science fiction

Solving The Polywater Equation in German and English

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Some time ago, I was invited by the publisher of Nova to contribute to their upcoming German anthology, based on real science. In our initial correspondence, editor Marianne Labisch mentioned that they were “looking for short stories by scientists based on their research but ‘spun on’ to create a science fiction story;” she knew I was a limnologist and was hoping I would contribute something about water. That is how The Polywater Equation (Die Polywasser-Gleichung) was born.

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I drew on some early work of mine with colonizing patterns of periphyton (attached algae) in streams. Elements that worked themselves into the story and the main character, herself a limnologist, reflected some aspects of my own conflicts as a scientist interpreting algal and water data (you have to read the story to figure that out).

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The diatom forest (periphyton colonizing a substrate in a stream) (illustration by Nina Munteanu adapted for the van der Wal et al. paper in H2O)

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My study involved placing glass slides in various locations in my control and experimental streams and in various orientations (parallel or facing the current), exposing them to colonizing algae. What I didn’t expect to see was that the community colonized the slides in a non-random way. I published my findings in Hydrobiologia entitled “The effect of current on the distribution of diatoms settling on submerged glass slides.”

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Photo (left) and illustration (right) of diatoms colonizing glass slides parallel to the current (Nina Munteanu, Hydrobiologia)

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For more details of my work with periphyton, you can go to my article called Championing Change. How all this connects to the concept of polywater is something you need to read in the story itself. Up to recently, you would have had to read the story in German in the anthology “Tales of Science, Volume 2” (Marianne Labisch & Kiran Ramakrishnan); now, thanks to Metastellar Speculative Fiction and Beyond, the story is available in English for your reading pleasure.

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The Polywater Phenomenon of the 1960s

The polywater phenomenon started well before the 1960s, with a 19th century theory by Lord Kelvin (for a detailed account see The Rise and Fall of Polywater in Distillations Magazine). Kelvin had found that individual water droplets evaporated faster than water in a bowl. He also noticed that water in a glass tube evaporated even more slowly. This suggested to Kelvin that the curvature of the water’s surface affected how quickly it evaporated.

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Soviet chemist Boris Deryagin looks through a microscope at polywater

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In the 1960s, Soviet chemist and physicist Nikolai Fedyakin picked up on Lord Kelvin’s work and through careful experimentation, concluded that the liquid at the bottom of the glass tube was denser than ordinary water and published his findings. Boris Deryagin, director of the Institute of Physical Chemistry in Moscow, was intrigued and his team confirmed that the substance at the bottom of the glass tube was denser and thicker than ordinary water and had additional anomalous properties. This phase of water had a thick, gel-like consistency; it also had a higher stability, like a polymer, over bulk water. It demonstrated a lower freezing point, a higher boiling point, and much higher density and viscosity than ordinary water. It expanded more than ordinary water when heated and bent light differently.

Deryagin became convinced that this “modified water” was the most thermodynamically stable form of water and that any water that came into contact with it would become modified as well. In 1966, Deryagin shared his work in a paper entitled “Effects of Lyophile Surfaces on the Properties of Boundary Liquid Films.”

British scientist Brian Pethica confirmed Deryagin’s findings with his own experiments—calling the odd liquid “anomalous water”—and published in Nature. In 1969, Ellis Lippincott and colleagues published their work using spectroscopic evidence of this anomalous water, showing that it was arranged in a honeycomb-shaped network, making a polymer of water—and dubbed it “polywater.” Scientists proposed that instead of the weak Van der Waals forces that normally draw water molecules together, the molecules of ‘polywater’ were locked in place by stronger bonds, catalyzed somehow by the nature of the surface they were adjacent to.

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Proposed polywater structure

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This sparked both excitement and fear in the scientific community, press and the public. Industrialists soon came up with ways to exploit this strange state of water such as an industrial lubricant or a way to desalinate seawater. Scientists further argued for the natural existence of ‘polywater’ in small quantities by suggesting that this form of water was responsible for the ability of winter wheat seeds to survive in frozen ground and how animals can lower their body temperature below zero degrees Celsius without freezing.

In 1970, when American physicist Denis Rouseau blamed the phenomenon on contamination by the experimenters’ own sweat, the significance of the results was abandoned in the Kuddelmuddel of scientific embarrassment. By 1973, ‘polywater’ was considered a joke and an example of ‘pathological science.’

This, despite earlier work by Henniker and Szent-Györgyi, which showed that water organized itself close to surfaces such as cell membranes. Forty years later Gerald Pollack at the University of Washington identified a fourth phase of water, an interfacial water zone that was more stable, more viscous and more ordered, and, according to biochemist Martin Chaplin of South Bank University, also hydrophobic, stiffer, more slippery and thermally more stable. Pollack called it Exclusion Zone (EZ) water: a microscopic layer of water that near hydrophilic (water-loving) surfaces pushes away suspended particles (microspheres and solutes). These interfacial interactions may be driven more by ionic impurities and concentration gradients than actual molecular differences.

How was this not some form of polywater?

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The Polywater Equation—Die Polywasser-Gleichung

In my story, which takes place in Berlin, 2045, retired limnologist Professor Engel grapples with a new catastrophic water phenomenon that looks suspiciously like the original 1960s polywater incident:

The first known case of polywater occurred on June 19, 2044 in Newark, United States. Housewife Doris Buchanan charged into the local Water Department office on Broad Street with a complaint that her faucet had clogged up with some kind of pollutant. She claimed that the faucet just coughed up a blob of gel that dangled like clear snot out of the spout and refused to drop. Where was her water? she demanded. She’d paid her bill. But when she showed them her small gel sample, there was only plain liquid water in her sample jar. They sent her home and logged the incident as a prank.

But then over fifty turbines of the combined Niagara power plants in New York and Ontario ground to a halt as everything went to gel; a third of the state and province went dark. That was soon followed by a near disaster at the Pickering Nuclear Generating Station in Ajax, Ontario when the cooling water inside a reactor vessel gummed up, and the fuel rods—immersed in gel instead of cooling water—came dangerously close to overheating, with potentially catastrophic results. Luckily, the gel state didn’t last and all went back to normal again.

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Tales of Science anthology selling at Dussmann bookstore in Berlin

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The German anthology made it to all the big bookstores, including Dussmann das KulturKaufhaus and Thalia  in Berlin. The English version is now available online on Metastellar magazine.

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Nina Munteanu holds a copy of “Tales of Science” anthology (photo by Jane Raptor)

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References:

Chaplin, Martin. 2015. “Interfacial water and water-gas interfaces.” Online: “Water Structure and Science”: http://www1.lsbu.ac.uk/water/interfacial_water.html  

Chaplin, Martin. 2015. “Anomalous properties of water.” Online: “Water Structure and Science: http://www1.lsbu.ac.uk/water/water_anomalies.html  

Henniker, J.C. 1949. “The depth of the surface zone of a liquid”. Rev. Mod. Phys. 21(2): 322–341.

