Exploring “The Law of Attraction for Writers” Podcast with Suzanne Lieurance & Simon Rose

Today, I’m sitting down with authors and writing coaches Suzanne Lieurance and Simon Rose to talk about their brand-new YouTube series, The Law of Attraction for Writers Podcast, which you can find at: https://www.youtube.com/@LawofAttractionforWritersPodca.

The show blends mindset, creativity, and practical writing advice — a combination that’s resonating with writers who want to manifest success and write with more ease.

Nina: Welcome, both of you!

Suzanne: Thank you! We’re so excited to finally share this project.

Simon: Yes, it’s been in the works for a while, and we’re thrilled to see writers already responding so positively.

Simon Rose and Suzanne Lieurance

Nina: Let’s start with the big question. Why create a Law of Attraction for Writers podcast?

Suzanne: Well, over the years, I’ve coached so many writers who say things like, “I’ll feel successful when I get an agent,” or “I’ll write when I have more time.” But the Law of Attraction teaches us it works the other way around — you become the person who already feels successful, and the opportunities follow. I wanted to create a podcast that helps writers understand how their thoughts, emotions, and energy shape their writing lives.

Simon: Exactly. So much of writing is mental. You can have the best outline and still feel blocked if your energy is off. We wanted to show that aligning your mindset with your goals isn’t mystical — it’s practical. You’re essentially training your brain to focus on what you want instead of what you fear.

Nina: How would you describe the podcast to someone who hasn’t tuned in yet?

Simon: Each episode focuses on one key aspect of the Law of Attraction and how it connects to the writing process. We might explore a concept like visualization, vibration, or inspired action — and then show writers how to apply that directly to their writing routines.

Suzanne: We wanted to make it accessible. It’s not just theory or motivation. We give writers clear steps they can take right away — ways to shift their thinking, attract new ideas, or rekindle their excitement for a project.

Simon: We also share personal stories. Between the two of us, we’ve seen these principles in action — in publishing, in teaching, and even in everyday creative decisions.

Nina: I love that you connect mindset with the craft of writing. Can you say more about how that works?

Suzanne: Sure. A lot of writers separate the two — mindset on one side, writing craft on the other. But they’re intertwined. You might know every writing technique out there, but if you’re doubting yourself or constantly telling yourself you’re behind, you’ll block the creative flow.


Simon: That’s why the Law of Attraction is so powerful for writers. It’s not just about “thinking positive.” It’s about intentionally setting the tone for your writing sessions, deciding what kind of writer you believe yourself to be, and letting that belief guide your actions.

Suzanne: In one episode, we talk about “energetic alignment” — how your emotional state affects the words you put on the page. When you write from frustration, the writing feels heavy. But when you write from joy or curiosity, the story expands.

Nina: You’ve both been writing coaches for years. How has it been working together on this project?

Simon: It’s been wonderful. Suzanne brings a very intuitive approach to writing and mindset, while I tend to look at things through a more analytical lens. Together, we strike a balance between the spiritual and the practical.

Suzanne: Yes! We complement each other well. Simon often grounds the big ideas in real-world examples, and I love exploring how energy and focus shape results. It’s a true partnership — and we both learn from each other in every episode.

Nina: Without giving too much away, what are some of the themes or takeaways that keep coming up in your discussions?

Suzanne: One theme that runs through everything is trust — trusting yourself, your ideas, and the timing of your success. The Law of Attraction reminds us that everything unfolds when you’re ready to receive it.

Simon: Another recurring idea is momentum. Writers often stop when things get tough, but energy builds through consistent action. You don’t have to write for hours every day — just focus on showing up with intention. That small shift can open the door to much bigger results.

Suzanne: We also talk about how to handle resistance. Every writer faces doubt or creative slumps. The podcast offers ways to turn those moments into opportunities instead of roadblocks.

Nina: You’ve chosen YouTube as your main platform. Why that format?

Simon: We wanted to make it easy and engaging. YouTube allows us to connect visually and energetically with our audience. Writers can listen while they work, which adds a more personal connection.

Suzanne: And YouTube’s format fits how writers consume content today. Many of them already use it to learn about craft and publishing. This podcast adds another layer — the inner work behind writing success.

Nina: What’s ahead for the Law of Attraction for Writers Podcast?

Suzanne: We’ll keep releasing new episodes every Tuesday. Each one will build on the idea that your energy, focus, and beliefs create your writing experience.

Simon: We’re also exploring live Q&A sessions, where writers can ask questions and share how they’ve applied the principles we discuss. It’s exciting to see a community forming around these ideas.

Suzanne: Ultimately, we want every writer to realize they’re not powerless. They can create not only their stories but also their success.

Nina: That’s such an inspiring message. Any final thoughts for writers who might be hesitant to explore this side of writing?

Suzanne: Just start listening with an open mind. You don’t have to “believe” in anything right away — just try applying one idea and see what shifts.

Simon: Yes. Writing is already an act of creation — you’re manifesting something that didn’t exist before. This podcast helps you see that same creative power working in every area of your writing life.

Nina: Beautifully said. Thank you both.


Watch: New episodes of The Law of Attraction for Writers Podcast drop every Tuesday on YouTube at https://www.youtube.com/@LawofAttractionforWritersPodca

Follow Suzanne Lieurance and Simon Rose for practical, inspiring ways to align your mindset, energy, and creativity — and manifest the writing life you’ve always imagined.

Nina Munteanu is an award-winning novelist and short story writer of eco-fiction, science fiction and fantasy. She also has three writing guides out: The Fiction Writer; The Journal Writer; and The Ecology of Writing and teaches fiction writing and technical writing at university and online. Check the Publications page on this site for a summary of what she has out there. Nina teaches writing at the University of Toronto and has been coaching fiction and non-fiction authors for over 20 years. You can find Nina’s short podcasts on writing on YouTube. Check out this site for more author advice from how to write a synopsis to finding your muse and the art and science of writing.

Book Review: “The Greenling”—When Nature Uses Biosemiosis To Change the World

The Greenling by David Booram is an exploration of an intriguing ‘Nature evolving’ premise, told through a coming-of-age narrative.

Responding to continued human tampering, a growing sentient Nature calls a young environmental activist to action in a planetary reset. The main character is Noah, ostracized by her peers due to her unique perspective on the world and her activism for Nature. This makes her a candidate for Nature’s planetary reset.

While I felt that the story used over-simplified fantasm and eco-terrorism in a way not to my liking, I found most intriguing Booram’s use of biosemiosis, the notion that all life finds meaning.

Coincidently, I had agreed to read Booram’s eco-fiction novel (without knowing much about it) after a social media conversation we’d had during a time when I was working on my most recent novel, tentatively called (Re)Genesis. My novel relied heavily on the concept of biosemiosis. Its premise of dark karma—when Nature learns to reflect back what we send out—made use of real examples of learning, pattern recognition, anticipation and adaptation in non-human life. (Another coincidence at this same time occurred when another author approached me to read their work on coincidence, which I am currently reading).  

In the 1930s, Jakob von Uexküll coined the term Umwelt (species-specific reality or subjective environment) to define a life process that involved semiotic interactions. He argued that an organism’s behaviour results from activity that attributes meaning to the world around it, rather than merely mechanically reacting to stimuli. Building on this notion, Friedrich S. Rothschild coined the term “biosemiosis” in 1962 to postulate that life has its subjective interpretation of the world around it (its Umwelt), a segment of the world that has significance and meaning based on that life’s biology and needs. Developing biosemiosis further, Thomas Sebeok later contended that all organisms are enveloped in a cloud of messages about themselves and their situation, which they constantly transmit, receive, and interpret. Life itself is a process of signification and meaning-making, from bacteria and plants to mammals and birds. Biosemiosis involves pattern recognition, anticipation, flexibility, goal-directed movement, memory, and learning.

Perhaps most intriguing is how The Greenling touches on humanity’s growing zeitgeist of not just planetary awareness but of sensibility, a sense that we are interlinked with all other life and nonlife, that we are all more than the sum of our parts. And only then—when we make meaning of our Umwelt—can we transcend from our toxic insecurities and bullying ways.

The Greenling is worth reading for how it weaves climate facts into compelling personal story. I also find refreshing that Booram gives full agency to the environment, Nature, and its nonhuman representatives.

