Saturday, February 4, 2017

Real Doomsday clock passed midnight long ago

Real Doomsday clock passed midnight long ago
Christopher Busby
Christopher Busby is an expert on the health effects of ionizing radiation. He qualified in Chemical Physics at the Universities of London and Kent, and worked on the molecular physical chemistry of living cells for the Wellcome Foundation. Professor Busby is the Scientific Secretary of the European Committee on Radiation Risk based in Brussels and has edited many of its publications since its founding in 1998. He has held a number of honorary University positions, including Visiting Professor in the Faculty of Health of the University of Ulster. Busby currently lives in Riga, Latvia. See also: www.chrisbusbyexposed.org, www.greenaudit.org and www.llrc.org.
Real Doomsday clock passed midnight long ago
On Tuesday, the Doomsday Clock was moved 30 seconds closer to midnight by “Scientists” says the web Telegraph, with video and scary musical accompaniment.
The Bulletin of the Atomic Scientists Doomsday Clock first appeared in 1947. Everyone was reeling from the photographs of the vaporization of Hiroshima. It was thought that atomic war would wipe out everyone on earth. This almost happened in the 1962 Cuban Missile Crisis, which the top page of Google informs us was a “direct and dangerous confrontation between the United States and the Soviet Union during the Cold War.”
I didn’t need to go to Google to find this out. It was a defining moment in my life. Women were refusing to have children because they didn’t want them to live in a world of fear and probable atomization. We moved to the Welsh mountains in a pathetic attempt to do something, anything, and stocked up on food. In America, there was a brisk trade in fallout shelters. It was my friend, the late Ernest Sternglass, who stopped the atmospheric testing by getting to President Kennedy with the calculation that several million children had died from exposure to fallout Strontium-90 building up in the milk and their bones – seeds planted for the global cancer epidemic that began 20 years later.
The Doomsday clock signaling nuclear annihilation at midnight is a simple illustration of the fact that, although life on Earth has been around for billions of years, Clever Old Man has developed a system that could switch it off with an hour-long fireworks extravaganza. Now it has been extended to global warming, virus pandemics, and more or less anything that the media has decided makes a good scare story. The clock has now been advanced to two and a half minutes to midnight. By Scientists.
This is the way the World ends—not with a bang, but a whimper. - T.S. Eliot; The Hollow Men, 1925
Let’s think about this a bit. What scientists? The clock is not a scientific concept. It is an emotional cry for help. What are these scientists using as data for their decision? In the last ten years, for all sorts of reasons relating to the destabilization of the world through various obviously organized operations (Twin Towers, Al-Qaeda, Iraq, Afghanistan, Libya, Egypt, Syria etc.), a kind of continuous bombing operation on poor countries has contributed to the profits of arms manufacturers. Added to all this is the US abandonment of the arms limitation agreements and the re-investment in missile development. We see NATO creeping closer to Russia, and the absurd attempts by the US to bring Ukraine into the operation. Is this why the clock has been moved?
No. It is apparently Donald Trump.
In the post-truth era, belief is created by the media: Google (again) reports that the Guardian, Telegraph, and “Science” blame the movement of the clock’s hands on the election of Mr. Trump. ABC10 seems to think it is global warming. But global warming, even in worst case scenarios, won’t wipe out life on Earth. And a virus pandemic would always have some survivors. A total nuclear exchange would not: so that is what we are dealing with. It is still a real possibility. But not because of Donald Trump. The election of Trump, and Brexit also, is a spontaneous creation of civil society in countries that have seen their lives ruined by globalization and what has been called “the New World Order.”
What I see in Mr. Trump is an independent flamboyant showman along the lines of an earlier US President, Andrew Jackson – a man who also tried to destroy the US establishment. Trump clearly thinks outside the system of smoke and mirrors that passes for Western media news, the constructions on the web and TV and newspapers that are increasingly spun and slanted with nonsense and demonstrable lies about the state of the world. Like the Doomsday clock story.
If I were running the Doomsday clock, the election of Trump would make me put the clock back rather than forward. He doesn’t trust the US security services. He disassociates his Presidency from the collection of dodgy characters previously running the show. This was a revolution against the fat-cat control of America and its continuous war against the people on the planet, fought as if the world was a battleground. This machine that emerged in the post-war period is well known to readers of spy novels. It was fueled by paranoia about Communism and the immense amounts of power and wealth associated with developing and manufacturing weapons. When the Soviet Union broke up and the US could no longer justify the huge military budget (presently about 600 billion dollars), other enemies had to be found. Bombs had to be dropped on someone, in order to order new ones. Hence the continuous and endless wars about “democracy” and “freedom.”
Let’s look at some scenarios. How big an exchange would represent apocalypse? A baseline is the atmospheric testing that peaked in megaton yield and radioactive fallout in 1959-63. This did not wipe out humanity, although there was a mini nuclear winter in the 60s. The European Committee on Radiation Risk estimated some 60 million extra cancers together with a few million dead babies (about 0.2% of births) as the consequence.
Nuclear exchanges between India and Pakistan, or Israel and Iran, would not do the trick. The number of warheads involved would result in some mega-Hiroshimas and global fallout contamination would jump, but there would be no end of the world. The combined yield of the approximately 100+100 warheads (say 200 kilotons each) would be just about equal the yield of the 1962 Tsar Bomba 50-megaton test on its own. And Iran has no nuclear weapons, but even if it had, an Israel-Iran exchange would be even feebler than India-Pakistan. North Korea? The same. As for China, it has no real enemies, and the Chinese have always been traders rather than invaders. China is doing alright and doesn’t need to attack anyone.
So, what is the real Doomsday threat? It is the US government’s obsession with Russia, the tail of the Cold War guard dog of the spy novels. It is the encroachment of NATO (let’s be clear, of the US war machine) on the borders of Russia. It is the deployment of sophisticated (and enormously expensive) antimissile systems in countries like Rumania and Poland. It is the crazy world view of NATO and US generals who want to (and have) put troops and materiel into the Baltic States (where I live), on the basis that the “expansionist Russians” are intent on marching over the borders of Latvia and taking back their lost empire.
Since I moved to Riga in 2010, I have seen the NATO infestation of the country. New (US) tanks with the Latvian Flag rumble though the villages, and helicopters thud overhead disturbing the badgers and deer in the forest. Russia has no need to invade Latvia; it can get what it wants or needs. But the media whip up a frenzy of fear that there will be a Russian invasion. There is even a book about this insanity written by a general, retired Deputy NATO commander Sir Richard Shirreff.
Like most things in politics, this is about money. The Media demonizes Trump because he won’t follow the master plan to globalize the planet, driving down unit costs by moving manufacturing around to the lowest wage countries. And the plan to control access through fake democracy wars to diminishing resources (oil) whilst making huge amounts of money for the arms manufacturers that are supplying the global battlefield – Raytheon, Boeing, McDonnell Douglas et al. Trump has said he will increase military spending in the USA, but stop importing weapons, a kind of Keynesian approach to “Making America Great Again,” but as I see it this will not necessarily affect the NATO/ Russia tinderbox. It may rather cause European countries to require NATO to buy weapons in Europe, or even to abandon NATO and set up a European version.
I myself still have an iron in this fire. Inspired by the Perdana Peace Foundation’s campaign to criminalize war, Ditta Rietuma, general secretary of NationalState.INFO, and I have addressed these issues and their solution for some years in conferences in three languages from Latvia and Sweden, for example, recently at the Latvian Academy of Sciences in Riga.
The real Doomsday clock passed midnight long ago. The mad race to extinction fueled by the market-forces laissez faire Western system has created a monster: a system that is not really controlled by anyone, but drives itself with only one imperative – to become richer and more powerful, so as to become richer and more powerful.
This monster has no soul; it was not constructed to look after life on the planet. Following the nuclear fallout, and nuclear energy accidents, the depleted Uranium, and now the fracking, background radioactivity is continuously increasing.  The fertility rate is falling. IVF is advancing. Cancer is an epidemic in real terms. This is the way the world ends. Not with a bang, but a whimper.

