Thursday, June 9, 2016

​Israeli novelist Moran Chaimovitz, 30, pens a futuristic sci-fi story in English with a cli-fi sub-theme

 
This photo is not the cover of the book



​Israeli novelist pens 'sci-fi' story with 'cli-fi' sub-theme

LINK:
http://www.sdjewishworld.com/2016/06/11/israeli-author-imagines-world-300-years-now/


Don't tell me there's no sci-fi in Israel because there is, and Moran Chaimovitz, a 30 year old writer in Tel Aviv, has just published a novel in English to prove it.
 
It's called "Human Again" and the 150-page debut novel is set in Israel some 300 years in the future where an IDF soldier who died in 2006 has been
resurrected after being cryo-frozen for three centuries.
 
 

That's sci-fi, for sure. In fact, the subtitle of the book is "Cryonemesis One."

I met Chaimovitz online a few months ago as part of my global ''cli-fi'' work, and when he told me he was about to publish an Israeli novel in English with a strong climate theme, I jumped at the chance to interview him.

"In my futuristic novel, a climate crisis has forced survivors to go underground in the Judean hills to find shelter," he told me. "In that underground city, people are spending their time inside a virtual reality world that keeps everyone occupied and sane. But it also makes them too dependent on technology and generally numb, hence the desire for society become human again, and this my title."

"Cryonemesis is a name I coined for the novel by combining "cryogenics" and "nemesis," he added. "It the novel's tone as a combination of future technology, a sinister element and the conflict between both, and it involves all the elements I'd like to see in a sci-fi book."

The main character's name is Roy, and according to the author, Roy died during a battle in the second Israel-Lebanon war in 2006. It's based on a bit of reality, too.

"I participated in that war as a Navy soldier," Chaimovitz told this blog. "That's the only element in the novel that's based on a real historical event. Everything else is made up.  I'm a storyteller."

In the novel's time frame, Israel no longer exists as a state, author told me. The region holds only three underground shelter cities for the survivors of a prolonged climate crisis, and main city is called New Knaan.

As you can imagine, in this sci-fi dystopian story, with a future climate crisis theme, survivors outside of the shelter cities are fighting over the scarce resources that are out there.

"Inside the city there's a mix of Israeli Jews and Arabs that found a common ground by using Hindu culture as a bridge," Chaimovitz, who grandfather was born in Czechoslovakia, told me. "In my vision, the only country what can withstand a climate crisis in the future is India because the majority of the society is already cooperating under severe economic conditions today. That's why most of the characters in my book have Hindu names."


In the novel, the Israeli coastline is under water, daily temperatures are unbearable, and strong winds blow dust and rocks.  The shelter city was built to last 1000 years and to be self-sufficient. It uses solar power, wind and sea currents turbines to produce electricity and to desalinate water. It's also build deep enough to withstand bombings and other man-made dangers. As you can see, sci-fi has come to Israel.

I asked Chaimovitz if sci-fi was a popular genre in Israel.

"Only among the younger generations, kids and teenagers," he said. "They love fantasy and sci-fi as much as any teenager anywhere in the world. But generally speaking, sci-fi and fantasy genres are just starting to become popular in Israel. Most of Israeli adults prefer realistic contemporary or historical novels. It's a cultural thing, because we're hooked on daily news reports, and our reality here is really hectic. We tend not to run away from it to other fictional world because our reality in Israel is crazy enough."

Chaimovitz did his research, too.


"When I looked at the social implication of rising temperatures in today's world and in a future world, I looked at modern day Syria and Iraq, and how the rise of ISIS is tied to the population immigrating out of drought stricken areas," he said. "When farming of crops becomes impossible on a global scale, the world economy collapses. When there's no rice, wheat and corn available, no money and no fancy technology can save you.

New Knaan, with a population of about 10,000 people, is administered by a man named Padma, who is
president of the city and the engineers who monitor the systems. But behind the scenes it's the quantum systems that run things.