Kelderman, Keene, et. al. 2022. “The Clean Water Act at 50: Promises Half Kept at the Half-Century Mark.” Environmental Integrity Project (EIP). March 17. 75pp.

Munteanu, N. & E. J. Maly, 1981. The effect of current on the distribution of diatoms settling on submerged glass slides. Hydrobiologia 78: 273–282.

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

Pollack, Gerald. 2013. “The Fourth Phase of Water: Beyond Solid, Liquid and Vapor.” Ebner & Sons Publishers, Seattle WA. 357 pp. 

Ramirez, Ainissa. 2020. “The Rise and Fall of Polywater.” Distillations Magazine, February 25, 2020.

Szent-Györgyi, A. 1960. “Introduction to a Supramolecular Biology.” Academic Press, New York. 135 pp. 

Roemer, Stephen C., Kyle D. Hoagland, and James R. Rosowski. 1984. “Development of a freshwater periphyton community as influenced by diatom mucilages.” Can. J. Bot. 62: 1799-1813.

Schwenk, Theodor. 1996. “Sensitive Chaos.” Rudolf Steiner Press, London. 232 pp.

Szent-Györgyi, A. 1960. “Introduction to a Supramolecular Biology.” Academic Press, New York. 135 pp. 

Wilkens, Andreas, Michael Jacobi, Wolfram Schwenk. 2005. “Understanding Water”. Floris Books, Edinburgh. 107 pp.

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The Little Rouge River in winter, ON (photo by Nina Munteanu)

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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. For the lates on her books, visit www.ninamunteanu.ca. 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. You can read her just released eco-fiction thriller Gaia’s Revolution by Dragon Moon Press.

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Driving the Dempster Highway—Fort McPherson, Inuvik, Tuk … ’Thalweg’

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Dempster Highway, north of Fort McPherson, NWT (photo by NIna Munteanu)

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In my upcoming eco-fiction novel Thalweg, Gwich’in limnologist Bobby-Jo makes her way back home to Fort McPherson, NWT, after the sudden flood of the Peel River has all but destroyed her Arctic hometown. She starts in Dawson City and takes the challenging gravel Dempster Highway north.

The Dempster is renowned for its remote beauty and driving hazards. Drivers today are cautioned to take sufficient provisions, including a tire-fixing kit and spare tires. By the time Bobby-Jo is driving the Dempster in the 2050s, the permafrost is actively thawing. One of the characters describes it as: “a thin ribbon of shale and mud floating tenuously on an unstable sea of melting ice, slushy rock, and murky water.”  

The Dempster is a temperamental gravel and shale road originally built in 1978 when explorers found oil and gas in the deep bedrock of Eagle Plains. The highway roughly follows Jack Dempster’s original trail that he learned from the Gwich’in and old dogsled routes. They used two-metre thick berms of gravel and shale to prevent the road from sinking into the ground; other materials would cause the permafrost to thaw and buckle the road, creating small lakes. When the uunjit discovered that the deposits weren’t large enough to exploit, the Dempster turned into a ghost road. The road to riches turned into the road to nowhere, abandoned to the rugged wilderness of mountains and tundra and the wildlife that inhabit it. The Dempster was left to itself and its people.

Bobby-Jo, Thalweg

Below is a short excerpt of Bobby-Jo’s experience driving the Dempster north from Dawson City:

On a cloudy morning in late August, I drove the North Klondike Highway and turned north on the Dempster as it started to rain. After a few kilometres, the cracked pavement gave way to loose gravel. The car slid along the slick mud like a sled on snow.

The first stretch of the Dempster followed a wide valley of moraines fed by glaciers in the high granite peaks of the southern Ogilvie Mountains. In Tombstone Territorial Park I stopped the car and stepped out into the cold breeze to rest my eyes on the bald sheer towering rock that rose out of a broad sloping alpine valley with peaks sharp enough to cut the sky like a knife.

Gold, russet, gray-green, stunning yellow and purple carpeted the valley floor with impressionistic swirls of lichen, alpine shrubs, cotton grass and blazing fireweed. Dark flecks of stunted spruce trees and dwarf birch and willow added contrast. A fine mist flowed and pooled in the depressions of the lower slopes.

I breathed in the freshness of sub-arctic air and moist earth. It had stopped raining, but the moisture that clung to the air brought out an incredible richness of fragrances, an aria of sweet floral scents mixed with earth and tree pitch. It smelled like home. I inhaled slowly and deeply, filling my lungs with ancestral energy. It resonated deep inside me where this place lay embedded in my soul.

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Tombstone Territorial Park (photo by Yukon Travel)

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My Experience on The Dempster and The North

My good friend and story consultant Anne accompanied me on my research trip North. We first flew to Inuvik, whose stilted buildings all have utilidors (above ground piping) running among them to prevent the permafrost beneath from heating up. Already, some buildings were sinking and the new hospital developed a small pingo (ice pimple) beneath it; the ice was heaving and cracking the floors. Anne and I got to Inuvik just in time to witness a canoe race from Aklavik along the Mackenzie River, the first in many years. We ate whitefish tacos at Alestine’s, a funky bistro.

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Utilidors in Inuvik, NWT (photo by Nina Munteanu)

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Drummers bring in the canoes during the race from Aklavik, Inuvik, NWT (photo by Nina Munteanu)
Alestine’s Patio, Inuvik, NWT (photo by Nina Munteanu)

The Dakota truck on the Dempster Highway, NWT (photo by Nina Munteanu)

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We rented a Dakota truck and drove the Dempster south to Fort McPherson on the Peel River to meet with my new Gwich’in friends who helped keep Thalweg authentic and respectful: Sharon Snowshoe (head of the Gwich’in Council) and Arlyn Charlie (a gifted writer). The town—which was totally destroyed in my speculative novel—was a small dusty community with one main street, a school, a church, and a few shops.

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Left: Sharon Snowshoe and Arlyn Charlie with Nina Munteanu; Right: main street of Fort McPherson (photos by Anne Voute and Nina Munteanu)
Boats moored on the Peel River, Fort McPherson, NWT (photo by Nina Munteanu)
Black spruce forest and marsh in the morning mist off the Dempster Highway, north of Fort McPherson, NWT (photo by Nina Munteanu)

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Driving the iconic Dempster through spruce forest and tundra / marsh, felt invigorating and humbling at the same time. This remote road to the Arctic North felt steeped in history and many stories. As I write this (three years after our trip) Anne, who was the driver, reminds me that the Dempster was surprisingly smooth; probably the result of a recent resurfacing.

