Sunday, May 27, 2018

Tor books faces questions over its kowtowing to communist China on its fan website and prohibiting Taiwanese sci-fi fans from registering as Taiwanese! Irony of ironies for TOR to do this! [READ THE LETTER BELOW]


one comment so far: more to come:
Long Hwa · 
Brooklyn Law School on Facebook
''It is completely ironic on a sci-fi book company's website. And despicable.''
700 page views so far and more to come as the news spreads...

Appeal to Tor Books to Stop Kowtowing to Communist China and Preventing Taiwanese
''sci-fi'' fans from properly registering as Taiwanese citizens, which they are!!! Hopefully, Tor's editors will see the light and change the dropdown menu that refers to Taiwan  not a nation but as "a province of [PRC] China" (which it never was and still is not). Tor? Sci-fi greats such Isaac Asimov and Ursula K. LeGuin, Gary K Wolfe and Jonathan Strahan, among others, including Cory Doctorow and Annalee Newitz and Charlie Jane Andrews and Cat Sparks and James Bradley are waiting for you to kindly change the drop down menu to reflect reality and allow Taiwanese SF fans to join the website. It's easy, just ask the IT people to change the menu for registration from "Taiwan, province of China" to "Taiwan."
As readers who follow the news know, last month China sent a threatening letter to a large number of international airlines demanding that they change the country code for Taiwan (TW) on their schedules to China (CN), as dictated by Beijing’s “one China” principle.
However, standing up for Taiwan’s international space and presence, on May 5 US President Donald Trump’s administration issued a statement condemning China’s science fictional “demand” as “Orwellian nonsense” through which China was trying to impose its own political claims on private companies around the world.
It’s like the British novels Nighteen Eighty-four and Animal Farm have come to life in 2018.
Believe it or not, a major sci-fi publishing company in New York, the most prestigious science fiction publisher in the world, Tor Books, whose editors know all about the Nighteen Eighty-four and Animal Farm, also kowtows to Beijing’s “one China” nonsense by asking Taiwanese sci-fi fans who want to sign up at the Tor Web site ( to list their country on the site’s drop-down menu as either “China” or “Taiwan, province of China.”
Yes, the world-famous sci-fi Web site run by Tor Books does not allow Taiwanese sci-fi fans to list their country as “Taiwan.”
Yet as readers know, Taiwan is a free and independent democracy, which abides by international law and has never been a part of the People’s Republic of China (PRC). The Chinese claim that Taiwan is part of the PRC is a silly nationalistic sci-fi illusion, with no basis in international law.
By forcing Taiwanese sci-fi fans to register on the Web site as being from either “China” or “Taiwan, province of China,” Tor’s editors and Web site managers are showing a terrible and naive bias to Taiwanese fans.
Tor’s editors are probably not even aware of this oversight on their registration form, thus this letter, and hopefully a change in the Web site’s current Orwellian nonsense.
I hope that Tor Books, once its editors read this letter, will do the right thing and stand up for Taiwan on its online registration form and show science fiction fans around the world that US sci-fi Web sites do not kowtow to China.
Name withheld
This story has been viewed 709 times.

It's called cli-fi and it might be another way to help save the planet, says Amy Brady at -- [Four cli-fi novels worth exploring]


It’s called cli-fi and it might be another way to help save the planet. 
Amy Brady writes: Scientists have been trying to warn us about climate change’s most devastating effects for decades. Now fiction writers are helping their cause, crafting stories that help readers imagine glacier melt, sea level rise and other climate-related scenarios.
It's called cli-fi and it might be another way to help save the planet, says Amy Brady at -- [Four cli-fi novels worth exploring]
Often called climate fiction, or cli-fi, the genre “helps writers overcome some of the most profound communication challenges” that the phenomenon presents, says Elizabeth Rush, visiting lecturer at Brown University. Why? Because climate change is “slow-moving and intensely place-based,” it can be difficult to notice in our day-to-day lives, she explains — and with climate fiction, “you can do just that. You can imagine being a person whom flood ordrought displaces, and with that imaginative stance can come radical empathy.”
Check out these thought-provoking cli-fi reads from around the world about:  1, a futuristic Finland where water is scarce, 2, a German scientist distraught over disappearing glaciers, 3. a UK teenager living in a carbon-rationed England and 4. a climate-conscious biologist exploring a string of islands off the coast of India.