"Cli-Fi" as a subgenre of SF gains traction Down Under

"Cli-Fi" as a subgenre of SF gains traction Down Under


SYDNEY, AUSTRALIA -- While it's true that Australia, unlike the U.S. and Europe, has not had a long history in the genre of science fiction,  Australia in 2017 has a thriving SF/Fantasy genre with names recognised around the world. In 2013 a trilogy by Ben Peek fantasy novel and two sequels were acquired by a major SF publisher in Britain, Tor UK.  His first novel in the series, titled Immolation, was published in spring 2014. The trilogy was called "Children" and books two and three were titled Innocence and Incarnation. By the 1950s, just as the SF genre was taking off in dozens of countries in Europe and North America, it took off across Australia in 1952 with the first of many Australian SF conventions.

Today there's James Bradley and Cat Sparks writing SF, with other writers, including Ian Irvine, Alice Robinson. Joanthan Strahan, Peter Carey and dozens of otthers following in George Turner's footsteps.


There is now a new subgenre of SF that's becoming popular in Australia, and it's been dubbed Cli-Fi (for ''climate fiction''. It's not so much as a literary subgenre to compete with other literary genres,  but rather a PR tool,  a media term,  a way for newspapers and websites to signal to readers and book reviewers that climate themes in modern novels deserve a special mention.  The cli-fi expression ws created as a way for literary critics and journalists to talk about novels of the Anthropocene. 


Cli-fi was not created for novelists.  They don't need categories or labels for their works.  Even SF novelists don't need the SF label.  Genre expressions are just marketing terms, good for selling books. Cli-fi was created for literary critics,  book reviewers,  book editors,  publicity departments,  advertising directors.  It is a "key word,"  a media attention-getter,  to attract eyeballs (and readers).
SF novelists tell stories.  They've been doing this for over 100 years and will continue telling stories for another 500 years.
 
So Cli-Fi novelists in Australia and overseas have now joined the literary circus. Their stories focus  on the possible repercussions of unchecked runaway global warming. It's a good subgenre of SF and will be for the next 500 years, too.
​
The short term modelled on the rhyming sounds of sci-fi, has now caught on worldwide, first in English-speaking nations, beginning in  2013 when American radio network NPR aired a five-minute radio segment about ''cli-fi''  novels, interviewing Nathaniel Rich who wrote "Odds Against Tomorrow" and Barbara Kingsolver who wrote "Flight Behavior" .

That radio broadcast was the beginning of this new subgenre term's global outreach and popularity among academics, literary critics, journalists and headline writers in over a dozen nations, including non-English-speaking nations France, Germany, Sweden, Norway, Spain and Brazil as well.


To learn more about how ​SF writers were looking at the popularity of the cli-fi term in literary circles, a few years ago I asked David Brin and Kim Stanley Robinson how they felt about the term. They both told me that they liked the expression but felt that it was best to treat it as a subgenre of ​SF and not as a separate genre.

By promoting the cli-fi term as a subgengre of ​SF, I was able to locate ​SF writers who were already using climate themes in their short stories and novels. From them I learned that cli-fi in SF novels actually had a long history, going back to Jules Verne, Arthur Herzog, J.G. Ballard and George Turner in Australia.


Kim Stanley Robinson's new novel "New York 2140" (set to be published in March) is a good example of the cli-fi subgenre catching on among writers peering into the future of a global warming world.

What's the purpose of cli-fi?

We are a world now divided bitterly over climate change issues.
Novels and movies can serve to wake people up in ways that politics and ideology cannot.



And I believe that if the world does not wake up soon about the pressing climate change issues we face now, future generations of humans will be 'doomed, doomed' — within 500 years. I can ​''​see​''​ that far ahead. Will 'cli-fi' save the planet? No. But at least it might help prepare us for what's coming in future centuries, just as SF novels have done and will continue to do.



The idea for a subgenre for speculative climate fiction ​as a subgenre of SF ​found some traction ​in 2011 when it was endorsed ​in a tweet ​on Twitter by ​Margaret Atwood, the ​Canadian ​novelist whose ​SF trilogy, ​ending w​ith ​''MaddAddam'' dealt with a corrupt anti-environmentalist.



​There ​are examples ​of cli-fi ​in France as far back as Jules Verne, who imagined​ ​—​ ​in the 1860s​ ​—​ ​a future Paris struggling with a ​big drop in temperature​s​. That was a plot point in Verne's "lost" novel ''Paris in the Twentieth Century,'' which actually went unpublished until 1994.

Given the speed with which the phrase "climate change" (which actually dates back at least 50 years) has overtaken the
​global ​environmental discussion in recent years, it's perhaps not surprising that there's been a surge in books in the SF subgenre of cli-fi. Among them are Marcel Theroux's ''Far North,'' which the Washington Post called "the first great cautionary fable of climate change" and Ian McEwan's  ''Solar,''which won a UK literary award for comic fiction.

These are all examples of quality fiction that happen to take climate change as a shared theme.

​A good cli-fi ​story​ ​will have the potential to attract not only climate activists, but also some of the ​climate ​deniers: The whole point is to reach people with emotions, not just preach to the choir.

​The new novel from the Hugo Award-winning ​SF l​egend Robinson submerges Manhattan under the water of globally-rising ​sea ​l​evels​. ​Robinson's PR team puts it this way:​“Every street became a canal​. ​Every skyscraper an island​. ​How will the city's residents -- the lower and upper classes, quite literally -- cope?​''​

So just as SF has helped several generations in the past 100 years cope with technological change and space exploration (and climate change), so too can cli-fi help future generations cope with what's coming down the road as well.















​




.

Friday, February 3, 2017

In-Flight Behaviour: Teaching Cli-fi Literature in First-Year Intro English Classes -- an academic paper by Professor Greg Garrard in Canada

In-Flight Behaviour: Teaching Cli-fi Literature in First-Year Intro English Classes


What I Did and Why I Did It

by Professor Greg Garrard in Canada


I had taught a class about cli-fi novels to graduate students at Bath Spa University in the UK once before, but the 2014-15 academic year was my first opportunity to teach it to Canadian undergraduates at my new institution, the University of British Columbia in the Okanagan.

One of the biggest differences between the two systems is that British students typically take courses in two subjects in their first year, and then only their chosen subject thereafter, whereas UBC students pursue a liberal arts programme that requires them to take courses in a range of disciplines.

As a consequence, British lecturers pretty much teach students in their own subject only, whereas Canadian professors are frequently asked to teach ‘service’ courses to students who are majoring in other subjects.