Chaimovitz said he wrote the novel in English, his second language, and that there is no Hebrew version for now.

"English is my second language, but I felt confident enough to try to write a novel in English with the help of U.S. book editor," he said. "I wanted to detach myself from Hebrew so I could look at
​the characters from an artistic distance," he said. "I felt I was aiming a local story for a global audience, and I didn't want to write the novel and then translate it. The idea was germinating in me for about five years and sparked in a screenwriting class I took in university. For my screenplay concept, I wanted to write a funny science fiction movie about dating in the future. But it has all turned out completely different.​ I'm a novelist now."

"Human Again" is available worldwide in English via Amazon's book site.
 
Amazon link
 
 
 
KEY WORDS:
 
There’s a term for Science Fiction in Hebrew which is מדע בדיוני.


In Hebrew global warming is  התחממות גלובלית


Climate change is שינוי אקלים


 
Cli-fi in Hebrew would be rendered best as “Climate science fiction” would be
מדע אקלים בדיוני

or as ‘fictional climate”. אקלים בדיוני

Maybe the best way to say cli-fi in Hebrew would be as “literary climate fiction” ספרות אקלים בדיוני

[But note: none of these options above actually sound like a real literary genre name when said in Hebrew.]



--------------------
AMAZON REVIEWS from READERS:

on June 10, 2016
I generally don't like sci-fi books but this one really surprised me. First of all it's not a hardcore sci-fi book with unrealistic settings. Also the future technology and world building was done seamlessly through the plot.

I quickly found myself care for the hero as he tries to make sense of the new world he was "reborn" into. The story gripped me and made me realize it might not be a fiction in the coming years.

I hope it would be made into a film.
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on June 9, 2016
I was lucky enough to receive an advanced reader's copy of "Human Again" by Moran Chaim and enjoyed it thoroughly. It lingered in my mind between reading sessions, a sign of a great book for me.

"Human Again" tells the story of Roy, an Israeli soldier who is killed in action, except he wasn't. He wakes up from 300 years of cryo-sleep to a changed world that has suffered the ecological collapse that is no doubt in store for this Earth. Roy discovers that the leadership of the survivors have taken extreme measures to ensure their citizens' survival and quality of life. The future is not bright and shiny in the underground city-bunker, but Roy works to acclimate to the pros and cons of his new surroundings. As he tries to find his purpose, he discovers that all is not as it seems and that he may never know who he can trust and who he cannot.

This book was a page-turner for me. The world is mysterious, the characters are interesting, and the plot pacing is excellent. I had to know what Roy would learn next and how he would cope with events. "Human Again" is Book 1 of the Cryonemesis series and I'm looking forward to the next installment. Moran Chaim is an author to watch out for!
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on June 8, 2016
A truly great read! This cross-genre story tells an original and unpredictable tale, in a creatively fresh setting.
Fascinating book that is truly hard to put down. Learning that this is the first in a future series of books makes me impatient for the next one!
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on June 8, 2016
Disclaimer : I received an earlier review copy from the author

Human Again has a very plausible and scary back story that I can actually see happening; after a global climate crisis, society collapses and only the rich and powerful can survive underground.

Roy, the main character is a IDF soldier (should be bad ass,right?) that was frozen in cryogenic containment for 300 years. When he wakes up underground he has no idea what happened to the world and why he was brought back.

The story takes place mostly underground, in a grey concrete shelter city, where people are hooked to a real life VR simulation so they could spend their days in mere sanity, rather then living like ants in the dark.

The main theme of the plot, as the title implies is to find the balance between staying human and using technology. Like we see in our time, technology could save lives but also destroy the climate and numb our senses.

But don't think this book is just a complex analogy, it's a fast paced, action filled novel. I was surprised by some of the chapters' action descriptions.