I have been writing, reading, and studying eco-fiction for several decades and what I found noteworthy is how agency of the environment, as character, has changed over the years and how Nature’s portrayal has evolved from ‘other’ with little agency to ‘not other’ with much agency. For more on this concept and change, I urge you to read my two essays on this evolution:

The Use of Character-Coupling in Eco-Literature to Give Voice to the Other, Part 1: Introduction

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

David Booram is the cofounder and director of Fall Creek Abbey, an urban retreat center in Indianapolis, where he and his wife Beth lead The School of Spiritual Direction and offer individual and group spiritual direction. He is the founder of Direction 4 Life Work, through which he is a career counselor.

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

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My Books Are Feeding Meta’s AI Brat

On March 20, 2025, in an article in The Atlantic entitled “The Unbelievable Scale of AI’s Pirated-Books Problem”, Alex Reisner disclosed how META pirated millions of books and research papers to train their flagship AI model Llama 3 to be competitive with products like ChatGPT. Reasons for this illegal action is simply time; asking permission and licensing takes too much time and is too expensive.

On the same day, The Atlantic provided a link to LibGen (the pirated-books database that Meta used to train its AI) so authors could search its collection of millions of illegally captured books and scientific papers. I went there and searched my name for my novels, non-fiction books and scientific papers and discovered several of my works in their AI training collection.

Two of my many scientific papers appeared in LibGen under my scientific author name Norina Munteanu. The first scholarly article came from my post grad work at the University of Victoria on the effects of mine tailing effluent on an oligotrophic lake, published in 1984 in Environmental Pollution Series A, Ecological and Biological Volume 33, Issue 1. The second article on the effect of current on settling periphyton came from my M.Sc. ecology research published in 1981 in Hydrobiologia, Volume #78.

Three of my thirteen novels appeared in LibGen under my fiction author name Nina Munteanu. I found it interesting how their bots captured a good range of my works. These included two of my earliest works. Collision with Paradise (2005) is an ecological science fiction adventure and work of erotica; Darwin’s Paradox (2007) is a science fiction medical-eco thriller that features the domination of society by an intelligent AI community. The bots also found my latest novel, A Diary in the Age of Water (2020), a climate thriller and work of eco-fiction that follows four generations of women and their relationship to water.

Each of these works has been highly successful in sales and has received a fair bit of attention and recognition.

When Genevieve Dubois, Zeta Corp’s hot shot starship pilot, accepts a research mission aboard AI ship ZAC to the mysterious planet Eos, she not only collides with her guilty past but with her own ultimate fantasy. On a yearning quest for paradise, Genevieve thinks she’s found it in Eos and its people; only to discover that she has brought the seed of destruction that will destroy this verdant planet.

Recognition: Gaylactic Spectrum Award (nominee)

Collision with Paradise is ideal for readers who enjoy dark, introspective science fiction that explores complex moral dilemmas and psychological depth within a lush mythologically-rich setting.”The Storygraph

A devastating disease. A world on the brink of violent change. And one woman who can save it or destroy it all. Julie Crane must confront the will of the ambitious virus lurking inside her to fulfill her final destiny as Darwin’s Paradox, the key to the evolution of an entire civilization. Darwin’s Paradox is a novel about a woman s fierce love and her courageous journey toward forgiveness, trust, and letting go to the tide of her heart.

Recognition: Readers Choice Award (Midwest Book Review); Readers Choice (Delta Optimist); Aurora Award (nominee)

Darwin’s Paradox is a thrill ride that makes you think and tugs the heart.”Robert J. Sawyer, Hugo and Nebula Award winning author of Rollback

This gritty memoir describes a near-future Toronto in the grips of severe water scarcity during a time when China owns the USA and the USA owns Canada. A Diary in the Age of Water follows the climate-induced journey of Earth and humanity through four generations of women, each with a unique relationship to water. The diary spans a twenty-year period in the mid-twenty-first century of 33-year-old Lynna, a single mother and limnologist of international water utility CanadaCorp, and who witnesses disturbing events that she doesn’t realize will soon lead to humanity’s demise. 

Recognition: 2020 Foreword Indies Book of the Year Award (Bronze); 2020 Titan Literary Book Award (Silver); 2021 International Book Award (Finalist).

“If you believe Canada’s water will remain free forever (or that it’s truly free now) Munteanu asks you to think again. Readers have called ‘A Diary in the Age of Water’ “terrifying,” “engrossing,” and “literary.” We call it wisdom.”—LIISBETH

The April 3, 2025 article by Ella Creamer of The Guardian noted that a US court filing alleged that Meta CEO Mark Zuckerberg approved the company’s use of the notorious “shadow library”, LibGen, which contains more than 7.5 million books and 81 million research papers. According to Toby Walsh, leading AI researcher at the University of New South Wales: “As far as we know, there was an explicit instruction from Mark Zuckerberg to ignore copyright.”

This begs the question of the role and power of copyright law.

“Copyright law is not complicated at all,” said Richard Osman, author of The Thursday Murder Club series. “If you want to use an author’s work you need to ask for permission. If you use it without permission you’re breaking the law. It’s so simple.”

If it’s so simple then why is Meta and others getting away with it? For its defence, the tech giant is claiming “fair use”, relying on this term permitting the limited use of copyrighted material without the owner’s permission (my italics).

It would seem that just as Trump trumped the presidency, Zuckerberg and his AI minion bots have trumped the copyright law—by flagrantly violating it and getting away with it—so far (on both counts).

The actions of Meta were characterized by Society of Authors chair Vanessa Fox O’Louglin as “illegal, shocking, and utterly devastating for writers.” O’Louglin added that “a book can take a year or longer to write. Meta has stolen books so that their AI can reproduce creative content, potentially putting these same authors out of business.”

Three of my novels pirated for AI training

Reflecting many authors’ outrage throughout the world, Novelist AJ West remarked, “To have my beautiful books ripped off like this without my permission and without a penny of compensation then fed to the AI monster feels like I’ve been mugged.” Australian Author Sophie Cunningham said, “The average writer earns about $18,000 a year on their writing. It’s one thing to be underpaid. It’s another thing to find that [their] work is being used by a company that you don’t trust.” Bestselling author Hannah Kent said, “If feels a little like my body of work has been plundered.” She adds that this, “opens the door to others also feeling like this is an acceptable way to treat intellectual copyright and creatives who already…are expected to [contribute] so much for free or without due recompense.” Both Kent and Cunningham exhort governments to weigh in with more powerful regulation. And this is precisely what may occur. Nicola Heath of ABC.net.au writes, “the outcomes of the various AI copyright infringement cases currently underway in the US will shape how AI is trained in the future.”

According to The March 20, 2025 Authors Guild article “Meta’s Massive AI Training Book Heist: What Authors Need to Know,” legal action is underway against Meta, OpenAI, Microsoft, Anthopic, and other AI companies for using pirated books. The Authors Guild is a plaintiff in the class action lawsuit against OpenAI, along with John Grisham, Jodi Picoult, David Baldacci, George R.R. Martin, and 13 other authors, but the claims are made on behalf of all US authors whose works have been ingested into GPT. 

The Authors Guild suggests five things authors can do to defend their rights:

  1. Send a formal notice: If your books are in the LibGen dataset, send a letter to Meta and other AI companies stating they do not have the right to use your books.
  2. Join the Authors Guild: You should join the Guild and support our joint advocacy to ensure that the writing profession remains alive and vibrant in the age of AI. We give authors a voice, and there is power in numbers. We can also help you ensure that your contracts protect you against unwanted AI use of your work. 
  3. Protect your works: Add a “NO AI TRAINING” notice on the copyright page of your works. For online work, you can update your website’s robots.txt file to block AI bots.
  4. Get Human Authored certification: Distinguish your work in an increasingly AI-saturated market with the Authors Guild’s certification program. This visible mark verifies your book was created by a human, not generated by AI.
  5. Stay informed. The Authors Guild suggest signing up for the free Guild biweekly newsletter to keep updated on lawsuits and legislation that could impact you and your rights. The legal landscape is changing rapidly, and they are keeping close watch. 

How do I feel about all this? As a female Canadian author of climate fiction? As a thinking, feeling human being living in The Age of Water? Well, to tell the truth, it kinda makes me want a donut*…

 *as delivered by James Holden in Season 3, Episode 7 of “The Expanse”

Aspens in fall, ON (photo and rendition by Nina Munteanu)

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

On Writing: The Blank Page

AI concept art by genaiTechvifySoftware.com

I teach scholarly writing at the University of Toronto through several writing centres; I’m helping students with their assignments in engineering, the health sciences and humanities. All are generating scholarly papers on various topics with various purposes; anything from a critical assessment, literature review, position paper, or reflection essay to a lessons learned document, research proposal, or thesis chapter. Everyone is using some kind of AI when generating, writing and editing their works. And there are plenty of AI tools to choose from. Some of the most common AI tools used by my students include: Grammarly for grammar; Perplexity as a research tool, text summarizer and conversational AI search engine; Paperpal for editing, Google Scholar as a search engine, ChatGPT to summarize works, brainstorm ideas, provide quiz questions, or even generate human-like text in a first draft.