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Tanker truck speeds past us on the newly graded Dempster Highway, north of Fort McPherson, NWT (photo by Nina Munteanu)
Anne stands by the Dakota, taking in the view from the Tuk Highway, NWT (photo by Nina Munteanu)

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The new highway to Tuk, by contrast, was uneven and blemished with pot holes. The drive took us to the Beaufort Sea of the Arctic Ocean, which was surprisingly warm and fresh. I found no lingering marine smell or salt water tackiness to the touch. I then remembered that the Mackenzie River emptied into the Beafort Sea right next to the community. The best place to eat was Grandma’s Kitchen, where we enjoyed muktuk (whale blubber) and dried whitefish. Grandma Joanne served us out of her trailer and we ate overlooking the Arctic Ocean, kept company by ground squirrels looking for a handout.

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Left: muktuk and dried whitefish served by Right: Grandma Joanne, Grandma’s Kitchen, Tuk, NWT (photos by Nina Munteanu)
View of tundra and pingo from Tuk Highway, NWT (photo by Nina Munteanu)

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I felt an abiding sense of home as I brushed through the tundra, among Labrador Tea, cloudberries and bearberries, boots sinking into sphagnum and crowberry, with a stunning view of Ibyuk and Split Pingos in the distance. Tuktoyaktuk sits on the edge of the Arctic Sea; boats of all kinds line the shores. Normally a quiet town, we’d landed there during some festivities, which brought in locals from all around. Anne and I strolled along the main street, talking with friendly Inuvialuit.

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Shoreline of Arctic Ocean at Tuk, NWT (photo by Nina Munteanu)
Kieth Felix stands next to his rack of drying whitefish, Tuk, NWT (photo by Nina Munteanu)
Fireweed and marsh near Inuvik, NWT (photo by Nina Munteanu)
Iconic cotton grass found throughout the north along the Dempster and Tuk Highways, NWT (photos by Nina Munteanu)

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The North is a celebration of contrasts. A wilderness of rugged beauty, often misunderstood. A place, both harsh and desolate yet incredibly rich and beautiful. A wild place that promises infinite possibilities.

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Tuk Highway winds through tundra by the Eskimo Lakes, NWT (photo by Nina Munteanu)

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Climate change is changing all that; the permafrost is thawing.  along with the melting pingos, land is sinking and exposing dangerous sinkholes, ground slumping and landslides are increasing, coastlines are eroding to the sea, waterways are acidifying, and wildlife habits are changing:

Climate change and habitat destruction were silently destroying the Gwich’in’s way of life. Though, you’d never think it, looking at the pristine-like wilderness along the Dempster. That was the problem: much of the destruction was invisible. It isn’t seen; it’s felt I could hear Johnny say.

That was the North. More a mindset than a place. For most Canadians the North encompassed this collective myth of vast inaccessibility, and hostile grandeur. Early settlers’ portrayal of the North as hostile and isolated came from their inability to read the land and its rhythms, to know where the animals were and why they were there. The uunjit didn’t feel the land, Johnny kept saying. And because of that they would not know how to adapt to change.

—Bobby-Jo, Thalweg 

Thalweg releases with Inanna Publications in Spring 2027.

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The Dempster Highway

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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. For the lates on her books, visit www.ninamunteanu.ca. 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. You can read her just released eco-fiction thriller Gaia’s Revolution by Dragon Moon Press.

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When Pingos Explode … ‘Thalweg’

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The sleepy village of Tuktoyaktuk on the Arctic Ocean, NWT (photos by Nina Munteanu)

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A few years ago, I travelled to the village Tuktoyaktuk in the Northwest Territories on the Arctic Ocean. I was researching my upcoming eco-fiction book Thalweg with Inanna Publications (scheduled for release in early 2027). I drove with my friend Anne Voute; we rented a Dodge Dakota truck and drove the Dempster Highway north from Inuvik and the recently completed NWT Highway 10 (completed in 2017), which provides the remaining 140 km stretch to the Arctic Ocean.

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Black spruce forest along the Dempster Highway north of Fort McPherson, NWT (photo by Nina Munteanu)
Highway 10 to Tuk winds through the tundra and Husky Lakes, NWT (photo by Nina Munteanu)

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In Thalweg, main character Bobby-Jo is a Gwich’in limnologist who grew up in Fort McPherson in the Arctic Circle, land of permafrost.

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Poster Child of Permafrost

Ibyuk Pingo, near Tuk, NWT (photo shot from Cessna 172 by Adam Jones, 2013; Wikipedia Commons)

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The poster child of permafrost is the conical ice-cored pingo, common in the Pleistocene Coastal Plain. Pingo is an Inuit word that means conical hill.

Pingos form when a mass of water is trapped beneath permafrost under pressure. Also called hydrolaccoliths, these huge mounds of earth with ice cores can reach up to 70 meters in height and 600 meters in diameter. Pingos usually grow a few centimeters a year, with the largest having taken decades or even centuries to form. Pingos eventually break down and collapse. They collapse when the ice core melts. This may happen when cracks form on the sides of the pingo that may reach down as far as the ice core, exposing the ice to warm air and sunlight. Once the core completely thaws, what remains is a doughnut-shaped ring of raised tundra enclosing a small round lake. Evidence of collapsed pingos in an area suggests that there was once permafrost there.

Hydrostatic (closed-system) Pingo (illustration by E. Ginn, 2021)
Development of closed-system pingo (illustration by Encyclopedia Brittanica)
Map of major pingos in the Tuk area, NWT (pingos marked with black semi-circle)

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One quarter of the world’s pingos, more than fourteen hundred of them, are in the Tuktoyaktuk Peninsula, part of the Mackenzie Delta of the Northwest Territories of Canada. The Inuvialuit and their Thule ancestors used these cone-like hills as navigational landmarks or lookouts when looking for caribou or whales. Hunters also used hollow pingos to freeze meat.

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Ibyuk and Split Pingos (photos by National Air Photo Library, Ottawa)

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Pingo National Landmark protects eight pingos with the most famous being Ibyuk and Split. Ibyuk is about 50 meters high; it is the tallest pingo in Canada and the second tallest in the world and estimated to be more than 1,000 years old. It is also the world’s largest growing pingo, up to recently growing at a rate of about half a centimeter per year. With ongoing climate change, this is also changing. A local information sign in Tuk mentioned that Ibyuk Pingo has stopped growing and is beginning to slump, which is changing its shape. Kilutqusiaq—Peninsula Point—is a pingo on the coast that is almost completely eaten away by erosion: having eroded about 35 metres since 2004.

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Pingos viewed across tundra near Tuk, NWT (photo by Nina Munteanu)

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Climate change in the Arctic has caused some permafrost thaw slumps on lake shores, rivers and coastlines; shoreline erosion and sea level rise has swallowed buildings and cultural sites in the Tuk area. Kilutqusiaq—Peninsula Point—is a pingo on the coast that is almost completely eaten away by erosion: having eroded about 35 metres since 2004.

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Tuk sign on warming climate impact on pingos

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In the time of my novel Thalweg—2050s—hundreds of pingos near Tuktoyaktuk are caving in and forming circular ponds due to climate change. Giant ice-pimples are exploding as methane-rich gas hydrates decompose and form pressure bombs of combustible methane. The subsidence creates huge sink holes as wide as a house and deeper than hell.

