“The slow violence of free-market capitalism isn’t so much the deliberate and focused actions of a few evil men as the accumulated negligence of an undiscriminating collective of unimaginative humans.”
Lynna Dresden
“In her dystopian novel Canadian limnologist Nina Munteanu employs Solar Punk’s technique of using dystopic descriptions of present ecological catastrophe to predict the end of the world as we know it, and to indicate a utopian future.”
THE SONOMA INDEPENDENT
Reflections on a calm Otonabee River, showing old pumphouse, ON (photo and rendition by Nina Munteanu)
The knight in Vivianne’s dream (illustration by Tomislav Tikulin)
If you want to find the secrets of the universe, think in terms of energy, frequency and vibration
Nikola Tesla
In my historical fantasy The Last Summoner, Vivianne Schön, the Baroness Von Grunwald, travels through time from the 1400s to 1905 to meet Nikola Tesla and make a deal with the eccentric scientist in a bid to make the world a better place:
The Story (excerpt of The Last Summoner)
New York, 1905
VIVIANNE straightened when she glimpsed the elegantly dressed Serbian as he entered Bryant Park. From her bench in the shade of a sycamore tree, she watched him saunter to his favourite bench then sit down and cross his legs. He emitted a somber sigh, pulled out a small notebook from his jacket pocket and began to write. Vivianne studied his long face, straight nose and well groomed mustache. It was an intense face, though worn with reserve. He quelled the fire that burned inside him beneath a shell of enigmatic reflection. He brushed a hand over his thick hair, then set his mouth in a thin line of determined concentration as he hastily sketched something inside the notebook. He didn’t look terribly heartbroken for a man who had just lost his dream, she reflected. But she did recognize disappointment on his furrowed brow. He was used to that, she decided, reviewing his personal history, which had been plagued by rivalry and betrayal for nearly all his life. A visionary of his genius quality was easy fodder for bullying, whether it was schoolmates or the scientific community.
After adjusting her brimmed hat and flowing blue lace gown, Vivianne rose and approached the forty-eight year old Serbian visionary, musing how he would later be called the “Father of the 20th Century”.
She was barely a metre away from him before he looked up, ready to express annoyance at being interrupted. She took pleasure in seeing his expression change from a glower to a startled look of curiosity. She knew she was beautiful, but it was rather delightful to see that she could divert this intense scientist.
“Hello, Mister Tesla,” Vivianne greeted him with a curtsy. “I am the Comptesse d’Anjou at your service. May I join you and sit down?”
He frowned at first then nodded politely with not quite a smile. He was not known for his smiles, she recalled. Tesla rose to his feet and bowed to her but did not offer his hand. She did not press him, knowing of his particular compulsion for avoiding human contact. “Of course you may,” he said with a mild accent and nodded to her in invitation. They both sat down in unison and he added, “To what do I owe this pleasure, Comptesse? Do I know you?”
“No, Mister Tesla.” She smiled with irony. “We have never met—not in person, anyway. But I believe you may be interested in what I have to say.” She paused to take in his curiosity and continued, “Pardon me for what I am about to reveal of your affairs, but I represent the interests of La Banque Internationale du Monde in Geneva, Switzerland—perhaps you know of us—and the law offices of Frankl & Frankl. We are one of the five largest investment banks in the world, dating back to the late 1400s with offices in Amsterdam and Hamburg. We are a private bank who screen for altruistic and environmentally conscious investors. In short, we help finance only those projects that will help make the world a better world.” She paused.
Tesla studied her inquisitively but said nothing.
She smiled internally at his puzzled expression then continued, “We are very interested in your Wardenclyffe Tower in Shoreham, Long Island, and associated global wireless power transmission.”
Tesla slid his notebook back into his jacket pocket and now gave her his full attention. She knew that he’d been trying for years to gain backing for his enigmatic projects with little to no success.
She continued, “You theorized that electrical energy can be transmitted through the earth and the atmosphere…without power lines.”
“Yes, I can light lamps at moderate distances and can detect the transmitted energy at much greater distances. The Wardenclyffe Tower uses a rapidly alternating electrostatic field and was a proof-of-concept for global wireless power trans-mission.”
“Yes, I know.”
He frowned. “But my funding—“
“Yes, I know. Your backers don’t like the idea of unmetered power consumption.”