All these assignments are purpose-built and students must successfully address their assignment requirements to succeed. In some ways, the idea, topic and handling of the topic are assigned; the student need only carefully and clearly address it.

But, when creating something new, like a piece of fiction or even a non-fiction article, professional writers are essentially walking into a new world, not restricted by “assignment guidelines or requirements”; they truly must face the blank page.

The blank pages of a notebook (photo by Nina Munteanu)

There’s no precedence for creating a piece of fiction. Yes, certainly inspiration is involved, but the work of something unique must start with a blank page. Professional writers often dread facing the blank page. It even has a name: blank page syndrome, or writer’s block, the feeling of being overwhelmed or even paralyzed by the prospect of starting. Alex Elkjær Vasegaard tells us that “it may come from the fear of not being good enough, of not knowing enough, or of the vastness of the potential ahead.”

I recently read a post on LinkedIn by writing colleague Erik Buchanan, which resonated with me. I asked his permission to quote it here and he gladly gave it:

Just got a recommended post from a marketing person claiming that using AI allows you to get past the hardest part of writing: “the blank page.”

I blocked them, and I’m putting what I was going to reply to them here instead, because they are not a person who will be open to this rant:

If you cannot get past the blank page, you are not a writer.

If you use AI to get past the blank page, you’re still not a writer, and now you’re a thief.

You’re using other writers’ words, fed into an information aggregator and splatted out like a drunk’s meal vomited onto the sidewalk. And you’re scooping it up and claiming it’s fresh food.

You want to write? Write something.

Speaking as one who has written 18 novels (more than half ghostwritten for money), 150 articles, short stories, instruction manuals, sales copy, website copy, commercial scripts, short films and now a feature film (currently being re-written) it’s not that hard.

Using AI means you’re too lazy to learn the craft.

Don’t do it.

A blank page is more than a simple page that is empty. It offers something new, without precedence to write, draw or create. Whether it’s a physical sheet of paper in a notebook or a white space in a digital document, the blank page represents a fresh beginning and wonderful potential for unique creation.

Erik’s point is so Germaine to the creative writing process. The blank page is an open door to possibility; it is a writer’s first step in creating something uniquely their own. Plot, character, setting and language—such as technique, style, words and phrases—certainly make a novel wonderful to read; but it is the unique idea, the spark, the premise and theme that carry that novel into greatness and keep it memorable.

Coming up with first words on a blank page (photo by Nina Munteanu)

Poet Alberto Blanco challenges our notion of the blank page being blank: From the tree it was made from, the rain and sun that allowed the tree to grow, and the people that created it, it soon becomes clear that a blank page contains the whole cosmos.

In “The Blank Page: A Meditation on the Creative Process and Life’s Journey” Alex ElkjærVasegaard describes the blank page as “an expanse of white, unsullied by ink or pixels. It’s the void that calls for creation. It’s the challenge that every artist, writer, and thinker faces. But isn’t that just a beautiful metaphor for life itself?”

Erik, I too would have blocked that marketer. I doubt they are a writer…

“Who then … tells a finer tale than any of us? Silence does. And where does one read a deeper tale than upon the most perfectly printed page of the most precious book? Upon the blank page. When a royal and gallant pen, in the moment of its highest inspiration, has written down its tale with the rarest ink of all — where, then, may one read a still deeper, sweeter, merrier and more cruel tale than that? Upon the blank page.”—Karen Blixen, Last Tales

Maple beech forest in early spring, ON (photo and rendition by Nina Munteanu)

Nina Munteanu is a Canadian ecologist / limnologist and novelist. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. 

Visit  www.ninamunteanu.ca for the latest on her books. Nina’s bilingual “La natura dell’acqua / The Way of Water” was published by Mincione Edizioni in Rome. Her non-fiction book “Water Is…” by Pixl Press (Vancouver) was selected by Margaret Atwood in the New York Times ‘Year in Reading’ and was chosen as the 2017 Summer Read by Water Canada. Her novel “A Diary in the Age of Water” was released by Inanna Publications (Toronto) in June 2020.

The AI Wave: To AI or not to AI … That is the Question…

I recently ran across a list posted on social media of the 20 most popular AI tools for productivity in writing. I only knew two of them. This heightened my anxiety about what I know and am prepared for in the use of genAI, particularly in academic settings, where I teach writing at university. And it got me thinking why I was so anxious…

I shared the list with my colleagues at the university writing centre and one instructor who was actively following AI tools admitted that they knew only a few of the listed tools as well. They further shared that they were feeling increasingly apprehensive about genAI’s impact on higher education. “It’s hard not to feel overwhelmed,” they ended.

(Photo: Nina writing her novel at a cafe)

This was my exact sentiment: a kind of apprehensive excitement. An understanding that all communicators stand at the precipice of a major paradigm shift in tool use. The ramifications this will have on all aspects of effective and efficient communication will span from redefining plagiarism to reinventing creativity. As with all powerful tools—aside from the obvious threat of misuse—there is always something lost with the gain and I wonder what we are losing with all this. I have some ideas, and they do bother me from time to time.

Applications of Generative AI (image by Neebel Technologies)

I do think it important for me as a communicator and writing instructor to understand the trade offs and to work with them.

When the world adopted the portable calculator, rote knowledge of basic math suffered. I know; I tested it during a lab exam when I was teaching college biology many years back. I forbid the use of calculators in the test and many students, who had lost the ability to do long division or multiplication by hand, lost marks. For some reason, I’m still not sure of, it was important for me to insist on students doing math longhand (a basic skill fast becoming obsolete like cursive writing) and punish those who had lost the art. Perhaps I was drawing on Isaac Asimov’s possibly prescient 1957 short story satire The Feeling of Power, which explored the limitations of a future world that lost its basic skills to machines. The corollary, I suppose, is that more complex and conceptual math gained some ground through this handy and efficient tool. Machines have their advantages, certainly. And generative AI is just one sophisticated aspect of machine use.

Consequences to Creative Writing

In my world of professional fiction authors, there is a palpable fear of being replaced by AI as story creators: a version of the ultimate science fiction horror plot of being taken over by the machine world (I’ve even exploited that in my SF thrillers Angel of Chaos and Darwin’s Paradox).

Given our unique powers of imagination, I don’t think that will happen (very soon, if ever successfully). Though, as we dummy-down and simplify complex stories for fast-paced multiplex audiences addicted to fast-paced bite-sized and easy to digest entertainment, AI-generated narratives could get by. How is all this affecting the publishing industry now? I recently learned that one of the top five online science fiction magazines, Metastellar, accepts AI-assisted stories with the proviso that “they better be good.” And Metastellar provides some convincing reasons. This has become a hot topic among my fellow professional writers at SF Canada.  One colleague informed me that a “new publisher Spines plans to disrupt industry by publishing 8000 AI books in 2025 alone.” On checking the news release, I discovered that Spines is, in fact, a tech firm trying to make its mark on publishing, primarily through the use of AI. The company offers the use of AI to proofread, produce, publish, and distribute books. They are, in fact, a vanity publishing platform (essentially a service for self-publishing), charging up to $5000 a book and often taking just three weeks to go from manuscript to a published title. The quality of what they will produce is unclear—and questionable.

All to serve as metaphor for what I and my colleagues at university are striving to achieve with students in their academic writing: excellence in communication, particularly in conveying complex scenarios that require creative solutions where clear, concise, and convincing writing is requisite.

I still find myself reluctant to use AI in my writing and communication, though I’ve at times slid into using AI for research and initial summaries to save time. I do this rarely because I absolutely enjoy doing research. I enjoy challenging my brain to summarize key points and write a good line. I enjoy the thrill of unanticipated discoveries, which always happen on these forays. I also recognize that many people do not share my enthusiasm for these brain exercises.

(Photo: Nina writing in another cafe)

I think that AI alone will not replace human mind for unique creativity. I didn’t say “can not.” It could; but it won’t. This is because even as genAI becomes infused in many aspects of life pursuit, there will remain those like that rare mathematician capable of doing math by hand in The Feeling of Power, valued not just because they are rare, but because in that rarity, they fulfill a critical role. When the machines stalled in their ability to move society forward in The Feeling of Power and all seemed lost, this archaic mathematician presented new innovation with basic math. I’m not suggesting that the technology will all break down, plunging the world into darkness (though this remains a possibility and is still a great plot for science fiction); but I submit that diversity rules over monopoly when it comes to survival.   

