Tuesday, June 20, 2017

"Geostorm" is the next cli-fi movie from Hollywood and it opens in October

A 'cli-fi' movie for our times


MOVIE TRAILER LINK:
https://www.youtube.com/watch?v=efNuuMP7uLw


Director: Dean Devlin


Opening Day: October 21

Sunday, June 18, 2017

''Nach der Sci-Fi kommt die Cli-Fi'' -- an article in Germany by reporter Julia Grillmayr -- ("After Sci-fi comes Cli-Fi")


Nach der Sci-Fi kommt die Cli-Fi (aka cli-fi.net)

18. Juni 2017, 10:00
''Nach der Sci-Fi  kommt die Cli-Fi'' --

an article in German
by reporter Julia Grillmayr

159 Postings COMMENTS

Eine Konferenz in Graz reflektierte über die Rolle von Literatur in ökologischen Diskursen. Das Genre der Climate-Fiction macht die abstrakten Folgen des Klimawandels greifbar





A conference in Graz reflected on the role of literature in environmental discourses. The genre of the climate fiction makes the abstract consequences of climate change in tangible Graz - you describe heat and tidal waves, ice ages, the extinction of species or portray natural beauty and show untamed woods, sea and animals as particularly worth protecting. For literary works which the man-made climate change and its consequences deal, the literary and cultural science has for some time been developed their own concepts and labels: it speaks of "Okokritik" (in English "Ecocriticism") or "Climate Fiction", in short "Cli-Fi".provocative and with a question mark, but not meant unernst Cli-Fi Axl good body designated as the genre of the century". The German Professor of British Bath University said last week at the conference "Literature and the environment", the English Institute of the University of Graz and among other things organised by the Academy of Sciences and the Ministry of Agriculture has been supported.Okokritische literature or cli-fi occurs with a political claim. She wants to help shape such as on climate change and the associated risks and remedies under consideration. "Climate change is inaccessible for the human perception," said good body. Literature translate the global, complex phenomenon in individual space and time units. "It makes the climate change locally and directly and shows at the same time its dramatic scale." Cli-Fi could be positive and negative role images demonstrate and explore different action scenarios. Most of the works that are traded as climate fiction are American, but there are also many German examples, such as the good body showed. He called about the Proto-Cli-Fi-Roman "mountains and seas Giants" by Alfred Döblin from the year 1924 and "EisTau Ilija Trojanows" (2011).What specific function can literature for environmental discourses have? This question influences the okokritik and thus also fundamentally the Graz Conference. A central theorist in this debate is Hubert Zapf, America nest at the University of Augsburg. In his lecture lifted tap that artists a distinctive, critical Sensorium for power relations and therefore had an important voice in the negotiation of environmental justice. In view of the ecological crisis, new forms of story telling are necessary.

Kultur und Natur

Das passiert einerseits auf inhaltlicher Ebene; Cli-Fi lenkt die Aufmerksamkeit auf ökologische Themen und Motive. Andererseits geht es um das Aufzeigen von Perspektiven durch das Finden einer neuen Sprache und somit auch um eine gewisse Selbstreflexion von Literatur und Literatur- und Kulturwissenschaft.
So wurde bei der Tagung oft auf Zapfs einflussreiches Konzept der "kulturellen Ökologie" zurückgegriffen, das Kultur und Natur nicht einander gegenüberstellt, sondern auf einer Ebene denkt. Die "Umwelt" ist in diesem Verständnis nicht mehr nur die materielle Umgebung, sondern auch die Ideen und Bilder, die an diese geknüpft sind und auf sie zurückwirken. "Literatur ist eine ökologische Kraft im kulturellen Feld", sagte Zapf.
Neben konkreten ökokritischen Textstudien – etwa Maximilian Feldner von der Universität Graz, der über den nigerianischen Autor Helon Habila und sein Sujet der Ölgewinnung im Nigerdelta sprach – waren daher auch die Herangehensweisen und Ziele der Wissenschaft selbst immer wieder Thema. Julia Martin von der südafrikanischen University of the Western Cape zeigte eindrucksvoll, was der Anspruch der "environmental humanities" für ihr akademisches Arbeiten bedeutet.
Mit der Idee, auch nichtakademisches Publikum zu erreichen und die disziplinären Grenzen zu überschreiten, propagierte sie "literarische Non-Fiction", ein essayistisches wissenschaftliches Schreiben. Sie ermutigte zu spekulativeren Herangehensweisen, bei Beibehaltung wissenschaftlicher Akkuratesse. Dabei sei der eigenen Subjektivität ein gewisser Platz einzuräumen: "Im akademischen Schreiben wird das 'Ich' vermieden", sagte Martin, man sollte hingegen versuchen, in wissenschaftlicher Weise ausgehend von persönlichen Erfahrungen und Gefühlen zu sprechen – ohne dass das "Ich" dabei ein narzisstisches würde.
"Interconnectedness", die Feststellung, dass alles mit allem verbunden ist, sei der Kern dessen, was aus der derzeitigen ökologischen Situation gelernt werden könne, sagte Martin. Zu dieser Verbundenheit gehören in einem wichtigen Maß auch Tiere.