My cli-fi course could have been calibrated to any level of the degree. I decided to make it into a first year intro course that would cater mainly to non-English majors for two reasons: first, I wanted this most crucial of topics to reach the largest possible number of students; and second, I wanted to use the course to demonstrate the value and significance of humanities-based approaches to a subject that is overwhelmingly discussed in terms of science, engineering and governmental politics. My choice of literary and other texts could, I hoped, enrich students’ knowledge and understanding of climate change, while teaching evaluations (TEQs) could provide a rudimentary sense of whether or not the objectives of the class had been achieved. However, students normally complete TEQs in a rapid, unconsidered fashion, and some research suggests such questionnaires really only measure the likeability of the teacher and the students’ estimate of their expected grade for the course (Clayson, Frost and Sheffet; Clayson and Sheffet), so I also included an essay prompt that implicitly asked for reflection on the value of the course: ‘”Literature has little to contribute to progressive climate politics.” Do you agree?’ Quotations from students below appear under their real names, are drawn verbatim from both TEQs and essays, and are used with permission. It is worth noting, though, that the addressee of these statements, qua pedagogical researcher, was also grading their essays, making them questionable as sources of reliable evaluation (Garrard "Problems and Prospects in Ecocritical Pedagogy" 236) The responses gathered by means of a learning-focused essay question suggested that formal assessment is underused as a means of obtaining more reasoned and thoughtful pedagogical reflections from students than TEQs.
The 13-week course justified its ‘service’ designation by incorporating substantial elements of composition – another aspect of teaching that British lecturers seldom undertake, at least formally. The course texts included Al Gore’s An Inconvenient Truth; selected stories from Helen Simpson’s In-Flight Entertainment; Barbara Kingsolver’s Flight Behaviour (the title of which we perennially confused with Simpson’s, as in my chapter heading above); Steve Waters’s play The Contingency Plan; and a small number of critical essays and extracts by Kari Norgaard, Mike Hulme, Richard Kerridge, and so on. As a newcomer, I reluctantly accepted the widespread North American habit of over-assessing and micro-managing students’ learning, despite my concerns that such assessment regimes are not supported by pedagogical research (Gibbs).
The objectives of the course had to be strictly limited from the outset. The requirement to spend a minimum proportion of 35% on the writing component had to be borne in mind, even if the stated figure is impossible to measure and in any case never checked. Additional objectives included introduction of basic narratological terminology, and reflective analysis of the ways various disciplines characterise, or ‘frame’, climate change. The commitment to spend a decent amount of time on each literary text (Garrard "A Novel Idea: Slow Reading") meant that other attractive options relevant to the teaching of climate change fiction, notably Mitchell Thomashow’s suggestions for enhancing ‘biospheric perception’, could not be included. Nevertheless, Thomashow’s characterisation of the problem was a guiding insight throughout:
A fine paradox emerges. Global environmental change is too elusive to grasp, yet too profound to ignore. Not yet the province of concentrated public attention, it appears more subtly, through its images and metaphors. Not easily understood, it leaves its marks and trails nevertheless, in the form of local signs and global reflections. International networks of commerce and communication may hide the ecological origins of your daily life, but they bring images of the planet to bear on your every move, whether it’s the Netscape icon of a comet passing over the globe, or a Coca-Cola ad panning the world’s cultures for coke drinkers. (Thomashow 37)
Timothy Clark’s work on the disorientation of temporal and spatial scales brought about by climate change (Clark "Some Climate Change Ironies: Deconstruction, Environmental Politics and the Closure of Ecocriticism"; Clark "Scale") was another point of reference that emphasised the paradoxical quality of life in the era of climate change.
What We Learned, What Students Said
Our starting point was the failure of the UN-sponsored IPCC/COP process, which was originally designed to forge a science-based political consensus for global action to curb greenhouse gas emissions. A student named Jessy pointed out that ‘As global reports and documentaries have not been effective in reaching the general public so far, climate change literature may be our last hope in convincing many people that climate change is happening’. Taking note of this failure was not meant to cast doubt on the scientific position: the IPCC Assessment Reports are assembled from publically-funded, peer-reviewed science, which I argued should be given more weight than sceptical weblogs or position papers produced by fossil fuel-funded ‘think tanks’. Nevertheless, five successive reports, each of them better grounded and more confident than the last, have not, as yet, galvanised international action. As Mike Hulme points out, the supposed separation between the scientific work of the IPCC and the politics of the COP forums has proven difficult to sustain, leaving the scientists open to charges of ‘politicization’:
Does the IPCC offer impartial science or does it shape policy? Does the IPCC reflect the views of participating scientists or the views of the government officials who have to approve its reports? Some disagreements about climate change can be traced to different interpretations of the authority of the IPCC. (Hulme 96)
The climate fictions chosen for discussion provided opportunities for two types of reflection on this problem. Since Kingsolver, Waters and one of Simpson’s stories feature scientists as characters, discussion of the fictional dilemmas they face illuminated the fundamental problem with the hegemonic construction of scientific knowledge in Western societies: scientific authority is seen to depend not only on methodological impartiality (guaranteed procedurally by peer-review and public funding), which is indeed essential, but also on rhetorical impartiality. For example in Flight Behaviour, Ovid Byron resists the suggestion of protagonist Dellarobia that he try to ‘save’ the imperilled monarch butterflies, saying: ‘“I am not a zookeeper … I’m not here to save monarchs. I’m trying to read what they are writing on our wall.”’ (Kingsolver 320) Dr Byron believes that his reputation as a scientist depends on sounding unconcerned about the fate of the butterflies, even though the two kinds of impartiality have no necessary relationship at all. In the event, goaded by a TV journalist desperate to avoid talking about climate change, Byron violates the disciplinary protocol, venting his passionate feelings in a tirade that is then posted on YouTube. Discussion of this point is especially useful for students intending to major in natural sciences, clearly.
The other discussion one can initiate based on the failure of the IPCC/COP process is a more general one about the social utility of science and its limits. As Hulme explains, ‘climate’ is a concept with deep-rooted meanings for different cultures and bioregions, so it cannot be revised overnight by scientific appropriation and redescription. Flight Behaviour conveys this complexity by the wonderfully subtle means of placing a brilliantly memorable symbol at the centre of its narrative: the monarch butterfly swarm. Dellarobia first encounters it without spectacles, on her way to an adulterous assignation, and so is forced, against her agnostic disposition, to think of the butterfly-clothed trees in Biblical terms:
The burning trees were put here to save her. It was the strangest conviction she’d ever known, and still she felt sure of it. She had no use for superstition … By no means was she important enough for God to conjure signs and wonders on her account. What had set her apart, briefly, was an outsize and hellish obsession. To stop a thing like that would require a burning bush, a fighting of fire with fire. (16)
Her Appalachian neighbours publically proclaim the arrival of the monarchs as a miracle and a sign from God, although there is little agreement as to what precisely it means. Privately, they see the butterflies as either an economic opportunity – for tourist dollars – or a potential obstacle to their plans for land development. As the novel progresses, the symbolic meanings accumulate: Ovid Byron and his team add a scientific perspective, while environmentalists from California and England emphasise the beauty and fragility of the butterflies. Such is Kingsolver’s conciliatory ambition for the novel, moreover, these symbolic meanings more often grow together than clash violently (Garrard "Conciliation and Consilience: Climate Change in Barbara Kingsolver's 'Flight Behaviour'"). Reacting perhaps to the obdurate incommensurability of cultures of nature in contemporary American political discourse, Kingsolver chooses in her fiction to imagine figures like Pastor Ogle, an evangelist preacher with remarkable environmental sensitivities. Siobhan explained this intermediating function in her essay:
Literature is a cultural broker and like Dellarobia in Flight Behavior, literature connects us to ideas that could have happened years ago, in a far off country, or maybe both. Dellarobia connects two far off worlds, the world of scholars and scientists, and the world of low-income church-goers. She connects her community to the world around her, where tragedy is disguised as beauty.
The phrase ‘cultural broker’, which had been coined by another student earlier in the course, came to be used frequently in class.
Much discussion throughout the course focused on the ‘knowledge/action gap’, at both individual and international levels. A wide range of explanations for the gap was discussed: the limitations of our evolved psychological capacities; the organised resistance of fossil fuel-funded scepticism; the inertia of existing energy systems; the social norms that restrict conversations about weather; the power of international capital; and so on. Crucially, the selected climate fictions were not presented as evidence for or against any of these explanations, but rather as dramatisations of the cultural processes by which climate change becomes cognitively and emotionally legible. Furthermore, the fictions were seen as making implicit or explicit metanarrative claims for literature itself in relation to climate change. For example, the title story of Simpson’s collection incorporates several narrative levels that imbricate the reader in complex emotional responses: the first person narrator, with whom we initially identify, is an arrogant, sexist climate sceptic. His interlocutor in the story is a former climate scientist, who reiterates the force of the scientific consensus, strengthening our suspicion of the narrator. However, the scientist has now retired and, having realised no one else is acting to prevent climate change, wants nothing more than to die in the first class cabin of an international flight. The narrator’s uneasy resistance to such heedless hedonism at once challenges his earlier scepticism and encourages the reader to question the relationship of knowledge and action in her own case. In this instance, it is the distinctive quality of narrativity that gives this story its significance.
In my experience it is a never-ending struggle to persuade students, English majors or no, to analyse the formal qualities of a narrative as well as to engage with the human dynamics of its storyworld. Dellarobia, in particular, was judged to be highly ‘relatable’ (top candidate for the neologism most hated by English profs), which meant her travails were considered beneficially emotive. Much as I wished students to observe how Kingsolver used focalisation and idiolectal metaphor to encourage such identification, I agreed with their judgment. Several students claimed that climate fiction was needed because few people respond emotionally to data, as in Kate’s suggestion that:
Human beings respond to all different kinds of information. … I feel that to be able to visualize is an advantage that hopefully humans can look past the dramatized Hollywood idea of climate change and see that the effects are real and no matter if one responds to scientific data or fictional stories that it is occurring and connection must be made to change it.
I tried, in the discussion of methodological impartiality, to stress that since the humanities also partake of these practices, they too institutionalise progressive forms of rationality. I also attempted to introduce Ursula Heise’s approach, which treats literature diagnostically as a source of information about enculturated notions of environmental risk (Heise 138), to little effect. As it turned out, demonstrating the utility of literature and criticism in advancing the rational understanding of climate change as a ‘wicked’ socio-ecological problem proved too demanding for this particular instructor/class confluence.
Kate’s response was like several others that continued to map the science/literature distinction onto a similarly dualistic configuration of reason/emotion. Siobhan, for example, stressed the value of the immersive, empathic experience of reading a novel like Flight Behaviour:
A common saying is “you are what you eat” but I have a radically different and definitely more reasonable twist. What about “you are what you read?” … Reading puts our brain into gear to think about the world around us.
Much as I want to honour the capacity of literature for realistic depiction and emotional involvement, I also feel the need to emphasise its distinctive forms of rationality and artificiality. This objective may exceed the capacity of a single introductory course, however.
An intriguing extension of the idea that climate fiction renders cold, hard data emotive, in Thea’s essay, emphasised the cognitive as well as affective benefits of the multiplicity of stories contained within a single novel of substance.
When written effectively climate change literature has the ability to make the arguably [sic] most influential issue of our time accessible to society. … works of fiction offer multiple stories regarding climate change, proving to readers that there is an array of stories connecting climate science to emotion, giving readers a reason to care about the issue.
The emotional power of literature is its ethical warrant, as before, but that power is seen as deriving from its specifically dialogic narrative techniques rather than a single source in the author or narrator. Despite the enthusiasm for multiple voices evinced here, though, Steve Waters’s two-part play was very poorly received by students: it was too English and too preachy, and they mostly loathed reading a script rather than a story.
Implications
I envisaged the course as incorporating reflection of the place of science in contemporary culture, as well as justifying the humanities to those who will not continue to study them. I also talked a lot about narrative technique and the fictionality of fiction – its complex, ambiguous relationship to the nonfictional world we think we inhabit. Despite my efforts, many essays treated the fictions as unmediated sources of information about such extratextual realities as the relationship of gender and climate change or the environmental ethics of Christianity. The abrasive, disruptive, unassimilable singularity of literature was not much in evidence – though Barbara Kingsolver, for one, was a poor choice to convey such otherness. Her overtly literary prose, though, ought perhaps to have made more of an impression.
Students are generally confused, and with good reason, by the term ‘realism’. It is always shadowed by the notion of what is ‘realistic’ (i.e. conforming to the student’s own sense of what it possible or plausible), whilst at the same time it alludes to the loose literary history and repertoire of narrative techniques gathered under the heading of ‘realism’. While a student’s personal sense of verisimilitude is inevitably informed by wider cultural mores and assumptions – Newtonian physics, popular post-Freudian psychology and the capitalist ideology of progress, roughly – climate fiction can be held to a novel, more demanding standard thanks to the IPCC projections. In that peculiar new kind of context, Simpson’s apocalyptic short story ‘Diary of an Interesting Year’ is probably unrealistic – though no author has, to my knowledge, imagined anything more realistic, in this sense, as yet.
The next iteration of this course will be much larger – 150 students rather than 35 – and will involve lecturing and managing TAs rather than teaching a seminar. It will also switch topic somewhat, dropping the play to focus on narratives only, and combining climate change and biodiversity loss under an ‘Anthropocene Culture’ rubric. I have added Gerald Graff and Cathy Birkenstein’s immensely popular They Say/I Say to shape the composition element away from the correct employment of semicolons and towards the use of evidence to develop reasoned argument. I will again use assessments as an opportunity to collect rich (if biased) information about students’ responses to environmental fiction and criticism, but I will focus the essay prompt more explicitly on learning and teaching. Over further iterations, I plan to explore the ways that the assessment regime for this and other courses constitutes a ‘hidden curriculum’ that may convey values at odds with those overtly endorsed (Sambell and McDowell). I will also try to incorporate some of Thomashow’s smart perceptual exercises, and look for constructive means of redirecting students’ irrepressible obsession with smartphones and laptops towards genuine deep learning. My learning curve in the next few years will be every bit as steep as theirs.