His face hardened with dark thoughts. “Free electricity isn’t profitable.”
“Least of all to greedy bankers with no vision or faith like J.P. Morgan or John Jacob Astor,” she added. “I know you’ve been in financial trouble with high construction costs since Morgan pulled out last year and encouraged other investors to do the same.”
Her last remark made him stiffen. She was hitting a painful nerve.
“I know about your expired patents and the resulting lack of royalty payments,” she continued. “Within another five to ten years your projects will all be defunk and you will be totally broke. And no one will listen to the ideas that come to you fully formed through visions and dreams.”
He straightened and looked her directly in the eyes. “What do you want of me, Comptesse? Who are you?”
“An ally,” she answered. “I am well aware of your humanitarian pursuits and altruistic nature. I know that you wish simply to make the world a better world. That is my wish also. Energy is and will continue to be one of the most important forces on this earth. Like water, it should be free and available to each and everyone of us. I think you can provide us with that gift and would be happy to as well. Mister Tesla, I want to offer you financial backing at zero percent interest.”
He let loose a humourless laugh. He had finally learned to be cynical about bankers, she thought.
“Make no mistake, Mister Tesla; I expect to become one of the wealthiest people on this planet because of you. But I will gain that wealth only as you gain yours, through a partnership, and not at the expense of others; rather, for the benefit of others. Your wireless technology will help in areas you have yet to imagine: instant global communications and the personal computer; clean energy for homes and industry; laser medicine; robotics; interstellar travel; instant matter transference; even time travel and so much more.”
He was staring at her now. “Who are you, really?”
An angel, she thought to herself. “I’m part of the future, Mister Tesla. A future of your making.” Then without thinking, she held out her hand. “You can call me Vivianne.”
To her delighted surprise, he smiled for the first time. He took her hand then lightly kissed it, as was the custom of most eastern Europeans. “And you can call me Nikola.”
The Man
Nikola Tesla and his experiments with electricity
Nikola Tesla intuited that energy waves in the earth and the atmosphere could be used to transmit power to any point on the globe. He understood that the surface of the Earth, the ionosphere and the atmosphere together form one gigantic electrical circuit—an electrified Gaia, so to speak—and this formed the basis for his work on wireless energy transmission. Tesla was able to transmit power and energy wirelessly over long distances (via transverse waves and longitudinal waves). He transmitted extremely low frequencies (ELF) through the ground and between the Earth’s surface and the Kennelly-Heaviside layer of the ionosphere. Tesla patented wireless transceivers that developed standing waves and it was he who discovered that the resonant frequency of the Earth was about 8 Hz and in the range of the Schumann Resonance or Cavity.
Tesla in his Colorado Springs lab
Modern technology appears to be threatening humanity’s connection with earth’s fundamental frequency and the natural vibrations of Schumann Resonance. Threats include artificial man-made EMF radiation, wireless technology, and high frequency heating microwaves pulsed at 2.45 GHz. Whether we co-evolved with Earth’s natural electromagnetic environment or were created with Divine Intelligence to live in harmony with it, many experts believe that artificial man-made EMF radiation masks the natural beneficial frequency of the Earth and may create an environment that is literally `out of tune’ with Nature itself.
The Book
The Last Summonerby Nina Munteanu is a fresh twist on chaos theory and observer-induced collapse of quantum entanglement. It’s June 14th, 1410, on the eve of the Battle of Grunwald when history records that a ragtag peasant army will slaughter the arrogant monk knights of the imperialistic Teutonic Order … or will they? Because of an impetuous choice, 14-year old Vivianne Schoen, Baroness von Grunwald, makes the startling discovery that she can alter history—but not before she’s branded a witch and must flee through a time-space tear. Now in an alternate present-day France ruled by fascist Black Knights of the ancient Teutonic Order, she must decide how to remake history.
Detail of ‘The Battle of Grunwald’ (painting by Jan Matejko)
“For those in love with science fiction at its best, The Last Summoner is a complex story of ignored responsibilities and their dire consequences, of love and betrayal that span centuries and multiple worlds. Time travel, multiverse travel, immortality, alternate history in which the Nazis have won, not in the twentieth century but way earlier, in the Teutonic age. Angels and mutants, utopias and dystopias, even a Tesla occurrence— everything a science fiction reader could ever desire in a book. A masterfully told story with great characters. Nina Munteanu moves flawlessly from a medieval story to a modern one and everything in between.”