Five Mass Extinctions

This may seem a rather dark projection of the future, but consider that over the millennia, after five mass extinctions and with the sixth mass extinction underway, diversity has always saved the world. Within that necessary diversity, it is the nurtured rarities, the outliers, the misfits and nonconformists that survived the destruction of the previous world. Each time, diversity made that possible. As though engrained in Nature’s world building.

Mass Extinctions (image by National Geographic)

Ecologists call it ecological succession, others use the term “creative-destruction” to describe the recursive pattern of living and non-living things of the planet. Both describe how the oligarchs of an established climax ecosystem fail due to change or disturbance and are replaced by a previous rare misfit or immigrant better suited to the new environment. 

Primary and secondary succession in two different ecosystems

I think AI is part of our succession. Our use of AI in all its forms will represent a diversity of reaction and action that represent our own diversity and potential to survive in a changing world. All to say: relax and embrace the outliers.

Writing in nature (photo by Nina Munteanu)

As William Gibson so famously said in 1993: The Future is already here; it’s just not evenly distributed. And maybe that’s a good thing…

So…

…To AI, or not to AI, that is the question:
Whether ’tis nobler in the mind to suffer
The slings and arrows of terrible writing,
Or to take arms against a sea of scribbles
And by opposing end them. To think—to write,
No more; and by writing to say we end
The heart-ache and the thousand natural shocks
That tech is heir to: ’tis a consummation
Devoutly to be wish’d. To think, to write;
To write, perchance to create—ay, there’s the rub:
For in that creation of unique thoughts what others may come,
When we have shuffled off this genAI…

Writing in Nature (photo by Nina Munteanu)

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

Authors Read from “Through the Portal: Tales from a Hopeful Dystopia”

I recently participated in author readings from the eco-fiction anthology “Through the Portal: Tales from a Hopeful Dystopia.” Co-editor Lynn Hutchinson Lee and I opened the session with some introductory remarks, followed by readings by four of the anthology writers: Annaliese Schultz, Jade Wallace, Isabella Mori, and Matt Freeman.

Co-editors Lynn Hutchinson Lee and Nina Munteanu introduce the anthology at the reading; authors and moderator pictured above

The readings generated a lot of discussion about the nature and role of eco-fiction and stories in general on how we view the world and how that, in turn, influences the choices we make in life. Below, I include a short story excerpt and audience reaction for each author who read.

Annaliese Schultz read from her story Water & Oil. “Bursting from months, maybe years, of inertia born of dismay (engendered by the unending disasters of the world), Zip is instantly galvanized and greater than himself and gone.” One audience member shared that her story “sounded horrifyingly too possible.”

Jade Wallace read from her story Pluck. “It was only after I started working at the florist a few months ago that I began to think of plants as things that move. I learned that algae may swim towards the light; sundew can catch insects in their stalks; the leaves of touch-me-nots will slouch when they feel rain.”  A member of the audience shared that “with what we now know about the way trees/plants communicate with each other, it was a neat story of crossing over to try to tell humans something.”

Jade Wallace reads from her story “Pluck”

Isabella Mori read from her story Shift. “Red Nelly, that’s what they called my grandmother; always looked a little dishevelled. So did her living room. Four book shelves were squeezed into the small room, sagging with dark tomes, oversized coffee-table books, Greenpeace brochures, and video cassettes that even her questionable looking TV couldn’t play anymore.” Someone in the audience mentioned that the author had woven a very human story. “Stories are sometimes better teachers than all other forms available to us. I felt moments of warmness and reflection.” Another audience member added, “The wisdom of animals and plants—there’s hope for the planet. I’m ordering this book from my local independent as soon as I close his meeting!”

Matt Freeman read from his story Birdseed: “Near the end I began to devote the bulk of my time to what I believed to be a gregarious individual of the species Corvus brachyrhynchos—the American Crow. By then a chemical scythe had begun to carve up the clouds hanging over the lands of ‘Vancouver’ in a psychedelic frenzy, and the shocked blue skyline often bled in shades of lime.”  One audience member shared, “I loved he way ‘birdish’ words kept appearing: perch, cage. This may be Matt’s first published story, but I’m sure it won’t be the last.” Another audience member shared, “I loved the connection with the wisdom and personification of your crow.”

Nina Munteanu commenting on one of the readings

The readings generated a lot of discussion about the nature and role of eco-fiction and stories in general on how we view the world and how that, in turn, influences the choices we make in life.

Audience members shared that they found the readings inspiring. One member shared, “I find stories and poems have a more transcendent or at least deeper connection when read aloud. I wasn’t sure what to expect. So glad to be a part of this reading. The book sounds amazing.” Another member shared, “Keep hope alive!”

For more about how this anthology came about go to my previous post on Through the Portal.

Hopeful dystopias are so much more than an apparent oxymoron: they are in some fundamental way the spearhead of the future – and ironically often a celebration of human spirit by shining a light through the darkness of disaster. In Through the Portal: Tales from a Hopeful Dystopia, award-winning authors of speculative fiction Lynn Hutchinson Lee and Nina Munteanu present a collection that explores strange new terrains and startling social constructs, quiet morphing landscapes, dark and terrifying warnings, lush newly-told folk and fairy tales.–Exile Editions

  “A stunning collection of short stories and poetry that address our most existential concerns.”

Dragonfly.eco

“Will ingenuity, love, and respect for the earth help us work through whatever changes might lie ahead? Through the Portal offers hope that these qualities, if not enough in and of themselves, will help us find our way.”

The Seaboard Review
Farmer’s field at sunset, winter in Ontario (photo and rendition by Nina Munteanu)

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

Confessions of a Teenage Eco-Warrior

When I was little, I wanted to be a storyteller, a cartoonist specifically. I was reading graphic novels before I could read. That didn’t stop me from understanding what was going on. Being a virtual learner and an artist, I understood context: expressions, body language…

Nina, age three, pretending to read (photo by Martha Munteanu)

I wrote and drew wild adventure thriller detective stories and stories about exploring other planets. While my first love was telling stories, I was called by the needs of the environment. This percolated through me as I grew up and wouldn’t let go. When I could read and write, I still read graphic novels; I wrote and illustrated short stories about the environment, dystopian tales that focussed on how we were destroying our planet.

At school, I loitered in the hallways, pasting subversive posters on the walls. They were a call to action: Restrain … Reuse … Repurpose … Recycle … Remain true to the environment. I wrote in the school paper. I quoted global statistics, mentioned global warming (yes, people knew about it back in the ‘60s and ‘70s), and submitted cheesy emotional drawings of pollution and toxic waste.

I was a teenage eco-warrior.

By the time I was ready to go to university (I’d been accepted early into the fine arts program at Concordia University in Montreal), I switched my major on registration day. Like a horse bolting from a fire, I charged out of the arts and into the sciences. I’d heard environment’s call for help and had notions of becoming an environmental lawyer. I kept a few arts courses as electives but focused on a biology degree in the environmental sciences. I understood that the tools I needed to wield as an eco-warrior in law were rooted in science.

A twenty-some old Nina exploring the forest

I learned something about ecology, botany, animal, plant, and cell physiology, genetics and biochemistry, and limnology (the study of water systems). The sciences fascinated me and I became entranced in the study of how the natural world worked. I was particularly attracted by lichens, plant-like organisms called cryptogams that grow like miniature forests on substrates—trees, fence posts, rock, cement. My attraction was partly because these often overlooked organisms were actually more of a symbiotic community or mini-ecosystem: an intriguing community of fungi, algae, cyanobacteria, bacteria and yeast growing together. I felt that on some level, lichen had much to teach us on lifestyle and approach to living on this planet. They’d been around for millennia, a lot longer than we’ve been.

Having long abandoned law (I convinced myself that I wasn’t cut out for it; maybe I was but that’s another universe), I decided to pursue lichen ecology for my masters degree. But fate had another path in mind for me. The botany professor who I wished to study under was retiring and no one was taking her place. She referred me to the limnology professor and he got me interested in another microscopic community: periphyton (the algae and associated organisms that colonize plants, rock and cement in water).

I published some papers, moved out west and eventually got married and raised a beautiful son. My limnological expertise led me to a position at the local university and as a scientist with several environmental consulting firms, where I consulted with clients, did field research, wrote reports, and published and presented papers at conferences.

Nina and son Kevin explore nature (photo by Herb Klassen)

I’d come somewhat full circle to be an eco-warrior, pursuing environmental problems (and corporate mischief) through biology rather than law. I designed and conducted environmental impact assessments and recommended mitigation, restoration, and remediation procedures to various clients from lakefront communities and city planners to mining companies dealing with leaky tailings ponds and pulp mills discharging effluent into the ocean.