Works Cited

Clark, Timothy. "Scale." Telemorphosis: Theory in the Era of Climate Change. Ed. Cohen, Tom. Ann Arbor, Michigan: Open Humanities Press, 2012 of Critical Climate Change.
---. "Some Climate Change Ironies: Deconstruction, Environmental Politics and the Closure of Ecocriticism." Oxford Literary Review 32 1 (2010): 131-49.
Clayson, Dennis E, Taggart F Frost, and Mary Jane Sheffet. "Grades and the Student Evaluation of Instruction: A Test of the Reciprocity Effect." Academy of Management Learning & Education 5 1 (2006): 52-65.
Clayson, Dennis E, and Mary Jane Sheffet. "Personality and the Student Evaluation of Teaching." Journal of Marketing Education 28 2 (2006): 149-60.
Garrard, Greg. "Conciliation and Consilience: Climate Change in Barbara Kingsolver's 'Flight Behaviour'." De Gruyter Handbook of Ecocriticism and Cultural Ecology. Ed. Zapf, Hubert. Berlin: De Gruyter, forthcoming.
---. "A Novel Idea: Slow Reading".  Times Higher Education, 2010. 20 July 2015. <https://www.timeshighereducation.co.uk/news/a-novel-idea-slow-reading/412075.article>.
---. "Problems and Prospects in Ecocritical Pedagogy." Environmental Education Research 16 2 (2010): 233-45.
Gibbs, Graham. Using Assessment to Support Student Learning. Leeds: Leeds Metropolitan University 2010.
Heise, Ursula K. Sense of Place and Sense of Planet : The Environmental Imagination of the Global. Oxford ; New York: Oxford University Press, 2008.
Hulme, M. Why We Disagree About Climate Change : Understanding Controversy, Inaction and Opportunity. Cambridge ; New York: Cambridge University Press, 2009.
Kingsolver, Barbara. Flight Behaviour. London: Faber, 2012.
Sambell, Kay, and Liz McDowell. "The Construction of the Hidden Curriculum: Messages and Meanings in the Assessment of Student Learning." Assessment & Evaluation in Higher Education 23 4 (1998): 391-402.
Thomashow, Mitchell. Bringing the Biosphere Home : Learning to Perceive Global Environmental Change. Cambridge, Mass. ; London: MIT Press, 2002.