Set in the near future in Scandinavia, this novel, Itäranta’s first, is speculative fiction at its best. Climate change has ravaged the planet, and in its wake, China has come to rule Europe, and wars are waged over precious resources like water. Amid all this, 17-year-old Noria Kaitio strives to be a “tea master” like her father and, in doing so, has learned of a secret water source. When her father dies, the national army begins watching her closely, and she must decide whether to keep her secret and risk her safety or tell it and risk betraying those closest to her. The novel is even more remarkable because Itäranta wrote two versions, one in Finnish and one in English, simultaneously.


This literary work of cli-fi  from Bulgarian-German writer Trojanow was written in a modernist style that captures the fragmented thoughts of the protagonist, Zeno Hintermeier, in streams of consciousness. The original title in German was ''EISTAU'', ('Melting Ice'). Greatly disturbed by the world’s rapidly declining glaciers, Hintermeier, a German scientist, embarks on a plan to convince the world to pay more attention to how humanity is destroying the planet. This plan comes at a time of personal trouble for Zeno: Just as his marriage is falling apart, he’s questioning how to keep his work relevant in a world that seems completely oblivious to global warming. The comic-tragic book is often despairing, but even its saddest parts are rendered in lovely, lyrical prose.


Written in 2012, this young adult novel imagines an England in 2015 so deeply damaged by climate change that carbon rationing has begun. It stars 16-year-old Laura, who spends her days going to school and playing in a punk band. But her anxiety is growing over her parents’ pending divorce and an approaching hurricane that scientists predict will be the strongest ever to hit England. The novel is structured as the diary she keeps to make sense of her world as it grows more chaotic. Such a structure might turn some adults off, but Lloyd’s keen attention paid to real human emotion — in teenagers and adults — makes the book relatable for almost anyone.


Written by the American (Brooklyn-based) author of The Great Derangement, a work of nonfiction that addressed the world’s need for more cli-fi novels, this ambitious  cli-fi novel combines lyricism with fast-paced action. Set on an archipelago of tiny islands located just off the coast of India, the novel follows Piya Roy, an American marine biologist of Indian descent, who’s thrown from a boat into water teeming with crocodiles. She’s saved by a local fisherman, with whom she learns to engage with the help of a translator. As the trio ventures deeper into the islands’ wilderness, they learn not only of the dangers of the encroaching tide — but also of the political turmoil that wreaks havoc on the islands’ people and land.

Saturday, May 26, 2018

Please take a look at this video from There is hope for our future in meeting the challenge of climate change, if only we will listen. Maybe.


"The Archipelago of Hope” is an enlightening global journey revealing how the inextricable links between Indigenous cultures and their territories are the foundation for climate change resilience around the world. The Indigenous traditional territories are islands of biocultural diversity in the ever-rising sea of development and urbanization. As we enter the Anthropocene, they are an “archipelago of hope”, for here lies humankind’s best chance to remember our roots and how to take care of the Earth. These communities are implementing creative solutions to meet these modern challenges. Solutions that are relevant to the rest of us.


Doomsday Goes Mainstream?

''Doomsday prepping'' has long been associated with the rightwing. Why is it catching on among centrist and leftwing liberals?

