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.

 

 

Vonnegut’s Ice-Nine and Superionic Ice

CatsCradle-KurtVonnegutIn 1963 science fiction writer Kurt Vonnegut used the fictionalized concept of ice-IX—a crystalline polymorph of ice that remains stable at room temperature—in his novel Cat’s Cradle.  Ice-nine was a form of water so stable that it never melted and would crystallize all water it touched. It was the Ebola of water…

In Vonnegut’s book, physicist Felix Hoenikker created ice-nine as a tool to help troops easily traverse mud and swamps. Unfortunately, once the process started, it could not be stopped and with a melting point of 114 degrees F, the ice wasn’t likely to melt; in a pivotal scene some of the ice-nine is introduced to the ocean, which freezes solid entirely along with the rest of the planet’s freshwater. This throws the planet into calamity and threatening the natural world with violent storms; tornadoes ravage the landscape.

With all water on Earth crystalized, locked in the Ice-Nine configuration, humanity is lost:

There were no smells. There was no movement. Every step I took made a gravelly squeak in blue-white frost. And every squeak was echoed loudly. The season of locking was over. The Earth was locked up tight.

In fact, Ice-IX does exist; it was discovered in 1968 and exits under high pressure as a tetragonal crystal lattice but without the properties of Vonnegut’s ice-nine. It forms by cooling Ice III; it has an identical structure to Ice III other than being hydrogen-ordered. According to Dr. Martin Chaplin, London South Bank University, Vonnegut’s ice-nine has no scientific basis: “The actual Ice-IX is a proton-ordered form of Ice-III, and only exists at very low temperatures and high pressures and cannot exist alongside liquid water under any conditions.”

Ice Phases - unit cells

Ice phases–unit ‘cells’

A form of Vonnegut’s Ice-IX was “created” by Harvard researchers recently through a computer simulation that shows how it might be possible for water to remain frozen at body temperature. They showed how a layer of diamond, coated with sodium atoms, kept water frozen indefinitely at up to 108 degrees Fahrenheit. The technique only works on a very thin layer of water—a few molecules thick—to successfully keep the ice structure intact. The researchers explain:

In ice, water molecules are arranged in a rigid framework that gives the substance its hardness. The process of melting is like a building falling down: pieces that had been arranged into a rigid structure move and flow against one another, becoming liquid water.

The computer model shows that whenever a water molecule near the diamond-sodium surface starts to fall out of place, the surface stabilizes it and reassembles the crystalline ice structure.

hexagonal-water-crystal

Hexagonal structure of water crystal (snowflake)

Ordinary ice—the kind we skate on—has a hexagonal structure and is called Ice-Ih. It’s the kind of crystal that forms snowflakes (which are all hexagonal). Including the hexagonal arrangement of common ice, scientists have already discovered a bewildering 18 architectures of ice crystal. At different temperatures and pressures, water forms solids that may be hexagonal (Ice Ih) rhombohedral (Ice II and Ice IV), tetragonal (Ice III and IX), cubic (Ice Ic and Ice XIc), or orthorhomboic (Ice XI) in structure. Some forms of frozen water are disordered (non-crystalline). Eighteen crystalline phases of ice polymorphs have been identified based on the structure of the molecules and atoms and their bonds.

Ice Phases

Ice phases Ih to XV at different temperatures and pressures

Liquid Crystals & Polywater

Around the time that Vonnegut’s novel came out, a similar potential phenomenon of contact-induced change to water structure was discovered: polywater.

In 1961, the Russian physicist Nikolai Fedyakin discovered a new polymerized form of water. He had been measuring the properties of water which had been condensed in, or repeatedly forced through, narrow quartz capillary tubes. Some experiments revealed water with a higher boiling point, lower freezing point, and much higher viscosity than ordinary water; it had the consistency of syrup and was 40% denser and 15 times more viscous. Boris Derjaquin, director of surface physics at the Institute for Physical Chemistry in Moscow reproduced the results and used the term anomalous water.

WaterAnthology-RealitySkimmingPress copyThe media spread a panic about polywater-contaminated oceans of “jelly” aka Vonnegut’s novel Cat’s Cradle.

You can read a compelling version of this scenario in Costi Gurgu’s “Corrosion” in the anthology Water (Reality Skimming Press, 2017) edited by Nina Munteanu.

Subsequent analysis of polywater found that the samples were contaminated with other substances, which explained the changes in melting and boiling points due to colligative properties. Electron microscopy confirmed that the polywater also contained small particles of various solids – from silica to phospholipids, which explained its greater viscosity.

When the experiments which had initially produced polywater were repeated with thoroughly cleaned glassware, the anomalous properties of the resulting water vanished, and even the scientists who had originally advanced the case for polywater agreed it did not exist. The anomalous properties were finally attributed to impurities rather than to the existence of polymeric water molecules.