气候科幻小说能拯救地球吗? = Can ''Climate science fiction'' save the Earth? (reprinted from the China Daily in Beijing who got permission from the Atlantic's editors to reprint this in Mandarin Chinese and paid the author a few for the reprint rights.



气候科幻小说能拯救地球吗? = Can ''Climate science fiction''  save the Earth? (reprinted from the China Daily in Beijing,  China who got permission from the Atlantic's editors to reprint this in Mandarin Chinese and paid the author a few for the reprint rights.

https://www.theatlantic.com/entertainment/archive/2015/08/climate-fiction-margaret-atwood-literature/400112/





气候科幻小说能拯救地球吗?

作者:Miss J.K. ULLRICH who originally wrote this in 2014 for the ATLANTIC magazine in the USA.   来源:中国日报网
 
Original: selected from the " Atlantic Monthly in the USA, with permission from the editors of the Atlantic and with payment to the author JK Ullrich as well.
https://www.theatlantic.com/entertainment/archive/2015/08/climate-fiction-margaret-atwood-literature/400112/
Translator: Zhang Singsegae
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    近来一种新的文学体裁引起了很多年轻人的共鸣,它着眼于全球环境问题的恶果,同时也让年轻一代们参与其中,为地球的可持续发展出谋划策。

气候科幻小说能拯救地球吗?

    美国西南地区因干旱而导致人口大量死亡。在内华达州和亚利桑那州因各自占有的科罗拉多河份额日益减少而争论不休之时,一旁的加州却虎视眈眈,想将其全部据为己有。在这个“滴水贵如金,同盟逝如沙”的时代,荒漠里的唯一真理就是:想喝水,先流血。

    上述有关美国西部大旱灾的说法或许略显夸张——就目前而言,这种设想还只是虚构的。这是作家保罗·巴斯加卢比(Paolo Bacigalupi)作品《水刃》(The Water Knife)的前导宣传语。如今,以气候变化为主题的小说风头正劲,这本书也是其中的新作之一。这类体裁的作品常称为“气候科幻”(climate fiction, cli-fi ),简而言之,就是探讨气候变化可能带来的极端后果。
其实此类概念也并非新鲜事物。19世纪80年代,儒勒·凡尔纳(Jules Verne)在他一些小说中就尝试过这类概念,但人为因素造成气候变化的主题直到进入20世纪才开始出现在文学作品中。20世纪60年代,英国作家J.G.巴拉德(J.G. Ballard)开创了世界末日主题的文学创造风潮,比如小说《神秘来风》(The Wind from Nowhere)。随着公众环保意识的提高,此类主题的小说人气也越来越旺,如今在购物网站亚马逊上搜索“气候科幻”,有1300多条结果。
步入千禧年之后,气候科幻已由原来科幻小说的分支发展为自成一派的文学体裁。和以往的科幻文学不同,该体裁的故事很少关注人们虚构的科技,或是天边遥远的行星。它重点关注的是地球,审视各类污染、海平面上升、全球变暖对人类文明的影响。这类文学体裁越来越多地出现在大学课程里,在科技与人文学科和行动主义间架起了沟通的桥梁,让年轻读者们更容易接受环保话题——由此可见,在各种应对全球变暖问题的举措中,文学发挥的作用超乎人们的想象。
现在,气候主题的电视电影在大小荧幕上都渐渐兴起,这对于吸引年轻人的兴趣大有帮助。2014年,克里斯托弗·诺兰(Christopher Nolan)执导的史诗巨制《星际穿越》(Interstellar)中,美国中西部变成了沙尘暴地区,前途堪忧,人类只好寻找新的星球定居。电影《雪国列车》(Snowpiercer)里,人们阻止全球变暖的实验失败,导致人类重新进入了冰河纪。作家玛格丽特·阿特伍德(Margaret Atwood)大受欢迎的气候小说三部曲《疯狂的亚当》(MaddAddam)正由HBO电视台改编拍为电视剧,而该频道另一部人气颇高的电视剧《权力的游戏》(Game of Thrones)也有意无意地触及了全球变暖的主题。
作家兼环境活动家丹·布鲁姆(Dan Bloom)在2008年左右创造了“cli-fi”(气候科幻)这个词,希望能借此将冗长乏味的 “climate fiction”(气候科幻)变得更有吸引力。布鲁姆说道:“我从没定义过,也没想过要去定义一种新文学体裁。”在他看来,他只是想造个朗朗上口的流行语,以提高全球变暖问题的关注度。这项策略很成功,布鲁姆称,2012年,阿特伍德在Twitter上用了这个词,将其介绍给她的50多万粉丝。此后,“气候科幻”一词慢慢站住了脚跟,出版社和书评人也开始将其视为一种新的文学种类。
从这一方面来看,“气候科幻”的确是一种当代文学现象——诞生之初为一种(通过模仿而传播的)文化迷因,而现在则借助社交媒体的力量成长为独立的文学体裁。如今,Twitter上关于气候科幻小说的标签用得很频繁,好读(Goodreads)上有读者创建的书单,而Facebook上也有一些小组,其中一个小组就专门推荐适合年轻人阅读的气候科幻小说。
想想当代“气候科幻”的起源,我们便不会对其在高中和大学读者群中渐长的人气感到惊讶。在2015年2月《卫报》(The Guardian)的一篇专栏中,“气候科幻”作家萨拉·霍丁(Sarah Holding)撰文称,此类文学体裁“将年轻读者和他们身边的环境重新联系起来,让他们看清其中的价值。尤其在当今社会,年轻人把大量时间都浪费在虚拟世界。”
环境主题的小说与当今青少年文学里的反乌托邦潮流相辅相成。巴斯加卢比的2013年小说《溺水的城市》(The Drowned Cities)和2011年小说《拆船人》(Ship Breaker)向我们展示了海平面上升是如何改变美国地形的,而萨拉·科洛珊(Sarah Crossan)的2012年作品《呼吸》(Breathe)中的主人公就生活在一个由穹顶覆盖的城市里,因为那时的氧气,已经是稀有品了。
此类文学作品带来的并非只有逃离现实的刺激,它已经成为鼓励年轻人进入科研领域的跳板。多年来,在美国学界,学生对STEM课程(科学,技术,建筑,数学)的兴趣逐年下减。2012年,国际学生评估项目的结果显示,美国学生在科学方面的能力表现排名仅为第20名(共34个国家参与)。但目前,从俄勒冈大学(University of Oregon)到剑桥大学继续教育学院(Cambridge University’s Institute of Continuing Education),海内外的许多大学都开设了“气候科幻小说”的相关课程。2015年早些时候,来自霍利奥克大学(Holyoke)的几位学生,为研究巴斯加卢比的获奖小说《发条女孩》(The Windup Girl)中的基因工程概念,提取出了草莓的DNA。在天普大学(Temple University),“气候科幻”课程的学生就经常用他们的班级博客来分享科学新闻,并在书评中引用各类科学文章。一位英语专业的学生在博客中坦言:“其实,面对大量的科技专业术语,我经常不知所云,感觉自己智商不够用。”之后这个学生发布了一篇关于阿特伍德小说《洪灾之年》(Year of the Flood)的书评,内容详尽,探讨气候变化怎样影响多个农业领域,并讨论了其中涉及的化学原理。

气候科幻小说能拯救地球吗?