At the tail end of 2017, New York City officials began to remove nuclear fallout shelter signs from public buildings around the city. The signs had been up since the 1960s, when President Kennedy urged the nation to build home bunkers and dedicated federal funding to the construction of public shelters, but such buildings have long since been converted back to other uses. The signs, with their three yellow triangles circumscribed in a black circle, went largely unnoticed for decades. But with President Trump exchanging provocations with North Korea and flinging around Freudian references to nuclear buttons, the Cold War relics suddenly don’t seem so antiquated. City officials didn’t want residents planning to arrive at a safe location to find the doors locked. All of which is to say: the apocalypse feels closer now, again.
At least, it feels that way to some. Doomsday prepping has long been associated with the right (the ethos is rooted in survivalism, a term that connotes far-right militias, and many preppers prefer not to use it). But in recent years many people with left and liberal politics have joined their ideological nemeses in getting ready for that moment when, in prepper parlance, the SHTF (shit hits the fan). There is something fundamentally conservative in the prepper impulse: to create a stockpile in one’s basement rather than work toward a system that could help ensure community-wide safety. Embedded in the prepper ethos is a deep distrust of public systems, fueled by the belief that we’re one cataclysm away from a Hobbesian state of unrestrained every-man-for-himself (and-his-family) competition. So why is it catching on among liberals?
One reason is obvious enough: the Trump administration is a circus of meanness and incompetence, and if you believe that the presidency is of consequence at all, you might well be worried about what this one means for your—or your community’s—survival. On the day of Trump’s inauguration, Colin Waugh, a liberal voter from Missouri, started a Facebook group called The Liberal Prepper, as a place for like-minded people to prepare for the Trumpocalypse. The group started with invitations to some thirty of Waugh’s friends. Today the group has over 3,400 members, who share tips and tricks for the bunkered future. Members debate stocking up on a home supply of Tamiflu, share discount codes for giant tins of military-surplus beef taquitos, trade recommendations on freeze-dried foods, rainwater catchment systems, and permaculture techniques. And like any good online community, it has its own self-referential memes. One riffs on the idea of a glass of water as personality test: optimists see it half-full, pessimists see it half-empty, preppers stock 70,000 glasses in reserve.
For many new preppers the system they’re worried will fail is the planetary climate system itself. The editor of the popular online forum The Prepper Journal, an Arizona resident who goes by the pen name Wild Bill, says the community often discusses hurricanes and other natural disasters—his own interest in prepping arose after he experienced the 1971 Sylmar earthquake in southern California—but does not use the language of climate change. “We talk about weather events and natural disaster but when it comes to climate change and whether it is real or not, or whether Al Gore is right or not, or the polar caps are melting, I don’t get into that,” says Wild Bill. (It is; he was; they are.) His daughter lives in the Houston area and recently had to put her prepping skills to use when the meteorological S did HTF during Hurricane Harvey. Wild Bill has photos of his daughter and her husband kayaking away from their house, with their cats and bug-out bags aboard. Still, he says he stays away from discussion of climate qua climate. “When we post about weather it’s about what to do if you are in that situation.”
But for liberal preppers, the threat of climate change disasters is highly motivating. One told the prepper blog The Prepared that as it has become clear to her that the government will not effectively counteract climate change, “we are going to have to fend for ourselves.” She’s right. Decades of American politicians have failed to meaningfully combat climate change—Trump’s climate-denying administration will surely not be the one to reverse that course. But she’s also displaying the great ironies of the prepper movement: the imagined meltdown that lies ahead steals focus from the ones happening right now. Ask anyone in San Juan, Puerto Rico, where people are living under tarps and dealing with water-borne diseases and the power is still out months after Hurricane Maria—many groups already have to fend for themselves right now.