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Thalweg

Ibyuk Pingo seen from nearby sandspit, NWT (photo by Nina Munteanu)

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During her travels, Bobby-Jo thinks of her Inuvialuit friend Mary Steen in Tuk where giant pingos are thawing and exploding—thanks to climate change and permafrost thaw.  

When we were kids, Mary took me up the Ibyuk Pingo, the giant cone mountain over a thousand years old. It’s the second highest in the world at forty-nine metres high and three hundred metres across and was still growing a few centimeters a year at its centre—despite the warming climate. Ibyuk is a hydrostatic pingo, which means it formed in an area of continuous permafrost and grew up from a large thermokarst lake. Expelled pore water from permafrost aggradation pushed up the old lake silts and sands from below, and the ice-mountain rose up like a giant frozen pimple above the ancient drained lake flats.

Ibyuk Pingo from a nearby spit of cottongrass and marsh grass, NWT (photo by Nina Munteanu)

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We shouldn’t have been there; regrowth from trampling is extremely slow, often taking over half a century. The tundra moss, lichen, shrubs and krummholtz help insulate the pingo against ice core melting. When the ice core of the ice-cone is exposed, particularly if the vegetation blanket has broken open by dilation cracks or through erosion, the ice thaws and the mountain eventually collapses. During our climb, Mary and I noticed deep furrows in the vegetated soil layer. They cut down the slope as if a giant bear had clawed it and revealed the pingo’s icy sores.

When Mary and I returned to Tuk from our adventure, she got into trouble with her parents; someone had spotted us climbing the ice mountain and told them. I got a lecture and Mary was grounded for a week.

Because I was visiting, I was grounded alongside her. Pingos are living things, her parents told us sternly. They breathe, they grow, they shrink, they ebb and flow like water; they pulsate vertically. And we’d been in great danger. The Ibyuk Pingo was unstable—not just from a warming climate but from yahoos sliding down its steep sandy slopes and kids climbing where they shouldn’t. Did we know that the depth to its ice crust under the crater pond was shallow and fragile?  When we were at the summit, the crater could have collapsed with sudden drainage of the pond and we would have disappeared in a roiling black sink hole!

When I last spoke with Mary five months ago, she told me that the area was starting to look like a moonscape, with craters everywhere. I thought of our little adventure on Ibyuk and decided that my analogy of a pimple or boil was appropriate given that pingos ruptured and flung their icy guts outward with explosive force. Mary admitted in a voice trembling with emotion that Ibyuk, the giant pingo we’d hiked up, had finally collapsed from massive coastal erosion and sea level rise. But not before it exploded.

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Thalweg releases with Inanna Publications in Spring 2027.

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Road through tundra to Tuk with pingo in background, NWT (photo by Nina Munteanu)

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Glossary:

Pingo: A dome-shaped mound consisting of a layer of soil over a large core of ice in a permafrost area. Pingos form when a mass of water is trapped beneath permafrost (ground that is frozen for at least two years) under cryostatic or hydraulic pressure. One quarter of the world’s pingos are in the Tuktoyaktuk peninsula, more than fourteen hundred. Most are closed-system hydrostatic pingos, pingos formed in an area of continuous permafrost from pore water expulsion caused by permafrost aggradation at the bottom of a drained lake.

Permafrost Degradation: A naturally or artificially caused decrease in the thickness and areal extent of permafrost (Jorgenson, 2013). Widespread degradation of near-surface permafrost (40-80%) is projected by 2100 (Abbott & Jones, 2015). Release of greenhouse gases from thawing permafrost is likely the largest terrestrial feedback to climate change and one of the most likely to occur (Abbott & Jones, 2015). Degradation of permafrost soils can lead to the collapse, drainage and disappearance of water bodies (Vincent et. al., 2011). Jorgenson categorized twenty-three types of permafrost degradation based on dominant ice type, hydrologic regime, heat source and mass transfer.

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Cottongrass field with black spruce behind, off the Tuk highway, NWT (photo by Nina Munteanu)

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References:

Abbot, Benjamin W. and Jeremy B. Jones. 2015. “Permafrost collapse alters soil carbon stocks, respiration, CH4, and N2O in upland tundra.” Global Change Biology 21: 4570-4587.

Jorgenson, M.T. and T.F. Osterkamp. 2005. “Response of boreal ecosystems to varying modes of permafrost degradation.” Can. J. For. Res. 35: 2100-2111.

Jorgenson, M.T. 2013. “Thermokarst Terrains.” In: John F. Shroder (Editor-in-chief), Giardino, R., and Harbor, J. (Volume Editors). Treatise on Geomorphology, Vol 8, Glacial and Periglacial Geomorphology, San Diego. Academic Press. pp. 313-324.

Harris, S.A.., French, H.M., Heginbottom, J.A.., Johnston, G.H., Ladanyi, B., Sego, D.C., van Everdingen, R.O., (eds.). 1988. “Glossary of permafrost and related ground-ice terms.” Technical Memorandum 142, Permafrost Subcommittee, National Research Council of Canada.

Mackay, J.R. 1998. “Pingo growth and collapse, Tuktoyaktuk peninsula area, western Arctic coast, Canada: a long-term field study.” Geographie Physique Quaternaire 52(3): 1-53.

Munteanu, Nina. 2027 (upcoming release; in press). “Thalweg.” Inanna Publications, Toronto, ON.

Vincent, Warwick F., et.al. 2011. “Ecological Implications of Changes in the Arctic Cryosphere.” Ambio 30: 87-99.

Ibyuk Pingo seen from nearby grass-covered sandspit, NWT (photo by Nina Munteanu

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Scenes from in and near Tuk: top left, cottongrass; top right, ground squirrel; bottom, tundra scattered with spruce trees along Highway 10, NWT (photos by Nina Munteanu)

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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. For the lates on her books, visit www.ninamunteanu.ca. 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. You can read her just released eco-fiction thriller Gaia’s Revolution by Dragon Moon Press.

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Nina Munteanu Interview on Writers To Writers Podcast

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Nina Munteanu with Simon Rose and Suzanne Lieurance on Writers To Writers Podcast

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I was recently interviewed by Simon Rose and Suzanne Lieurance on Episode 4 of Writers To Writers June 2026.

We covered why I write about ‘green issues’ in my fiction, how I came to write eco-fiction and my aversion to littering—an aversion which Suzanne shared she also felt—which I ascribed to a disrespect for others and ‘the silent other’, represented by the natural world. We discussed my influences as a kid growing up and then later as an adult.

I shared how I have incorporated ‘green issues’ in both my fiction and non-fiction writing and short and long fiction. We shared how we started as young kids creating stories for our families and neighbourhood friends, developing our skills as storytellers.