A fine read indeed!
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on June 7, 2016
Absolutely brilliant!
I loved it from the get go. Someone is waking up in the future and sees it all has changed from the outside, but inside - people are still people. The book raises many questions - what makes a certain group "the bad guys" in the eyes of the opponent group and when would be the days we will cease to fight each other? Wrapped in an original adventurous sci-fi story - you will get a kick until the very last page.
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on June 7, 2016
Think Jeremiah, think the Prophets, think Al Gore in Jerusalem. This is post-Biblical cli-fi with a story to tell. Moran Chaim tells it well.
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Sunday, June 5, 2016

Cli-fi Novel Published in 2012 titled ‘Polar City Red’ Would Make a Great Hollywood Movie Produced by Marshall Herskovitz

 
    by Danny Bloom 
 
NOTE: This is the cli-fi novel that Margaret Atwood tweeted about in 2011, marking the first time cli-fi was mentioned on Twitter and gaining a foothold after Dr Atwood's tweet.
 
NOTE 2: I served as the book packager and PR flack for this debut cli-fi novel.
Jim Laughter painted a chilling portrait of a methane-fueled dystopian future in his 2012 novel ‘Polar City Red,” which was ahead of its time but still readable.
 
 Back then, in 2012, before the NPR cli-fi story broke in April of 2013, I wrote:

I have seen the future and it's dank, dark and dystopian. At least in one Oklahoma author's eyes, it is.


When sci-fi writer Jim Laughter in Tulsa sat down in 2011 to start in on a new novel about mankind's shaky future on this third rock from the sun, he wasn't sure where the
book was actually going, he said.

Seven months later, after typing each chapter of "Polar City Red" on his computer keyboard, Laughter, 59, was finished and ready to face critics.


Rick Perry's not going to read it, that's for sure. Neither will Rick Santorum or other national politicians with their heads in the sand. But Laughter's book could make a cool movie in the future dystopia department, following up on such Hollywood films as "City of Ember" and "The Road."
Laughter's pulp "polar western" is set in the Last Frontier and it poses a very important and headline-mirroring question: will mankind survive the climapocalypse coming our way as the Earth heats up over the next few centuries?

As sea levels rise and millions of "climate refugees" make their way north to Alaska, Canada, Russia and Norway, think scavenger camps, "Mad Max" villages, and U.N.-administered ''polar cities'' — cities of domes, as Laughter (his real name) calls them.

"Polar City Red" is more than mere sci fi. Laughter is a retired USAF technical writer who has lived all over the world on military assignment. The retired grandfather of four comes across as a probing moralist and a modern Jeremiah. His worldview befits a Christian pastor who has built two churches and finds in religion both an anchor and a place for hope.

His book is not just about climate change or northern dystopias. It's also about the moral questions that must guide humanity as it tries to keep a lid on global warming's worst-case scenarios while also looking for solutions to mankind's worst nightmare — the possible final extinction of the human species due to man's own folly and extravagant ways. Can a small 200-page book do all that? No, it's just entertainment, a good book to put on your summer reading list.

Writing the novel took Laughter seven months of non-stop research and keyboarding, he told me, but I have a feeling that what he wrote will last 100 years.

It's more than a cli-fi thriller. It also exposes the underbelly of humankind's most terrifying nightmare: the possible end of the human species and God's deep displeasure at what His people have done to His Earth. Even if you're an atheist, as I am, Laughter touches a nerve.

The book is prophetic, futuristic and moralistic. You as reader will get through this one alive, but will our descendants, 100 or 1000 years from now, survive the Long Emergency we find ourselves in now? That's the question that Laughter poses.

Fortunately, the book ends on a note of hope and redemption, so it's not a downer at all. You and your loved ones need to read it. As Laughter himself says in the introduction, quoting Christopher Morley:  ''When you sell a man a book you don't sell just twelve ounces of paper and ink and glue — you sell him a whole new life."

"Polar City Red," which I just read in a preview copy, won't give you a whole new life, and it'll probably just give you a headache and heartburn. I would not advise Rick Perry to read it.

