How Climate Change Is Altering My Winter

Cedar-pine forest covered in new snow of winter, ON (photo and rendition by Nina Munteanu)

I’m Canadian, and I love the snow. When I grew up in the Eastern Townships of Quebec, we enjoyed a brisk cold winter with deep snow for a good six months of the year. I’ve since lived in Vancouver, British Columbia, which experiences a milder regional climate; I now live in the Kawarthas of Ontario, which has a similar regional climate to what I experienced growing up in Quebec. Living in the Kawarthas reminds me of my childhood days with winter snow.

Heavy snowfall in Trent Nature Sanctuary, ON (photo and rendition by Nina Munteanu)

I love how the first snow of the season often comes from the sky in a thick passion. Huge flakes of unique beauty would settle on my coat sleeves and within minutes I’d be covered in snow. I would stand enraptured, arms out to catch snowflakes, and study each individual with admiration.

Farm and road in winter in Kawarthas, ON (photo and rendition by Nina Munteanu)
Young locust trees covered in new snow, ON (photo and rendition by Nina Munteanu)

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.

Trees and shrubs covered in new soft snow during snowfall, ON (photo and rendition by Nina Munteanu)

I often walk a trail through the forest after a fresh snow has fallen and the sun reveals itself on a crisp day. Like a balancing tightrope walker, the snow piles itself on everything, from fat fir branch to thin black locust twig. The snow then gives itself to the vagaries of a playful wind. Occasionally, a gust would send a shower of glitter snow dust raining down on me.

Snow-covered branches overlook path in show, ON (photo and rendition by Nina Munteanu)
Twigs piled with snow on a calm morning, ON (photo and rendition by Nina Munteanu)

I particularly enjoy walking a trail in the evening light after a fresh snow. Boots crunch on the fresh crisp snow that glistens 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.

Jackson Creek after a snowfall, ON (photo and rendition by Nina Munteanu)

Since moving to the Kawarthas, close to the Otonabee River, I walk daily along the river and its riparian forest. Winters here have graced us with a variety of typical winter morphology: thick and copious snowfall, enduring fog, imaginative ice formations on the river, and glittering hoarfrost and rime everywhere else.  The first snowfall can come in November, large flakes falling on still fully-clothed shrubs and trees, creating a painter’s landscape of reds, yellows, and greens dusted in a white blanket. This is when, some mornings, mist will rise like a cold breath from the river or flow and pool in depressions of the rolling Kawartha drumlins.

Thick first snowfall on Thompson Creek marsh in early winter, ON (photo and rendition by Nina Munteanu)

On cold nights in December, hoarfrost will form filigreed ‘leaves’ over everything—ground, sticks, ice and even snow. For a brief magical moment, this miniature crystal forest glitters like a field of jewels in the morning sun before vanishing by coffee break time. The river ices up in December, first with frazil that froths and fizzes as it coagulates into grease ice then shuga and finally to ice pancakes that crowd the shore, nudging each other like suburban women at a sale, then stitching themselves together into solid ice sheets attached to shore. By January and February, all is in place and the deep winter is upon us until ice break up and snow melt in late April into May. The river ice extends out from the bays in vast thick sheets where people can skate. The snow forms deep banks and drifts everywhere through which only snowshoes or skis can penetrate.

Mist off the river rises like steam on a cold day in winter, ON (photo by Nina Munteanu)
Old shed by the Otonabee River during a snowfall, ON (photo and rendition by Nina Munteanu)

Lately (in the past few years) I’ve noticed that this pattern has become interrupted by extremely mild weather throughout the winter season. January can look like November, with the exception of the absence of leaves on trees and shrubs; the greens and browns of other vegetation such as grasses, forbs and forest litter can still be revealed. The fogs of early winter may also return. The river ice sheets may fragment and flow downstream, only to reform as waters refreeze. The formerly uninterrupted reign of winter is waning and this saddens me with feelings of solastalgia. The Kawarthas still get good dumps of snow and magical frost. But for each champagne powder snow day, and hoarfrost glitter, there is a melt day, when snow melts and it rains, turning the parking lot into a skating rink as temperatures plummet with nightfall.

Snow melt on the side of a country road, ON (photo and rendition by Nina Munteanu)

I grew up in a part of Canada that experienced four distinct seasons. While spring and fall exemplify transition into and out of the two stable seasons of summer and winter, this is no longer the case in many parts of Canada, where formerly well-defined and uninterrupted winters and summers could be predicted. Now all the seasons experience transition and unpredictable phenomena. Winter temperatures in the Kawarthas were often stable at just below zero Centigrade to minus 20°; they now fluctuate more highly from minus 20° to +10.

Author’s car parks on a country road after a snowfall, ON (photo and rendition by Nina Munteanu)

A report by NASA’s Goddard Institute for Space Studies released in 2022 confirmed that global temperatures in 2022 were 1.6 degrees Fahrenheit above the average baseline period of 1951 to 1980 and 2 degrees warmer than the late 19th century average. They reported that the past nine years have been the warmest since modern record keeping began in 1880.