We also discussed the strange world of writing and publishing and how a prequel to a prequel can come about. This then morphed into a discussion of morally gray characters and their evolution and why I find the character Loki far more interesting than Thor. If you want clarification on these, go have a listen!

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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. For the latest on her books, visit www.ninamunteanu.ca. 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. You can read her just released eco-fiction thriller Gaia’s Revolution by Dragon Moon Press.

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Nina Munteanu interviewed by Simon Rose and Suzanne Lieurance on Writers To Writers Podcast

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“The Girl Who Was Only Three Quarters Dead” Featured in The Best of Metastellar, Year Five

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Metastellar Magazine is putting out its “Best of” anthology for this year and my good friend and writing colleague Craig H. Bowlsby has a story in it. It’s one of my favourite stories of his and it has a fetchy title: “The Girl Who Was Only Three Quarters Dead.”

Bowlsby’s story was original published in the April 2022 Issue of Mystery Magazine and won the Crime Writers of Canada Award of Excellence for Best Crime Short Story for 2023. It was then reprinted in Metastellar Magazine and now appears in their 2026 “Best of” anthology, coming out later this summer.

This noir/dystopian story, set in Vancouver, BC, finds Suki prematurely awoken from an induced suspension between being alive and dead. With her retinas deactivated and her Government persona suspended, it’s up to her long-time friend and private investigator, Gabe, to uncover why she was brought back early and the way forward to recover her identity. Through the gritty and flooded streets of East End Vancouver and the mega corporations who control their entire existence, Gabe and Suki scheme to claim what is rightfully Suki’s.

Crime Writers of Canada

The story is set in the near-future in a post climate change Vancouver when sea level rise has water lapping decrepit buildings north of The Oak Street Bridge on Oak and 77th, Amazon owns entire roadways, and people pay corporate credits as currency.

One of the aspects of this mystery story that I found particularly attractive and interesting was Bowlsby’s use of cross-genre (mystery with science fiction), for which he indicated he has an affinity in his interview with Erik D’Souza with Crime Writers of Canada. I was reminded of the eco-techno thriller style of Hayden Trenholm’s detective series The Steele Chronicles, also set in the near future in Alberta Canada where biotechnology strays into the hands of corporate moguls and fundamentalist cults.

Bowlsby manages to cram both rich and seamless world building in his story (a feat in any short story), addressing mundane aspects of life, including the nuances of language (e.g. swear words suited to the time and place). Deadland, for instance, is a slang word that describes a government program that allows people to temporarily commit suicide, allowing them to place their lives on hold to supposedly help them escape their problems and supposedly better cope later (Bowlsby tells us rather pithily that it doesn’t really work).

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image by Marie Ginga, Metastellar

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When I asked Bowlsby in an interview what inspired this story and its post-climate change Vancouver setting, he said, “the germ … of this story came from a discussion I had with a friend, twenty years ago, who felt that everything in our society should be available for sale. For him that represented a pure state that would fix all our problems … I disagreed, but I wondered what it would be like if we started on that path. So as a social background, the characters are acting within a stage created for such a system—a system just starting to find its own steady legs. I don’t say it’s bad or good—I just give it free rein. The story itself came from other elements, but the characters’ difficulties are complicated by the hyper-capitalism. As for the climate change problem, and the flooding, that came naturally with the near-future time period; I’m afraid it’s going to happen no matter what we do.”  

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The Best of Metastellar Year Five is now out.

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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. For the latest on her books, visit www.ninamunteanu.ca. 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. You can read her just released eco-fiction thriller Gaia’s Revolution by Dragon Moon Press.

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The Green New Wave of Science Fiction

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There’s a New Wave out there in science fiction. It’s growing. It’s green. And, yes, I’m on it.

In her 2023 PhD thesis out of Liverpool John Moores University, Victoria Crozier explores the metamorphosis of science fiction from stories primarily focused on human adventure and heroism to ‘New Wave’ stories of green science fiction. Far from celebrating the achievements of a super-capable humanity, these ‘New Wave’ eco-conscious narratives, which began with the environmental movement of the 1960s, reveal humankind as an environmentally destructive force.

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Pre-1960s: Anthropocentric Androcracy

Pre-1960s science fiction largely featured scientific and technological developments and associated impacts on humans; stories that evoked a sense of wonder and involved heroic adventures of humans in unfamiliar worlds. Stories focused on the need to overcome harsh environments and conquer treacherous alien elements as humans prevailed through various androcratic strengths. I read many of them, mostly written by men. Despite generating excitement and inspiration, these narratives advanced a patriarchal and imperialistic conceit that drew from anthropocentric androcracy.

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The 1930s and 1940s spawned narratives focused on social justice—responses to both world wars. Aldous Huxley’s Brave New World (1932) and George Orwell’s Nineteen Eighty-Four (1949) and Animal Farm (1945) represented the height of this exploration with a focus on totalitarian rule, surveillance technology, and genetic modification. Ray Bradbury’s Fahrenheit 451 (1953) explored censorship as an important aspect of mind-control by an oppressive rule.

Drawing on a Cartesian directive, science fiction remained largely anthropocentric, typically ‘othering’ Nature and objectifying it. Writers treated the non-human world with fear or disdain; Nature was a device that challenged brave human explorers to exert their superiority through subjugation or annihilation. The environment was seldom portrayed as a character with agency and sensibility. Never something to be admired. Something to love.

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The 1960s: Rachel Carson’s Revolution

Rachel Carson and her seminal book Silent Spring

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In 1962, Rachel Carson published her book Silent Spring, regarded by some as the single most important contributor to the environmental movement of the 1960s. Her book warned of our declining bird and bee populations and impacts to human health from unregulated pesticide/herbicide use (such as carcinogens and hormone disruptors). 

I was just a kid when Carson’s book came out. But it was already apparent to me that environmental imbalance and destruction were global concerns and we were on the brink of an environmental crisis.  Unchecked deforestation was destroying forests around the world, including the boreal and old-growth forests of my own country Canada. Brazil had already begun cutting down trees and burning forest at an alarming rate. Unregulated use of pesticides, herbicides and growth hormones created toxic contamination of our natural world and our food and water supply—despite Carson’s dire warning with Silent Spring. Our waterways were being contaminated by mining wastes and industrial effluents. Killer smog. Noxious algal blooms. Oil spills. Dead zones. The list kept growing.

By the time I was in college, I’d concluded that a hegemony that follows the economic system of late capitalism inevitably commodifies and ‘others’ with ruthless purpose. Once something (or someone) is commodified, they are given a finite value and purpose outside their own existence. They become an object, a symbol to use and trade. They become a resource to manipulate, exchange, and dispose of with impunity. And through this surrender to utility, they become ‘othered.’ The consumer. The trees of the forest. Water. Homo sacer*. Each has a role to play in the late capitalist narrative of digital abundance and physical scarcity.