Various reports, scientific papers and articles I’ve written or been interviewed for

It worked for me. I consulted for twenty-some years. It was for the most part both satisfying and encouraging. I felt as though I was making a difference: mostly through educating my clients. But that became less and less the case as the consulting firms I worked for, and the corporations they worked for, seemed to have less and less integrity. They also seemed to care less about the environment and more about profit.

So, just as I’d done on the day of registration at university, I bolted like a horse in a fire and quit my job as a consultant. I never returned to consulting.

Nina photographing pollution of a small creek entering a drinking water source (photo by Matthew Barker, Peterborough Examiner)
My article in the Niverville Citizen on understanding watersheds

My sights went back to storytelling, journalism, and reporting/interviews. Mostly eco-fiction. Creating narratives that would hopefully move people, nudge them to act for the environment. Change their worldview somewhat into eco-friendly territory. Make them care. I’m still an eco-warrior, but my pen and my storytelling is my tool.

The word is a powerful tool. And the stories that carry them are vehicles of change.

Nina Munteanu wandering the Emily Tract forest, ON (photo by Merridy Cox)

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

My Eco-Journey with DuPont…                           

In his 2006 book The Seven Basic Plots: Why We Write Stories, Christopher Booker tells us that there are seven types of plots in story. One is entitled “Overcoming the Monster,” an underdog story where the hero sets out to destroy an evil to restore safety to the land. It is a story I admire and never tire of. The evil force is typically much larger than the hero, who must find a way, often through great courage, strength, inventive cunning—and help from her community—to defeat the evil force. This is the story of David and Goliath, of Beowulf and Grendel, of Luke Skywalker and Darth Vader in Star Wars, of Jake Sully and Miles Quaritchs in Avatar—notice, all men who, for the most part, do their hero-ing alone. I may get to that later (in another post)…

The “Overcoming the Monster” plot, whether told literally or through metaphor, reflects an imbalance in the world—usually of power—that the hero must help right.

Enter the “Monster” DuPont…

DuPont Washington Works plant in Parkersburg, West Virginia

The true story of DuPont’s decades-long evil maleficence reflects the great power imbalance of many large corporations and the evil they enact through willful deception and mischief to increase profit, their god.

This brings me to my heroic journey. For in some terrible way, the story of DuPont is also my story. One of power imbalance, of deception and ignorance. Their deception; my ignorance:

In 1954, the year I was born, during the ramp up for the Teflon rollout at DuPont’s Washington Works plant in Parkersburg, toxicologist R.A. Dickison noted possible toxicity of the surfactant C8 (PFOA or Perfluorooctanoic Acid) used to make Teflon. DuPont ignored the warning and proceeded to roll it out for mass use.

1950s DuPont ad for the Teflon “Happy Pan”

In 1961, while I was contending with recess bullies in grade two, DuPont rolled out their Teflon-coated “Happy Pan” with the full knowledge that C8 was a toxic endocrine disruptor and caused cancer. DuPont’s chief toxicologist Dorothy Hood cautioned executives in a memo that the substance was toxic and should be “handled with extreme care.” She explained that a new study had found enlarged livers in rats and rabbits exposed to C8, confirming that the chemical was toxic. It didn’t stop the roll out.

In 1962, while I was exploring my artistic talents at school, DuPont scientists conducted tests on humans, asking a group of volunteers to smoke cigarettes laced with C8. Nine out of ten people in the highest-dosed group were noticeably ill for an average of nine hours with flu-like symptoms that included chills, backache, fever, and coughing. Further experiments by DuPont linked C8 exposure to the enlargement of rats’ testes, adrenal glands, and kidneys.

In 1964, I was ten years old and struggling with my Grade 5 teacher who was trying to curb my unique self-expression. I was already aware of environmental imbalance and destruction in the world. My pet peeve was littering because it demonstrated great disrespect for others and the environment. I told environmental stories. That year DuPont had already begun its great deception; having confirmed the toxicity of C8, they simply watched (and recorded) as this cancer-causing endocrine disruptor injured, maimed and killed their own workers. The company did nothing to prevent it and they told no one.

In 1965, I was in the process of figuring out my heroic self and my unique gift to the world in Grade seven: was it in fine arts and advertising? Writing and storytelling? Environmentalism and law? Internal DuPont memos revealed that preliminary studies showed even low doses of a related surfactant to Teflon could increase the size of rats’ livers, a classic response to poison.

In the mid- to late-60s, I became an environmental activist, putting up posters and writing in the school paper. I wrote letters to industry and politicians, trying to incite interest in being good corporate citizens and promoting global environmental action. I remember a well-meaning teacher chiding me for my extravagant worldview. “Stick to little things and your community—like recycling,” he suggested patronizingly. I remember the shock of realizing that not everyone felt the planet like I did. Perhaps it was a teenage-thing, or a girl-thing, or a nina-thing. I prayed it wasn’t just a nina-thing

I started writing stories in high school. Mostly eco-fiction, though I didn’t know that’s what it was at the time. There was no genre called eco-fiction back then. It all went under the umbrella of scifi.

In 1969, at fifteen, I wrote my first dystopia, Caged in World.  The eco-novel was about a subway train driver and a data analyst caught in the trap of a huge lie. The story later morphed into Escape from Utopia. Several drafts and years later the novel became the eco-medical thriller Angel of Chaos, published in 2010. The story is set in 2095 as humanity struggles with Darwin’s Disease—a mysterious neurological environmental pandemic assaulting Icaria 5, an enclosed city within the slowly recovering toxic wasteland of North America. The city is run by deep ecologists who call themselves Gaians, and consider themselves guardians of the planet. The Gaians’ secret is that they are keeping humanity “inside” not to protect humanity from a toxic wasteland but to protect the environment from a toxic humanity.

Lawyer Robert Bilott (Mark Ruffalo) investigates leachate-infected cows from nearby DuPont landfill (photo from film “Dark Waters”)

In the early 1970s, I entered university and contemplated becoming an environmental lawyer; I wrote short stories, mostly eco-fiction, and joined marches protesting environmental destruction by large corporations.  DuPont confirmed that C8 not only persisted in the environment; it bioaccumulated in animals. In 1979, when I graduated with a Master of Science degree in limnology/ecology, DuPont circulated an internal memo in which humans exposed to C8 were referred to as “receptors,” describing how scientists found “significantly higher incidence of allergic, endocrine and metabolic disorders” as well as “excess risk of developing liver disease.”  DuPont kept this knowledge to themselves and withheld it from EPA.  

In the late 1970s early ‘80s, while I was addressing local environmental issues as a practicing limnological consultant, DuPont was dumping 7,100 tons of PFOA-laced sludge into unlined ‘‘digestion ponds’’: open, unlined pits on the Washington Works property, from which the chemical could seep straight into the ground. PFOA entered the local water table, which supplied drinking water to the communities of Parkersburg, Vienna, Little Hocking and Lubeck — more than 100,000 people.

Effects of PFOA (birth defect in Bucky Bailey whose mother was on the Teflon line without protection during her first trimester; blackening teeth from the excessive fluoride, from scene in “Dark Waters”)

In 1981, when I got my first job as a limnologist and environmental consultant in Vancouver, DuPont confirmed that C8 caused birth defects in its own workers—and did not warn its workers. A DuPont pathologist confirmed that the observed fetal eye defects were due to C8. With that confirmation the pregnancy study was quietly abandoned and a decision made not to inform EPA. Less than a year later DuPont created false data for EPA then moved women of childbearing age back into areas with C8 exposure. Many in the company coined the term “Teflon flu” to describe the ill-effects of working close to the compound. By 1982, DuPont had confirmed the high toxicity of C8/PFOA in humans.

In 1984, a year after I formed my own consulting company Limnology Services in Vancouver, DuPont staffers secretly tested their community’s drinking water and found it to contain alarming levels of C8. Deciding that any cleanup was likely to cost too much and tarnish their reputation, DuPont chose to do nothing. In fact, they scaled up their use of C8 in Teflon products and bought land to dump their toxic sludge in unlined landfills. Deaths in DuPont workers from leukemia and kidney cancer climbed.