Fourth Phase of Water

ice_ih_molecular_arrangement

Hexagonal structure of bulk water and ice Ih

The significance of the Russian results was abandoned in the hubbub of scientific embarrassment. “Contaminants” are natural features of water, given its impeccable universal solvent characteristics, and their presence in limited quantities does not necessarily imply that observed features are not relevant to water’s behaviour. The natural question abandoned by the community was this: In the presence of contaminants, why does water take on the interesting features described by Derjaguin’s team? Earlier work by Henniker and Szent-Györgyi had established that water organized itself close to surfaces such as cell membranes.

This was later demonstrated by Gerald Pollack and his team at the University of Washington. Forty years after the polywater debacle, Pollack and other scientists discussed a fourth phase of water, an interfacial water zone that Pollack calls Exclusion Zone water or EZ water, given that it excludes materials. Interfacial EZ water was more stable, more viscous and more ordered, and according to biochemist Martin Chaplin of South Bank University this water was, “hydrophobic, stiffer, superfluidic and thermally more stable than bulk water.” While Chaplin discounts Pollack’s suggested structure for EZ-water (as nonsense), he acknowledges the existence of EZ-water, which forms a liquid ‘phase’ that can be legitimately treated as different from ‘bulk’ liquid water.

Not the same as “polywater” but certainly related. And questions remain.

superionic ice

Superionic ice

Superionic Ice

Recently, the Laboratory for Laser Energetics in Brighton, New York, blasted a droplet of water that created a shock wave, raising the water’s pressure to millions of atmospheres and temperature to thousands of degrees. The water atoms inside the shock wave didn’t form superheated liquid or gas; they froze solid into crystalline ice—something called “superionic ice,” a new phase of water with weird properties. It’s black and hot. And weighs four times as much as normal ice.

According to Joshua Sokol of Quanta Magazine, scientists suggest that this black hot ice may be the universe’s most common form of water. Superionic ice fills Uranus and Neptune and comprises the bulk of giant icy planets throughout the universe.

gas giants2

Gas giants in our solar system

Superionic ice—called  ice XVIII—is a new cubic crystal but with a twist, writes Sokol:

Superionic Ice3

Superionic ice nearly as hot as the sun

All the previously known water ices are made of intact water molecules, each with one oxygen atom linked to two hydrogen atoms. But superionic ice, the new measurements confirm, isn’t like that. It exists in a sort of surrealist limbo, part solid, part liquid. Individual water molecules break apart. The oxygen atoms form a cubic lattice, but the hydrogen atoms spill free, flowing like a liquid through the rigid cage of oxygens.

Sokol adds, “Experts say the discovery of superionic ice vindicates computer predictions, which could help material physicists craft future substances.”

Because its water molecules break apart, said physicist Livia Bove of France’s National Center for Scientific Research and Pierre and Marie Curie University, it’s not quite a new phase of water. “It’s really a new state of matter,” she said, “which is rather spectacular.”

Sokol tells us that computer simulations led by Pierfranco Demontis in 1988 predicted “water would take on this strange, almost metal-like form if you pushed it beyond the map of known ice phases.” Atoms in the water had rearranged into the long-predicted but never-before-seen architecture, ice XVIII: a cubic lattice with oxygen atoms at every corner and the center of each face. “It’s quite a breakthrough,” Coppari said.

Superionic-Ice-Giant

Superionic ice giant

When Ice Flows

The simulations showed that under extreme pressure and heat water molecules break. With the oxygen atoms locked in a cubic lattice, “the hydrogens now start to jump from one position in the crystal to another, and jump again, and jump again,” Millot said. The jumps between lattice sites are so fast that the ionized hydrogen atoms act as positively charged protons and appear to move like a liquid.

This suggests that superionic ice might conduct electricity, like a metal, with the hydrogens acting as electrons. “Having these loose hydrogen atoms gushing around would also boost the ice’s disorder, or entropy. In turn, that increase in entropy would make this ice much more stable than other kinds of ice crystals, causing its melting point to soar upward,” writes Sokol, and continues:

Neptune

Neptune

Other planets and moons in the solar system likely don’t host the right interior sweet spots of temperature and pressure to allow for superionic ice. But many ice giant-sized exoplanets might, suggesting that the substance could be common inside icy worlds throughout the galaxy.

No real planet contains just water. The ice giants in our solar system also mix in chemical species like methane and ammonia. The extent to which superionic behavior actually occurs in nature is “going to depend on whether these phases still exist when we mix water with other materials,” Stanley said. So far, that isn’t clear, although other researchers have argued superionic ammonia should also exist.

References:

Chaplin, Martin. 2019. “Ice Phases” In: Water Structure and Science. Updated May 16, 2019. Online: http://www1.lsbu.ac.uk/water/ice_phases.html

Munteanu, Nina. 2016. “Water Is…The Meaning of Water.” Pixl Press, Vancouver. 583pp.

Sokol, Joshua. 2019. “Black, Hot Ice May Be Nature’s Most Common Form of Water.” Quanta Magazine. Online: https://www.quantamagazine.org/black-hot-superionic-ice-may-be-natures-most-common-form-of-water-20190508/

 

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.