STEM课程使学生们望而生畏,然而科学与人文的交融却能产生实效,鼓励更多学生投入STEM领域的严肃研究。由文学和创意写作轻松入门,《一次一个词拯救地球》(Saving the World One Word at a Time)的作者艾伦·斯扎伯说道:“对于那些自以为对科学没兴趣的学生来说,科学也变得能够理解了。”他曾提出一种观点,“气候科幻”类文学作品具有将环境问题私人化、去政治化的能力——少把气候变化视作一个毫无人性的话题,反而能最终启发人们实实在在的行动。泰德·豪威尔 在天普大学教授“气候科幻”课程,他称,宣传气候变化的传统方式对于他的学生已不再适用。“一旦他们对全球变暖的基本知识框架有了大致理解,便不想再研读关于全球气温是上升2%还是4%的资料——他们想知道的是该如何应对。”豪威尔说道。
当然,也并非每个人都相信气候科幻小说的潜力。2014年,气候信息网的创始人乔治·马歇尔就曾在《纽约时报》发表文章称,他担心这类科幻小说只会加强人们根深蒂固的想法,而不能改变任何人的观念。“不信气候变化的人只会把这些故事当作证据,证明气候变化是虚构的,作家们为了达到戏剧化效果而夸大其词,”他说道,“已经相信气候变化的人会被故事吸引,但那些夸张的末日故事套路又可能会使他们偏离气候变化的议题,甚至于将问题物化。”
廷德尔气候变化研究中心的研究显示,把气候变化放入小说故事中,可能会减少读者对现实气候变化问题的紧迫感,或是将之简化为没有现实补救措施的模糊概念。天普大学课堂里的学生表示,他们也有同样的感受。“当我们意识到,应对气候变化的真正有效措施需要涉及一系列生活方式上的实质性改变,并会因此在金钱、权利和影响力上有所牺牲时,我们就会感到泄气。”豪威尔说道。虽然失望,但也并非毫无希望。他表示,这些不确定性也能帮助我们强调改革的巨大潜力。
而挑战也在于此。“科学并不能告诉我们该怎么做,”金索沃尔在小说《逃逸》中写道,“只能告诉我们它是什么。”故事本身并不是解决方案,但它们能激励我们去行动,这也许就是气候科幻小说的呼声为什么在年轻读者的心中这么有地位。作为明日的科学家和领导人,他们最有可能解决好前辈们未能完成的任务,解决好气候变化问题。气候科幻小说,与其背后的科学原理一样,所呈现的前景似乎都是一片凄凉。但在这些骇人的预言中,还藏匿着希望,现在改辕易辙也还为时不晚。正如阿特伍德在《疯狂的亚当》中所言,“人们需要这类故事,因为不管前途多么黑暗,有声的黑夜总是好过无声的空虚。”
原文选自:大西洋月刊
译者:张骁 编辑:钦君
 
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Author: J.K. ULLRICH SOURCE: Chinadaily.com.cn
2017-02-03







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Recently a new literary genre aroused many young people the resonance, it focused on the consequences of global environmental issues, but also let the young generations 1 participated in it, for the Sustainable Development of the earth.


Climate science fiction to save the earth?

The south-western region of the United States population caused by the drought and the large number of deaths. In Nevada and Arizona due to their respective share of the Colorado River and the decreasing0.50, next to the 1 California has started to put all of its appropriation. In this way the such as gold, alliance efforts such as sand" era, desertification of the only truth is: Would you like to drink some water to the bloodshed.


The above-mentioned about the United States the large-scale western drought that perhaps a little exaggeration - for the time being, this idea was also just fictitious. This is the writer Paul, plus rupees (paolo bacigalupi) works of the water edge (the water knife, leading advocacy. Today, with climate change as the theme of the novel the limelight, this book is one of the 1 new. Such genre of works are often called "climate science fiction" (climate fiction, cli-fi), in short, is to explore the potential benefits of climate change extreme consequence.
In fact such concepts are not new. 19 Century 80 s, Mr. Joinet, Mr. Jules Verne in his novels in respect of which such concepts tried, but human factors of climate change caused by the subject until you enter the 20 century is beginning to appear in the literature. 20 Century 60 s, British writer J.G. Balad (J.G. ballard) has pioneered a doomsday theme of the literary creation, such as the wave of novel mystery to the wind (the wind from xiamen). As public awareness of environmental protection, the theme of this type are also becoming more popular novels Mong, today in the shopping site Amazon, search for "climate science fiction", and there is more than 1300 results.
Step into the new millennium, climate science fiction by the branch of science fiction development since 1 into the literary genre. And past fantasy literature, the genre of story very little attention to people fictitious technology, or the wayward distant planet. It is the focus of this earth, and examine various types of pollution, sea-level rise, global warming on the impact of human civilization. This type of literary genre appear more and more in the university courses in science and technology and the humanities and activism of building bridges to young readers are more likely to be accepted by the environmental protection issue - it is clear that under the various global warming initiatives, the literature on the role played by the people's imagination.
Now that the theme of the climate in the size of the TV and movies on the screen are gradually on the rise, and this is essential to attract young people to the interest of great help. 2014, Christopher Nolan christopher nolan directed by epic blockbuster star through (a), the United States presented through the central and western regions into the sand and dust storms, and the future is worrying, human had to find new planet for settlement. The Movie Snow Country Train (snowpiercer), people stop global warming experiment failed, causing human re-entered the glacier discipline. The Writer Marguerite Atwood, margaret atwood) popular novel climate the crazy Adam (maddaddam) is being used by the TV with HBO adapted concepts for the drama and the channel 1 of another popular TV show the power game, (game of verb intentionally or unintentionally) also touched on the subject of global warming.
The writer and environmental activists dan (dan bloom) in 2007 about the cli-fi" (climate science fiction) this word, hoping to take this will be tedious "climate fiction" (climate science fiction) become more attractive. Broome says: "I have not defined, nor did they attempted to define a new literature 1 genre. In his view, he had merely wished to make a paragons of popular words to raise global warming issues. The strategy was successful and Broome, 2012, Atwood on twitter used the word to her 50 million vermicelli. Since then, "climate science fiction" 1 word slowly stopped the heel, press and book reviews have also begun as a New Literature 1 types.
1 from this perspective, the "climate science fiction" is indeed a contemporary literature in 1 - 1 for the dawn of a (through the spread of imitation and Culture), mini-and now with the strength of social media development into an independent literary genre. Today, on twitter climate science fiction labels used frequently, good reading (goodreads readers) has created a list of the titles, and there were also some facebook group, one of the teams on specialized recommended suitable for young people read the climate science fiction.
Think of contemporary "climate science fiction is the origin of, we would not have to be in the high school and university readership grew up the popularity was surprised. In 2015 February newspaper The Guardian of the guardian (1) special hink of contemporary "climate science fiction is the origin of, we would not have to be in the high school and university readership grew up the popularity was surprised. In 2015 February newspaper The Guardian of the guardian (1) special column, "climate science fiction" the writer Mr. Salah hodding sarah (holding) the author asserts that this type of literary genre of "young readers and the environment around them again, to make them see the value in. Particularly in today's society, young people to devote a great deal of time is wasted on the virtual world.
The theme of the environment in the novels" with today's youth literature in the anti-utopian trend and mutually reinforcing. Abbas plus Rupees in 2013 novel drowning city (the drowned cities) and 2011 novel and ship (ship breaker) demonstrated to us the sea-level rise is how to change United States terrain, and Sarajevo, Shan (sarah crossan) 2012 works of the Respiration (breathe of living in a vaulted coverage in cities, because by then the oxygen is already scarce commodities.
This type of literary works had not only not only where the reality of incentives, it has become the encourages young people to enter the field of scientific research. For many years, the academia in the United States, students STEM courses (science, technology, construction, mathematics) interest under each year. 2012, International Student Assessment of the results of the project showed that the students in the United States in the scientific capacity performance, ranked the 20th place (34 countries). At present, however, from the university of oregon to Cambridge University to continue the Institute of Vocational Education (cambridge university's institute of continuing education), both at home and abroad for many universities have opened the climate science fiction" of the relevant programs. 2015 earlier from holyoke holyoke College) several students to study, plus rupees prize-winning novel of the girls of the windup girl in genetic engineering concepts and pulls up a strawberry DNA. The Temple University (temple university, "climate science fiction" course of students were often used their class blog to the sharing of scientific information and references Riech wrote in various scientific articles. 1-bit English students in the Blog: "In fact, confronted with a large number of scientific and technological terminology, I often do not know what that feel IQ insufficient. After this the students' released 1 Article on Atwood novel floods of years of (year of the flood of books), informative, explore how climate change affects more than one area of agriculture, and discussed the chemical works.