Tiere sprechen lassen

Wird über ökokritisches Schreiben reflektiert, dann oftmals mit der Frage, wie die literarischen Werke nichtmenschlichen Protagonisten eine Stimme verleihen. Oft werden Tiere in Fiktionen anthropomorphisiert und kommunizieren in menschlicher Sprache – man denke an "Das Dschungelbuch". Der Kanadist Konrad Groß von der Universität Kiel zeigte anhand des Romans "L'Oursiade" der französischsprachigen kanadischen Autorin Antonine Maillet, dass es alternative, seiner Ansicht nach überzeugendere Weisen gibt, Tiere sprechen zu lassen.
Eine weitere kanadische Autorin, auf die in diesem Zusammenhang immer wieder referiert wird, ist Margaret Atwood. In einer Doppelpräsentation und im Vergleich mit der Schweizer Autorin Hedi Wyss zeigten Michelle Gadpaille und Vesna Kondric-Horvat von der Universität Maribor auf, wie Atwoods Fiktionen thematisch, aber auch stilistisch ökokritisch arbeiten. In Bezug auf eine Kurzgeschichte Atwoods stellte Gadpaille fest: "Sie schreibt ohne die Syntax des Missbrauchs am Planeten. Nicht Subjekt, Verb, Objekt; nicht jemand tut etwas einem anderen an."


(by Julia Grillmayr, 18.6.2017)


============


Translation:


''After Sci-Fi comes Cli-Fi''


by reporter Julia Grillmayr


A conference in Graz reflected on the role of literature in environmental discourses. The genre of the climate fiction makes the abstract consequences of climate change in tangible Graz - you describe heat and tidal waves, ice ages, the extinction of species or portray natural beauty and show untamed woods, sea and animals as particularly worth protecting. For literary works which the man-made climate change and its consequences deal, the literary and cultural science has for some time been developed their own concepts and labels: it speaks of "Okokritik" (in English "Ecocriticism") or "Climate Fiction", in short "Cli-Fi".provocative and with a question mark, but not meant unernst Cli-Fi Axl good body designated as the genre of the century". The German Professor of British Bath University said last week at the conference "Literature and the environment", the English Institute of the University of Graz and among other things organised by the Academy of Sciences and the Ministry of Agriculture has been supported.Okokritische literature or cli-fi occurs with a political claim. She wants to help shape such as on climate change and the associated risks and remedies under consideration. "Climate change is inaccessible for the human perception," said good body. Literature translate the global, complex phenomenon in individual space and time units. "It makes the climate change locally and directly and shows at the same time its dramatic scale." Cli-Fi could be positive and negative role images demonstrate and explore different action scenarios. Most of the works that are traded as climate fiction are American, but there are also many German examples, such as the good body showed. He called about the Proto-Cli-Fi-Roman "mountains and seas Giants" by Alfred Döblin from the year 1924 and "EisTau Ilija Trojanows" (2011).What specific function can literature for environmental discourses have? This question influences the okokritik and thus also fundamentally the Graz Conference. A central theorist in this debate is Dr Hubert Zapf, American specialist at the University of Augsburg.


 In his lecture he said that artists a distinctive, critical Sensorium for power relations and therefore had an important voice in the negotiation of environmental justice. In view of the ecological crisis, new forms of story telling are necessary.


Culture and Nature


Cli-Fi draws attention to ecological themes and motifs. On the other hand is the identification of perspectives by finding a new language and thus also to a degree of self-reflection of literature and literary and cultural studies.


At the meeting it was often on Dr Zapf's influential concept of "Cultural Ecology" resorted to the culture and nature not opposite to each other, but on a plane thinks. The "Environment" in this sense is not only the physical environment, but also the ideas and images that are linked to it and get back to you work. "Literature is an ecological force in the cultural field," said Zapf.
In addition to concrete okokritischen text studies - such as Dr. Maximilian Feldner from the University of Graz, the Nigerian author Helon Habila and his subject of the oil in the Niger Delta language - were therefore also the approach and objectives of the science itself again and again. Dr Julia Martin of the South African University of the Western Cape showed impressively that the claim of "environmental humanities" for your academic work means.


With the idea, not even academic audience to reach and the disciplinary boundaries, propagated "Literary Non-Fiction", the trial scientific writing. You are encouraged to speculative nature of approaches, while maintaining scientific accuracy.


 It is the own subjectivity to grant a certain place: "In the academic writing is the 'i'", said Martin avoided, you should try to be in a scientific manner on the basis of personal experiences and feelings to speak - without that the "i" is a narcissist table.


"Inter-connectedness", the fact that everything is connected with everything that is at the core of what the current environmental situation could be learned, Martin said. To this unity are in an important dimension also animals


AND...


Animals speak it is reflected on okokritisches letter, then often with the question how the literary works of non-human protagonists give a voice.


Often animals in fiction anthropomorphisiert and communicate in human language - think of the Jungle Book". The Kana Dist Konrad large from the University of Kiel showed on the basis of the novel "L'Oursiade" the French Canadian author Antonine Maillet that are alternative, in his view more compelling ways to animals speak to leave.Another Canadian author to in this context always referenced is Margaret Atwood. In a double-presentation and compared with the Swiss author Hedi Wyss showed Michelle Gadpaille and Vesna Kondric-Horvat from the University of Maribor on how atwoods fictions topic table, but also stylistically okokritisch work. In relation to a short story Atwoods, Gadpaille hard: "She writes without the syntax of the abuse on the planet. Not the subject, verb, object; not someone does something another."


(reported by Julia Grillmayr, 18.6.2017)




derstandard.at/2000059374108/after-the-science-fiction comes-the-climate fiction

Saturday, June 17, 2017

NYT asks readers: ''We’d like to hear you sing “O Canada.” for 150th birthday of the nation

We’d like to hear you sing “O Canada.”
 
https://www.nytimes.com/2017/06/17/world/canada/canada-150th-birthday-anthem.html
 
On July 1, Canada marks its 150th birthday, commemorating the moment that a cluster of British colonial provinces joined together to form a country that quickly grew to encompass a vast expanse and array of people, languages and cultures.
 
Let’s mark the occasion by performing “O Canada.” Please post on Instagram, with the hashtag #MyOCanada, a video of you singing the anthem in any language, style or setting you like, with or without accompaniment.
 
Since you can post only one minute of video to Instagram, sing the first verse and use your caption to tell us what the words mean to you. (Don’t forget to include the hashtag #MyOCanada.)
 