Prepping became something of a national spectacle in 2012 when the National Geographic channel started airing the reality show Doomsday Preppers. In each episode, cameras follow confident heads of households as they construct solar panels, build a sniper tower, outfit an RV with bee-keeping equipment to make a giant mobile hive, and train their children in marksmanship. The DIY projects are cool, but there is something disconcerting—to those of us without armed mobile hives to pollinate our post-apocalyptic orchards—about the glee in the eyes of the preppers as they deliver prophecies of mass destruction.
“We still have a bit of a grudge against Nat Geo,” says Wild Bill. He wasn’t featured on the show himself, but takes umbrage with the show’s presentation of the prepper community. “They have many great programs, but like any reality show they looked for the odd, the bizarre, the really out there.” Wild Bill says his readers and followers aren’t so far out—they’re not hiding soldered tubes of camping supplies at the bottom of a lake—they’re “people who have a generator in case the power goes out.” For Wild Bill, who lives in Arizona, prepping isn’t an extreme position but a sensible one. “If something happens, for two or three days, you want to have enough food and water on hand for your family.”
Wild Bill’s colleague, the founder of The Prepper Journal who uses the pen name Pat Henry, wrote a post last year welcoming liberal preppers to the party: “Your politics might be driving your rationale for prepping but you are trying to achieve the same personal goals as all the rest of us.” He makes the case that the prepper community ought rightly to be a big tent: “We have people who love guns, who wear MAGA hats, hold lifetime memberships to the NRA as well as vegans, pacifists and yes, Liberals.” Not everyone agrees, though, that prepping and progressivism can be compatible. “I would like to think we can all get along, but my instincts tell me to stay far away from liberals in a SHTF situation,” writes one commenter on Wild Bill’s welcoming post. “Liberals tend to support wealth redistribution. Liberals tend to favor the seizure of property by the government. Liberals tend to favor gun control. Liberals tend to believe that profiling is wrong. None of those things tend to increase my odds of survival.”
Prepping aesthetics don’t fit neatly into a liberal/conservative dichotomy. Many popular blogs and publications have material that could have been pulled from the 1970s Whole Earth Catalog, with articles detailing how to store caches of seeds, make your own soap from beeswax, forage for edible plants in the wild, or can the fruits of your garden. Readers of such guides could be interested in avoiding pesticides or artificial fragrances rather than preparing for the EOTWAWKI (end of the world as we know it). But these are scattered between articles with a far more aggressive bent: how to fend off snipers, how to build your own guns. There is, too, a strong undercurrent of distrust of technology and telecommunications systems, and plenty of articles devoted to advice on how to communicate in a post-electronics world and stay anonymous online. Ultimately they’re an edifying reflection of precisely which parts of modern society preppers most mistrust. Your approach to prepping reflects the things you are most worried will fail or otherwise betray you: big agriculture, the banking system, the power grid, the arms of the government charged with maintaining law and order.
According to Wild Bill, the place where political differences often crop up in the TPJ posts and discussions is around guns. “Most of the people who are into prepping are also into American gun culture,” he says. “They’re hunters, fishermen, outdoorspeople who are going to go out and provide food for themselves, and here is something the liberal side has not adjusted to.” But he is also careful not to generalize too broadly. “There are some who are into guns and are liberal in other ways.”
He notices that the new wave of preppers are most interested in bug-out bags (mainstream emergency preparedness agencies often call these go-bags), rucksacks packed with a few days’ worth of essential supplies. The contents of these bags are hotly debated. “We had one guy say that toilet paper was a waste of time,” recalls Wild Bill, “and he just got creamed!” In Guerrilla Warfare, Che Guevara wrote that the well-prepared revolutionary should always have on-hand a rifle, ammunition, canteen and cutlery, antibiotics, soap, toothbrush, toothpaste, some inspirational reading, a machete, some gasoline, matches and kindling, needle, thread, and buttons. The modern bug-out bag often adds to this list a flashlight, radio, hand-crank or solar-powered charging device, a tent, and some mechanism for water purification.

