Alexandria had its contents and structure burned during several periods of political upheaval as a casualty of brutal war and associated despoliation and pillaging.

When Johannes Gutenberg invented the printing press in 1440, there were suddenly far more books—and more accessible knowledge. Book burning continued, unfettered, perhaps taking on a more symbolic and insidious role, and no less violent.

In 1966, when Mao Zedong took power in China and implemented the Cultural Revolution, any book that did not conform to party propaganda, such as those that promoted capitalism or other dangerous ideas, were destroyed. In 1992, the Jaffna Public Library of Sri Lanka—repository of nearly 100,000 rare books of Tamil history and literature—was burned by Sinhalese Buddhists.

German writer/poet Heinrich Heine

Heinrich Heine’s Prediction

In his 1821 play, Almansor, the German writer/poet Heinrich Heine wrote: Dort, wo man Bücher verbrennt, verbrennt man am Ende auch Menschen, “Where they burn books, they will in the end burn human beings.” He was referring to the burning of the Muslim holy book, the Qoran as part of the eradication of the Moors from the Iberian Peninsula, during the Spanish Inquisition half a century before.

A century later, on May 6-10th, 1933, Heine’s books were among the thousands of volumes publicly hauled out and burned by Nazi brownshirts, SS and Hitler Youth groups in Berlin’s Opernplatz (Bebelplatz). A violent outburst that, in fact, did foreshadow the blazing ovens of the Holocaust. Some twenty thousand books were burned, including those by Heinrich Mann, Karl Marx, Albert Einstein.

Nazi book burning in Opernplatz, Berlin, 1933
Brownshirts and Hitlerjugend perform Nazi salut as books burn in Opernplatz, Berlin in 1933

Wikipedia defines ‘book burning’ as the “practice of ceremoniously destroying by fire one or more copies of a book or other written material.” The practice, usually carried out in public (like public hangings in Medieval times) is generally motivated by moral, religious or political objections to the material. Some notable and particularly destructive book burnings have included:

  • the destruction of the Library of Alexandria;
  • burning books and burying scholars (‘live burying’) under China’s Qin Dynasty (3rd Century);
  • Cathar texts in the Lanquedoc region of France in the 13th Century;
  • the Talmud in Paris by the French crown in 1242;
  • Arabic and Hebrew books at Andalucia, Spain, in 1499;
  • Servetus’s “heretical” writings along with the writer at Geneva;
  • Maya sacred books in Yucatan (1562);
  • Tyndale’s New Testament by the English authorities in 1525 and 1526;
  • Luthar’s Bible in Germany (1624) as ordered by the Pope;
  • Robespierre’s destruction of religious libraries in 1793;
  • anti-communist books by the Bolsheviks in 1917;
  • Jewish, anti-Nazi and “degenerate” books by the Nazis in the 1930s and 1940s;
  • Communist and “fellow traveller” books by Senator McCarthy in 1953;
  • The Satanic Verses by Muslims in the UK in 1988; and,
  • Harry Potter books at various American cities.
Hitler youth burning books at Opernplatz, Berlin, in 1933
Book-burning crowd at Opernplatz, Berlin, in 1933

“Even when the knowledge itself isn’t prevented from reaching the public, the symbolic weight of burning books is heavy,” writes Boissoneault.

“Books are not absolutely dead things, but do contain a potency of life in them as to be as active as that soul was whose progeny they are,” wrote John Milton, author of Paradise Lost, in his 1644 book Areopagitica. “Who kills a man kills a reasonable creature… but he who destroys a good book, kills reason itself.”

Ray Bradbury

Ray Bradbury on the Dummying Down of an Obedient Society

In the 1967 introduction of his novel, Fahrenheit 451, Ray Bradbury implied that the Nazi book burnings inspired his story. I found this statement both eloquent and powerful: “It follows then that when Hitler burned a book I felt it as keenly, please forgive me, as his killing a human, for in the long sum of history they are one in the same flesh.”

Addressing currently relevant themes of censorship, conformity and anti-intellectualism, Bradbury’s 1953 cautionary tale explores a fictional future society that has institutionalized book burning in an effort by authorities to maintain order and ‘happiness’. In this world, firemen don’t put out fires; they start them. The book gets its title from the temperature that paper catches fire and burns.

The book-burning fireman Guy Montag in Francois Truffaut’s 1966 film Fahrenheit 451

The story begins with Montag, an ordinary fireman, after a day’s work of burning:

It was a pleasure to burn. It was a special pleasure to see things eaten, to see things blackened and changed. With the brass nozzle in his fists, with this great python spitting its venomous kerosene upon the world, the blood pounded in his head, and his hands were the hands of some amazing conductor playing all the symphonies of blazing and burning to bring down the tatters and charcoal ruins of historyMontag grinned the fierce grin of all men singed and driven back by the flame. He knew that when he returned to the firehouse, he might wink at himself, a minstrel man, burnt-corked, in the mirror.”

