A True Rocky Mountain Gem: The Antique Forest of Robson Valley

In my upcoming novel “A Diary in the Age of Water” (Inanna Publications) the diarist writes about the huge reservoir complex that was built in the late 2020s in the Rocky Mountain Trench to create an 800 km long reservoir system to rehydrate the United States. Of course, it’s science fiction, but it was based on real plans that went all the way to congress in the 1960s. That reservoir might have drowned the rainforest conservation corridor of Robson Valley—a conservation area that continues to experience existential risk due to development, resource harvest, and other disturbance.

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Friend Anne walks the boardwalk of the ancient forest park

In Robson Valley—tucked between the Rocky and Cariboo Mountains of East-Central British Columbia, the Fraser River nourishes an ancient rainforest matched nowhere on Earth. Massive Western Redcedar (Thuja plicata)—some over 1200 years-old, 3.5 meters in diameter, and 45 meters high—thrive in this valley, nurtured by abundant groundwater flow and high humidity for healthy tree growth and reduced fire risk. “Unfortunately, this requirement for growth in wet toe-slope positions has had negative consequences for ancient cedar stands. Historically, roads and railroads were placed at the base of mountain slopes, where easy access on level roadside terrain meant that ancient cedar stands were often among the first sites chosen for logging. Ancient cedar stands now represent less than 5% of forested landscapes within the Upper Fraser River watershed.” (UNBC Plant Ecology)

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Moss-covered giant Redcedar in foreground to boardwalk

This valley contains the most extensive inland rainforest in the northern hemisphere and is the only valley in the Rocky Mountains where grizzly bears still feed on wild ocean-going salmon.

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Western Redcedar with wide buttresses

The Save-The-Cedar League also tells us that the Robson Rainforest is oroboreal: mountain-caused with boreal biome characteristics—unlike typical rainforests which are temperate-coastal or tropical. “Antique Forest” is a term used for ancient cedar-hemlock stands that have endured for more than 1000 years. One stand in Primordial Grove can be seen via a well-constructed boardwalk in a small park off Highway 16.

When I entered the ancient forest of magnificent giants with wide buttressed bases, a deep reverence came over me. No other word comes close to describing what I experienced or felt. I was enthralled and humbled by these magnificent trees, silent giants that rose into the mist like sentinels, piercing the heavens. It had rained that morning and the forest dripped with living moisture. Greens of all shades created a living mosaic of hue and texture. Moss covered everything. Lichen dripped off branches and clothed trees in crenulated patterns. The fragrance was intoxicating, a fresh pungency that woke something inside me. The smell has been variously described as “lingering”, “fresh”, “sweet”, “like pineapple when crushed”, or “almost like fresh water.” Even the breeze took on a different voice inside this living cathedral. A kind of deep hush that whispered of sacred grandness.

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Western Redcedar

I knew I was in a sacred place.

This ancient forest had been here at least a millennium; long before the arrival of Christopher Columbus to the Atlantic shores of North America. Long before us. Referred to as “the cornerstone of northwest coastal Indian culture,” the Western Redcedar is known as the “tree of life” and “life giver.” Groves of ancient cedars were symbols of power, and gathering places for ceremonies, retreat, and contemplation.

I kept to the boardwalk—to help prevent unwanted trampling and soil compression. The boardwalk snaked past giant buttressed trees that towered several stories high and formed a feathered canopy way above me. Whenever the boardwalk came close to a giant cedar, I had to stop and touch it. The reddish bark was smooth. I smiled; many others had done the same. In unavoidable reverence.

Breathing in the tree’s exquisite fragrance, I scanned my surroundings. A rich understory of red-berried Devil’s Club (Oplopanax horridus), huckleberry, fern, moss, liverworts and dense ground cover painted the forest floor in varying form and colour. I imagined the diversity of invertebrates, amphibians, reptiles, birds and mammals that flourished here. I’m told that scientists are still finding new species in this rainforest. UBC scientists tell us that arboreal lichen communities of the inland rainforest, especially the epiphytic cyanolichen assemblages on conifers, are among the richest in the world.