In December 2017, Vogue featured in its holiday gift guide a handsome canvas apothecary bag monogrammed with Anna Wintour’s initials. But it is no ordinary tote: the bag, from L.A.-based company Preppi, is packed with food, water, first-aid items, outdoor necessities like ropes and flares, luxury soaps and teas, and Mast Brothers chocolate. Preppi started out as a “boutique company,” co-founder Lauren Tafuri told a local L.A. blog in an interview, but “2016 was a big year,” and the market for their bags has been expanding.
In a December episode of the Daily Show, a correspondent presented a packed Preppi bag, the Prepster Black Ultra Luxe Emergency Bag, which retails for $4,995 (this is their most deluxe offering; other pre-packed bug-out options start at $95), for inspection by a hard-core survivalist, Rick Austin, who laughed off the smartly designed case and thoughtfully sourced snacks, and made a deadpan comment that in the world after the SHTF, the only liberals around will be dead ones. Preppi founders Lauren Tafuri, a costume designer, and Ryan Kuhlman, a film director, say this is exactly the kind of attitude they are trying to change. “Our company intentionally went 180 degrees in the opposite direction of these themes (extreme/outdoors/zombie apocalypse/fear) most commonly associated with prepping. Our customers tend to be modern, connected, and urban dwelling—they are not going to suddenly shed their way of life after an emergency,” agreed Kuhlman, pointing out that most emergencies will not bring about the dawn of a new anarchic age, but rather, will call for people to hunker down for a few days. “After that most likely you will be in touch with emergency responders and services aiding you with anything you may need.” Preppi bags may lack cred among hard-core survivalists, but their growing popularity speaks to the mainstreaming of prepping and the long cultural distance it has traveled.
Prepping has also spread to the uber-wealthy and tech-world elite, with Silicon Valley aristocrats buying bunkers in case they have to GOOD (get out of Dodge). Peter Thiel has gone so far as to procure an estate in New Zealand—and citizenship to go with it—where he can, as Tech Crunch put it, “watch the world burn in peace.” Several others told the New Yorker’s Evan Osnos they had gotten Lasik surgery so as not to be hampered by blurry vision; in case of societal collapse, one’s contact lens subscription service could be among the first amenities to go. Reid Hoffman, investor and LinkedIn co-founder, put the cohort’s concerns to Osnos: “Is the country going to turn against the wealthy? Is it going to turn against technological innovation? Is it going to turn into civil disorder?”
Of course, the nightmare SHTF situations these new preppers imagine are already happening—to people whose wealth and status don’t protect them. Low-income individuals and communities of color are far more vulnerable to the consequences of the natural and political disasters we are all already living through. New Orleans’s Lower Ninth Ward remained desolate and stripped of services for years after Hurricane Katrina; armed men knocking on doors and stopping cars of people trying to escape dangerous weather at checkpoints is already a reality for undocumented people in the United States.
Disaster preparation doesn’t have to be a purely private undertaking that happens at the family or individual level. During the early 1960s, landlords took part in what the New York Times called a “fallout shelter drive.” The Army Corps of Engineers identified over 17,000 buildings across the city, which they “equipped with federally provided survival kits—costing roughly $2.40 per person—that featured aspirin, toilet paper, tongue depressors, appetite-suppressing hard candies and ‘Civil Defense Survival Rations,’ i.e., animal crackerlike biscuits.” No champagne or artisanal chocolate here, but the program provided enough space to accommodate nearly 12 million New Yorkers.
Preppers’ doomsday scenarios typically hinge on an acute, almost cinematic event—the city floods, the bomb goes off, the virus mutates. The crisis is unambiguous, a clear moment at which the old world falls away and it’s time to batten the hatches or set off in the mobile hive. What they don’t seem to prepare for is the slow creep of social and economic precarity, the erosion of niceties and norms, the sea level inching higher so slowly your feet are wet before you realize you ought to have packed a bag.

Rachel Riederer is editor-in-chief of Guernica.

Paul Schrader of ''Taxi Driver'' fame delivers a powerful cli-fi thriller with FIRST UNITED [CHURCH]

FIRST UNITED is perhaps the first real cli-fi movie of the 21st century, and Paul Schrader (remember him?) has directed it. It's the cli-fi movie of the year, that's for sure, although it's not about climate change per se. Watch it and see for yourself. Like Barbara Kingsolver's FLIGHT BEHAVIOR novel, this movie will touch you deeply. Cli-fi, it's in the air.
So SOME PAUL SCHRADER quotes about his new movie

The movie an accumulation of what I’ve been doing from the start. Even before I became a screenwriter, as a critic I wrote a book that was a study of spiritual cinema. I had come up through a Christian church background and it always interested me. 