Teenagers walk the Rotary Trail after a snowfall, ON (photo and rendition by Nina Munteanu)

The winter that I grew up with is changing into something else. It, like the changing world, is in transition. There is no denying that global warming is upon us and each region is uniquely experiencing its effects. Climate is changing and the environment is adapting to that change.

Thompson Creek after a snowfall, ON (photo and rendition by Nina Munteanu)

While solastalgia creeps into my psyche at times, I am assiduously learning to pace myself with my changing environment. As the regional weather adapts to the warming climate, I am learning to adapt too. One way is through the equipment I use: I still use my snowshoes (a recent gift from my son) in winter; but, more often, I use snow/rain boots with crampons for terrain that includes wet snow, slush, and ice. Being prepared for change allows me to accept it with grace. I have learned to cherish those moments when fresh snow falls from the heavens like confetti. I charge outside in my snow gear and enjoy it while it’s there. I have learned to live in discovery and to thrill in the unpredictable. Each day is a gift of unknown and thrilling surprise.

First snow in early winter at Thompson Creek, ON (photo and rendition by Nina Munteanu)

I have learned to live in the moment and to cherish that moment as a gift.

Because, even change is a gift.

Partially iced over Otonabee River, ON (photo and rendition by Nina Munteanu)

Article originally published January 2023 in Rewilding Our Stories (edited by Mary Woodbury) then January 2, 2024 on Dragon.eco.

Trees and dogwood shrubs in winter by the Thompson Marsh, ON (photo and rendition by Nina Munteanu)
Woman and her dog walk among giant cedars after a 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.

When Water Speaks: quotes from A Diary in the Age of Water

“There is no depression more debilitating than knowing that you cannot go back home, even though you’re already there.”

Lynna Dresden

“This is a significant book for our times … creative, inventive, and possibly prescient.”

DAVID CAMERON, Amazon Review

“Profound and brilliant.  Scary and comforting at the same time. Life will go on. Water will go on.”

NINA DARRELL Amazon Review
Bridge over creek in Trent Nature Sanctuary during heavy snowfall, ON (photo and rendition by Nina Munteanu)

When Water Speaks: quotes from A Diary in the Age of Water

“What if water doesn’t like being owned or ransomed? What if it doesn’t like being channelled into a harsh pipe system or into a smart cloud to go where it normally doesn’t want to go? What if those hurricanes and tornadoes and floods are water’s way of saying that it’s had enough?”

Hilde Dresden

“Thoroughly researched and cleverly executed, A Diary in the Age of Water is a must-read, especially for those who are longing for nature, and touch, while fearing both.”

CARA MOYNES, Amazon Review

“This novel made my heart clench…An extremely detailed and downright terrifying look into the future of our planet. A Diary in the Age of Water will appeal to lovers of eco-fiction and hard speculative fiction.”

GOODREADS REVIEW
Maple tree branches hover over shallows of Otonabee River, ON (photo and rendition by Nina Munteanu)

When Water Speaks: quotes from A Diary in the Age of Water

“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)

Montreal 2140: Hopeful Futures in Science and Storytelling Conference

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.

When Water Speaks: quotes from A Diary in the Age of Water

“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)

Nina Munteanu’s “The Way of Water” now in Best of Metastellar Year Two Anthology

She imagines its coolness gliding down her throat. Wet with a lingering aftertaste of fish and mud. She imagines its deep voice resonating through her in primal notes; echoes from when the dinosaurs quenched their throats in the Triassic swamps.

Water is a shape shifter.

It changes yet stays the same, shifting its face with the climate. It wanders the earth like a gypsy, stealing from where it is needed and giving whimsically where it isn’t wanted.

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 Way of Water

My short story, The Way of Water, which was recently reprinted in Metastellar Speculative Fiction and Beyond (rated the second most popular online sci-fi magazine), is now in The Best of Metastellar Year Two, an anthology of forty-eight stellar short stories previously published with Metastellar.

The Way of Water was first published as a bilingual print book by Mincione Edizioni (Rome) in Italian (La natura dell’acqua, translated by Fiorella Moscatello), and English along with a recounting of what inspired it: The Story of Water (La storia dell’acqua) in 2016. The Way of Water has been reprinted several times, in magazines and anthologies, since its first appearance in 2016.

It all started with an invitation by my publisher in Rome in 2015 to write 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” (“La natura dell’acqua), 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 (as was done in Detroit in 2014); 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 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 Way of Water, in turn, inspired my recent dystopian novel A Diary in the Age of Water, which explores the lives of four generations of women and their relationship to water during a time of severe water restriction and calamitous climate change.

Publications (excluding online pubs) that featured The Way of Water

The Way of Water evokes a sense of awareness about issues of access to water and about the dangers of imbalances in that access.”

Derek Newman-Stille, Speculating Canada

“In a short story in which every word has its weight, Nina Munteanu manages to describe a dystopia with ecological, political, social and economic elements and Hilda’s reactions to her situation with a great emotional intensituy. To avoid thirst, Hilda ends up embracing an extreme idea, a last hope linked to water. The Way of Water is a story of the kind you hope is science fiction but you fear is not.”

Massimo Luciani

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

When Water Speaks: quotes from A Diary in the Age of Water

“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)