Depiction of fierce Teutonic Knights crusading in the Baltic north during the 13th Century (illustration by Mariusz Kozik)
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.
McGill University, view from main gate on Rue Sherbrooke (photo by Nina Munteanu)
I’ve just returned from Montreal, where I was invited to participate in a two-day conference hosted by McGill University’s Bieler School of Environment at Esplanade Tranquil. Named after Kim Stanley Robinson’s eco-fiction novel New York 2140, the conference brought together a diverse assemblage of scientists, academic researchers, urban planners, speculative fiction writers, artists, and students in a small setting dedicated to encourage cross-pollination of ideas and visions through panels and workshops. I sat on a panel and a roundtable with other writers, urban planners, engineers, scientists and activists to discuss futures through science and story. Much of the event focused on the literary genre called Hopepunk—a sub-genre of Speculative Fiction devoted to optimistic themes of scientific transformation, discovery and empathy. Resulting dialogue explored forms of communication, expression, and ways not just to deal with growing solastalgia, eco-grief, and environmental anxiety but to move forward through action and hope.
Breakout groups in Seeds of Good Anthropocenes Workshop (photo by Nina Munteanu)
McGill faculty in Panel on ‘Turning Research into Hopeful Stories’ (photo by Nina Munteanu)
In the Thursday morning writer’s panel, in which we explored the role of science knowledge and hope in story, I shared the writing process I underwent with my latest published novel A Diary in the Age of Water, which I categorize as a hopeful dystopia (‘Hopeful dystopias’ are much more than an apparent oxymoron; they are in some fundamental way, the spearhead of the future—and ironically often a celebration of human spirit by shining a light through the darkness of disaster):
The main character in A Diary in the Age of Water was a limnologist like me who kept a journal (the diary referenced in the title of the book). This part of the story took place in the near-future when the water crisis and associated climate change phenomena had become calamitous. Being a scientist with so much intimate knowledge of the crisis, the diarist became cynical and lost her faith in humanity. I recall my own journey into despair as I did the research needed to convey the character’s knowledge and situation. I found myself creating a new character (the diarist’s daughter) much in the way a drowning swimmer takes hold of a life-saver, to pull me out of the darkness I’d tumbled into. The daughter’s hopeful nature and faith in humanity pulled both me and the reader out of the darkness. The cynical nature of the diarist came from a sense of being overwhelmed by the largeness of the crisis and froze her with feelings of powerlessness. The diarist’s daughter rose like an underground spring from the darkness by focusing on a single light: her friend and lover who pointed to a way forward. As Greta so aptly said once, “action leads to hope” and hope leads to action. Despite the dire circumstances in the novel, I think of A Diary in the Age of Water as a story of resilience. And ultimately of hope.
I came to the conference as a writer, scientist, mother, and environmental activist. What I discovered was an incredible solidarity with a group so diverse in culture, disciplines, expression and language—and yet so singularly united. It was heartwarming. Hopeful. And necessary. This conference ultimately felt like a lifeline to a world of possibilities.
Organizers brought in a wide variety of talent, skill, and interest and challenged everyone through well-run workshops to think, feel, discover, discuss, collaborate and express. Workshops, panels, and multimedia art incited co-participation with all attendees in imaginative and fun ways. On-site lunches and drinks helped keep everyone together and provided further space for interaction and discussion.
Student-led break out group discussing ways to transform eco-emotions into hope (photo by Nina Munteanu)
At every turn, I made contacts across disciplines and interests and had stimulating and meaningful conversations. I discovered many hopeful ‘stories’ of Montreal and elsewhere on hopeful visions and endeavors. These included “Seeds of good Anthropocenes” (small ground-rooted projects and initiatives aimed at shaping a future that is just, prosperous, and sustainable); turning scientific research into hopeful stories; and world building as resistance. I talked with artistic creators, students doing masters in Hopepunk literature and co-panelists on all manner of subjects from urban encampments, greening and rewilding Montreal, to how Rachel Carson’s Silent Spring informed a main character in Liu Cixin’s novel The Three Body Problem.