As you can see in the video here , we asked Canadian cast members of the Broadway musical “Come From Away” to sing a version so you have an idea of what we’re looking for. We thought they did a pretty good job.




Leslie Goodreid @Leslie_Goodreid 3 minutes ago
, ''thanks for the shout out, but was formed out of British and French colonies. We are a bi-lingual and multi-cultural country.''

Friday, June 16, 2017

The New York Times news bureau in Australia asks readers: ''What makes Australian intellectuals and cultural critics tick?" (It's not always a pretty picture)

 
The New York Times news bureau in Australia asks readers: ''What makes Australian intellectuals and cultural critics tick?" (It's not always a pretty picture) -- WHAT'S YOUR TAKE ON ALL THIS MESHAGUS?
 
Recently, the Sydney news bureau of the New York Times, overseen by veteran reporter and editor Damien Cave, posted a brief rant in its weekly newsletter to readers about the the state of Australian  culture and its relationship with Aussie literary circles, sci-fi literary critics and public intellectuals. Cave was wondering "What makes Australian culture workers tick?"
 
 
Damien Cave is the new Australia Bureau Chief for The New York Times. He’s covered more than a dozen countries for The Times, including Mexico, Cuba, Iraq and Lebanon. Follow him on Twitter at @damiencave and on Instagram, also at @damiencave.
 
We hope you’re enjoying our weekly dispatches from our new Australia bureau. Tell us what you think at NYTAustralia@nytimes.com. - Damien Cave
 
 
 
 
 
 
 
Cave, who is now the editor of the New York Times in Australia bureau, a new posting for him, wonders why ''some'' (just some, most are open to new things) Australian sci-fi lit critics, among them James Bradley and Lucy Sussex, tend to be publicly negative towards the new lit genre of cli-fi, with sci-fi booster Bradley in the SMH in 2015 calling it "an unfortunate shorthand" ''[for climate fiction]'' and sci-fi short story writer Sussex calling it "an appalling term" in the Sydney Review of Books just the other day. Cave notes in a Times newseletter for readers of the Oz edition and his take is headlined
''The Fall and Rise of Australian Culture ''


and he writes among other things: ''Sebastian Smee, a wonderful Asutralian art critic who returned to Sydney this year after winning a Pulitzer with the Boston Globe, wrote for us about the Art Gallery of New South Wales and its struggle to obtain the financing it needed to expand its exhibition and event space.''

''Later in the week, Besha Rodell, another Australian who has become a standout in the United States — in her case, Los Angeles — explored the battle over how to modernize Melbourne’s beloved Queen Victoria Market. ''

''Both pieces ***mined the tension*** in Australia that ***often seems to come with proposals for the new, the bold, the different.*** This is something Ben Shewry, the world-renowned Attica chef who Sam Sifton profiled this week as part of a special series of features on Australian food and drink, talked about when we hosted an event with him in Melbourne last month: ***the degree to which Australia tends to criticize new ideas and new literary genres, the nails that stick out, [just like Japanese culture].


 
Damien added: ''So is Australia becoming more open to bold creative expression or is this country ***just as eager as always to cut down the tall poppies who stick their heads up and stand out? "***

---- ''Quick, don’t overthink it: What comes to mind? What have you seen, heard, tasted, watched or read lately that’s Australian and that has really moved you or challenged you or made you want to share it with the world? ''
****Write to us at nytaustralia@nytimes.com, *** and tell us what it is (multiple examples are welcome; if you've got a Top Five, I want to know) and explain your choice. In the next NYT OZ newsletter, I'll share a few choice contributions.
Don't feel a need to be snobby, either. What we're trying to explore here is how Australians experience culture high, low or in-between and what that might reveal about the country's attitude toward insurgent creativity. ''

Several Australians already chimed in about Bradley and Sussex, and Australian literary critics and so-called public intellectuals
saying that James and Lucy were part of the problem and not part of the solution.

An adjunct professor of literature in Perth, said: ''There is some truth in this. But the big difference between the US and Australia is size - not just of the country, but of the SF community, the literary community, the intelligentsia. In such small worlds it's often difficult to dissent: Australian intellectuals tend to hunt in packs.''
 
Another Australian said: ''As an Australian I appreciate the perspectives that outsiders bring to our public debates even if they may miss some nuances or I may disagree with them. Australia is an island and our public debate often reflects that with limited, narrow perspectives and an attitude of anti-intellectualism. ''
 
And a third Australian wrote: "As an Australian who works in climate scenario planning, preparedness and resilience, I often use cli-fi and third party narratives to help build creativity and imagination in newbie leadership workshops. Being mindful of science based models, data and output is critical though as too much fantasy can lead to nonsense and lose audiences. Having first worked on climate in the early 90's through a risk and opportunity lens, I've seen a rapid growth in the tails of climate polarity especially in Australia. With othering, left goes left and right goes right which can create some room in the middle. However as each tail from doomers to deniers gets louder it can marginalise the other, traumatise the middle and stop critical thinking. As a Sydney citizen and avid reader, I've probably only read Sydney Review of Books once in 20 years! NY and London, Delhi and Asia are markers for my perspectives. I crowdsource my reviews to avoid homophilly and seek paragogy as an aid to forming my perspectives. I think "Big island small mind "is a fair criticism for the "squatocracy" and rather conservative anti-stereotypes that hog the arts here. Dan you've shown good leadership with ypur cli-fi public relations work,and the CF community is growing worldwide -- keep going and don't fear the misguided and snarky haters / knockers in Australia!''
 