–Fahrenheit 451
Firemen Beatty and Montag on their way to burn books (from Francois Truffaut’s 1966 film)

Soon after, Montag encounters an old lady who refuses to leave her house when the firemen come to burn her books. She dies alongside the stories she cherishes. Montag then meets the girl, Clarisse, who knows something of the past, when firemen used to put out fires, during a time when there were no informers and people were not afraid.

“A book is a loaded gun in the house next door,” Montag’s superior warns him, arguing for why they must be burned and their knowledge erased. “Who knows who might be the target of the well-read man?” A foreshadowing of what follows.

Fahrenheit 451 weaves a compelling political and social tale that follows one man’s journey in finding his soul and his ability to judge for himself—through his rediscovery of literature.

Book burning in Opernplatz, Berlin, 1933

“Books are the carriers of civilization. Without books, history is silent, literature dumb, science crippled, thought and speculation at a standstill. Without books, the development of civilization would have been impossible.”

Barbara Tuchman, 1980 address at Library of Congress
Burning German book (photo by Amnesty International)

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

The Day We’re Not Allowed to Drink Water…

Dew drops on Hawkweed hairs, ON (photo by Nina Munteanu)

That day may seem like science fiction or the far future, but as William Gibson famously proclaimed, “The future is already here—it’s just not very evenly distributed.”

This is partly why I’ve been recently writing speculative (mundane) science fiction in which components of fiction blur with non-fiction. In a recent interview on the SolarPunk Magazine Podcast, I discussed with hosts Justine and Bria how my recent novel A Diary in the Age of Water blurred fiction with non-fiction. The novel achieved this through the use of a diary to create a gritty realism in a mundane narrative hard to put down. The intention was to achieve personal relevance for the reader to what was going on, particularly with climate change—a water-driven phenomenon. In The Temz Review, Marcie McCauley postulated that “[Munteanu] does not appear to view fiction and non-fiction as separate territories; or, if she does, then this book is a bridge between them.” I had to laugh when I read this; “she gets me,” I concluded.

In the near-future of A Diary in the Age of Water, Canada has privatized its water utilities after the Conservative Party comes into power, and a giant company called CanadaCorp removes municipal water connections from people’s homes and imposes strict water rations, all while selling off Canada’s precious water to US states like California that would otherwise be uninhabitable.

In her entry for July 13, 2049, Lynna the diarist writes:

“Today CanadaCorp announced that the collection of rainwater was illegal. As of today, I could be aested for using my rain catcher and cistern. I’ve decided to continue using the cistern, and I’ve warned Hildegard not to breathe a word to anyone at school about what we’re doing with the water. Thankfully, I have time to train her in the art of subterfuge before she starts Grade Two in the fall.”

Nina Munteanu, A Diary in the Age of Water
Raindrops on a black locust leaf, ON (photo by Nina Munteanu)

What follows in the novel is complete commodification of water and further restrictions for citizens in the form of house tap closures and daily water quantity quotas from paying public water taps. No form of water is free or available without payment. And if you can’t pay, well…

Dizzy and shivering in the blistering heat, Hilda shuffles forward with the snaking line of people in the dusty square in front of University College where her mother used to teach. The sun beats down, crawling on her skin like an insect. She’s been standing for an hour in the queue for the public water tap… The man behind Hilda pushes her forward. She stumbles toward the tap and glances at the wCard in her blue-grey hand. Her skin resembles a dry riverbed.

Heart throbbing in her throat, Hilda fumbles with the card and finally gets it into the reader. The reader takes it. The light screams red. Her knees almost give out. She dreaded this day…

A tiny water drop hangs, trembling, from the sTap faucet mouth, as if considering which way to go: give in gravity and drop onto the dusty ground or defy it and cling to the inside of the tap. Hilda lunges forward and touches the faucet mouth with her card to capture the drop. Then she laps up the single drop with her tongue. She thinks of Hanna and her throat tightens.

The man behind her grunts. He barrels forward and violently shoves her aside. Hilda stumbles away from the long queue in a daze. The brute gruffly pulls out her useless card and tosses it to her. She misses it and the card flutters like a dead leaf to the ground at her feet. The man shoves his own card into the pay slot. Hilda watches the water gurgle into his plastic container. He is sloppy and some of the water splashes out of his container, raining on the ground. Hilda stares as the water bounces off the parched pavement before finally pooling. The ache in her throat burns like sandpaper and she wavers on her feet. The lineup tightens, as if the people fear she might cut back in. She stares at the water pooling on the ground, glistening into a million stars in the sunlight…and knows she is dying of thirst…

Nina Munteanu, The Way of Water / la natura dell’acqua

This excerpt from my bilingual short story “The Way of Water / la natura dell’acqua” (Mincione Edizioni, 2016) follows the life of Hilda Dresden, daughter of Lynna, the diarist in “A Diary in the Age of Water.”