Creating visual art via MAPP (photo by Nina Munteanu)
Marc-Olivier Lamothe stands next to a MAPP projection (photo by Nina Munteanu)
Conversations often led to an acknowledgement of art as an effective means of expression and creative therapy in the context of the climate crisis. I met creatives such as Marc-Olivier Lamothe and his colleagues at MAPP and had the chance to experiment first hand with his creative tools. I had wonderful discussions with storytelling visual artist Alina Gutierrez Mejia of Visual Versa, whose evolving mural of each day’s events was truly mesmerizing to watch—and rather revealing.
Alina Gutierrez Mejia creates a visual representation of the day’s conference (photo by Nina Munteanu)
In future, I’ll post more on these and other creatives I encountered at the conference.
Program for Montreal 2140
THURSDAY morning began with an introduction by BDE Director Frédéric Fabry.
This was followed by a panel entitled Hopeful Stories Across Science and Fiction, in which I participated, along with fellow writers Su J. Sokol (author of Zee), Alyx Dellamonica (author of Gamechanger), Rich Larson (author of Annex and Ymir), Genevieve Blouin (author of Le mouroir des anges) and Andrea Renaud Simard (author of Les Tisseurs). The panel was moderated by McGill geographer Renee Sieber and McGill urban planner Lisa Bornstein.
After lunch, a panel entitled Faculty Workshop: Turning Research into Hopeful Stories was moderated by McGill researcher Kevin Manaugh and Annalee Newitz (journalist and author of Four Lost Cities). McGill researchers included: Caroline Wagner (bioengineering), Hillary Kaell (anthropology and religious studies); Jim Nicell (civil engineering); Sébastien Jodoin (law); and Michael Hendricks (biology).
McGill students who lead the workshop on Hope and the Future stand with one of the conference organizers Daniel Lukes (photo by Nina Munteanu)
The faculty panel was followed by the Student Workshop, Hope and the Future, led by McGill students Tom Nakasako, Rachel Barker, Tatum Hillier, and Lydia Lepki.
Annalee Newitz gives her keynote (photo by Nina Munteanu)
Annalee Newitz closed the day with their keynote presentation Worldbuilding Is Resistance that explored the dystopia binary of environmental science fiction. A theme to which the next keynote by Kim Stanley Robinson would touch on as well.
Elson Galang presenting Seeds workshop (photo by Nina Munteanu)
FRIDAY morning started with Elson Galang and Elena Bennett (McGill University), who led the Seeds of Good Anthropocenes Workshop, which introduced the concept of seeds programs then further explored through breakout discussion groups they moderated.
This was followed by faculty-led Teaching and Learning for Hopeful Futures Workshop, in which McGill instructors from varied disciplines (including education, political science, environment, urban planning and planetary sciences) discussed translating science into hopeful narratives.
pre-meet on Zoom of participants of the Roundtable
I then participated in a roundtable of authors, scholars, researchers and planners entitled Telling the Story of the Future, moderated by Chris Barrington-Leigh (McGill BSE/Health and Social Policy). The roundtable included fellow authors Alyx Dellamonica and Su J. Sokol. Other participants of the roundtable included Stephanie Posthumus (languages, literatures, cultures at McGill), Jayne Engle (public policy at McGill) Richard Sheamur (urban planning at McGill), and limnologist Irene Gregory-Eaves (biology at McGill).
BDE Director Frédéric Fabry introduces the conference (photo by Nina Munteanu)
The final keynote was given by Kim Stanley Robinson (author of New York 2140 and The Ministry of the Future).
Storyboard of the first day of the conference by Visual Versa (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.
Maude Barlow, author of Boiling Point, Chairman of the Council of Canadians
Like a car, every novel has its point of ignition: a spark that sets it in motion. This occurs when a premise or idea comes together with an incendiary moment of clarity or a thematic question. Mine—though I didn’t know it at the time—happened in a church on the Summer of 2016.
I was in a United Church on Bloor Street, in Toronto’s Annex, watching a talk given by Maude Barlow on water justice. The radical talk was based on her recent book Boiling Point, a comprehensive exploration of Canada’s water crisis—a crisis that most Canadians weren’t—and still aren’t—aware. Canada is steward to a fifth of the world’s fresh water, after all. It is a water-rich country. Of the dozen largest inland lakes in the world, Canada holds eight of them. So, why water crisis? Barlow explains. And you should read Boiling Point, particularly if you’re Canadian. It will open your eyes to the politics of water and how multinational corporations—like Nestlé—are already grabbing and funneling water away from Canadians and into the global profit machine.