Saturday, June 4, 2016

Cli-fi Down Under: The Nevil Shute of Australia arises in 2016 with her debut novel WATERSHED from PenguinRandom House

What Jane Abbott has conjured here in this post apoca cli-fi novel WATERSHED set in a near future Australia, although it could be the USA or Europe, too, is an extraordinary imaginary that will stand the test of time. If Nevil Shute was able to warn Australians (and the world) about the perils of nuclear war and nuclear winter in his landmark 1957 novel "On The Beach," Jane Abbott has called out a similar ''cri de coeur'' over the perils of what might become of us all come the Climapocalypse in the distant future. This is an "On the Beach"  of our times, an
"On the Beach" for Australians (and the world) that is to climate change what Shute's novel was to nuke winter. I read it in that way. You might want to read it that way too. Up to you.

MY AMAZON REVIEW

For now, it's cli-fi. Get used to it. Quit your bellyaching! - An Oped for our times


 
 
I have been waiting for someone to write a good OpEd in the New York Times or the Guardian about why the new literary term of cli-fi is a genre whose time has come, despite the misgivings by some critics who are thrown off by the five-letter buzzword itself. I can't waiti any longer so I am going to write the OpEd myself today and put it out there for readers now and in the near future to ponder. It's not a manifesto and it's not telling anyone what terms they need to use or not use. It's just an opinion piece that's been germinating for some time, and since no one wants to go out on a ledge and write it, I'll do it here.

We are in the Anthrocene, what some academics prefer to spell as the Anthropocene but I prefer to shorten to Anthrocene, both for space and pronunciation reasons. Call it as you will, spell it as you wish. The British say it as anTHROpocene, while the Yanks say it as ANthropocene. Some even say it as anthroPOcene. See what NPR has to say. Better yet, ask Andy Revkin at his Dot Earth blog.

Look, science fiction no longer matters. Sorry about that, but it's true. We are living in an age that demands novels and movies about climate change and global warming issues that go beyond sci-fi and head directly into stories about climate anxieties here and now (and in the very near future as well.)

Call this new genre what you will, the name is not important. For now, I call it cli-fi. Others might want to call it anthropocene fiction or anthro-fi. Others might prefer the spec fic term. All nicknames are good. New ones will appear, too. It will not matter what the final name of the term we are discussing here today is. What matters are the stories our storytellers will tell. Our movie directors, too. Art has a place in our society, and we need it even more than ever now. Cli-fi, we sigh, the end is nigh.

But no, the End is not night. Chin up, there are many more generations of man to come. We made it this far, we will make it even futher into the 25th and 29 centuries, even the 35th and 61st centuries. We are humans, we can dream.

Now how to use literature and cinema to throw some light on where we are now and where we are headed in the future in terms of climate change and global warming? Let the storytells take charge. Let the publishers do their things. With Kim Stanley Robinson's much awaited novel set in 2140 and titled "New York 2140" -- set for a March 21, 2017 release and which is already being heralded as perhaps the first really truly cli-fi novel of the 21st century (and there will be more, for sure) -- the outlines of a new publishing genre are becoming visible.

Cli-fi, cli-schmigh. Call it what you will. But most of all, don't be afraid of this new genre that does not have an official name yet. Read it, write it, use it, teach it, study it. This is where we are headed. Jokes aside, cli-fi has nothing to do with what some people think it does. No, no, no, not that. And no, it's not the ugliest collection of five letters ever written down on paper. in the history of mankind. And yes, whatever name it finally takes on, it's here to stay. Who knows what we will call this genre in 2050? By 2099 an entirely new collection of letters might very well replace it, sure.

For now, it's cli-fi. Get used to it. Quit your bellyaching!

An ''historical cli-fi'' novel titled YONGALA by Australian storyteller Guy Lane -- AN INTERVIEW



An ''historical cli-fi'' novel titled YONGALA by Australian storyteller Guy Lane -- AN INTERVIEW


  
Dan Bloom at Cli-fi.net: Why did you decide to call the title of yr novel as it is titled?