And Ed Wright, a book reviewer for the Australian newspaper, started off his recent review of an Australian novel this way, ignoring the unfortunate attack dog tactics of literary critics Bradley and Sussex, writing in his first sentence: ''Cli-fi, which imagines our world in the aftermath of climate change, is booming. It’s a brand of dystopian narrative that often features desiccated landscapes, where resources are scarce and contested and ingenuity is required just to survive. Lotus Blue (Talos, 382pp, $22.99), the debut novel from Australian writer at Sparks, a much anthologised science fiction writer, is a compelling addition to these ranks.''

Aaron Thier releases paperback edition of his 2016 cli-fi novel MR ETERNITY






Aaron Thier is a 30-something writer born and bred in western
Massachusetts, and his latest hardback novel "Mr. Eternity" has just been issued in paperback.

A comic novel and a very serious novel at the same time, and it has been characterized by readers as literary fiction, sci-fi, apocalyptic dystopian, fantasy and cli-fi. And a comic novel, as well.

Thier did his undergraduate work at
Yale, majoring in literature (Class of 2006) and later completed a
Creative Writing MFA at the University of Florida in 2012.

His surname has an interesting back story, and when asked about it,
he told me a bit of family history.

"Their is my birth surname," he said. "My parents decided that Thier was more interesting than Murphy [his father Peter Murphy is an English at Williams College."

"So the three children all have my mom's
name. This hasn't produced as much confusion as you might think.
People seem charmed by the matriarchal orientation."

In addition, in connection with his mother's surname, a former
president of Brandeis University in the early 1990s was her father,
his grandfather, Dr Samuel Thier, a medical doctor.

"I wish I knew more about where the Thier name came from. I know that the original Samuel Thier, my great-great-grandfather, was an actor in the Yiddish theater in Warsaw, Poland, but I don't know much else about him."

When asked if he was a pessimist or an optimist in regard to possible
climate change outcomes in the future, he said: "I’m a pessimist in
the sense that I don’t think we’ll get it together to avoid a very bad outcome. In many important ways we’ve already missed the
boat by a long way."

However, he added: "But I’m an optimist in the sense that I believe in
human resourcefulness. I don’t think this represents a threat to human
existence, only a threat to human civilization as it’s currently
configured. People will eke out a living somehow in a brutalized world.
There will probably be fewer of us, maybe way fewer."

A recent interview with Thier in the Chicago Review of Books updates the paperback edition of his novel and his views about global warming.

Friday, June 9, 2017

Literary critics and cultural observers planning nonfiction explorations of the rise of 'cli-fi' in the 21st Century in a series of new books

 Photo by Novelist Yann Quero in France: "The Madonna of Global Warming"


===========================================


blog post by staff writer


Adam Trexler led the way, of course, publishing "Anthropocene Fictions" with UVA Press in 2015. [http://www.upress.virginia.edu/title/4777]

Subtitled "The Novel in a Time of Climate Change," the book was widely reviewed and read in academic circles worldwide. Trexler looked at 150 novels with strong climate change themes and came away impressed with the cli-fi genre, even mentioning the new coinage in the introduction.

Dr Heather Sullivan, a professort at Trinity University in Texas and the author of ''The Cambridge Introduction to Literature and the Environment," was impressed with Trexler's work, writing: ''As an extremely timely contribution to the urgent discussions of climate change and culture in the Anthropocene, 'Anthropocene Fictions' deserves high praise for carefully documenting the longer history of climate change novels as well as projecting forward into the uncertain futures of postapocalyptic writings. Trexler’s provocative theory of 'eco-nomics,' or the inextricably intertwined aspects of ecological and economic choices made in our industrial cultures as we navigate rising waters and rising costs in the 21st Century, is one with wide relevance for anyone interested in the cultural impact of global environmental change."

In this Age of Trump and the Paris climate accord, dozens of literary critics and cultural observers are no doubt planning their own non-fiction explorations of the cli-fi genre.






These books have not been written yetbut I do envision and anticipate their publication over the next 10-15 years, some from Britain, some from Canada and the USA and some from Australia as well.Who will be writing them? Mostly academics and literary critics, but also journalists, media critics and cultural observers. Maybe you?

Here's my tentative list:

''The Rise of Cli-Fi in the Age of Trump: A Cultural Exploration of a Literary Trend''


"Cli-Fi, Sci-Fi, We All Cry, The End is Nigh: What Cli-Fi Novels Say Aboout the Anthropocene"


"Climate Fictions, Climate Frictions: A Global Warning From Novels and Movies"


"From Trump to Paris: Cli-Fi Novels Explore The Future of Humankind"


"Anthropocene Arguments: How Cli-Fi Changed the Way Novelists Approach Global Warming Issues"


"The Power of Cli-Fi: The 'On The Beach' of Climate Change Has Yet to Be Written"

Here's my tentative list:

''The Rise of Cli-Fi in the Age of Trump: A Cultural Exploration of a Literary Trend''


"Cli-Fi, Sci-Fi, We All Cry, The End is Nigh: What Cli-Fi Novels Say Aboout the Anthropocene"


"Climate Fictions, Climate Frictions: A Global Warning From Novels and Movies"


"From Trump to Paris: Cli-Fi Novels Explore The Future of Humankind"


"Anthropocene Arguments: How Cli-Fi Changed the Way Novelists Approach Global Warming Issues"


"The Power of Cli-Fi: Has The 'On The Beach' of Climate Change Yet to Be Written?"