In 1989, at 35 years old, and still blissfully unaware of DuPont’s nefarious activities, I continued consulting for my own company Limnology Services, addressing mostly local environment issues with communities and local governments. By that year, DuPont employees found an elevated number of leukemia deaths at the West Virginia plant, followed by an inordinately high number of kidney cancers among male workers. Earl Tennant, whose farm was close to the DuPont landfill at Dry Run creek, sent videos of foamy water and diseased cows to the West Virginia Department of Environmental Protection; state regulators documented “numerous deficiencies in the landfill operation and erosion gullies that funnelled waste into Dry Run creek; DuPont made a deal with the department: the company paid a $250,000 fine and the department took no further action against the landfill. (The official who negotiated the deal later became a DuPont consultant.)

Throughout the 90s, I started teaching college biology and university environmental education courses in Vancouver. The magazine Shared Vision Magazine published my first article “Environmental Citizenship” in 1995. Meantime, DuPont’s Washington Works plant pumped hundreds of thousands of pounds of PFOA sludge, powder and vapor through stacks into the atmosphere and outfall pipes into the Ohio River.

In 1996, I was consulting for local industry and municipalities. By then, C8 was in the drinking water of Parkersburg and other communities. Despite what they knew of C8’s toxicity, DuPont kept it a secret (no one else was testing for PFOA because it was unregulated).

Farmer Tennant and lawyer Rob Billot encounter a leachate-infected mad cow in the 2019 film “Dark Waters”

In 1999, still serving as environmental consultant to mining and pulp mill companies, I still knew nothing about DuPont’s duplicitous environmental atrocities. 3M—troubled by its studies on C8 with monkeys—notified EPA and phased out PFOS and PFOA; DuPont started producing its own PFOA. On behalf of Earl Tennant whose cattle were dying adjacent to DuPont’s landfill site, lawyer Rob Bilott filed a small suit against DuPont to gain legal discovery and starting the decade-long process of finally unravelling the buried truth of their insidious criminality–over thirty years after DuPont knew and did nothing.

In 2003, I continued consulting as an environmental scientist in ignorance of DuPont’s misdealings, though by now much had come out in the press. By that year, DuPont had knowingly dispersed almost 2.5 million pounds of harmful C8 from its Washington Works plant into the air and water of the mid-Ohio River Valley area.

DuPont’s Washington Works plant in Parkersburg, West Virginia

In 2004, DuPont agreed to settle the class-action suit filed by lawyer Rob Bilott. Under the terms of the settlement, the company was not obliged to pull C8 from the market. The best the EPA could negotiate was a voluntary phase-out by 2015. That same year There It Is reported on how DuPont denied poisoning consumers with Teflon products. The dangers and spread of PFOA and other forever chemicals appeared more and more in the scientific literature (see the reference list below, which is by no means exhaustive).

In 2007, Darwin’s Paradox, my eco-fiction novel about an environmental pandemic, was published by Dragon Moon Press in Calgary, Alberta. Four years earlier, the law had finally caught up to DuPont, but not before they had dispersed 2.5 million pounds of harmful C8 from their Washington Works plant into the air and water of the mid-Ohio River Valley area. It would be another twelve years before DuPont would stop making C8 (in 2015) and another four years after that when C8 would be banned from use globally (2019). PFOA is still unregulated by EPA; the best they can do is issue a non-enforceable health advisory set at 70 parts per trillion.

In 2012, shortly after I moved to Nova Scotia to write for a living (having quit environmental consulting due to disillusionment with integrity of companies I worked for), the C8 Science Panel, tasked to study the possible health effects of PFOA in a highly exposed population in the mid-Ohio Valley, determined a probable link between C8 exposure and six disease categories: kidney cancer, testicular cancer, ulcerative colitis, thyroid disease, preeclampsia, and high cholesterol.  

In 2015, two years after I began teaching writing at the University of Toronto, DuPont began a series of complex transactions that transferred its responsibility for environmental obligations and liabilities associated with PFAS (C8) onto other entities such as Chemours, Corteva, and NewDupont. A year later New York Times Magazine ran a story “The Lawyer Who Became DuPont’s Worst Nightmare” and Sharon Lerner of The Intercept ran an in-depth series on DuPont’s duplicitous criminality: “The Teflon Toxin: DuPont and the Chemistry of Deception.”

In 2017, DuPont and its spinoff company Chemours agreed to settle a lawsuit with roughly 3,500 people living near the Parkersburg plant in both West Virginia and Ohio and many ailing from toxicity-related problems. The company agreed to pay $671 million. That’s one day’s sales in a $27 billion annual profit stream. The Fayetteville Observer reported that this “Discontinued chemical [was] still in well water” after DuPont agreed in 2009 to stop using C8. They noted that the company was facing a class action lawsuit from thousands of people in Ohio and West Virginia for discharging the toxic chemical into the Ohio River since the 1950s.

In 2019—sixty-seven years after DuPont knew PFOA was toxic and did nothing—this forever chemical was finally banned globally under the Stockholm Convention. Unfortunately, by 2019, PFOA was already literally everywhere on the planet in concentrations considered unsafe. Given its high water-solubility, long-range transport potential, and lack of degradation in the environment, PFOA persists in groundwater and is ubiquitously present in oceans and other surface water around the globe. It is found in remote areas of the Arctic and Antarctic (where it was not used or manufactured), no doubt transported there through ocean currents and in the air, bound on particles. NBC News ran a news piece about ‘forever chemicals’ contaminating drinking water near military bases. The Guardian ran a news article: “Companies deny responsibility for toxic ‘forever chemicals.’” In Maine, The Portland Press Herald ran a story: “Households are awash in ‘forever chemicals’.”

In 2020, NBC News revealed that DuPont was still avoiding its responsibility to clean up its C8 mess and compensate those harmed by DuPont’s negligence.

In 2022, I finally learned about DuPont’s decades-long environmental dispersal of toxic PFOA (C8) and their criminal deception throughout this life time. I’d lived through DuPont’s entire six decades of deception in ignorance.

Poster for the 2019 film “Dark Waters” on DuPont’s criminal activities and the lawyer who exposed them

In 2022, three years after its release, I chanced upon “Dark Waters,” the 2019 film starring Mark Ruffalo who plays lawyer Robert Bilott, the man who took DuPont to court in 2002. I found out seven years after DuPont was forced to stop using PFOA and a lifetime after they started their egregious pollution and deception in the 1950s. For over six decades, from when I was born to well into my sixties, DuPont executives chose to:

1. continue using toxic C8 despite its proven toxicity;
2. expose C8 to their own workers without telling them (and even testing their workers without telling them why);
3. dispose of C8 unsafely, releasing the toxin into the communities and the environment;
4. cover up and deny that they did, when they were caught in the act.

No one went to jail.

Below are the faces of the DuPont men and women who sanctioned–encouraged–the willful harm of other life. Despite knowing the danger posed by exposure to PFOAs to people, these DuPont CEOs chose to: 1) continue to poison the environment and people, 2) cover up their actions from authorities, and 3) fight the courts and regulators from doing the right thing when they were caught. No one went to jail. No one was fired. They just paid $$$ and shamefully kept going. These people are criminals. 

DuPont CEOs from 1950-2019 who sanctioned release of PFOA into the environment then covered it up: Crawford H. Greenewalt, Lammot Copeland, Charles B. McCoy, Edward G. Jefferson, Richard E. Heckert, Edgar S. Woolard, John A. Krol, Charles O. Holliday Jr., Ellen Kullman, Edward D. Breen

It’s not over either; DuPont currently uses other PFAS compounds that are unregulated but whose toxicity is being found to be as potent. And, of course, these other ‘forever chemicals’ are finding themselves everywhere. I was ignorant of all this the whole time. Meantime, I am drinking DuPont’s forever chemicals, I am eating DuPont’s forever chemicals, and I am feeling DuPont’s forever chemicals falling on my face in the rain.

My hard lesson: Ignorance breeds complacency and hubris; both will lead to downfall.

To return to the “Overcoming the Monster” story plot and the monster archetype, I’m convinced that it isn’t the Darth Vaders or Miles Quaritchs we must overcome. Yes, they are monsters, but they serve a greater monster. For Vader it was Emperor Palpatine and for Quaritch it was the executives of the RDA Corporation. While Vader and Quaritch may be the face of evil, true evil lurks behind them, orchestrating, in the shadows. It is an evil we must fight internally, because each of us carries that potential evil inside us—in the urge to cheat on our taxes; in looking for the free ride (there are no free rides); in coveting what others have when what we have is enough; in embracing self-deception through unsubstantiated narratives and confabulation; and in choosing to remain ignorant to suit a short-sighted and self-serving agenda. I’m guilty too.

I hope some aspects of the hero that live in me, as with everyone, are helping to overcome the monster by writing about it in articles I share here and elsewhere and by presenting a different narrative—one of resistance and hope—through my fiction.