I sat close to the front of the Church sanctuary to best see her. But I soon noticed that many people had elected to sit in the gallery above. I found myself focusing on a young mother and her little girl. The girl had some paper and crayons and was busy with that as the enthusiastic mother listened to Maude deliver dire facts about corporate water high-jacking and government complicity.
I saw a story there.
What mother would take her pre-school child to a socio-political talk on water? I would later reflect that memory of the mother and her little girl through my characters Una and her little daughter Lynna, the diarist in my novel A Diary in the Age of Water (eventually published in 2020 with Inanna Publications).
Fresh water flows down the barrel of a hand-operated water pump.
My novel really began with a short story I was invited to write in 2015 by editors of Future Fiction and Mincione Edizioni about water and politics in Canada; the premise of this story would later find it’s way into the larger novel. 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 is in a line of people; she’s two metres from water—and dying of thirst.
“The Way of Water” captures a vision that explores 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.
The story first appeared in 2015 in Future Fiction, edited by Francesco Verso, and in 2016 as a bilingual (English and Italian) book and essay published by Mincione Edizioni in Rome. The story has so far been reprinted seven times in magazines and anthologies, including “Cli-Fi: Canadian Tales of Climate Change Anthology” (Exile Editions, Bruce Meyer, ed), in 2017, “Future Fiction: New Dimensions in International Science Fiction” (Francesco Verso & Bill Campbell, eds; Future Fiction / Rosarium Publishing, Rome and Greenbelt, MD) in 2018; and in Little Blue Marble Magazine (Katrina Archer, ed) in January, 2019 and in their ‘Best of’ anthology. It was then published in 2022 in Metastellar Magazine and later in their ‘Best of’ anthology. “The Way of Water” received generous praise from review sites and the press worldwide.
After the success of this short story, I realized that I needed to tell the larger story—how did the world—Canada—get to where Hilda was? Her mysterious mother, the limnologist Lynna who was taken away by the RCMP in 2063, clamored for more attention. I remembered that four-year old girl and her mother in the gallery at Maude Barlow’s talk on water politics. And I thought of my characters: young Lynna and her mother Una. How does a daughter of an activist mother behave and think? How best to express her voice? I had earlier written a short story that was a mix of correspondence (emails) and third person narrative (“The Arc of Time” in Natural Selection, later reprinted in Metastellar Magazine), which I felt captured the voices of the characters well. I realized that a diary by Lynna would be an ideal way for her to express her unique worldview and cynicism—yet allow her vulnerable humanity to reveal itself through this unique relationship with her diary. The remaining characters and their narratives emerged easily from there: Una, her activist mother; Daniel, her conspiracy theorist colleague (and her conscience); Orvil, the water baron (and lover she betrayed); and Hilda, her “wayward” supposedly mind-challenged daughter—who appears in the short story that takes place later.
I had a lot of material; I had already been researching water issues and climate change in my activism as a science writer and reporter. In 2016, Pixl Press had published “Water Is… The Meaning of Water”,essentially a biography of water, written from the perspective of mother, environmentalist and scientist. I had practiced as a limnologist for over twenty-five years and could mine my various personal experiences in the field, lab and office with genuine realism. I chose Wetzel’s Limnology (the classic text book I used in my introductory limnology course) for quotes to each of Lynna’s entries; this added an opportunity to provide additional metaphor and irony through Lynna’s scientific voice. I placed the child Lynna (who was born in 2012) into actual events in Toronto, where I currently live. This pushed the story further into the area of documentary and blurred the lines between fiction and non-fiction to achieve a gritty and textured reality. Lynna also taught limnology at the University of Toronto, where I currently teach.
Just as Water Is… served as a watershed for all my relevant experiences as mother, environmentalist and scientist, A Diary in the Age of Water would galvanize many of my personal experiences, doubts, challenges and victories into compelling story. Although parts of the story wrote themselves, the entire book was not easy to write. There were times when I had to walk away from the book to gain some perspective—and optimism—before continuing. When I found myself drowning in Lynna’s voice, I invoked Hilda to guide me to shore. I found a balance that worked and compelled. Ultimately this opened to some of the best internal conflict and tension I have experienced in my writing.