"To Live or Die in the Age of Cli-Fi: An Exploration of a 21st Century Genre"

''A Peaceable Kingdom: In Search of Cli-Fi Visions"

"Turning Cli-Fi Studies into Climactic Moments: The Rise of Cli-Fi in the 21st Century"

"Cli-Fi Nights, Cli-Fi Flights: Kingsolver, Rich and Robinson in These Times"

"How Novels Can Save the Planet: The Rise of Cli-Fi in an Age of Hope and Despair"

''Utopian Visions, Climate Divisions:  The Rise of Cli-Fi in a Pivotal Time"

"Faith and Love in an Age of Cli-Fi"

''The Genre Wars: Sci-fi, Cli-fi and America"

''The Battle of the Climate Genres: How Cli-Fi is Replacing Sci-Fi in the 21st Century"

"Cli-Fi: The Road to Ruin, the Road to Redemption"

"Cli-Fi: Nature or Nurture in the Anthrozoic Era"

""The Rise of Cli-Fi in an Era of Resistance and Reordering"

"Cli-Fi: Feast or Famine in the Anthrocene"

"Cli-Fi: Getting from There to Here"

"Climapocalypse or Bust: The Rise of Cli-Fi in an Age of Climate Illiteracy"

"Who Reads Cli-Fi and Why: An Inquiry Into a 21st Century Genre"



[Feel free to ADD your own imagined titles here too, in the comments below.]





Monday, June 5, 2017

Sci-Fi and Scary Website posts a good cli-fi blog today for World Environment Day with book and resource recommendations

Sci-Fi and Scary Website posts a good cli-fi blog today for World Environment Day with book recommendations


Tarred & Feathered @TandFMag   posts a blog link for                 
World Environment Day

https://tandfrestlesssouls.com/2017/06/05/news-world-environment-day/

with a pic

 pic.twitter.com/4lvJ2H6PSb

Cli-fi as a rising literary genre in the MSM is like 水滴石穿 in Chinese proverb: "dripping water penetrates stone"

Photo by Yann Quero in France: "The Virgin Mary of Global Warming" outside a church in northern France with weatherbeaten limestone today
 
水滴石穿

There is an ancient Chinese-language saying "dripping water penetrates stone" which looks like this in Chinese characters "水滴石穿" and is pronounced as
(''shui di shi chuan''). And it sort of means "never give up" or "Remember, Rome was not built in one day" or as they said in Latin ''Romam uno die non fuisse conditam."

The phrase means that grand projects are the outcome of a long period of accumulated and concerted effort., and that if something is worth doing, it's worth taking the time to get it right.
In China, the Warring States period thinker Mr. Shi Jiao, or Shi zi, of the School of Syncretism, is known from the many times he has been quoted in extant texts, even though his own book, the Shizi, thought to have originally been some 60,000 Chinese characters in 20 chapters, has now been lost for 1,000 years.

Shi zi is credited with saying that ''although water is no drill for boring into stone, persistent drops, over time, will cut through rock nevertheless.'' His point was that if one is consistent, methodical and focused on a task, that task will eventually be completed, even if it at first seems impossible, and takes many years of effort.

From this idea, we have the idiom「水滴石穿」, literally “dripping water penetrates stone.”
In the same way, we must remember that while cli-fi is a new literary genre and is still not known by most people in literary circles, it is slowly making itself known as a new genre and with persistence, it will catch on and be as well known as its sister term "sci-fi" (which also took a long time to catch on). See The Cli-Fi Report at www.cli-fi.net for news links.

(thanks and a hat tip to translator extradordinaire Mr. Paul Cooper, at Taipei Times)

Friday, June 2, 2017

Donald Trump cannot stop the rise of cli-fi novels and movies!

 
Civic leaders, mayors, governors, business leaders, investors and the majority of the world community understand that we are in the middle of a clean energy revolution that no single person or group can stop. President Trump's decision was in conflict with what most people want from the American president, but no matter what he has done, the inevitable global transition to a clean energy economy will continue.

More and more cli-fi novels and movies are dipping their toes into these issues, and with film producers in Hollywood like Marshall Herskovitz and Darren Aronofsky up to Trump Denialism, we will be seeing more and more cli-fi novels adapted into screenplays and shown on the silver screen worldwide in a variety of languages.

We are in the Anthrocene, and cli-fi is here to make a difference, ring some alarm bells, set off some warning flares and generally serve as a wake-up call to humanity. Enough of this culture of empty distractions and escapism; the time has come to face facts and buckle up.

We are in for one heck of a ride, and it aint gonna be a pretty picture for the next 30 generations of man. And woman.

Monday, May 29, 2017

What graduating senior Shuping Yang said in her graduation speech this May at the University of Maryland before the Communist Chinese brainwashed masses censored it! BOO CHINA! Long live free speech and democracy! Bravo Miss Yang!

Graduating Senior exchange student from Communist China named Shuping Yang’s ''Freedom Is Oxygen'' speech is here with full transcript for the brainwashed, maincontrolled, uncivilized robots in Commie China to chew on as their country goes deeper into dictatorship and unthinking stupidity re free speech and human rights and democracy. Bravo Ms Yang.




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Shuping Yang’s Freedom Is Oxygen University Of Maryland Speech


“http://Lybio.net
The Accurate Source To Find Quotes To Shuping Yang’s Freedom Is Oxygen University Of Maryland Speech.”
[Shuping Yang’s Freedom Is Oxygen University Of Maryland Speech]



[Yang Shuping (University of Maryland Commencement Speech May 21, 2017):]

 Good afternoon faculty student parents and friends. I am truly honored and grateful to speak at the commencement for the University of Maryland, Class of 2017.
[Applause]
People often ask me: Why did you come to the University of Maryland?





Good afternoon faculty student parents and friends. I am truly honored and grateful to speak at the commencement for the University of Maryland, Class of 2017.
[Applause]


People often ask me: Why did you come to the University of Maryland?


I always answer: Fresh air.