​GUY LANE: Yongala is the name of the ship that the story is set on. Today, it is a shipwreck that has about 10,000 divers visit it every year.  I have gone to great lengths to accurately describe the ship and help the audience feel at home on her. The story my homage to the S. S. Yongala and it was only fitting to keep her name on the title.

Yongala is an Aboriginal word originally, meaning ''estuary.'' It is athe name of a small town in South Australia that features in the story. That's the town where Corben Plath and Melvin Possner came from.​

 
Dan Bloom at Cli-fi.net: Who is the  addressed to in terms of age group? Is it mostly for Australian readers or global readers.?

​​GUY LANE: It's a story for an international audience. People from coastal Queensland may recognise the name of the ship as it has some history here. It is also a story for young girls, teens, encouraging them to save the planet by being clever.​ 
 
Dan Bloom at Cli-fi.net: What is the main time frame of the novel? Past present or future and why?


​​GUY LANE: The story takes place over five days in March 1911. This is from the day before Yongala departed ​Brisbane to the morning after her loss. The story is set a few years after Svante Arrhenius release the book Worlds in the Making, in which he described how doubling atmospheric CO2 would increase average temperatures on Earth by 4 degrees Celsius. These numbers are consistent with contemporary climate models. This goes to show how robust is climate science. This is the core theme that I wanted to pass to the audience, that we have understood the climate science for a long time. 

Dan Bloom at Cli-fi.net: What inspired or motivated you to personally want to write and publish this novel?

​​GUY LANE: I have been involved in sustainability since 2000 and always looking for ways that I can contribute to the conversation. I have dived on Yongala (amazing) and have a love of ships and the ocean. In its first form, it was a 5-page feature film treatment. Later, I wrote the screenplay (95 pages). A film producer friend estimated that it would cost about A$30 million to make a motion picture. I adapted the screenplay into the novel, seeking to get an audience for the story. Then to find a producer.
 
Dan Bloom at Cli-fi.net: Would call this a 'cli-fi' novel? Why or why not?

​​GUY LANE: I think that 'cli-fi' is a suitable genre, maybe ''historical cli-fi''.
 
Dan Bloom at Cli-fi.net: Have you heard of the cli-fi term and if so how did you first hear about it? And what is your opinion of the term? Can it serve as a platform for novelists to tell climate themed stories? When you started yr book did you know the cli-fi term already or did that come later?


​GUY LANE: ​I have known of cli-fi genre for a while. I'm actually not much into genre as a writer, I just tell stories and let other people figure out what the genre is.​

 
Dan Bloom at Cli-fi.net: Who is yr target audience in terms of age group? Who do you most want to reach?

​​GUY LANE: Target audience is anyone who likes a good sea tale. Again, I don't write for an audience, I just tell stories. The audience will find the book. Having said that, I would like juvenile females to read the book as it could help shape their views towards environment at an early age. Felicity ​Cumberland is a good role model, I think. She is smart and sassy and doesn't back down.

 
Dan Bloom at Cli-fi.net: Any statement you want to make about writers and climate  change?

​​GUY LANE: All of my novels are based around sustainability themes. I think that the opportunity exists for fiction writers to help normalise the conversation about the planet.  Most people know more about forensics than climate change, because they read so many crime novels. 

GUY LANE adds: The novel is currently available for free and I invite readers to comment, or leave a short review. And also, to join the Guy Lane mail list. They can also read Intervene for free if they join the mail list.