Climate science fiction to save the earth?

Stem courses enable students seem daunting, but a blend of sciences and humanities; had the practical results, and to encourage more students to inputs in the area of STEM serious study. The literary and creative writing easy to get started, the 1 times a word to save the planet (saving the world one word at a time of the author Allen Stayman, Mazar-i-Sharif, says: "For those who think that they are not interested in science students, have also become capable of understanding the scientific. " he had raised the point 1, "climate science fiction" class literary works with the environmental problem private, depoliticized capacity - less of climate change as a senseless and topics, contrary to the end that inspired the real action. Mr. Ho Prince (Ted Howell) in the Temple University Professor "climate science fiction" course, he said, raising awareness of climate change the traditional method for his students is no longer applicable. "Once they have the global warming framework with a basic knowledge of the broadly understood, they do not want to read about the global temperature is rising 2% 4% or information -- they want to know the how to respond. Howard Johnson Wales."
Of course, this is also not everyone believe climate science fiction potential. 2014, the founder of the web of information for climate  at the New York Times carried an article saying that he was worried that this type of science fiction will only strengthen people ingrained idea, not to change the concept of a person. "Climate change people will only make these stories as evidence to prove that climate change is a fiction and writers in order to achieve dramatic effects and exaggerated," said he, "already believe climate change people will be attracted to the story, but those exaggerated doomsday story set also might enable them to deviate from the subject of climate change, and even the question of materialization. "
Tindal climate change research study shows that the integration of climate change into fiction stories, may reduce the readers in the reality of the climate change issues of urgency, or be simplified as there was no realistic prospect of the vague concept of remedial measures. Temple University students in the classroom said that they also have the same feelings. "When we realize that responses to climate change should truly effective measures need to involve a range of life on the substantive changes and will therefore in money, rights and influence on the sacrifices, we will then be discouraged. Howard Johnson Wales." Although the disappointment, but it also is not hopeless. He said that Stem courses enable students seem daunting, but a blend of sciences and humanities; had the practical results, and to encourage more students to inputs in the area of STEM serious study. The literary and creative writing easy to get started, the 1 times a word to save the planet (saving the world one word at a time of the author Allen Stayman, Mazar-i-Sharif, says: "For those who think that they are not interested in science students, have also become capable of understanding the scientific. " he had raised the point 1, "climate science fiction" class literary works with the environmental problem private, depoliticized capacity - less of climate change as a senseless and topics, contrary to the end that inspired the real action. Mr. Ho Prince (ted howell) in the Temple University Professor "climate science fiction" course, he said, raising awareness of climate change the traditional method for his students is no longer applicable. "Once they have the global warming framework with a basic knowledge of the broadly understood, they do not want to read about the global temperature is rising 2% 4% or information -- they want to know the how to respond. Howard Johnson Wales."
Of course, this is also not everyone believe climate science fiction potential. 2014, the founder of the web of information for climate George Marshall (george marshall) at the New York Times carried an article saying that he was worried that this type of science fiction will only strengthen people ingrained idea, not to change the concept of a person. "Climate change people will only make these stories as evidence to prove that climate change is a fiction and writers in order to achieve dramatic effects and exaggerated," said he, "already believe climate change people will be attracted to the story, but those exaggerated doomsday story set also might enable them to deviate from the subject of climate change, and even the question of materialization. "
Tindal climate change research study shows that the integration of climate change into fiction stories, may reduce the readers in the reality of the climate change issues of urgency, or be simplified as there was no realistic prospect of the vague concept of remedial measures. Temple University students in the classroom said that they also have the same feelings. "When we realize that responses to climate change should truly effective measures need to involve a range of life on the substantive changes and will therefore in money, rights and influence on the sacrifices, we will then be discouraged. Howard Johnson Wales." Although the disappointment, but it also is not hopeless. He said that these uncertainties can also help we stress the great potential of reform.
This is the challenge. "Science does not tell us how to do it" Kim Kosovo's novel escape, wrote, "We can only tell us what it is. " story is not in itself a solution, but they inspire us to act, and that was perhaps climate science fiction the voices of young readers why in the hearts so status. As the leaders of tomorrow, scientists and, who are most likely to resolve the predecessors of the task failed to complete and to resolve the issue of climate change. Climate science fiction, behind the scientific principles, the prospects seem 1 pathetic. But in such terrible in the prophecy, also harboring hope that now undergo also it is not too late. As Atwood in the insanity of Adam, said, "People are in need of this kind of story, because it is the future of how the darkness, with a sound of darkness is better than never silent of emptiness.


Original: selected from the " Atlantic Monthly
https://www.theatlantic.com/entertainment/archive/2015/08/climate-fiction-margaret-atwood-literature/400112/
Translators: Zhang Singsegae took edit: non-governmental Kwan
 

Thursday, February 2, 2017

Teaching Cli-Fi in the Humanities - a new nonfiction academic book edited at the University of Oregon by Stephen Siperstein, Shane Hall, Stephanie LeMenager

 

Climate change is an enormous and increasingly urgent issue. This important book in 2017 highlights how humanities disciplines can mobilize the creative and critical power of students, teachers, and communities to confront climate change. The book is divided into 4 clear sections to help readers integrate cli-fi into the classes and topics they are already teaching as well as engage with interdisciplinary methods and techniques. Teaching Cli-Fi in the Humanities constitutes a map and toolkit for anyone who wishes to draw upon the strengths of literary and cultural studies to teach valuable lessons that engage with climate change.
 
 

 
Table of Contents
 
For background see www.cli-fi.net
 


 In-Flight Behaviour: Teaching Climate Change Literature in First Year Intro English, Greg Garrard




Looking Back to Look Ahead: Climate Change and US Literary History, William Gleason


Afterword, Bill McKibben

How and Why I created the expression "Cli-Fi" as a subgenre of SF


How and Why I created the expression "Cli-Fi" as a subgenre of SF


1,440 words....... 8,500 characters




​by Dan Bloom

Before I begin this brief introduction to the new genre of cli-fi, a subgenre of SF,  I want to emphasize that I created the cli fi expression not so much as a literary genre to compete with other literary genres,  but rather as a PR tool,  a media term,  a way for newspapers and websites to signal to readers and book reviewers that climate themes in modern novels deserve a special mention.  So I created cli fi as a way for literary critics and journalists to talk about novels of the Anthropocene. 
I didn't create cli fi for novelists.  They don't need categories or labels for their works.  Even SF novelists don't need the SF label.  Genre expressions are just marketing terms, good for selling books. Cli fi was created for literary critics,  book reviewers,  book editors,  publicity departments,  advertising directors.  It is a "key word,"  a media attention getter,  to attract eyeballs (and readers).
SF novelists tell stories.  They've been doing this for over a hundred years and will continue telling stories for another 500 years. 
Cli fi novelists have now joined the literary circus. Their stories focus  on the possible repercussions of unchecked runaway global warming. It's a good subgenre of SF and will be for the next 500 years, too.
​
Now for some background details: The 'cli-fi' name came to me in 2008 as I was thinking of ways to raise awareness of novels and movies about climate-change issues. I originally thought of using such terms as ''clima-fic'' or ''clim-fic'' or ''cli-fic'' for the longer term of "climate fiction" (novels embedded with global warming stories).