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Liu Cixin begins his 2006 science fiction novel The Three Body Problem in the 1960s, during China’s Cultural Revolution. The novel follows astrophysicist Ye Wenji, disillusioned by the massive environmental deforestation in the labour camps she is initially sent to work after witnessing the execution of her scientist father in a brutal cleansing at the height of the revolution. Already cynical about humanity’s failed culture and science—Wenjie acquires a contraband copy of Rachel Carson’s Silent Spring. The book and revelation she experiences from it sets in motion a frightening notion linking the mindset behind the Cultural Revolution and destruction of the environment.

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Post-1960s: Ecocentric Gylany

On the heels of the environmental movement of the 1960s, the New Wave of eco-science fiction, or what Crozier calls ‘green science fiction’, took hold with science fiction authors and literary fiction authors. Ursula K. LeGuin helped pioneer feminist science fiction as well as eco-fiction and climate fiction. Left Hand of Darkness (1969) introduced ambisexuality, no fixed sex, and The Word for World is Forest (1972) critiqued extractivism by human colonists. The Mars Trilogy by Kim Stanley Robinson (1992-1996) debated the rights of humans to alter a pristine planet, overlooking the intrinsic rights of an alien environment. N.K. Jemison’s The Fifth Season (2015) portrayed the physical Earth as active and angry about its abuse by humanity.  

Subtle changes in the portrayal of non-humans and Nature have emerged.

In his 2025 PhD thesis, Steven L. Ogden (University of Albany, State University of New York) explored the concept of “Heterogenous Being”1 linking the sciences with humanities to address the precarious realities of Earth’s ecological and environmental conditions. Entitled, “Heterogenous Being: The Inhumanities and the Creative-Scientific Aesthetic.” Ogden’s thesis acknowledges the influences and agented potentialities of nonhuman subjects in narrative, both in fiction and nonfiction. Including my own portrayal of water as character in my eco-fiction novel A Diary in the Age of Water, Ogden writes,“… these inhuman2 examinations not only provide the nonhuman with a comparable or more profound existence alongside our own; they also illustrate the immense and consequential scope of our collective realities.”

Ogden is, of course, referring to the prevalent historic use of ‘othering’ vs. providing agency to environmental ‘characters’ in novel writing. I write about this in my two articles on character-coupling.

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Othering in Science Fiction & Other Genres of Literature

The rhetoric of ‘Otherness’ in most fiction is typically portrayed through the singular point of view (POV) and discourse of a protagonist on a journey.3 In most forms of literature the POV ‘voice’ represents the Self, the inclusive ‘us’ (worldview) in its encounter with the Other, which in turn is the ‘not us.’ In his book Orientalism: Western Conceptions of the Orient Edward W. Said contended that for there to even be an ‘us’, there has to be a ‘not-us’. The resulting power dynamic of “them and us,” of Other and Self, is created and controlled by perceptions of the singular POV voice.

In most genres of literature—and certainly in science fiction—the Other is often relegated to this dichotomous portrayal. In post-apocalyptic and metaphoric journey stories the Other may be the harsh environment or a calamity through which the protagonist must find their own strength to survive; in military stories it is clearly the enemy, seldom portrayed with compassion or understanding but there to test our hero; in coming-of-age stories it may be the oppressive rule or established world the hero must overcome; in some science fiction it is the hostile or unknowable aliens who must be defeated.

Ogden clarifies the irony of this way of thinking: “like René Descartes, many today still consider the mind or “rational soul” of humanity to be entirely exceptional to and independent of animality, and believe no part of Man (as master and possessor of nature) could derive from the “potentiality of [nonhuman] matter.”

Crozier argues that, “Eco-science fiction is an essential cultural instrument with which to understand and respond to our planet in an epoch of environmental crises.”

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Eco-Science Fiction: Animating & Empowering Nonhuman Subjects

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Eco-science fiction is poised to make meaningful character-couplings between mostly human protagonist and environmental characters or representatives. This is because the protagonist provides relatable qualities for easy reader empathy, while the Othered character is often less relatable—often an arcane aspect of the environment, such as water (Memory of Water or A Diary in the Age of Water) or a forest (The Overstory).

The protagonist’s link to the Other—often as avatar—provides a readable map for the reader to follow and make their own connection.4  In Character Coupling Part 2, I provide examples from several works of eco-science fiction and general eco-fiction, such as The Overstory, Barkskins, The Breathing Hole, The Windup Girl, The Bear, Memory of Water, Dune and my own A Diary in the Age of Water.

Through these linkages, environmental abuse of jingoistic hubris can be felt on a profound and personal level. Eco-science fiction can raise issues of human intersectionality, misogyny, marginalization, oppression of class, privilege, sexuality and race, and misuse of power. Violent acts perpetrated on environment—when environment is personified as ‘character’ and/or coupled directly to a character—elicit powerful emotion and clearly demonstrate how social/human injustice reflects environmental injustice.

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The ‘New Wave’: A Changing Narrative

Various green-science fiction and general eco-fiction novels worth reading

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New Wave green science fiction took shape in the 1960s with J.G. Ballard and Ursula K. LeGuin who spearheaded a transformation toward ecocentric views. New Wave science fiction has burgeoned in the last several decades with highly pertinent narratives to the environmental and climate concerns of our current world. These narratives clearly challenge our political, religious and social worldviews, and patriarchies.

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Three non-fiction books that celebrate nonhuman life

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Acknowledging the early influences of animal studies rooted in biocentricity, Ogden notes that non-fiction representation of nonhuman life has also increased exponentially in the last ten years. Ogden includes the following notable examples: Merlin Sheldrake’s Entangled Life: How Fungi Make Our Worlds; Robin Wall Kimmerer’s Gathering Moss, and Peter Wohlleben’s The Hidden Life of Trees.

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Ogden argues that “Westerford (a scientist in Richard Powers’s The Overstory) understands that climate and biodiversity are ‘failing precisely because no [story] can make the contest for the world seem as compelling as the struggles between a few lost people.’” Westerford realizes that her peers believe that plants live an inanimate existence, whose rooted immobility points to a kind of “unfreedom” that represents an “archetype of inert matter.” According to poet David Hinton, this devaluation of plant life relates to the human-nonhuman duality, “a Western dichotomy that relegates the vegetal world to a space of ‘linguistic silence.’”

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This is the also the silencing of ‘The Other.’

I further explore this specific narrative (of non-human agency, particularly of birds, plants, bryophytes and algae) in my upcoming novel (Re)Genesis.

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References:

Carson, Rachel. 1962. “Silent Spring.” Houghton Mifflin, Boston. 304pp.

Crozier, Victoria. 2023. “The Brave New Worlds of Green Science Fiction: Ecocritical Discourse in The Three-Body Problem and The Long Earth Series.” Doctoral Thesis, Liverpool John Moores University, UK. April, 2023. 265pp.