Links below:

Yongala webpage:           http://www.guylane.com/yongala/

Guy Lane page:               www.guylane.com

Mailing list page:              http://www.guylane.com/email/index.html

Naomi Oreskes on How to Write about Science - essay July 2016

Naomi Oreskes on How to Write about Science

7.20.16 .....July 2016
Naomi Oreskes
Photograph by Stephanie Mitchell/Harvard Public Affairs and Communications

Naomi Oreskes
Photograph by Stephanie Mitchell/Harvard Public Affairs and Communications
History of science professor Naomi Oreskes talks about climate change the way one might expect of both an earth scientist and a historian. “Science has to be part of the conversation on climate change,” she says, “but it’s not the whole conversation. At this time, I actually don’t think it’s the most important piece. There’s a basic issue of justice here, and we desperately need economists and sociologists and philosophers and artists to be heard.” Her humanist instincts allow her to move a wide audience in a way most scientists never achieve. Her work has helped broaden the public’s acceptance of climate change as an issue of scientific consensus rather than debate, and for taking up this public mantle of climate change advocacy, she will be honored with the Schneider Award for Outstanding Climate Science Communication this winter. Oreskes recently talked to Harvard Magazine about the climate-denial industry, the political role of scientists, and writing about academic research for a wide audience.
Oreskes insists that she never intended to become a “climate-change warrior.” In 2004, when she was researching how scientific consensus and dissent emerge, she published “The Scientific Consensus on Climate Change,” a review of the scientific literature that made clear the widespread agreement among scientists that climate change is real and created by humans. One journalist, she remembers, thanked her for the article; every time he wrote about climate change, he told her, readers accused him of bias for not covering the contrarian side, and her paper helped him show that there was no legitimate contrarian side.
Host your next event at Harvard Medical School
Then she became the target of attacks herself. “So I ended up trying to figure out why I was being attacked for publishing a fairly straightforward analysis of the state of scientific discussion, and what I discovered was a remarkable story, which at the time was not understood. There was an organized climate-change denial network—a group of people and think tanks largely funded by the fossil-fuel industry, who were deliberately trying to persuade the American people that there was a big scientific debate about climate change.” In hindsight, that network might agree that it erred in targeting a historian of science who was also a good writer. In 2010, she published Merchants of Doubt, about the strategies used by the tobacco, fossil-fuel, and other industries to undermine the authority of scientists. The book captured a wide audience at a moment when climate change was gaining acceptance as an issue of public concern.  
It isn’t just the business interests of the fossil-fuel industry that drive climate denial, Oreskes stresses. “It’s also about an ideological argument about the role of government. This is partly why it resonates with a lot of people who don’t necessarily have stock in ExxonMobil.” Anti-government ideology has made climate denial particularly hard to counter, she believes, because its purpose is to politicize science, and scientists don’t like to be political. “Imagine you’re a science professor and you want to teach factual information. But if you stand up in class and say climate change is real, you can be accused by your students of being political in the classroom. I have been accused of this.”
Should academics become more comfortable, then, taking moral and political positions related to their work? There’s been a move among economists, for example, to think more seriously about questions of distribution and fairness. Oreskes answers in two parts. “I think economics is different because all the social sciences are engaged with questions about society,” she argues. “For many years, the economics profession tried to put forward the idea of economics as a value-neutral science. I think that was intellectually erroneous. I don’t think you can have a discussion about the distribution of goods and services that isn’t at least in some ways implicitly involved with creating a just world.” The natural sciences, she argues, are different because scientists can answer empirical questions in a way that doesn’t diminish moral questions. “If we’re asking, ‘Has the planet warmed up?’ that’s a question about the chemistry of the earth, and it can be answered with empirical data and it can be separated from the question of what we should do about it. I think it’s important for scientists to be clear in their minds about that separation.”
Questions about the moral and civic dimensions of climate change are for other thinkers to answer, Oreskes suggests. “Much more we’re seeing people in the social sciences, the humanities, the arts, realizing that we need to hear their voices. Ultimately, if you ask, ‘Why does climate change matter?’ The answer gets back to questions of our values and the common good. Climate change matters because people are getting hurt, because people are going to lose their livelihoods and communities, because the people who will be hurt the most are not the people who created the problem.”
In this respect, Oreskes says she’s often been misinterpreted. “Sometimes people think that because I am very publicly engaged in discussing climate change, that means that I think all scientists should be,” she says. “But that is not my view. We need some scientists to explain the science, but most scientists just want to do science, and that’s fine. Moreover, if we start getting into the moral questions, well, scientists are not necessarily the best experts.”
On some level, it appears that climate-change denial is diminishing among politicians who wish to be taken seriously, or is, at least, becoming less acceptable than it once was. That may appear to be true, she says, but denialists understand that the debate is a moving target, and adjust their arguments to the political climate. Even if it’s less acceptable to deny climate change outright, that is a separate question from whether the nation is prepared to do anything about it. “There was a time when the tobacco industry denied that tobacco was harmful. Then they said, ‘OK, there’s some harm, but people are grown-ups, and they can decide for themselves.’ We see the same thing to some extent with climate denial. People first said there is no climate change. Then they said it’s not caused by people. Then they said there is climate change and it’s caused by people, but it would be too expensive to fix.”
“Donald Trump has said publicly that climate change is a hoax created by the Chinese in order to undermine our economy,” Oreskes adds.  His widespread appeal might support the theory that the group she calls “merchants of doubt” has weakened the legitimacy of science in the minds of ordinary Americans. Still, she complicates the narrative that the public is mistrusting of academics: “Public-opinion polls show that the American people still overall trust science and scientists much more than they trust politicians or business leaders.”
As a frequent writer for the public, Oreskes has reflected a great deal on the role of the media in people’s understanding of academic research. It can be difficult even for responsible journalists to write about a single study or idea without overstating its significance. What might writers do to be more honest in their reporting? Is it ever legitimate to write a news story about a single study—a practice that’s pervasive in the media, including this magazine? “In a perfect world, the answer would be no,” she responds. “On some level, it is irresponsible. But there’s tremendous pressure to do that. Scientific knowledge is never based on one paper, not even the most important papers in the history of science.”
Reporting on isolated studies can not only create confusion about the intellectual process, but also undermine faith in the process itself. If the press emphasizes one study and its findings are later repudiated, as often happens, that can create the impression (potentially ripe for exploitation by merchants of doubt) that scholars are always changing their minds. To science writers thinking about these questions, Oreskes offers the following advice. Beyond the need to contextualize a study even more than seems necessary, journalists should also consider it a duty to challenge editors who ask for a dishonest story. If that means taking more time than the writer has been assigned, she jokes, that’s okay, because “science stories are rarely emergencies.” 