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Nina Munteanu leans against a well-loved giant Western Redcedar

 

Gentle Giant of North Temporate Rainforest: Western Redcedar (Thuja plicata)

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Western Redcedar

The Western Redcedar (Thuja plicata) is one of the most magnificent conifers in Pacific Northwest forests (both coastal and inland); it flourishes along the coastal fog belt from Alaska to northern California, and inland from the Pacific Ocean to Montana. The Western Redcedar is actually an arborvitae—not a true cedar; acknowledged by its name “redcedar”. True cedars only grow in the Mediterranean regions of the world. “Thuja,” is the latinism for the ancient Greek word for a now unknown, long-lost aromatic evergreen wood; “plicata,” means “folded into plaits,” which may refer to the tree’s characteristic foliage or its furrowed, stringy bark. The heartwood is pink- to red-brown to deep warm brown and highly resistant to moisture, decay and insect infestation due to the oils and acids (polyoxylphenols) it produces; it’s the phenols, in fact, that give the cedar its distinctive and pleasant aroma.

Given their extensive root system, cedars can remain standing long after they die. Western Redcedar snags (standing dead trees) can remain intact for up to 125 years. The large snags provide habitat for many cavity-nesting birds and mammals. Many species that require snags for habitats also prey on insects that use trees in a fine balance of a functional ecosystem. Examples include the pileated woodpecker, squirrels, weasels, martens, bats, owls and ducks. A fallen cedar can remain on the forest floor for over a century. “This durability is the result of a natural preservative that is toxic to decay-causing fungi. This ability does not decrease with age; in fact, it increases,” writes Jeri Chase, Oregon forester.

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Devil’s Club

Several of these live ancient cedar trees grow out of the trunks of other live ancient cedars, following a 180 million-year-old pattern observed in the closely-related redwoods (Sequoia). Basal shoots of the trunk yield genetically-superior mature trees when compared to seeds, root sprouts, other shoots or other layering phenomena.

Western Redcedar reproduces from root or branch development on fallen trees—the classic “nurse logs” often seen in northwest forests that also nourish other forest species. The magnificent bark of the Redcedar ranges in color from grey to reddish brown, and is deeply furrowed, forming long flat fibrous plates that peel and shed easily. Wildlife use the cedar in many ways. The foliage is an important winter food for elk and is browsed year-long by deer and rodents. Black bears den in the hollowed-out trunks of old trees and the cedar-dominated old growth forests provide valuable habitat for spotted owls and Vaux swifts.

Functional Ecosystem & Symbiosis

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Red-backed vole

The Robson Valley cedar-hemlock rainforest supports a diverse and efficient ecosystem from apex and keystone predator—the grizzly—to black bear, gray wolf, cougar, lynx, wolverine, coyote, and seven ungulate species (including the Mountain caribou); all feeding on a diversity of prey and primary producers. The Mountain caribou feeds on mountain boxwood shrubs which are sheltered by the cedar and hemlock canopy layer.

An example of the symbiotic nature of the old growth cedar-hemlock forest is the red-backed vole, which resembles a large plump mouse. This forest mammal eats truffles—a type of fungus that lives underground. After digesting the truffles, voles spread the fungus around the litter layer of the forest through their droppings. The truffles help tree roots absorb soil minerals and the trees produce sugars necessary for the truffles: a win-win symbiotic relationship. The cedar and the hemlock require this alliance with truffles and voles to grow so large in the nutrient-poor soil.

The Inland Sea of the Rocky Mountain Trench

Diary Water cover finalUna stopped the car and we stared out across the longest reservoir in North America. What had once been a breathtaking view of the valley floor of the Rocky Mountain Trench was now a spectacular inland sea. It ran north-south over eight hundred kilometres and stretched several kilometres across to the foothills of the Cariboo Mountain Range. Una pointed to Mount Mica, Mount Pierre Elliot Trudeau and several other snow-covered peaks. They stood above the inland sea like sentinels of another time. Una then pointed down to what used to be Jackman Flats—mostly inundated along with McLellan River and the town of Valemont to the south. Hugging the shore of what was left of Jackman Flats was a tiny village. “That’s the new Tête Jaune Cache,” my mother told me.

If villages had karma this one was fated to drown over and over until it got it right.  Once a bustling trading town on the Grand Trunk Pacific railway, Tête Jaune Cache drowned in the early 1900s when the Fraser naturally flooded. The village relocated to the junction of the original Yellowhead 16 and 5 Highways. Villagers settled close to where the Fraser, Tête Creek, and the McLellan River joined, all fed by the meltwater from the glaciers and icefields of the Premiere Range of the Cariboo Mountains. The village drowned again in 2025. I imagined the pool halls, restaurants, saloons and trading posts crushed by the flood.