Descartes, Rene, et. al. 1998. “Discourse on the Method; and Meditations on First Philosophy.” Hacket Pub.

Hinton, David. 2012. “Hunger Mountain.” Shambhala.

Munteanu, Nina. 2020. “A Diary in the Age of Water” Inanna Publications, Toronto. 328pp.

Munteanu, Nina. 2024. “The Use of Character-Coupling in Eco-Literature to Give Voice to the Other, Part 1: Introduction” NinaMunteanu.me February 18, 2024.

Munteanu, Nina. 2024. “The Use of Character-Coupling in Eco-Literature to Give Voice to the Other, Part 2: Types of Character-Coupling in Seven Examples of Eco-Literature” NinaMunteanu.me February 2024.

Ogden, Steven L. 2025. “Heterogenous Being: The inhumanities and the Creative-Scientific Aesthetic.” Doctoral Thesis, University at Albany, State University of New York. Spring, 2025. 220 pp.

Powers, Richard. 2018. “The Overstory.” W.W. Norton & Company, New York. 502pp.

Said, Edward W. 1978. “Orientalism: Western Conceptions of the Orient.” Vintage, London. 432pp.

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Footnotes:

  1. Ogden describes “Heterogenous Being” as a way of being that recognizes and incorporates humanity’s pluralized configurations with the nonhuman world by uniting the studies of science and humanities into an interdisciplinary hybrid creative-scientific aesthetic.
  2. Ogden explains the use of “inhuman” here by referring to Jeffrey Jerome Cohen’s notes in Stone: An Ecology of the Inhuman, which uses inhuman to “emphasize both difference (‘in-‘ as negative prefix) and intimacy (‘in-‘ as indicator of estranged interiority).” This is akin to the practice of “othering”.
  3. The Other has often been metaphorically portrayed in SF by aliens that lack a distinct voice or viewpoint; some portrayal has reflected a fearful imperialistic colonialism by representing Other as adversary such as an invading monster with no regard for humans (e.g. Robert Heinlein’s The Number of the Beast; H.G. Wells’s War of the Worlds). Kerslake argues that the traits of the Other “fall characteristically—and conveniently—into those spaces we choose not to recognize in ourselves, the ‘half-imagined, half-known: monsters, devils, heroes, terrors, pleasures, desires’ of Said’s ‘Orient’”. The Martians of Ray Bradbury’s Martian Chronicles—who also have no voice—reflect our indigenous peoples under the yoke of settler colonialism and an exploitive resource-extraction mindset. The monster of Mary Shelley’s Frankenstein —also with no voice—exemplifies the disabled/deformed unsavory departure from our ‘perfect’ self-image; to be chased, destroyed and nullified.  
  4. In some stories the protagonist is Othered in some way, providing a more direct link to the experience of being the Other or being Othered. For instance, in Mishell Baker’s Borderline, disabled protagonist Millie provides the connection to the greater theme of Othering “lesser beings.” In Costi Gurgu’s Recipearium, the protagonists are not human; they are alien creatures that dwell inside the dead carcass of a monster, representing Other as main character. 

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Glossary:

Androcracy: a form of governing system in which rulers are male.

Gylany: a social system based on equality of men and women.

Homo sacer: a figure from Roman law denoting a person excluded from society who is outside human law (can be killed) and divine law (cannot be sacrificed). The term represents “bare life”: stripped of political rights, legal protection, and social value. Philosopher Giorgo Agamben popularized the term to describe individuals excluded from the political community, such as refugees, stateless persons, or camp detainees. The term illustrates the power of a sovereign in deciding which lives are worthy of protection and which are not.

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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. For the latest on her books, visit www.ninamunteanu.ca. 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. You can read her just released eco-fiction thriller Gaia’s Revolution by Dragon Moon Press.

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Nina Munteanu’s Climate Thriller Gaia’s Revolution Wins The Literary Titan Silver Book Award

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Every year Literary Titan celebrates the “brilliance of outstanding authors who have captivated us with their skillful prose, engaging narratives, and compelling real and imagined characters. We recognize books that stand out for their innovative storytelling and insightful exploration of truth and fiction. Join us in honoring the dedication and skill of these remarkable authors as we celebrate the diverse and rich worlds they’ve brought to life, whether through the realm of imagination or the lens of reality.”

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My climate thriller Gaia’s Revolution was honoured with Literary Titan’s Silver Book Award for 2026.

Read more about the book on Goodreads and my various articles here and on other sites, including The Meaning of Water. Gaia’s Revolution is Book 1 of The Icaria Trilogy.

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The Icaria Trilogy by Dragon Moon Press

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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. For the latest on her books, visit www.ninamunteanu.ca. 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. You can read her just released eco-fiction thriller Gaia’s Revolution by Dragon Moon Press.

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Green Science Fiction and Nina Munteanu’s “A Diary in the Age of Water”

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I recently encountered Victoria Crozier’s intriguing PhD thesis and ecocritical discourse out of Liverpool John Moores University entitled “The Brave New Worlds of Green Science Fiction” and found my eco-fiction novel “A Diary in the Age of Water” mentioned alongside other notable eco-fiction works I so enjoyed reading such as Liu Cixin’s The Three-Body Problem, Chen Quifan’s The Waste Tide, Kim Stanley Robinson’s New York 2140 and Emmi Itäranta’s Memory of Water. Crozier calls these “green science fiction,” an appropriate term that I may start using.

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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. For the lates on her books, visit www.ninamunteanu.ca. 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. You can read her just released eco-fiction thriller Gaia’s Revolution by Dragon Moon Press.

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The Diverse Impact of Gaia’s Revolution

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“Gaia’s Revolution is a chlorophyll-stained argument about power, survival, and the peril of holy certainty.”

Literary Titan

“Munteanu seamlessly blends real-life history and technology with tantalizing glimpses of the future’s drugs, diseases, and evolving concepts…Frighteningly plausible…”

Kirkus Reviews

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My eco-fiction political thriller Gaia’s Revolution—released March 10 of this year—has already made quite an impact on readers and reviewers: from amazing accolades to outright pans.

I love the controversy!

The book that follows ambitious twin brothers and the woman who plays them has rightly caused a ruckus from its questionable and controversial main characters to a thrilling though notorious plot. Understandably, some readers hated the book, even as others thoroughly enjoyed it. Either way, the book can’t be accused of being mediocre or mundane (something I would detest in my writing).

The Prairies Book Review accurately describes the novel:

Gaia’s Revolution “is a politically incendiary portrait of a civilization unraveling under climate collapse, historical trauma, and ideological extremism. Berlin, 2022. In a country destabilized by climate catastrophe and political extremism, activist Damien Vogel becomes the target of a violent state crackdown after protesting with Letzte Generation. As he uncovers long-buried truths about his family, he is drawn into conflict with his estranged twin Eric, whose ruthless plan for humanity’s survival threatens to sacrifice freedom itself.”