I don’t think it’s really possible to be alive without pushing some sort of cli-fi agenda, particularly now that climate change has put so many of the historic and theological issues into boldface. There are so many great questions that philosophers have been talking about for 3,000 years and now there’s a pretty good chance we’re going to get those answers.
I’ve lived in the magic cone of history, the best era of history, the most selfish, most indulgent, privileged, laziest of human history that has ever existed. And in return for all this beneficence, we have in turn ruined the planet.
Early on in the film, Pastor Toller has a long conversation with the young man who is wondering whether to bring a child into this world. He says, “This is not about your baby, this is about you and your despair.” You can say the same thing about Reverend Toller about his biological son in the form of this kid who wants his help, or his attitude towards the environment. He’s looking for something to latch onto to justify his darkness of the soul. In some way they’re interchangeable. He graphs onto himself the cause of the young man, but that’s not his problem.
It’s not really a positive church film like All Saints. It’s really trying to make the world a better place through the metaphor of the church. This is one of those dark night of the soul movies and how it reverberates off people is unpredictable. It goes back to Taxi Driver in the same kind of configuration. You can’t really predict how that film affects people.

We are living in a tsunami of product. Every day is Hurricane Harvey day in Hollywood and the movies just come like a tidal wave and so what does it take to get your head above the crowd in TV, theatrical, streaming? That has become one of the new functions of festivals. There are simply so many films that no organization and no critic can monitor them, so the movie festivals are now becoming the de facto gatekeepers.


News will break in next few weeks...
As readers in the USA and ASIA who follow the news know, last month China sent a threatening letter to a large number of international airlines demanding that they change the country code for Taiwan (TW) on their schedules to China (CN), as dictated by Beijing’s “one China” principle.
However, standing up for Taiwan's international space and presence, on May 5 the Trump administration issued a statement condemning China's science fictional ''demand'' as “Orwellian nonsense,” through which China was trying to impose its own political claims on private companies around the world. It's like the British sci-fi novels "1984" and "Animal Farm" have come back to life in 2018.
Believe it or not, a major sci-fi publishing company in New York, the most prestigious science fiction publisher in the world, Tor Books, whose editors know all about the "1984" and "Animal Farm," also kowtows to China's "one China" nonsense by asking Taiwanese fans of sci-fi who want to sign up at the Tor website ( to list their "country" on the Tor website drop-down menu as either "China" or "Taiwan, province of China."
Yes, the world-famous sci-fi website run by Tor Books does not allow Taiwanese sci-fi fans to list their country as "Taiwan."
But again, as readers know, Taiwan is a free and independent democracy, which abides by international law and  has never been a part of the People’s Republic of China (PRC).
The Chinese claim that Taiwan is part of the PRC is an silly nationalistic sci-fi illusion, with no basis in international law.

By forcing Taiwanese sci-fi fans to register at Tor Books website as being from either "China" or "Taiwan, province of Tawian," Tor's editors and website managers are showing a terrible and naive bias to Taiwanese sci-fi fans.
Tor's editors are probably not even aware of this oversight on their registration  form, thus this news tip, and hopefully a change in the website's current Orwellian nonsense. .
One hopes that Tor Books, once  its editors read this letter, will do the right thing and stand up for Taiwan on its online registration form and show science fiction fans around the world that American sci-fi websites do not kowtow to China.

Interview April 16, 2018 (TBA)

APRIL  2018  
Hello Dan,

I'm a freelance science journalist based in the USA. I've just spoken with the author of a cli-fi novel  for a profile piece I'm doing on him. I'm using the profile to reach into the world of cli-fi, and how it may influence public perception of climate science.

I'd like to chat with you about his book, your coining of the term "cli-fi" and your work in this genre. Do you have time to chat for 15 minutes or so in the next few days?

We can have a phone chat or an email exchange if that's easiest for you.


PS: written on May 30

''Sorry for the delayed reply, as I've been on vacation. 

May 30 is not the publication date, as you thought. It's been pushed back due to scheduling issues, but I'll certainly let you know when the date is set and I'll send it along before then. It's still in an early draft stage.''