Five years ago, as I step off the plane from China, and left the terminal at Dallas Airport. I was ready to put on one of my five face masks, but when I took my first breath of American air. I put my mask away. The air was so sweet and fresh, and oddly luxurious. I was surprised by this.
I grew up in a city in China, where I had to wear a face mask every time I went outside, otherwise, I might get sick.
However, the moment I inhaled and exhaled outside the airport. I felt free.
[Applause]
No more fog on my glasses, no more difficult breathing, no more suppression.
Every breath was a delight. As I stand here today, I cannot help, but recall that feeling of freedom.
At the University of Maryland, I assume feel another kind of fresh air for which I will be forever grateful – the fresh air of free speech.
[Applause]
Before I came to United States, I learned in history class about the Declaration of Independence, but these words had no meaning to me: Life, Liberty and the Pursuit of happiness.
I was merely memorizing the words to get good grades.
These words sounded so strange, so abstract and so foreign to me, until I came to University of Maryland.
I have leaned the right to freely express oneself is sacred in American.
Each day in Maryland, I was encouraged to express my opinions on controversial issues. I could challenge a statement made by my instructor. I could even rate my professors online.
[Laugh]
[Yang Shuping:] Source: LYBIO.net
But nothing prepared me for the culture shock I experienced when I watched a university production of the play, Twilight: Los Angeles.

Twilight is a play by Anna Deavere Smith about the 1992 Los Angeles Riots.
The riots followed acquittal of four Los Angeles police officers in the videotaped arrest and beating of Rodney King.
For six days, the city was in chaos as citizens took to the streets.
In Twilight, the student actors were openly talking about racism, sexism and politics.
I was shocked, I never saw such topic could be discussed openly.
The play was my first taste of political storytelling, one that makes the audience think critically.
I have always had a burning desire to tell these kinds of stories, but I was convinced that only authorities own the narrative, only authorities could define the truth.
However, the opportunity to immerse myself in the diverse community at the University of Maryland exposed me to various, many different perspectives on truth.
I soon realized that here I have the opportunity to speak freely.
My voice matters.
[Applause]
Your voice matters.
Our voices matter.
[Applause]
[Yang Shuping:] Source: LYBIO.net
Civil engagement is not a task just for politicians. I have witnessed this when I saw my fellow students marching in Washington D.C., voting in the presidential election and raising money for support various causes.

I have seen that everyone has a right to participate and advocate for change.
I used to believe that one individual participation could not make a difference, but here we are, United Terps.
[Applause]
Together, we can push our society to be more just open and peaceful.
Class of 2017, we are graduating from a university that embraces a liberal arts education that nurtures us to think critically, and also to care and feel for humanity.
We are equipped with the knowledge of various disciplines and we are ready to face to the challenges of our society.
Some of us may go to graduate school, some us may step into professions and some of us may begin a journey of exploration.
But no matter what we do, remember, democracy and free speech should not be taken for granted. Democracy and freedom are the fresh air that is worth fighting for.
[Applause] Source: LYBIO.net
Freedom is oxygen. Freedom is passion. Freedom is love.
[Yang Shuping:] Source: LYBIO.net
And as a French philosopher Jean Paul Sartre once said: freedom is a choice, our future is dependent on the choices we make today and tomorrow.

We are all playwrights of the next chapters of our lives. Together, we right the human history.
My friends, enjoy the fresh air and never let it go.
Thank you.
Shuping Yang's Freedom Is Oxygen University Of Maryland Speech
Shuping Yang’s Freedom Is Oxygen University Of Maryland Speech

Shuping Yang’s Freedom Is Oxygen University Of Maryland Speech. Freedom is oxygen. Freedom is passion. Freedom is love. Complete Full Transcript, Dialogue, Remarks, Saying, Quotes, Words And Text To Shuping Yang’s Freedom Is Oxygen University Of Maryland Speech.

‘Watermelon Snow’ paints ‘cli-fi’ in astounding new colors


‘Watermelon Snow’ paints ‘cli-fi’ in astounding new colors


https://www.amazon.com/Watermelon-Snow-William-Liggett/dp/0997487100/ref=sr_1_fkmr0_1?ie=UTF8&qid=1496114502&sr=8-1-fkmr0&keywords=watermelon+snow+william+leggett




by Dan Bloom


William Liggett is using his retirement years to contemplate the risks involved in runaway global warming, and from his perspective in Colorado, he's worried. So worried that he sat down to write a cli-fi novel about global warming issues, not in a preach-to-the-choir way with all kinds of government stats and scientific charts but with the touch of a novelist writing for a wide audience of readers.


So he wrote "Watermelon Snow," a title that in itself is creative, and I had to look that term up in the dictionary to find out what it meant. It's a real term, and people in Colorado know it and have actually seen it. I've never seen it, so I asked Bill to telel me more about his just-published novel and how it came to be.


"People have often asked me where the idea for the novel came from, and it’s hard to point to any one thing because the idea evolved over many years," he said. "Since my college days, I had imagined I would write a novel one day, but it wasn’t until my retirement that I had the opportunity.
re supposed to write the book and then think of an appropriate title. But in my case the term 'watermelon snow' seemed intriguingly unfamiliar to many people, and therefore the title alone could convey some mystery."
" I also knew watermelon snow was real, having encountered it firsthand while hiking in the Rockies," he said. "The choice of setting came next. I had once worked on a glaciology research project for three months in Washington state on the Blue Glacier near the summit of Mt. Olympus -- a spectacular setting that left an indelible impression of me. All its potential dangers, especially the cliffs and crevasses, made it the perfect place for an adventure. Besides, few people have been to a glacier, let alone lived on one. While there, I managed to fall on some slippery rocks and step into a crevasse hidden from view but left unscathed."
"However, I had not seen a trace of the pink algae that gave rise to the nickname of watermelon snow while I was there. Only later, after some online research, did I learn that watermelon snow does grow there and has been on glaciers around the world. This revelation cleared the way for putting together the title of my novel with my desired setting."
"Some people might question why I hesitated. This was to be a novel, after all, so why does it matter if it is scientifically plausible? It mattered to me. I have always been enamored with the novels of  the late Michael Crichton who built upon real science as he wove fictional thrillers from, for example, insects from the age of the dinosaurs trapped in amber. I wanted my novel to be based on science in the same way."