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Literary Titan adds that the story “widens into a future history of revolution, ideology, biotech, enclosed cities, and ecological control…The novel is Part 1 of The Icaria Trilogy, and it reads like both an origin story and a warning flare.”

The Prairies Book Review calls Gaia’s Revolution: “Dense, unsettling, and intellectually ambitious.” They describe the novel as “bleak, intelligent, and emotionally explosive.” They add that, “Munteanu crafts the novel as both climate thriller and philosophical inquiry, weaving ecological science, German history, and political paranoia into a narrative charged with dread and moral instability…Munteanu refuses simplistic moral binaries, presenting climate collapse as a force that destabilizes not only ecosystems, but democracy, ethics, and identity itself.” 

Reader Neha Shukla writes on Goodreads that Gaia’s Revolution has a “strong message with emotional depth.” Shukla noted that “the emotional side of the story is very well handled.” Lily Thomass wrote on Goodreads that “what stood out to me was the emotional honesty of the story.”

Costi Gurgu, author of Recipearium and The Cursed writes: “Gaia’s Revolution may be the most extensively researched SF novel I’ve ever read…[the book is] so close to reality that it’s frightening.” Claudiu Murgan, author of Water Entanglement, enjoyed the “dynamic plot and interesting, well-defined characters.”

Steve Stanton, Canadian speculative fiction author of Freenet writes: “I love it when novelists tackle the big issues and take on big opponents, and in these perilous times there is no bigger issue than global climate change, and no bigger opponent than patriarchal capitalism. Gaia’s Revolution by Nina Munteanu begins in present-day Germany, where ecological activists are setting the stage even now. In Munteanu’s inspired vision, radical racism, anti-immigration activism, and ultra right-wing security forces will be a crucible fomenting world catastrophe.”

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Stanton adds, “The author uses some subtle stylistic variations for those readers who pay attention to details. The pace is varied, and the plot twists drive the narrative forward. I felt the beginning was a bit wordy with backstory and political philosophy, but Munteanu masterfully dovetails current political unrest and eco-activism into the worldwide dystopia of The Icaria Trilogy. As a prequel, this novel is an embellishment of sci-fi concepts developed very early in Munteanu’s career, but it is also the culmination of a body of work. For me, Gaia’s Revolution has been a delightful rediscovery of a talented Canadian voice.”

Reviews weren’t all positive; some oozed acid in their negative wrath. Why is Gaia’s Revolution eliciting this diversity of polarized reactions?

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Sophia Wasylinko of The British Columbia Review in part suggests why in her negative review: “The book hooked me at first with its look at a world hostile to environmentalists and deep ecological concepts. Unfortunately, once the brothers cross paths with deep ecologist Monica Schlange, things get messy. Both for them and for the book.”

Wasylinko particularly took exception to Monica’s character.

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Literary Titan describes Monica’s mercurial shapeshifting character as “a zealous deep ecologist, [who] becomes one of the book’s most dangerous engines: part savior, part tyrant, using damaged people…as instruments in her plan to remake humanity’s relationship with the natural world.” Wasylinko emphatically disliked Monica, which impeded her enjoyment of the book. The reviewer found that, “…as the story progressed, the more irritated I became with [Monica’s] sexual antics and ‘Tears for Fears’ references. While I probably wasn’t supposed to like her, I didn’t care for her at all.” Wasylinko ended with: “I won’t be continuing with the trilogy…I cannot cope with any more of Monica’s crooning Tears for Fears’ big hit of 1985, ‘Everybody Wants to Rule the World.’”

Literary Titan provides another possible reason for the polarized reactions: “the book refuses to make climate politics tidy. It doesn’t give us a simple contest between virtuous activists and corrupt institutions; instead, it shows how righteousness can calcify into doctrine, how grief can become governance, and how ecological thinking can be twisted into a new authoritarian grammar.” The reviewer found that what unsettled them the most, “was the book’s interest in compromised people [who are not] arranged into neat moral bins. They are products of abuse, ideology, scientific ambition, terror, tenderness, cowardice, and survival.”

Kirkus Reviews adds that: “Political ideals clash as the world falls into chaos … the ongoing political war is frighteningly plausible, and some readers may struggle with deciding who the villains are. The author serves up lively discourse in which the characters offer no easy answers; Munteanu seamlessly blends real-life history and technology with tantalizing glimpses of the future’s drugs, diseases, and evolving concepts.”

In describing the diametrically opposed trajectories of twin brothers Eric and Damien, Prairies Book Review adds that, “Eric’s eco-authoritarian worldview is chilling precisely because it emerges logically from the same environmental realities driving Damien’s activism.”

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The book follows six key characters and a handful of minor characters—all with associated archetypes—and their journeys during this catastrophic time are complex and messy; a function of the chaotic time itself. I make no apology to Wasylinko for the messiness. Revolution is messy. In a time of hard choices, innocence is the main casualty. This becomes evident for all the characters in the novel—particularly the children—as fiction reflects non-fiction. In the end, no one is innocent and all are changed.

Gaia’s Revolution is best described as an exploration of violent change and its associated impact and paradoxes. This is something we will face or already are facing with the growing unruliness of global warming, environmental destruction, and planetary change. Gaia’s Revolution ultimately explores the diverse impact of revolution in an unsustainable world; perhaps it is only apt that its reception by readers is equally diverse.

Paradox and irony drive Gaia’s Revolution. Says Wasylinko: “Gaia’s Revolution shows how quickly utopia becomes a dystopia. Nowhere is this more evident than the [revolutionary] Gaian Army adopting the Technocratic government’s weapons, including terrifying clones, and … book burning.”

According to Literary Titan, Gaia’s Revolution “has the grain of a manifesto smuggled inside a thriller, a story with roots sunk deep into Rachel Carson, chaos theory, surveillance states, and the bad old habit of deciding that humanity must be saved from itself.”

Kirkus Reviews described Gaia’s Revolution as: “a bleak but fascinating portrayal of a near-future dystopia.”

Literary Titan recommends Gaia’s Revolution “to readers of climate fiction, eco-dystopian fiction, biopunk, political fiction, and science fiction readers who like their futures thorny rather than sleek. Readers who enjoy Margaret Atwood’s MaddAddam books or Kim Stanley Robinson’s climate-minded fiction may find familiar pleasures here, though Munteanu’s novel is darker, more doctrinal, and more intimate in its wounds.” 

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Gaia’s Revolution is Book 1 of The Icaria Trilogy, available in quality bookstores near you and, of course, on Amazon. Check out readers’ reaction to Gaia’s Revolution on Goodreads.

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“We must first destroy before we can create. We must be unruly like climate. We must be relentless like climate. We must ride that wave before we can become the wave.”—Eric Vogel, Gaia’s Revolution

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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. For the lates on her books, visit www.ninamunteanu.ca. 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. Her latest eco-fiction novel Gaia’s Revolution was released March 2026 by Dragon Moon Press.

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