A recent example is the December 31, 2024 release of Through the Portal: Tales from a Hopeful Dystopia, published by Exile Editions and edited by Lynn Hutchinson Lee and me. The anthology features over thirty eco-fiction short stories, flash fiction, and poetry that celebrate the spirit of humanity in a changing world.

In a post on The Meaning of Water, I list which CEO was on watch and responsible for each criminal atrocity enacted. The post also goes into more detail on the six decade history of DuPont’s criminal atrocities and great deception. For more detail on each decade of atrocity and deception, check out my posts by decade: 1950s, 1960s, 1970s, 1980s, 1990s, and 2000s. What follows into the present day is perhaps even more atrocious, given that all is supposedly out in the open. This predatory company continues to bribe officials, lie and deny, threaten the weak, and so much more.

p.s. To understand the nature of industrial duplicity of large corporations such as DuPont, I highly recommend reading the 2023 study by Nadia Gaber and colleagues in the Annals of Global Health. The authors evaluated previously secret industry documents on PFAS to understand the significant delayed disclosure of harm posed by PFAS: from its production in the 1940s, to suggestions of toxicity in the 1950s, to irrefutable knowledge of PFAS toxicity in the 1960s, and–due to lack of transparency and suppression of scientific findings–public knowledge of this only arising in the late 1990s (mainly because of legal suits and discovery).

References:

Ahrens L. 2011. “Polyfluoroalkyl compounds in the aquatic environment: a review of their occurrence and fate.” J Environ Monit 13: 20–31. 10.1039/c0em00373e

Barton CA, Butler LE, Zarzecki CJ, Laherty JM. 2006. Characterizing perfluorooctanoate in ambient air near the fence line of a manufacturing facility: comparing modeled and monitored values.” J Air Waste Manage Assoc 56: 48–55. 10.1080/10473289.2006.10464429

Barton CA, Kaiser MA, Russell MH. 2007. “Partitioning and removal of perfluorooctanoate during rain events: the importance of physical-chemical properties.” J Environ Monit 9: 839–846. 10.1039/b703510a

Busch J, Ahrens L, Xie Z, Sturm R, Ebinghaus R. 2010. “Polyfluoroalkyl compounds in the East Greenland Arctic Ocean.” J Environ Monit 12: 1242–1246. 10.1039/c002242j

Gaber, Nadia, Lisa Bero, and Tracey J. Woodruff. 2023. “The Devil they Knew: Chemical Documents Analysis of Industry Influenc on PFAS Science.” Ann Glob Health 89(1): 37.

McMurdo CJ, Ellis DA, Webster E, Butler J, Christensen RD, Reid LK. 2008. “Aerosol enrichment of the surfactant PFO and mediation of the water-air transport of gaseous PFOA.” Environ Sci Technol 42: 3969–3974. 10.1021/es7032026

Paustenbach, Dennis, Julie Panko, Paul K. Scott, and Kenneth M. Unice. 2007. “A Methodology for Estimating Human Exposure to Perfluorooctanoic Acid (PFOA): A Retrospective Exposure Assessment of a Community (1951-2003)” Journal of Toxicology and Environmental Health

Prevedouros K, Cousins IT, Buck RC, Korzeniowski SH. 2006. “Sources, fate and transport of perfluorocarboxylates” Environ Sci Technol 40: 32–44. 10.1021/es0512475

Velez, M.P., T.E. Arbuckle, W.D. Fraser. 2015. “Maternal exposure to perfluorinated chemicals and reduced fecundity: the MIREC study.” Human Reproduction 30(3): 701-9.

Vierke, Lena, Claudia Staude, Annegret Biegel-Engler, Wiebke Drost, and Christoph Schulte. 2012. “Perflurorooctanoic acid (PFOA)–main concerns and regulatory developments in Europe from an environmental point of view.” Environmental Sciences Europe 24: 16

Yamashita N, Kannan K, Taniyasu S, Horii Y, Petrick G, Gamo T. 2005. “A global survey of perfluorinated acids in oceans.” Mar Pollut Bull 51: 658–668. 10.1016/j.marpolbul.2005.04.026

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

Gaia’s Revolution:  A View of a Post-Capitalist Future

My upcoming book Gaia’s Revolution (Book 1 of The Icaria Trilogy by Dragon Moon Press) explores a collapsing capitalist society in Canada through ravages of climate change and a failing technology. The story is told through the lives of ambitious twin brothers Eric and Damien Vogel, and the woman who plays them like chess pieces in her gambit to ‘rule the world.’

It is 2032 and Eric Vogel sits in the Canadian prime minister’s office, ruminating on the changes coming. He imagines what a post-capitalist world will look like and how his twin brother Damien—left behind in Germany—would disagree with his vision:

Over a hundred years ago, Spartacist Rosa Luxemburg—who was shot by the right-wing Freikorps—argued that the “Bourgeois stands at the crossroads, either transition to socialism or regress into barbarism.” Both he and Damien agree with sociologist Wolfgang Streeck who argues that the end of capitalism—of a reigning bourgeois, in love with the objects that define them—is already underway. The signs are neon loud: a ruthless downward trend in economic growth, social equality, and financial stability. All reinforced by climate change and the ongoing collapse of the planet’s sustaining environment. Any system and dialectic based on a concept of infinite resources in a finite world is bound to fail eventually. That collapse has already begun and its catastrophic end is imminent. Already, climate refugees and refugees of resource war (which amounts to the same thing) have flooded northern nations, like Canada, and caused tension and strife. Germany is just one example where left and right have torn the country apart as an influx of foreigners challenged the already tenuous German identity. When Canada granted asylum to over two million climate-refugees in ‘28, with no viable plan for the new residents during a time when unemployment was higher than it had been in decades and housing prices were skyrocketing due to environmental uncertainty, this sparked renewed tensions between ultra-right and ultra-left and opened the gap for a new party based on science and reason. The party now in power: the Technocratic Party of Canada.

But what will life after capitalism look like?

It’s no surprise that he and his brother disagree on what a post-capitalist world should look like and how to best achieve that world. Damien too easily prescribes to the old leftist shibboleth of Nature being the answer to everything and Market being evil. His deep ecology utopia would spring from an atavistic rejection of modern life, a return to ‘the ancient farm.’ But how that fantasy could be achieved without a drastic population reduction is beyond his brother’s imagination. Damien fetishizes the natural world. Just like he does their mother. The naïve fool is a blind romantic, refusing to see reality right in front of him: that Nature is ultimately cruel, cold, and preoccupied with its own survival. Just like their mother.

Brother Damien recalls an earlier argument the two brothers had in Berlin that ultimately motivated him to follow his twin to Canada. They’d been debating about the effect of climate change on the human population:

Pulled down by a truculent mood, Damien responds to Eric’s usual glib solutions by painting a dark vision of a humanity descending into some pre-technological ‘dark age’ apocalypse.

Eric just laughs. He pokes his fork into the sauerkraut as if to make a point in his argument and scoops up a pile that he shoves into his mouth. He leans forward and argues with a full mouth, “The real question is not whether humanity will survive an ecological collapse, but what part of humanity will survive. You can be sure that the stinking boujee plutocrats will find a way to survive at the expense of everyone else.” He chews down the sauerkraut followed by a gulp of beer and a loud burp. “The stinking rich are already doing it, Dame. They’re already creating their Elysium right here, right now.” Fork now swings like a conductor’s baton. “The future is already here; it’s just unevenly distributed.”

Using his fingers, Damien pulls apart some crisp skin off the pork knuckle—his favourite part—and feeds his mouth. Arguing with Eric always makes him hungry despite his surly temper. He crunches down, enjoying the tasty juices of brazed salty pork skin, and retorts, “You politicize everything and resort to cheap references in pop culture. You always do that: over-simplify the crisis and Nature’s existential power to sustain life. Trophic cascades caused by ecosystem simplification would irreparably devastate the planet and all adapted life. With the Sixth Extinction Event there won’t be any boujee plutocrats because there won’t be anything left to monetize—”

“You’re such a doom-gloom lefty, Dame!” Eric grabs the last of the pork skin—also his favourite— and shoves it into his mouth. He smacks his lips and counters, “The stinking rich will always have technology at their disposal. I’m talking about genetic engineering, nano-technology, gene modification, cybernetics, and even environmental control. For instance, look at Harvard’s RoboBee: tiny robots that mimic flying insects that can fill in as pollinators for the crashing bee populations.”

“You over-estimate technology’s ability to save the planet—and us by extension.”