Like water itself, A Diary in the Age of Water expresses through many vessels and in many perspectives, spanning hundreds of years—and four generations of women—with a context wider than human life. Through its characters, A Diary in the Age of Waterexplores the big question of humanity’s deadlock with planetary wellness and whether one is worth saving at the expense of the other. One of the characters asks Lynna the hard question: “If you had the chance to save the planet [stop the mass extinctions, deforestation and pollution ravaging the planet], but it was at the expense of humanity, would you do it?”
Water is, in fact, a character in the book—sometimes subtle and revealed in subtext, other times horrific and roaring with a clamorous voice. Water plays both metaphoric and literal roles in this allegorical tale of humanity’s final journey from home. The story explores identity and our concept of what is “normal”—as a nation and an individual—in a world that is rapidly and incomprehensibly changing—and in which each of us plays a vital role simply by doing or not doing.
A Diary in the Age of Water promises to leave you adjusting your frame of reference to see the world, yourself—and water—in a different way.
Illustration on Liisbeth article (photo collage by PK Mutch and Dreamstime
This is what PK Mutch of Liisbeth and Ariel Kroon (PhD graduate of English Literature at the University of Alberta and co-editor at Solarpunk Magazine) say about A Diary in the Age of Water, published by Inanna Publications in 2020:
The novel has received wonderful praise and prizes, including the Literary Titan Award, the Foreword Indies Award and finalist in the International Book Awards. I wonder if Maude Barlow has read it?… Maybe I (or someone) should get her a copy, huh?…
Maude Barlow with ‘Save our River’ sign
Maude Barlow is a Canadian activist and author of Blue Gold, Boiling Point and several other books on water justice. She chairs the board of Washington-based Food and Water Watch and Ottawa-based Blue Planet Project. Maude co-founded the Council of Canadians and chaired its board for over three decades.
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 society that does not believe in the objective pursuit of truth—even if it challenges your worldview—is doomed to servitude.”
Lynna Dresden
“An insightful novel…A cautionary tale rummaging through the forgotten drawers of time in the lives of four generations…This whirling, holistic and evolving novel comes alive, like we imagine water does.”
Mary Woodbury, DRAGONFLY.ECO
Jackson creek in late fall, ON (photo and rendition by Nina Munteanu)
My guest today is Calgary author Simon Rose, who has published eighteen novels for children and young adults, eight guides for writers, more than a hundred nonfiction books, and numerous articles on a wide range of topics.
Nina:Your most recently published books were those in The Stone of the Seer series. Remind us again of what it’s all about.
Simon:The Stone of the Seer is young adult historical fantasy series, featuring The Stone of the Seer, Royal Blood, and Revenge of the Witchfinder. The exciting story is mostly set in the mid-seventeenth century during the English Civil War. In The Stone of the Seer, Lady Elizabeth Usborne, Kate, and Tom encounter a magical stone, mysterious parchments and manuscripts, and an incredible time viewing device. In Royal Blood, Lady Elizabeth, Kate, and Tom are in London, witnessing the political turmoil at the time of the Civil War, including the king’s trial and execution. Revenge of the Witchfinder takes place in multiple time periods. The story features weird dreams, disturbing visions, parallel lives, and a bewildering identity crisis, as the lead characters discover to their horror that not even the passage of centuries can prevent a bloodthirsty witchfinder from the 1640s from seeking his deadly revenge.
Nina:Do you have any current projects?
Simon: Right now, I’m working on another historical fantasy novel series, this time set in the early years of World War II, that I’m hoping to publish next year. I’ve recently finished another story that takes place in the later stages of World War II and am putting the finishing touches to that one as well, potentially for publication the following year. Yet another series is currently in development in the same paranormal genre as my previously published Flashback series, which can learn more about on my website.
I’ve also been working on the script for a film project and continue to work on the adaptations of my Shadowzone series into screenplays for movies and TV shows. You can learn more about my work writing screenplays for clients and creating adaptations of my own work here on my website.
Anyone interested in keeping up to date with the projects that I’m working on is always welcome to subscribe to my monthly newsletter, which you can do on my website.
Nina:You certainly seem to be very busy. You also do other work related to writing and publishing, right?
Simon: Yes, I offer coaching, editing, consulting, and mentoring services for writers of novels, short stories, fiction, nonfiction, biographies, and in many other genres, plus work with writers of scripts and screenplays.