 
 

Jane Messer in Australia asks: Why does SATURDAY PAPER allow anonymous book reviews which do not foster our literary culture

Jane Messer The Writerly Reader blog

Anonymous book reviews don’t foster our literary culture – The Conversation in 2014 and still relevant in 2016 where the use of initials DV by an anonymous reviewer at Saturday Paper -- who is ''most likely'' 27 year old editor Erik O Jensen himself -- is causing consternation Down Under and only Down Under


The new Saturday Paper publishes anonymous book reviews and, occasionally, reviews by identified critics. That anonymity was a much-discussed feature when the paper launched in March 2014, and the debate continues. Certainly, in running such reviews, the paper sacrifices a critical point of difference between mainstream media and the online world of trolls and fandom avatars.

© Copyright 2012 CorbisCorporationDebating criticism

The debate here and overseas about our critical culture, whether in print or online, is interesting and vigorous. Yet attribution is not a topic raised much, because most serious critics and their media outlets don’t truck with anonymity. The critics own their words. They put a face to what they say.
And this is, apparently, what The Saturday Paper also values. Its editorial policy reads in part that, “it offers the biggest names and best writing …”
Just not in its Books section.

Faceless bad reviews

 

Who is the male reviewer signing himself DV? Very possibly everyone knows who it is. It is obvious.