 

“Water” a Speculative Fiction Anthology by Reality Skimming Press

WaterAnthology-RealitySkimmingPressIn December 2017, “Water”, the first of Reality Skimming Press’s Optimistic Sci-Fi Series was released in Vancouver, BC. I was invited to be one of the editors for the anthology, given my passion for and experience with water.

This is how Reality Skimming Press introduces the series:

Reality Skimming Press strives to see the light in the dark world we live in, so we bring to you the optimistic science fiction anthology series. Water is the first book in the series, and is edited by author and scientist Nina Munteanu. Six authors thought optimistically about what Earth will be like in terms of water in the near future and provide us with stories on that theme. Step into the light and muse with us about the world of water.

Editing “Water” was a remarkable experience, best described in my Foreword to the anthology:

LyndaWilliams

Lynda Williams

This anthology started for me in Summer of 2015, when Lynda Williams (publisher of RSP) and I were sitting on the patio of Sharky’s Restaurant in Ladner, BC, overlooking the mouth of the Fraser River. 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.

Nina-Sharkys

lunch at Sharky’s

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. Reality Skimming Press is the result of that need and I am glad of it.

Megan coverIn the years that followed, Reality Skimming Press published several works, including the “Megan Survival” Anthology for which I wrote a short story, “Fingal’s Cave”. It would be one of several works that I produced on the topic of water.

As a limnologist (freshwater scientist), I am fascinated by water’s anomalous and life-giving properties and how this still little understood substance underlies our lives in so many ways. We—like the planet—are over 70% water. Water dominates the chemical composition of all organisms and is considered by many to be the most important substance in the world. The water cycle drives every process on Earth from the movement of cells to climate change. Water is a curious gestalt of magic and paradox, cutting recursive patterns of creative destruction through the landscape. It changes, yet stays the same, shifting its face with the climate. It wanders the earth like a gypsy, stealing from where it is needed and giving whimsically where it isn’t wanted; aggressive yet yielding. Life-giving yet dangerous. Water is a force of global change, ultimately testing our compassion and wisdom as participants on a grand journey.

When Reality Skimming invited me to be editor of their first anthology in their hard science optimistic series, and that it would be about water, I was delighted and excited.

WATER Anthology-interior-image

Illustration by Digbejoy Gosh for Bruce Meyer’s “The River Tax”

The six short stories captured here flow through exotic landscapes, at once eerie and beautiful. Each story uniquely explores water and our relationship with its profound and magical properties:  melting glaciers in Canada’s north; water’s computing properties and weather control; water as fury and the metaphoric deluge of flood; mining space ice from a nearby comet; water as shapeshifter and echoes of “polywater”. From climate fiction to literary speculative fiction; from the fantastic to the purest of science fiction and a hint of horror—these stories explore individual choices and the triumph of human imagination in the presence of adversity.

I invite you to wade in and experience the surging spirit of humanity toward hopeful shores.

Nina Munteanu, M. Sc., R.P.Bio.
Author of Water Is…
October, 2017
Toronto, Canada

WaterBooks2

My desk with copies of “Water” among my current books to read…

The anthology features the art work of Digbejoy Ghosh (both cover and interior for each story) and stories by:

Holly Schofield
Michelle Goddard
Bruce Meyer
Robert Dawson
A.A. Jankiewicz
Costi Gurgu

You can buy a copy on Amazon.ca or through the publisher.

nina-2014aaaNina Munteanu is an ecologist, limnologist 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.

 

 

 

 

 

Call for Submissions: Water Anthology

Reality Skimming Press is looking for submissions to their first anthology in their hard science optimistic series. This first anthology is a Water Anthology, obviously based on the theme of water. The project coordinator is Ellen Michelle. The water anthology will be edited by scientist and author Nina Munteanu.

Story requirements:

Stories must use real or realistic science based on the theme of water in the near future (50-100 years from 2017). Your story must be considered optimistic—this does not mean that bad things can’t happen in your story, but there has to be an optimistic twist and an optimistic ending (a happy ending or hope for a happy ending). For example, your main character can die at the end as long as their death brings hope for others. Any stories that are not deemed optimistic will not be considered.

How to submit:

Stories can be submitted to realityskimmingpress@outlook.com with Water Submission in the subject. Any emails without this subject heading will be ignored by the system.

Submission requirements:

  • Stories must not exceed 5,000 words
  • Stories must be accompanied by a short cover letter in the body of the submissions email explaining your past publications or other accreditation including any science education or background you may have. *Note that we do often publish first time authors, so having no previous publications is not detrimental to your submission.
  • Submit your story as an attachment to the email in Word document format only (.doc or .docx).
  • Authors must be Canadian, permanent residents of Canada, or otherwise have a Canadian connection. If you are not Canadian by birth please explain your Canadian connection in the cover letter.
  • Authors may submit only one story to the anthology.
  • Previously published stories are accepted as long as you have the rights toocean rainbow republish it.
  • If you have submitted your story for consideration elsewhere, or plan to do so, please state that in your cover letter.
  • Authors will be paid $30 for their stories if accepted into the anthology.
  • Submission deadline is midnight July 22nd (extended for some groups).

See Submission guidelines here.

 

Nina MunteanuNina 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.