“This area used to be a prime Chinook spawning ground,” Una said. “They swam over 1,200 km from the Pacific Ocean to lay their eggs right there.” She pointed to the cobalt blue water below us.

The reservoir sparkled in the sun like an ocean. Steep shores rose into majestic snow-capped mountains. The village lay in a kind of cruel paradise, I thought. It was surrounded by a multi-hued forest of Lodgepole pine, Western red cedar, Douglas fir, paper birch and trembling Aspen. Directly behind the village was Mount Terry Fox and across the Robson valley mouth, to the northeast, rose Mount Goslin. Behind it, Mount Robson cut a jagged pyramid against a stunning blue sky. Wispy clouds veiled its crown. I couldn’t help thinking it was the most beautiful place I’d seen. And yet, for all its beauty, the villagers had lost their principle livelihood and food. The reservoir had destroyed the wildlife habitats and the fishery. And its people with it.

Una pointed to where the giant reservoir snaked northwest and where towns like Dunster, McBride and Prince George lay submerged beneath a silent wall of water. Her eyes suddenly misted as she told me about Slim Creek Provincial Park, between what used to be Slim and Driscoll Creeks just northwest of what used to be the community of Urling. She told me about the Oroboreal rainforest, called an “Antique Rainforest”—ancient cedar-hemlock stands over a 1000 years old. She described how massive trunks the width of a small house once rose straight up toward a kinder sun. The Primordial Grove was once home to bears, the gray wolf, cougar, lynx, wolverine and ungulates. It was the last valley in North America where the grizzly bear once fished ocean-going salmon. Now even the salmon were no longer there, she said. Then she bent low beside me and pulled me close to her in a hug. She quietly said to me, “This is what killed Trudeau.”

I stared at her and firmly corrected, “but that was an accident.”

“Yes,” she agreed. Then added, “a planned one.”

A Diary in the Age of Water

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Moss-covered Western Redcedar

 

NAWAPA (North America Water Power Alliance)

The original NAWAPA Plan was drawn up by the Pasadena-based firm of Ralph M. Parsons Co. in 1964, and had a favorable review by Congress for completion in the 1990s. The plan—thankfully never completed—was drafted by the US Army Corps of Engineers and entailed the southward diversion of a portion (if not all) of the Mackenzie and Yukon rivers in northern Canada and Alaska, now flowing into the Arctic Ocean as well as the Peace, Liard and other rivers flowing into the Pacific by creating massive dams in the north. This would cause the rivers to flow backwards into the mountains to form vast reservoirs that would flood one-tenth of British Columbia. The water would be channeled south through the 800-km Rocky Mountain Trench Reservoir into the Northern USA, and from there along various routes into the dry regions of the South, to California and reaching as far as Mexico.

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NAWAPA was envisioned as the largest construction effort of all times, comprising some 369 separate projects of dams, canals, and tunnels, for water diversion. The water diversion would be accomplished through a series of connecting tunnels, canals, lakes, dams, and pump-lifts, as the trench itself is located at an elevation of 914 m (3,000 feet). To the east, a 9 m (thirty-foot) deep canal would be cut from the Peace River to Lake Superior. Its largest proposed dam would be 518 m (1,700 feet) tall, more than twice the height of Hoover Dam (at 221 m) and taller than any dam in the world today, including the Jinping-I Dam in China (at 305 m).

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Robson Valley old growth

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

Science Fiction On Water Justice & Climate Change

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

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

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

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

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

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

I wish I had that skill.

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Adobe Photoshop PDFScience fiction explores our water crisis through premises of extreme water shortage and devastating violence (floods, droughts and storms), water diversion, and hoarding. Premises explore weather manipulation, the consequences of extensive deforestation and the massive extinction of species. As with my own book A Diary in the Age of Water, Claudiu Murgan’s Water Entanglement explores water as a character, as though water has gone rogue, unruly. Perhaps even vengeful…

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

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

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

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

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

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

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

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

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

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We do not live lightly on this planet.

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

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

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

 

 

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

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

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Nina Munteanu (photo by Richard Lautens)

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

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

Top Ten GreenhouseGas Countries

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

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

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

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Illustration by Ionuț Bănuță

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

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

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

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

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

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

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

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

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

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

NaturalSelection-IonutBanua2

Illustration by Ionuț Bănuță

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

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

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

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

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

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

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

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

 

 

 

 

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

 

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

On Writing “A Diary in the Age of Water”

How does any fire begin? With a spark.