Dan replied in internet time:

Yes sure, glad to help. Am retired journalist myself. Alaska, Tokyo, Taiwan. Newsroom editor. Now retired in Taiwan doing my cli-fi pr work in support of cli-fi authors like him 24/7.
Haven't taken a vacation or a day off since april 20, 2013. Ask me why that date.

So ask me anything by email ...

>> >> Here are some of my questions for you:April 16, 2018
>> >>++++++++++++++++
>> >> 1) Why did you decide to go all-in on promoting cli-fi?
>> My background is in journalism and newspaper newsrooms in Washington dc, juneau alaska, tokyo japan and taipei taiwan. Im a newspaper brat. I know the power of opeds, letters to the editor, columnists, online websites and i have hundreds of media contacts worldwide. My mentor was benjamin bradlee. He gave me my start at the washington post. So i have a good sense of the power of the mainstream media to communicate important ideas. After npr did its important cli-fi news segment on april 20, 2013....i decided that it was time then to go all-in. So 24/7 i monitor news feeds from twitter and google news for mentions of cli-fi. This is my life's work now. I'm retired from newspapering.
>> What about this genre is so important to you?
>> I am a word man. Im not an intellectual or a professor. I love pr. I love networking. I love life and wake up every day full of positive energy and optimism. Even though things look grim.  So i feel very deeply that cli-fi as a pr tool and a climate change communication tool is an important part of the culture now. 
>> >>
>> >> 2) Do you think that cli-fi needs to be optimistic and solutions-based in order to be effective, or do you see value in dystopian stories?
>> I am sitting on the fence. Im an optimist and i believe in hope. Cli-fi is for the hopeful. But if individual novelists want to write dystopian cli-fi stories, thats okay with me. I loved reading The Road by cormac mccarthy. But i also like hopeful optimistic cli-fi tales like bill liggeets watermelon snow. I met him and his book online. What first attracted me was his wonderful title! I had to look up watermelon snow. I had never heard that term before! I love it. Titles have power.
>> >>
>> >> 3) How did you first get to know the author I am profiling in my piece to be published in June.?
>> I met him online and wrote to him to interview him for my blog. Ive done over 100 clifi author interviews since 2011.
>> Q. How have you worked with him?
>> I didnt know him  beforehand. But i liked his blog posts too. Hes a committed writer.
>> >>
>> >> 4) Assuming you've read his novel, how do you think it fits into the cli-fi genre, and what can it accomplish as a science communication tool?
>>His book is cli-fi for the general reader. The title grabs you. It grabbed me. He is good at doing his own pr for the book. Hes on twitter everyday! Hes indefatigable! As a science comm tool, his novel's title is eyecatching ear catching and the definition of of the title is a science lesson itself! 

Así surgió la novela de clima ficción o 'cli-fi', un género centrado en el cambio climático y sus efectos futuros que se ha popularizado en los últimos años = Beatriz Garcia in SPAIN