But I wanted an even shorter term that could fit easily into newspaper and magazine headlines. So using the rhyming sounds of ''sci-fi,'' I decided to go with the short, simple-to-say and simple-to-write "cli-fi". And the short term caught on worldwide first in English-speaking nations, beginning on April 20, 2013 when American radio network NPR aired a five-minute radio segment about ''cli-fi''  novels, interviewing Nathaniel Rich who wrote "Odds Against Tomorrow" (now translated into French) and Barbara Kingsolver who wrote "Flight Behavior" (also translated into French).

That radio broadcast was the beginning of this new literary term's global outreach and popularity among academics, literary critics, journalists and headline writers in over a dozen nations, including non-English-speaking nations France, Germany, Sweden, Norway, Spain and Brazil.

Cli-fi is a subgenre of ​SF and ​SF writers in many countries worldwide have used climate change themes in their eco-narratives​, among them Yann Quero and Jean-Marc Ligny in France, and Jean-Louis Trudel in Canada.

To learn more about how ​SF writers were looking at the popularity of the cli-fi term in literary circles, I asked David Brin and Kim Stanley Robinson how they felt about the term. They both told me that they liked the expression but felt that it was best to treat it as a subgenre of ​SF and not as a separate genre.

By promoting the cli-fi term as a subgengre of ​SF along literary critics worldwide in newspapers and magazines, I was able to locate ​SF writers who were already using climate themes in their short stories and novels. From them I learned that cli-fi in SF novels had a long history, going back to Jules Verne, Arthur Herzog, J.G. Ballard and Jean-Marc Ligny's "Aqua (TM)" trilogy.
It has not been a completely smooth roa
d in getting the cli-fi term accepted by literary critics in ​Anglophone nations or in ​France and other European nations, but slowly the expression caught on.

SF novelist Kim Stanley Robinson's new novel "New York 2140" (published in America in March 2017) is a good example of the cli-fi subgenre catching on among writers peering into the future of a global warming world.













​Wikipedia on its English-language page describes ''cli-fi'' this way: Climate fiction, or climate change fiction, popularly abbreviated as cli-fi (modelled after the assonance of "sci-fi") is literature that deals with climate change and global warming. Works of cli-fi may take place in the world as we know it or in the near or distant future. This body of literature has been discussed by a variety of publications, including The New York Times, The Guardian, and Literary Hub , among other international media outlets [including Le Monde and Liberation in France].​














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We are a world now divided bitterly over climate change issues.
Novels and movies can serve to wake people up in ways that politics and ideology cannot.




​And I believe if the world does not wake up soon about the pressing climate change issues we face now, future generations of humans will be 'doomed, doomed' — within 500 years. I can ​''​see​''​ that far ahead. Will 'cli-fi' save the planet? No. But at least it might help prepare us for what's coming in future centuries. I like to think long term.



​I​'m not worried about the next 100 or 200 years. It's the ​chidlren born 30 generations from now that I'm worried about. I have a deep wellspring of empathy for  future generations. I care about the world then. Today, no problem, life is wonderful. We'll be okay. ​Our children and grandchildren will be okay. I am not an alarmist. ​It's people living in the year 2500 A.D. that I am thinking about. That's what cli-fi means for me.








​
​My idea of a genre for speculative climate fiction ​as a subgenre of SF ​found some traction ​in 2011 when it was endorsed ​in a tweet ​on Twitter by ​Margaret Atwood, the ​Canadian ​novelist whose ​SF trilogy, ​ending w​ith ​MaddAddam (2013), dealt with a corrupt anti-environmentalist. ​I acknowledge and applaud the ​genre of eco-fiction, popularized during the rise of the ​American ​environmental movement in the 1970s and epitomized by such titles as Edward Abbeys The Monkey Wrench Gang and, ​in 2013, Barbara Kingsolver’s Flight Behavior.


​There ​are examples ​of cli-fi ​in France as far back as Jules Verne, who imagined​ ​—​ ​in the 1860s​ ​—​ ​a future Paris struggling with a ​big drop in temperature​s​. That was a plot point in Verne’s “lost” novel Paris in the Twentieth Century, which went unpublished until 1994.
Given the speed with which the phrase “climate change” (which actually dates back at least 50 years) has overtaken the
​global ​environmental discussion in recent years, it’s perhaps not surprising that there’s been a surge in books that could be called cli-fi. Among them are Marcel Theroux’s Far North (2009), which the Washington Post called “the first great cautionary fable of climate change”; Ian McEwan’s Solar (2010), which won a UK literary award for comic fiction; and Nathaniel Rich’s Odds Against Tomorrow (2014), which imagines New York City flooded by a colossal hurricane.
These are all examples of quality fiction that happen to take climate change as a shared theme. As far as I’m concerned,
​ ​cli-fi needs character-driven stories. It shouldn’t be propaganda novels.”

​A good cli-fi ​story​ ​will have the potential to attract not only climate activists, but also some of the ​climate ​deniers: The whole point is to reach people with emotions, not just preach to the choir.

​The new novel from the Hugo Award-winning ​SF l​egend ​Kim Stanley Robinson​, published in March, New York 2140 ​,​submerges the ​Manhattan under the water of the ​rising ​sea ​l​evels​. ​Robinson's PR team put it this way:​“Every street became a canal​. ​Every skyscraper an island​. ​How will the city’s residents—the lower and upper classes, quite literally—cope?​''​

​I'd like to end my short introduction to cli-fi with a few bullet points. What is cli-fi? Think of it in these ways"




​
​( • ) A call to arms. A cri de coeur. A warning flare. A wake up call. All these things. ​

( • ) If there is to be a future, and there must, then cli-fi will tell
the story, in a thousand different ways.


( • ) With Cli-Fi, there can be no shirking of  responsibility, and such novels can deliver the goods. With strong moral imperatives.


( • ) We don't know what the future holds 30 generations from now. But cli-fi can help us get there.

( • ) In the not too distant future, cli-fi will make an impact. You are the storytellers. Tell your stories.

( • ) From here to eternity is not a distance that can be measured. And cli-fi is not a measuring stick and has no agenda. Other than to tell a good, measured yarn.​



''Climate change in fiction'' posted at http://firstnewshawk.com/exploration-and-discovery/climate-change-in-fiction.html

''Climate change in fiction,'' an oped written in 2013?

January 23, 2017 A.D. "Anno Donaldo"

webposted by The Newshawkers -in- action Group

origInal LINK:
http://firstnewshawk.com/exploration-and-discovery/climate-change-in-fiction.html

by unknown writer [since the link which worked last week went dead today and no longer works and instead sends us to a completely different set of threads so we are not sure who wrote this or if an autobot wrote it instead]


A climate activist coined the phrase cli-fi to describe a new genre of fiction that deals with climate change. A reporter for the Christian Science Monitor went further to say, based on an April 20, 2013 NPR report by Angela Evancie, that “Cli-fi describes a dystopian present, as opposed to a dystopian future, and it isn’t non-fiction or even science fiction: cli-fi is about literary fiction.”

Given that many books discussed as being cli-fi are set in the future, some might  go a step further to say that the genre is a subgenre of sci-fi and speculative fiction, and of course related to climate change, whether it is set in the past, the future or the present.

In 2013, a literary critic wrote an essay for Dissent Magazine, headlined "The Birth of a Genre: Cli-Fi" which discussed climate change in literature. Something she said about the cli-fi books included in her essay still resonates today.

''[Cli--fi novels] refashion myths for our age, appropriating time-honored narratives to accord with our knowledge and our fears.''

http://firstnewshawk.com/exploration-and-discovery/climate-change-in-fiction.html





 



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