FillingAtWaterTap copyIn Summer of 2016, I attended 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? Well, Maude explains. And you should read “Boiling Point.” 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.

Maude’s talk was in a church on Bloor Street in Toronto. I sat close to the front 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” (due for publication in 2020 with Inanna Publications).

woody stream

The spark for my novel began 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.

The Way of Water-COVERI 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 iTap; 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 iTaps—at great cost. She is 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.

Exile-CanTales ClimateChangeThe 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 was reprinted in magazines and anthologies several times since, 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. “The Way of Water” received generous praise from review sites and the press worldwide.

FF - Rosarium CoverAfter 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?

NaturalSelection-front-webI had earlier written a short story that was a mix of correspondence (emails) and third person narrative (“The Arc of Time” in Natural Selection), 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.

Water Is-COVER-webI had a lot of material; I had already been researching water issues and climate change in my activism as a science reporter. I had recently 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 Robert 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.

Diary Water cover finalLike 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 Water explores 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. “A Diary in the Age of Water” is scheduled for release by Inanna Publications in 2020.

 

nina-2014aaa

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

 

Can Dystopian Eco-Fiction Save the Planet?

NewYork 2140By failing to engage with climate change, artists and writers are contributing to an impoverished sense of the world, right at the moment when art and literature are most needed to galvanize a grassroots movement in favor of climate justice and carbon mitigation.”—Amitav Ghosh, 2017

…Margaret Atwood’s The Year of the Flood. Paolo Bacigalupi’s The Windup Girl or The Water Knife. Kim Stanley Robinson’s New York 2140. Nina Munteanu’s A Diary in the Age of Water. Richard Power’s Overstory. Annie Proulx’s Barkskins. Emmi Itäranta’s The Memory of Water

Diary Water cover finalWhat these novels have in common is that they are all Dystopian Eco-Fiction. Humanity’s key role in environmental destruction serves a strong thematic element. In eco-fiction dystopias (as opposed to political or socio-cultural dystopias such as Brave New World, 1984, The Handmaid’s Tale) the environment—whether forest, ocean, water generally, or the animal world—plays a key character.

Our Literature in the Anthropocene

In 2017, Amitav Ghosh observed that the literary world has responded to climate change with almost complete silence (The Great Derangement: Climate Change and the Unthinkable). “How can we explain the fact that writers of fiction have overwhelmingly failed to grapple with the ongoing planetary crisis in their works?” writes Fredrick Albritton Jonsson of The Guardian, who observes that, “for Ghosh, this silence is part of a broader pattern of indifference and misrepresentation. Contemporary arts and literature are characterized by ‘modes of concealment that [prevent] people from recognizing the realities of their plight.’”

Windup GirlAccording to Ghosh, plots and characters of contemporary literature tend to reflect the regularity of middle-class life and the worldview of the Victorian natural sciences, one that depends on a principle of uniformity. Change in Nature has been perceived as gradual (or static by some) and never catastrophic. Extraordinary or bizarre happenings were left to marginal genres like the Gothic tale and—of course—science fiction. The strange and unlikely have been externalized: hence the failure of modern novels and art to recognize anthropogenic climate change.

From Adam Smith’s 18th Century economic vision to the conceit of bankers who drove the 2008 American housing bubble, humanity’s men have consistently espoused the myth of a constant natural world capable of absorbing infinite abuse without oscillation. When James Lovelock and Lynn Margulis proposed the Gaia Hypothesis in the 1970s, many saw its basis in a homeostatic balance of the natural order as confirmation of Nature’s infinite resilience to abuse. They failed to recognize that we are Nature and abuse of Nature is really self-abuse.

Jonsson suggests that these Enlightenment ideas are essentially ideological manifestations of Holocene stability, remnants from 11,000 years of small variability in temperature and carbon dioxide levels, giving rise to deep-seated habits and ideas about the resilience of the natural world. “The commitment to indefinite economic growth espoused by the economics profession in the postwar era is perhaps its most triumphant [and dangerous] expression.”

barkskins

Louise Fabiani of Pacific Standard suggests that novels are still the best way for us to clarify planetary issues and prepare for change—even play a meaningful part in that change. In her article “The Literature of Climate Change” she points to science fiction as helping “us prepare for radical change, just when things may be getting too comfortable.”