Eric finishes the pork skin and wipes his mouth on his sleeve with a sniff. “I’m not talking about saving the entire planet—just enough of it. You underestimate what we’re willing to do to survive.”

That is when he brings up E.P. Thompson’s paper on stages of a neoliberal capitalist civilization and the ‘extermination endgame.’ “You’re the population ecologist, Dame, but it’s obvious that when a neoliberal capitalist society exceeds its carrying capacity— when technology makes the masses surplus—there’s no alternative in the scramble for resources and ecological support. Get rid of the surplus. That simple. Thompson tells us that under military capitalism—and you have to accept that all countries are militarizing—the ‘outcome must be the  extermination of multitudes.’”

“For God’s sake, Eric!”

“Technology will save humanity, Dame,” Eric insists. He leans back and stretches his legs under the laminate table in self-pleased satisfaction. “One way or another.”

Damien shakes his head and gulps down the last of his beer. “Whatever is left of humanity, you mean. And you accuse me of giving up on humanity. So, the greedy capitalist wins?”

“That’s why the world needs us, Dame. To keep humanity from going down the wrong road.”

And what is that for Eric, Damien wonders. Increasingly, he feels discomfort at what that might be. Eric leans forward, eyes bright with inspiration. He resembles a great bird of prey, long hawk-like nose—the iconic Vogel nose—and copious dark hair cresting back from a high forehead. It’s like looking at a more confident version of himself in the mirror, thinks Damien. And sometimes disconcerting, particularly when it reminds him of what he is not.

“You and I know that humanity won’t stop climate change,” Eric goes on animatedly. “Too many tipping points are already upon us and the direction we’re all going in now…” He swings his fork around the room to indicate this place, Germany, the world. “… isn’t promising to check that. Change is inevitable.” He points the fork at Damien. “But, if we can direct how humanity adapts to our changing environment, we can still win…” Before Damien can charge in with a rebuttal, Eric pushes his face forward, raptor eyes scintillating like sapphires on fire. “So, how do we de-thrown the ultra-rich elite—who are mostly a rabble of materialist self-serving hedonists with no vision or care for the future—and ensure a meritocracy of responsible citizens who can take humanity through the changes to come? … Like establishing a universal basic income toward an egalitarian society. Putting a full stop to fossil fuel mining and adopting clean energy. Re-wilding key ecosystems. Engaging reforestation and dedicating large areas to Nature.”

Damien shakes his head, lost for words. Where is his brother going with this? Will he suggest violent revolution to establish a dictatorship? How else would the rich give up their riches? And how is that any different from the Bolsheviks of 1917 or the Nazis of 1933 or the Stasi-run DDR? Those fascist Reichsbürgers would happily reinstate a society of surveillance, repression, and incarceration that would threaten to slide into the final solution of genocide of an unwanted ‘surplus’. A society of disposable bodies, a biopolitical world of exterminism. Damien thinks of Nietzsche’s aphorism: Beware that, when fighting monsters, you yourself do not become a monster … for when you gaze long into the abyss, the abyss gazes also into you. Violent revolution is not the answer, he decides.

Eric pulls out the worn copy of Walden Two from his jacket pocket. He slaps it on the table and pushes it toward Damien. “That’s the answer, Dame.”

Models of a Post-Capitalist Future Society

In his book Four Futures: Life After Capitalism , sociologist Peter Frase considers effects of climate change and automation in possible outcomes of a post-Trump election America. Frase envisions four scenarios based on abundance and scarcity and whether a society operates by equality (e.g., communism under abundance / socialism under scarcity) or hierarchy (rentism under abundance / exterminism under scarcity).

With scarce resources, the following scenarios are possible:

Socialism (aka Ecotopia) may arise within an egalitarian society if driven by altruistic notions of self-limitation. Ecologists describe such a self-limiting system as K-selected (see my discussion of K-selection and r-selection in “Water Is…”). A K-selected population is at or near the carrying capacity of the environment, which is usually stable and favors individuals that creatively compete, through cooperation, for resources and produce few young. The K-selected strategy runs on a successive gradient of maturity, from initially competitive to ultimately cooperative. Competition is a natural adaptive remnant of uncertainty and insecurity and forms the basis of a capitalist economy that encourages monopolization and hostile takeovers. Competition results from an initial antagonistic reaction to a perception of limited resources. It is a natural reaction based on distrust—of both the environment and of the “other”—both aspects of “self” separated from “self.” The greed for more than is sustainable reflects a fear of failure and a sense of being separate, which ultimately perpetuates actions dominated by self-interest in a phenomenon known as “the Tragedy of the Commons.” Competition naturally gives way to creative cooperation as trust in both “self” and the “other” develops and is encouraged through continued interaction.

Exterminism (aka Mad Max) may arise under a hierarchical model, driven by greed and exacerbated by uncertainty in the environment—not unlike what we are currently experiencing with the planet’s system and cyclical changes. In this scenario, in which resources are both limited and uncertain, those with access to them would guard or hide them away with desperate fervor.

“When mass labor has been rendered superfluous [through automation], a final solution* lurks: the genocidal war of the rich against the poor.”—Peter Frase

References:

Frase, Peter. 2016. “Four Futures: Life After Capitalism.” Verso Press, London. 150pp.

Luxemberg, Rosa. 1915. “The Junius Pamphlet: The Crisis in the German Democracy.” Marxists.org.

Munteanu, Nina “Gaia’s Revolution.” Book 1 of the Icaria Trilogy, Dragon Moon Press, upcoming.

Munteanu, Nina. 2016. “Water Is…The Meaning of Water.” Pixl Press, Vancouver. 586pp.

Streeck, Wolfgang. 2014. “How Will Capitalism End?” New Left Review 2 (87): 47p.

Thompson, E.P. 1980. “Notes on Exterminism: the Last Stage of Civilisation, Exterminism, and the Cold War.” New Left Review 1(121).

*the Final Solution was originally used by Nazi Germany as “the Final Solution to the Jewish Question”: the Nazi plan to exterminate the Jews during World War II, formulated in 1942 by Nazi leadership at the Wannsee Conference near Berlin, culminated in the Holocaust, which murdered 90 percent of Polish Jews.

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

Nina Munteanu Workshops “Hero’s Journey” with Writers in Newmarket

I recently gave my lecture / workshop on the Hero’s Journey plot approach to a group of writers for Culture Days in Newmarket, Ontario.

The event, organized by the WCYR (Writing Community of York Region), took place in the art gallery of the Old Town Hall, located in the old downtown part of the city—an attractive section of streets and lanes with eclectic shops, cafés, bistros and bookstores for curious amblers. 

Bustling Main Street near the Old Town Hall, Newmarket, ON

Three guidebooks of the Alien Guidebook series for writers

Cathy Miles, the program coordinator, encouraged me to brings books for sale, so I certainly included the three books of my Alien Guidebook Series on writing: The Fiction Writer, The Journal Writer, and The Ecology of Story, all also available at Amazon, Kobo, Barnes & Noble and other quality bookstores, which I sold for a workshop price. Cathy gave me a wonderful introduction to a room full of eager writers and I also had the pleasure of meeting Janice Luttrell, the Recreation Programmer with the City of Newmarket, who was hosting the event as part of Newmarket’s Culture Days.

Hero’s Journey Plot Structure (Ingrid Sundberg, 2013)

Drawing from several chapters in The Fiction Writer, I introduced the Hero’s Journey map structure, based on Ingrid Sundberg’s plot structure, and discussed the 12-step hero’s journey according to mythologist Joseph Campbell.

We also discussed the seven chief archetypes associated with the journey steps: hero, mentor, herald, threshold guardian, trickster, shapeshifter, and shadow.

Nina teaching “The Hero’s Journey” plot approach over the years in Nova Scotia, BC and Ontario

I’ve given this workshop many times and always enjoyed the lights that came on in participants; this time was no different. My session was fun and very well received. I saw lots of interest and received many good questions—a sure sign. One participant was quoted as saying:

“What a great event! Your presentation was insightful. I really appreciated being able to follow along in the book while listening to your explanations. That is going to help me remember the concepts as I read the book and then apply them to my writing.” 

The WCYR book table at the event (photo by Nina Munteanu)

People bought every copy of my Fiction Writer, my Journal Writer and most of my Ecology of Story that sat on the book table. I also sold many of my fiction books, including my short story collection Natural Selection (also selling on Kobo) and my latest novel A Diary in the Age of Water. I sold-out of my non-fiction book Water Is…, which had received a wonderful testimonial from Margaret Atwood in the New York Times ‘Year in Reading.’

Elliott sells my books at the WCYR book table (photo by Nina Munteanu)

All in all, it was a good day…

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