"I have also admired another writer, Robin Cook, for similar reasons, since he derives his plots from his field of medicine. I find it intellectually-rewarding to learn science and experience an adventure at the same time."


Liggett did some research for the novel, too, he said.


"Just as I have attempted to describe glacial research and biological science in ways that are credible to anyone familiar with those fields, I wanted my descriptions of settings to reflect my firsthand experience. So I took a four-day backpacking trip in 2015 through the Hoh Rainforest to Hoh Rainforest at the base of Mt. Olympus in Washington," he said.


As he was writing the novel, Bill had an epiphany of sorts about the rise of a new genre of literature.


"It wasn’t until I was far down the road of putting pen to paper, that I discovered that this story about the impact of global warming on the world’s glaciers and on the lives of its characters fell into a new genre of fiction that's been dubbed cli-fi,'' he said.


''Watermelon Snow" is a contemporary cli-fi novel painted with extraordinary colors. Read it for the book cover photo alone!


PS:

Bill adds an answer to this question that many readers have: ''What Is Watermelon Snow?''



''When I was a teenager hiking above timberline with a friend in the mountains of my home state of Colorado, I came across a large patch of snow that had survived the summer in an area of broken scree rocks and tundra. Curious swaths of pink color ran across the surface. My friend told me, “Scoop some up. Sniff it.” When I did, I shouted, “Watermelon!” He then said, “Better not taste it—could upset your stomach.”


''Watermelon snow, sometimes called blood snow, is actually a microorganism or alga (scientific name: ''Chlamydomonas nivalis'') that forms on the surface of snow exposed to the elements for long periods. The pinkish color is a pigment the algae produce to help protect them from exposure to the sun’s UV radiation.


''When I ask people if they’ve ever heard of watermelon snow, most say no. The phenomenon is still relatively obscure — not surprising because it forms under harsh conditions in remote places. Most reporters introducing it to the public allude only to the color of the algae as the source of its name, failing to mention its distinctive watermelon aroma.
''Recently, due to rising concerns about global warming, watermelon snow has made headlines. Studies have shown that its pink pigment lowers the reflectivity of the snow, known as “albedo,” causing it to absorb more of the sun’s radiation. The result — faster snowmelt — is disturbing given the accelerating loss of ice around the world. Researchers recommend adding watermelon snow to their models predicting future rates of melting.


''Watermelon snow has other characteristics probably even less well known. Pharmaceutical researchers have investigated the algae for its antioxidant and other beneficial properties. The cosmetic industry has done studies on what they call snow algae extract for improving the health of the skin.


''So, watermelon snow is a mixed blessing concerning to environmentalists while promising to others. In either case, I predict we’ll be hearing more about it as scientists work to spread the word about climate change.


''Have you ever heard of watermelon snow? If so, what was the context? Have you encountered watermelon snow firsthand?''


NOTES:


Bill Liggett writes fiction that blends behavioral and earth sciences in the new literary genre “cli-fi,” or climate fiction.

His goal is to paint a hopeful future, based on solutions to global warming.

He holds a BS in geology and an MA in education, both from Stanford University, and a PhD in applied social psychology from New York University.  Among the many positions he has held over the years, he taught in high school and college, conducted behavioral science studies for IBM, and consulted on strategic plans with health care and educational organizations.

Wherever he lives, Bill loves being outdoors.

Home for him has included the West Coast, East Coast, Alaska, and now Colorado, the state of his childhood.

He and his wife, Nancy, live in Boulder, where they enjoy the cultural and academic opportunities of a university community. Between them, they have five children and six grandchildren.

Thursday, May 25, 2017

Canada's ZoomerTV to broadcast Yiddish performance of national anthem "O Canada" in time for Canada Day on July 1st

Canada's ZoomerTV to film
Yiddish performance of
national anthem "O Canada" on June 6
in time for Canada Day broadcast on July 1st



by staff writer and agencies
hat tip to Leanne Wright for the info and photo






Above is an old black-and-white photograph of Moses Znaimer as a child arriving as a new immigrant Halifax's Pier 21, with the photo later splashed on the cover of a weekly newspaper with the caption: "DP with a Future." 

TORONTO -- Take two Canadian offspring of Holocaust survivors, Moses Znaimer and Hindy Nosek-Abelson, and put them in Toronto TV studio and the result will be the first-ever Yiddish translation and group performance of Canada's national anthem "O Canada" just in time for Canada Day on July 1st, which celebrates this year the 150th birthday of the nation.

Hosting the event is Toronto media maven Znaimer who was was born in Tajikistan when his Latvian and Polish  parents were on the run from the Nazis during World War II in Europe. He arrived in Canada in 1948 at the age of six, settled in Montreal and then Toronto, and is one of Canada's best-known media figures.

With his generosity, he has made the facilities of his Zoomer TV studio available for a group sing-a-along of "O Canada" in Yiddish, which will take place on June 6.

Nosek-Abelson, who was born in a DP camp in Europe in 1947, came to Canada when she was three years old, did the translation of the national anthem into Yiddish, with musical direction and piano by David Warrack. The spirited performance, by a large chorus of assembled singers, will be filmed for broadcast on VisionTV in Canada.

On this page (above) is an old black-and-white photograph of Znaimer as a child arriving as a new immigrant Halifax's Pier 21, with the photo later splashed on the cover of a weekly newspaper with the caption: "DP with a Future." 

The singing event will start at 6 p.m. on June 6 with a complimentary "l'chaim and a nosh," according to Leanne Wright, the Winnipeg-born PR officer helping to promote the show. The performance will begin at 7 p.m., with "O Canada" sung in Yiddish.