Referring to our overwhelming reliance on technology and outsourced knowledge, Fabiani suggests that “our privileged lives (particularly in consumer-based North America) are built on unconscious trust in the mostly invisible others who make this illusion of domestic independence possible—the faith that they will never stop being there for us. And we have no back-ups in place should they let us down.” Which they certainly will—given their short-term thinking.

TheOverstory“To counteract this epidemic of short-term thinking,” says Fabiani, “it might be a good idea for more of us to read science fiction, specifically the post-apocalyptic sub-genre: that is, fiction dealing with the aftermath of major societal collapse, whether due to a pandemic, nuclear fallout, or climate change.”

I suggest widening the genre to include good dystopian eco-fiction, which includes not just post-apocalyptic tales but also cautionary tales, worlds in upheaval, and satires. Dystopian literature is ultimately an exploration of hope through personal experience. The eco-fiction protagonist navigates their dystopia by learning meaningful lessons—lessons that pertain directly to our reader in their current world. This is because the premise of a dystopia lies squarely in the present world. Good dystopias can enlighten and suggest possibilities; they can warn and herald. At the very least, they incite the necessary conversation.

On the Role of Dystopian Eco-Fiction

NaturalSelection-front-webI recently shared a panel discussion with writer Kristen Kiomall-Evans at the 2019 Limestone Genre Expo in Kingston entitled: “On the Role of (Dystopian) Literature and Environmental Issues: Can Books Save the Planet.” The audience of mostly women shared enlightened input in an open discussion, which spanned a range of topics and directions from what dystopian literature actually is to whether we are turned off by its negativity—that it may be too close to reality and makes us cringe and want to hide. One person even brought up Game of Thrones as an example; which I then bluntly suggested was not real “story”—it is a stream of episodic sensationalism and horror—aimed at thrilling shock value, not fulfilling meaning.

The group explored what Eco-Fiction is and the possibility of how eco-fiction writers can influence their audience to engage in helping the planet and humanity, in turn.

 “Science doesn’t tell us what we should do,” Barbara Kingsolver wrote in Flight Behavior “It only tells us what is.” Stories can never be a solution in themselves, but they have the capacity to inspire action. Margaret Atwood wrote in MaddAddam, “People need such stories, because however dark, a darkness with voices in it is better than a silent void.”

We explored several areas in which writers could elucidate ways to engage readers for edification, connection and participation. We discussed optimism, new perspectives, envisioning our future, and imaginative use of “product placement” to gain reader engagement and galvanize a movement of action.

Optimism in Story

I pointed out that good dystopias—like all good fiction—follow a character and story arc that must ultimately resolve (which Game of Thrones may never do, certainly not well—J.R.R. Martin’s books series upon which it is based are not even finished yet!). Eco-Fiction Dystopias often conclude with a strong element of hope, based on some positive aspect of humanity and the human spirit—which may include our own evolution. Think Day After Tomorrow, Year of the Flood, Windup Girl, The Postman, Darwin’s Paradox.

WaterAnthology-RealitySkimmingPress copyIn 2015, I joined Lynda Williams of Reality Skimming Press in creating an optimistic science fiction anthology with the theme of water. My foreword to Water addressed this point:

As we drank Schofferhoffers over salmon burgers, Lynda lamented that while the speculative / science fiction genre has gained a literary presence, this has been at some expense. Much of the current zeitgeist of this genre in Canada tends toward depressing, “self-interested cynicism and extended analogies to drug addiction as a means of coping with reality,” Lynda remarked. Where was the optimism and associated hope for a future? I brought up the “hero’s journey” and its role in meaningful story. One of the reasons this ancient plot approach, based on the hero journey myth, is so popular is that its proper use ensures meaning in story. This is not to say that tragedy is not a powerful and useful story trope; so long as hope for someone—even if just the reader—is generated. Lynda and I concluded that the science fiction genre could use more optimism. [As a result,] these stories explore individual choices and the triumph of human imagination in the presence of adversity. [Each story explores] the surging spirit of humanity toward hopeful shores.

New Perspectives in Story

Evans spoke of the emergence of and need for a strong voice by marginalized groups who would be most affected by things like habitat destruction and climate change. The poor and marginalized will most certainly make up the majority of climate change refugees, starved out and water shorted, and suffering malnutrition, violence and disease.