Science fiction, you think…

Far future, you think…

Think again…

In 2010, Mike Adams of Natural News reported that collecting rainwater was now illegal in several states of the USA. Utah, Washington and Colorado had outlawed individuals from collecting rainwater on their own properties because, according to officials, that rain belonged to someone else.

In 2015, thousands of citizens in two of America’s poorest cities, Detroit and Baltimore, had their water shut off for being behind on their water bills (which had been sharply increased).

Both are inhumane examples of government-imposed oppression over what should be a public and free resource: water.

Dew drops on hawkweed hairs and Mealy Pixie Cup lichens, ON (photo by Nina Munteanu)

Maude Barlow, the Chairperson of the Council of Canadians, writes in Boiling Point of the water crisis in Canada—perhaps our best kept secret, considering that Canada is supposedly so water-rich. Are we giving it all away? And what of our indigenous communities, some of whom have not had potable water for decades?

So, I agree with Gibson about the future not being evenly distributed. This is because the present isn’t evenly distributed. Much of this disparity arises from an extractive and exploitive mentality and practice. One that commodifies what needs to remain free and available for all users. Capitalism ensures an uneven future by focusing on fear and stressing competition, separation, and exclusion.

In his book Designing Regenerative Cultures Daniel Christian Wahl talks about changing our evolutionary narrative from one based on fear defined by a perception of scarcity, competition, and separation to one based on love defined by a perception of abundance, a sense of belonging, collaboration and inclusion.

And moving forward we can take a lesson from Robin Wall Kimmerer, author of Braiding Sweetgrass, who talks about a gift economy—an economy of abundance—whose basis lies in recognizing the value of kindness, sharing, and gratitude in an impermanent world.

This is what she says: “Climate change is a product of this extractive economy and is forcing us to confront the inevitable outcome of our consumptive lifestyle, genuine scarcity for which the market has no remedy. Indigenous story traditions are full of these cautionary teachings. When the gift is dishonored, the outcome is always material as well as spiritual. Disrespect the water and the springs dry up. Waste the corn and the garden grows barren. Regenerative economies which cherish and reciprocate the gift are the only path forward. To replenish the possibility of mutual flourishing, for birds and berries and people, we need an economy that shares the gifts of the Earth, following the lead of our oldest teachers, the plants.”

So, “The Day We’re Not Allowed to Drink Water…”

…Let that day never come.

Make it so…

Moss with raindrops on capsules, ON (photo by Nina Munteanu)

References:

Barlow, Maude. 2016. “Boiling Point: Government Neglect, Corporate Abuse, and Canada’s Water Crisis.” ECW Press, Toronto. 312pp.

Kimmerer, Robin Wall. 2020. “The Serviceberry, An Economy of Abundance.” Emergence Magazine, December 10, 2020.

Munteanu, Nina. 2016. “La natura dell’acqua / The Way of Water.” Mincione Edizioni, Roma. 114pp.

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

Wahl, Daniel Christian. 2016. “Designing Regenerative Cultures.” Triarchy Press Ltd. 288pp.

Raindrops ‘float’ on a black locust leaf in a light rain, ON (photo by Nina Munteanu)


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

On Writing: Nina Munteanu Interviewed by Lisa Haselton

The Otonabee River glints in the sunlight in the midst of a snow flurry, ON (photo and rendition by Nina Munteanu)

This time last year reviewer Lisa Haselton posted an interview with me on New Year’s Day of 2021 on my latest release “A Diary in the Age of Water.” 2021 saw incredible sales for my clifi eco-novel, along with several appearances on radio shows, podcasts and TV stations. It would seem that water is on everyone’s mind and what better way than a limnologist’s diary to learn more about it.

Lisa and I talked about what inspired me to write this novel and about my writing process. What follows is part of that interview. Check out this link for the complete interview with Lisa Haselton.

*****

Lisa: Please tell us about your current release.

Nina: The book tells the journey of four generations of women who have a unique relationship with water, through a time of extreme climate change and water shortage. The book spans over forty years (from the 2020s to the 2060s) and into the far future, mostly through the diary of a limnologist, which is found by a future water-being. During the diarist’s lifetime, all things to do with water are overseen and controlled by the international giant water utility CanadaCorp—with powers to arrest and detain anyone. This is a world in which China owns America and America, in turn, owns Canada. The limnologist witnesses and suffers through severe water taxes and imposed restrictions, dark intrigue through neighbourhood water betrayals, corporate spying and espionage, and repression of her scientific freedoms. Some people die. Others disappear…

Ultimately, the book carries themes of hope and forgiveness—of ourselves and each other—and compassion for all things, starting with water. Each character carries an aspect of that theme, from the diarist’s activist mother, to the diarist’s own cynical protectionism, her spiritual anarchist daughter, and lastly the innocent storm of the last generation.