Two principally negative reviews in the Saturday Paper of works by Craig Sherborne on April 5 and Angela Meyer on May 31 draw attention to the dangers of anonymous criticism. The reviews are attributed to “MM” and “DL”.
Sherborne is an established writer with four books out, and a history of publishing articles and essays in The Monthly and elsewhere.
Angela Meyer is a young, first-time author publishing with a small independent press. Her collection Captives has received few reviews, and only one in the mainstream press – the Saturday Paper.
Why pan an emerging writer and a small press? There is no contribution being made here to the culture of criticism generally, or to the emerging writer. This is criticism at its laziest. As British critic Ruth Franklin writes, it’s harder to critique a work you love than one you don’t like.
Not surprisingly, the panning of Meyer’s book drew negative comments on the article. Melbourne writer Miles Allinson posted:
I’m not sure why The Saturday Paper decided to devote a quarter of their entire review space to such a mean spirited review of such a humble little book. At best, it seems a misjudgement, in terms of both its target and its execution. At worst, (especially because it’s anonymous) it just seems vindictive.

Horia Varlan, CC BY-SA
 The Saturday’s anonymous reviews don’t often strike a vindictive note, or strong notes at all. Possibly, anonymity and the associated lack of seriousness given to the enterprise by the paper encourages blandness. This is disappointing.
James Ley, editor of the Sydney Review of Books, speaking after his recent Pascal Prize award for best Australian critical writing, argues for a different effect:
[criticism’s] imperative is to talk about not only literature but all forms of art and creativity in ways that are not necessarily didactic or polemical but which treats them as if they matter and in doing so reminds us why they do.

Restrictions of a small scene?

Some reviewers say that the smallness of the Australian arts community hinders free and bold speech. Critics and reviewers, in this view, are constrained by the possibility of encountering the subject in a future context.
It’s happened to me: I reviewed a novel more or less positively but with some criticisms, and then soon after found myself at Varuna The Writer’s House for a week’s residency with the author. It was a little daunting for us both on the first evening, but the writer was magnanimous and we remain on friendly terms.
If the reason for lack of attribution is to encourage brave criticism then the focus on the author is misplaced. Precious few column inches are given to book criticism in print and online media: it is this that makes the community small, not the size of the Australian population.
More column inches, a critical culture that is engaged and supported by its publishers and editors, and a diversity of reviewers, judges, commissioning editors and readers are what is needed.

The blunt instrument of the angry review

Critics themselves debate the “gloves-off” approach to criticism. American critic and nonfiction writer (and fave of the Sydney Writers’ Festival) Daniel Mendelsohn counters Salon.com Books editor Laura Miller’s argument that book culture needs protection and encouragement. His conclusion is blunt:
Even the worst of the disparagements wielded by the reviewers in question paled in comparison to the groundless vituperation and ad hominem abuse you regularly encounter in Amazon.com reviews or the “comments” sections of literary publications.”
Indeed, DL and MM’s reviews are not so “flamboyantly negative”, to quote Daniel Mendelsohn again, that they warrant anonymity in any context.
DL accuses Meyer of having poor syntax, yet writes, “Captives is also riddled with verisimilitude”. Riddled with the appearance of truth? And, “Meyer hasn’t bothered to go under the meniscus of character and place”. Better to look through the lens, than crouch beneath it. This review is “undergraduate” writing, in the sense that the writer is experimenting with literary effects but through lack of skill and practice blunders occasionally.
A further ethical defence of anonymity might be that it is more important to speak honestly and to bring the truth to bear on a subject, than that the writer be identified. The half-dozen Saturday Paper’s anonymous reviews that I have read all share superficiality of critique, partly due to the short length but probably more as a result of the context.
They are also strangely similar in syntax, metaphor and non-specialist knowledge of the subject. Could MM, DL, FS, AF et al be the same person – or just two or three people? Who knows, they might all be Erik Jensen, The Saturday Paper’s Editor, banging out the copy himself.