FifthSeason-JemisinEvans pointed out that afro-American writers (e.g., Octavia Butler, Walter Mosley, Nalo Hopkinson and N.K. Jemisin) and indigenous writers (Cherie Dimaline, Daniel Wilson, Drew Hayden Taylor) are an exciting voice, providing a new and compelling perspective on ongoing global issues.

I would add that the “feminine” voice—the voice of women and the voice of ecology and those who embrace the gylanic voice—are needed. This was strangely not mentioned in the group—perhaps because we were all women—but one. Such a voice can help personalize the experience to readers, by creating discovery, connection and understanding—and ultimately serving a key force in engaging readers to act.

Envisioning Our Future Through Story

One audience member shared a yearning for an optimistic focus through an envisioned world where solutions have successfully created that world. She wasn’t so much suggesting writing a utopia, but including elements of future wishes as an integral part of the world, following Ghandi’s wise advice: be the change you seek. In a recent interview in which I also participated in The Globe and Mail on women science fiction writers, Ottawa writer Marie Bilodeau addressed this concept:

“the best part about writing science fiction is showing different ways of being without having your characters struggle to gain rights. Invented worlds can host a social landscape where debated rights in this world – such as gay marriage, abortion and euthanasia – are just a fact of life.”

People are looking for hopeful fiction that addresses the issues but explores a successful paradigm shift. One that accurately addresses our current issues with intelligence and hope. The power of envisioning a certain future is that the vision enables one to see it as possible.

Product Placement in Story

Editor and naturalist Merridy Cox suggested that writers could make motivating connections through altruistic (not market-driven) “product placement.” She gave the example of an Ash tree. The Ash (Fraxinus species) could subtly make its name, its character and ecology known in the story, along with its plight—its destruction by the non-native invasive emerald ash borer. The use of metaphor and personification would easily link the Ash to a character and at the same time illuminate the reader on a real aspect of the environment to consider. Another example she gave was of the threatened bobolink bird, now all but gone. The bobolink originally made its home in the tallgrass prairie and other open meadows. As native prairies were cleared for farming, the bobolink was displaced and moved to living in hayfields and fallow fields—building their nests on the ground in dense grasses. Changing farm practices (shorter crop rotation and earlier maturing seed mixtures) are now destroying the bobolink’s last refuge.

bobolink-chicks-mom

Bobolink mother and her chicks

 

Such “product placement” essentially gives Nature and the environmental a personalized face that can easily interact with the story’s theme and its characters. “Product placement”—like symbol—lies embedded in its own story. In the case of the bobolink, it is a story of colonialism, exploitation, and single-minded pursuit at the expense of others not considered, known or understood. These examples have anthropogenic connections to human behaviour, action and knowledge—all related to story and theme.

MockUpEcology copyIn my new writing guidebook The Ecology of Story: World as Character I discuss and explore how some authors do this impeccably. Authors such as Barbara Kingsolver, Richard Powers, Frank Herbert, Ray Bradbury, Thomas Hardy, Margaret Atwood, Alice Munro, Janet Fitch, John Steinbeck, David Mitchell, Joanne Harris and many others.

Writing for the Anthropocene

Learn how to write for the Anthropocene: from Habitats and Trophic Levels to Metaphor and Archetype…

Learn the fundamentals of ecology, insights of world-building, and how to master layering-in of metaphoric connections and symbols between setting and character. “Ecology of Story: World as Character” is the 3rd guidebook in Nina Munteanu’s acclaimed “how to write” series for novice to professional writers.

The Ecology of Story will be released by Pixl Press in July 2019.

 

 

nina-2014aaa

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

 

 

Eco-Artist Roundtable with Frank Horvat on Green Majority Radio

On December 8th on Green Majority Radio, artist and composer Frank Horvat hosted the second Eco-Artist Roundtable featuring visual artist Mark Adair, theatre artist Kevin Matthew Wong, and author Nina Munteanu.

In this hour-long thoughtful and insightful discussion, artists covered a range of topics pertinent to the environment from the role of the artist in raising eco-awareness to activism in art and human rights. Nina also read from her book “Water Is…”

Go have a listen.

CIUT-eco-art panel show

Kevin, Nina, Mark and Frank at the studio

nina-2014aaaNina Munteanu is an ecologist and internationally published author of award-nominated speculative novels, short stories and non-fiction. 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 recent book is the bilingual “La natura dell’acqua / The Way of Water” (Mincione Edizioni, Rome). Her latest “Water Is…” is currently an Amazon Bestseller and NY Times ‘year in reading’ choice of Margaret Atwood.