Lisa: What inspired you to write ‘A Diary in the Age of Water’?

Nina: It started with a short story I was invited to write in 2015 about water and politics in Canada.  I had long been thinking of potential ironies in Canada’s water-rich heritage. The premise I wanted to explore was the irony of people in a water-rich nation experiencing water scarcity: living under a government-imposed daily water quota of 5 litres as water bottling and utility companies took it all. I named the story “The Way of Water.” It was about a young woman (Hilda) in near-future Toronto who has run out of water credits for the public wTap; by this time houses no longer have potable water and their water taps have been cemented shut; the only way to get water is through the public wTaps—at great cost. She’s standing two metres from water—in a line of people waiting to use the tap—and dying of thirst.

The short story and the novel that came from it explore the nuances of corporate and government corruption and deceit together with global resource warfare. In this near-future, Canada is mined of all its water by thirsty Chinese and US multinationals—leaving nothing for the Canadians. Rain has not fallen on Canadian soil in years due to advances in geoengineering and weather manipulation that prevent rain clouds from going anywhere north of the Canada-US border. If you’re wondering if this is possible, it’s already happening in China and surrounding countries.

Lisa: As a child, what did you want to be when you grew up?

Nina: After astronaut, actress and a drummer in a rock and roll band—seriously—it was paperback writer. That’s been my dream since I was ten. I told stories long before I wrote them and long before any of them was published. I told stories in the form of cartoons. Since I was a small child, I wanted to be a cartoonist and write graphic novels (back then I knew them as comics). I created several strips with crazy characters that I drew, blending my love for drawing with my love for storytelling. My sister and I used to make up amazing adventure stories in the universe, peopled with aliens and crazy worlds. I wrote my first complete novel when I was fifteen (“Caged-In World”—which later served as a very rough draft for my first published novel, “Darwin’s Paradox” in 2007). My first published work was a non-fiction article “Environmental Citizenship” which appeared in Shared Vision Magazine in 1995. My first fiction work was a short story entitled “Arc of Time”, which was published in Armchair Aesthete in 2002.

Heavy snowfall in the forest in early winter, ON (photo and rendition by Nina Munteanu)

Lisa: When did you first consider yourself a writer?

Nina: I’ve considered myself a storyteller since I was a child when I wrote and directed plays that my older brother and sister played in and drew cartoon adventure stories. My dream was to be a paperback writer (like the Beatles tune). But I didn’t think of myself seriously as an author until my first short story was published in 2002. It was called “Arc of Time” and appeared in a small magazine with a circulation of about 200. That story went on to be reprinted several times in larger magazines and led to a career of award-winning short stories—the latest appearing in the literary magazine subTerrain in 2020.

Lisa: Do you write full-time? If so, what’s your work day like? If not, what do you do other than write and how do you find time to write?

Nina: While I don’t write full-time, my career is all about writing. Every day I write and research my next novel; I also write commissioned articles and short stories for magazines and for my several writing and science blogs. When I’m not writing, I teach writing at the University of Toronto and George Brown College. I also coach writers online to publication. Finding time to write has not generally been a challenge. I’ve embraced an opportunistic process in my writing and research that allows me to write considerably. The process recognizes that there are many ways to “write” from observations and note-taking, to reading and research, to writing short vs long and fiction vs non-fiction. For instance, I can fill a short break time with meaningful research, editing, or the start of a short article; this saves longer break times for my current novel, which requires a greater stretch of uninterrupted time.

Heavy snowfall in the marsh in early winter, ON (photo and rendition by Nina Munteanu)

Lisa: What would you say is your interesting writing quirk?

Nina: That I am both a pantser and an outliner—with the same book. My writing process has always been a tandem kind of ‘fish and cut bait’ scene / sequel scenario with research following a premise followed by vigorous writing, which in turn engenders more research, which often reveals another plot or sub-theme that needs inclusion. It may seem a haphazard way to write, but I find it very fulfilling, fun and revealing—especially when the Universe provides with serendipitous discoveries (just when I need them). 

Lisa: What exciting story are you working on next?

Nina: I’m currently researching and working on the sequel to “A Diary in the Age of Water”—a thriller about how a phenomenon brings together four lost and homeless people through a common goal to free the Earth from the manacles of human greed. The story takes place throughout Canada—from Halifax to Vancouver and the Arctic. It takes place mostly during the 2050s, and features a few ghosts, the Halifax 1917 Explosion, experimentation on humans, espionage, murder, and—of course—a plague. I’m calling it my COVID19 novel…

Use this link to read my entire interview with Lisa Haselton.

Sun emerges after a heavy snowfall at the marsh, ON (photo and rendition 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.