''Yiddish was the first language of most Jewish immigrants to Canada from the late 1800s on," Nosek-Abelson recently told San Diego Jewish World. "While it isn't spoken as a daily language as frequently as it once was, there remains a powerful love for the language shared by many thousands of Canadian people for whom Yiddish was either their own mother-tongue or that of their parents and grandparents. 
That explains the overwhelmingly enthusiastic response by a Jewish community eager to pay tribute to the Canada that welcomed them or their ancestors and gave them their very first taste of freedom from Nazi persecution.  To do it in the language they lived, loved, created and flourished in represents a particularly meaningful expression of the gratitude and love for this country that Jewish Canadians share."

"I was born in 1947 in a DP camp just outside of Kassel Germany," she said. "My parents were Holocaust survivors who met right after the war.  They lost everyone in their families except for my father's son from his first marriage. He lost a 10-year-old daughter and his first wife.  He was from Grabov, Poland. My mother, who lost three children all under the age of 10, was from Nikolayev, Ukraine.  Canada gave my parents their first taste of freedom.  And they were eternally grateful and thrilled to be here.  I translated 'O Canada' for them. They would have sung it with great pride."

Nosek-Abelson is a Toronto freelance writer, blogger, dialect coach and lyrical translator of Yiddish poetry and songs. She told this reporter that she feels that while we are taught a lot about how our ancestors perished, we know precious little about how they lived.

So for her, Yiddish songs and poetry offer a perfect snapshot into the everyday lives, loves, struggles, triumphs and joys of European Jewry. Her way of honoring the creative genius of the many Yiddish writers who contributed so prolifically to the dynamic and creative culture that flourished before the Shoah is to transmit their style and creativity to the world. She recently translated a film script for a brand new all-Yiddish film called ''Shechita'' and coached two non-Yiddish speaking actors to speak in perfect mameloshn, she said.

"O Canada" has been sung in a variety of non-English iterations, from French to Spanish. One source in Canada cites a total of 17 translations of the anthem, but with one exception, until now: Yiddish. But that is set to change on June 6 in the run-up to Canada Day on July 1st, when two groups of Canadian Yiddishists debut their versions of the song.One performance will be a solo by Canadian singer and actress Deb Filler, while a second version will be performed by a group choir of Canadian singers to be assembled at Zoomer TV.  Both versions use the Yiddish translation done by Nosek-Abelson. Filler's solo performance will be uploaded to a video website for everyone to see, and the Zoomer TV event will be broadcast throughout Canada and later on will be archived online at the TV station's website.


So with Canada Day just a few weeks away, here are the lyrics in Yiddish.
(c) 2017 Hindy Nosek-Abelson


O ​K​ane​da
Undzer heym un eygn land
Mir libn dikh mit vunder un farshtand
Mit hertser fule zeyen mir
A land groys mit frayhayt
Fun noent, vayt

O Kaneda
Mir shteyen bay dayn zayt
Got shtitz dos land, prekhtik mit frayhayt

O Kaneda, mir shteyen bay dayn zayt
O Kaneda, mir shteyen bay dayn zayt

The New York Times expands to Australia, with Damien Cave running the Sydney bureau and the New York Times Sunday Book Review setting up an Australia office as well to cover books written and reviewed by Australian writers and literary critics.

The New York Times expands to Australia, with Damien Cave running the Sydney bureau and the New York Times Sunday Book Review setting up an Australia office as well to cover books written and reviewed by Australian writers and literary critics. 

sarah reed @sreed2727 May 24 tweets!
Enjoying ''No More Questions'' speech with Pamela Paul, Senior Editor Book Review New York Times   #SWF2017


Kathy Shand @Informanizer May 24  TWEETS:
What is it going to mean for the local book publishing scene with NYTimes opening a bureau here?#pamelapaul#nytimes#sydneywritersfestival




==========================================


Mr Cave writes:




We’re offering unlimited access to NYTimes.com for readers in Australia this week and you’ll always be able to find our stories and Op-Ed contributors (Julia Baird and two new additions, Lisa Pryor and Waleed Aly) through our Australia page.

But we’re also experimenting with deeper conversation and additional features on social media.
Subscribers can now join NYT Australia, a new private Facebook group where we’re already discussing the most important and interesting issues facing Australia and the world. As the community grows, we’ll be sharing our own work and what we find fascinating from others, answering questions or asking them, and encouraging readers to do the same.

We’ll also be delivering special features there that we hope will stir up enlightening conversation. One example: something I’m calling the NYT Oz Culture Club, in which we pick a book or other art form, digest it together, then discuss it with someone who can provide special insight.

To kick it off, we’re lucky enough to have Pamela Paul – the editor of The New York Times Book Review and the author of four books on everything from reading to marriage – joining us in Sydney.


She’s chosen a book for us by a Melburnian, Sarah Schmidt: the debut novel “See What I Have Done.” At the end of May, they’ll sit down to discuss the book and its themes of feminism, horror and family dynamics – and we’ll extend that discussion to the NYT Australia group on Facebook.


Damien, who has run bureaus for the Times in Miami and Mexico over a long and storied career tat the paper, also notes:


''Welcome to The New York Times’s latest ambitious experiment in covering the world and connecting with readers.


''I’m Damien Cave, your new Australia bureau chief — a Yank, a bit of a larrikin, a father of two, and a writer and editor who has covered a dozen countries. I want to make sure you know how to find our expanded coverage of Australia and the region, and how to connect with our journalists, and with each other.


''Our primary goal, of course, is to bring you more of the high-quality coverage that you’ve come to expect from Times reporters and photographers around the world. We’re putting together a talented team here that will dig deep and wide. But as we build momentum and deliver more distinctive coverage — like this article on the Great Barrier Reef, or this feature on New Zealand courting global techies — we want you, our audience, to help shape the journey.''