I’m also a writing instructor and mentor at the University of Calgary and have some courses coming up in the fall, including Writing for Children and Youth. My own online courses, including Writing Historical Fiction and Writing for Children and Young Adults, are also always available.
Simon: People can buy The Stone of the Seer, Royal Blood, and Revenge of the Witchfinder, as well as all my other books, at Amazon and all the other usual places online, which you can link to on my website at www.simon-rose.com I’ll also be making some personal appearances at local events in the fall, where people can buy autographed copies of all the books in the series, as well as all my other novels.
Nina:Thanks Simon, for being my guest here today.
Simon: My pleasure, Nina.
You can learn more about Simon and his work on his website at www.simon-rose.com where you can also link to him on social media and at other locations online.
Banyen Books & Sound on corner of Dunbar and W 4th Avenue, Vancouver (photo by Nina Munteanu)
One of my favourite bookstores in Vancouver is Banyen Books & Sound on the southwest corner of W 4th Avenue and Dunbar. So, whenever I go back to my home town to visit family and friends, I stop there to linger amid the shelves of wonder and erudite adventure. Then I usually cross Dunbar to Aphrodite’s Organic Pie Shop for a delicious fresh pie—usually peach, if it is available. So good! Two things I love: books and pie!
Aphrodite’s Organic Pies, next door to Banyen’s, Vancouver (photos by Nina Munteanu)
Pacific Spirit Regional Park, Vancouver, BC (photo by Nina Munteanu)
During my recent visit this year to Vancouver, my friends and I had a fulfilling walk one morning through the big tree forest of Pacific Spirit Park near UBC. Margaret suggested we go to Aphrodite’s Organic Café for lunch, located across 4th Avenue from Banyen Books (the sister restaurant to the pie shop). After a delicious lunch, we wandered into Banyen, like desert nomads looking for water, and lost ourselves in a treasure of books, magazines, crystals, cards, singing bowls and other spiritual/healing items. Like a braided river, we dispersed according to our wayward interests.
Water Is… at Banyen Books, Vancouver (photos by Nina Munteanu)
Then friend Anne soon found me and pulled my sleeve. “Your book is here!” She led me to where my book Water Is… stood, face out, on the top shelf marked ‘Water: Life Force & Resource.’ In truth, I already knew through Pixl Press that the book was selling there. But here it was, showcased so nicely! It sat rather stately amid Emoto’s Secret Life of Water and Ryrie’s Healing Energies of Water.
Banyen customers find Water Is… and find a chair to take a look
One of the perks of Banyen Books are the comfortable seats for easy browsing. When I teasingly asked one of the clerks if they noticed people lingering for the day, they said, “yeah! They might leave for lunch then come back for the afternoon!” I can see why; Banyen is an entire world to discover. It is called Canada’s most comprehensive Body-Mind-Spirit bookstore, “offering a broad spectrum of resources from humanity’s spiritual, healing, and earth wisdom traditions…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’.”
“Banyen is an oasis, a crossroads, a meeting place…for East and West, the ‘old ways’ and current discoveries and syntheses.”
“The Golden Lotus Restaurant and Natural Food Store on Fourth Avenue at Bayswater was a hothouse for spiritual seekers, new vegetarians and spaced-out hippies grounding through good work. Banyen was born in a tiny book corner of the Golden Lotus. That lovely place was a connection to India, meditation and spiritual growth from 1967 to 1970. As its sun set, what was to become the Naam restaurant, Lifestream, Woodlands, Nature’s Path, and Banyen Books arose.”
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 truth isn’t about telling; no one just tells you the truth. It needs to be coaxed, even tricked, out. The truth is carefully hoarded—like water—and only flows among privileged acolytes who have proven themselves.”
Lynna Dresden
“Those of us who are captivated by fear, who despair in a dead zone—we need to consider new ways to tell familiar stories, to envision different endings. A book like this can change the way that you see the world at this moment, can allow formulae to take root in fiction and grow into a different kind of solution.”
Marcie McCauley, THE tEmz REVIEW
Jackson Creek in early fall, ON (photo and rendition by Nina Munteanu)
“Climate change is larger than all of us. It speaks in the language of finality. And mostly through water.”
Lynna Dresden
“An eye-opening story for those who are still on the fence about climate change. This is the perfect read for both sci-fi readers and eco-interested readers alike.”
Nina Munteanu Writing Coach 