LEE MÁS Nace el primer festival de ciencia ficción feminista de España: Ansible Fest Beatriz García 24 MAY 2018 - 23:12 CET Amadrinado por Úrsula K. Le Guin, en espíritu y potencia literaria y feminista, el AnsibleFest se celebrará en Bilbao los próximos 21 y 22 de septiembre con charlas, paneles sobre ciencia ficción y feminismo, proyecciones, talleres, una feria editorial, e incluso ludoteca para los más pequeños. Imagina un dispositivo de comunicación entre planetas lejanos capaz de superar cualquier barrera espacio-temporal. No, mejor no lo hagas; Úrsula K. Le Guin, una de las madres de la ciencia ficción, ya se nos adelantó –como en casi todo-, describiendo la invención del ‘ansible’ en su novela ‘Los desposeídos’ (1974). Un artilugio tan potente que unos años después un grupo de autoras de ciencia ficción recibió el mensaje y creó en 1977 la Wiscon, la primera convención feminista de ciencia ficción y fantasía que se celebra cada mayo en Madison (Wisconsin). Y la onda expansiva traspasó nuevas fronteras, más veloz que la luz; las ideas saltaron de un libro a otro, de una cabeza a la siguiente, hasta llegar a Bilbao, la nueva Madison del fantástico feminista, donde en septiembre tendrá lugar la primera edición del AnsibleFest. Y como no podía ser de otra forma, todo empezó con un ‘What if…?’ “La idea surgió de cañas entre Arrate Hidalgo y Laura Gaelx, charlando sobre libros y proyectos. En estas situaciones somos de ponernos a decir cosas como: “¿Y lo que molaría montar…?” y lo del festival de repente no lo vimos tan imposible. Estaban las ganas, algo de experiencia y, sobre todo, la sensación de que a la gente ya le estaba haciendo falta un espacio feminista para hablar del poder transformador de la ficción especulativa sin tener que pasar por el aro de la mesa “de mujeres” de las convenciones al uso. Lo bonito de empezar a pensar AnsibleFest fue que ya partíamos de ideas más complejas que las bases que aún hay que pelear en el mainstream (“las mujeres escriben ciencia ficción”, por ejemplo). Nos ha venido bien que Arrate tenga la suerte de llevar cinco años yendo a WisCon, porque en cierto modo podemos aprender de sus aciertos y errores y traer la energía de una institución feminista tan legendaria en el mundillo”, explican las organizadoras del festival, entre las que se cuentan traductoras, editoras, escritoras y, sobre todo, amantes de la ciencia ficción. “Las autoras de ciencia ficción tienen todavía hoy una visibilidad casi nula. Solo hay que ver lo que pasa cuando alguien dice: ‘No hay mujeres escribiendo ciencia ficción’ y alguien contesta: ‘Pues sí: Ursula Le Guin’. Está muy bien, pero hay cientos más”. Una de las grandezas de la literatura de género es este poderoso ‘Y si…’, que da la posibilidad a autores y lectores de explorar futuros alternativos o las posibles consecuencias de las decisiones que tomamos como sociedad y las opresiones que padecemos, algo que ya afirmaba la escritora Úrsula K. Le Guin en relación a la situación de las mujeres. Para las cuatro fundadoras de AnsibleFest, la ciencia ficción es política porque trata de nuestro lugar en el mundo, pero, al final, lo que nos mantiene en vilo es la historia que se narra. “Lo bueno de la literatura fantástica es que puede eliminar o moldear los ejes de opresión del mundo real, creando universos imaginarios tan atractivos que su elemento político te llega de forma mucho más directa: ‘¿Y si no hubiera género asignado al nacer? ¿Y si existiese una utopía matriarcal en simbiosis con el océano a punto de ser invadida…?’No es solo una plataforma de análisis, sino que expande nuestra forma de sentir y de pensar gracias a ese famoso ‘sentido de la maravilla’. Y apuntan que, a pesar de los numerosos referentes de escritoras desde los inicios del género – ‘Frankenstein’ de Mary Shelley, sin ir más lejos, es considerada la primera novela de ciencia ficción de la historia-, aún hoy su visibilidad es casi nula. Octavia Butler: Esclavitud, cicatrices y viajes en el tiempo UNA DE LAS GRANDES FICCIONES FEMINISTAS RECOMENDADAS POR ANISIBLEFEST. “Solo hay que ver lo que pasa cuando alguien dice ‘No hay mujeres escribiendo ciencia ficción’ y alguien contesta, con toda su buena intención, ‘Pues sí: Ursula Le Guin’. Que está muy bien, y hay que leerla y reeditarla más, ¿pero dónde están James Tiptree, Jr. (seudónimo de Alice Sheldon), Eleanor Arnason, Nalo Hopkinson, Octavia Butler, Pat Murphy, C.J. Cherryh o cientos más? (Y eso quedándonos en Norteamérica y en los 90). En este caso habría que hablar quizás de una triple invisibilidad en el ámbito estatal por ser mujeres, escribir género y no estar traducidas. Perdemos una genealogía que nos llega en fragmentos. El bombazo de Ann Leckie bebe mucho de las sagas de space opera de C.J. Cherryh, por ejemplo. ¿No querríamos poder leerla a ella también?”, resumen. ¿Una segunda época dorada de la CF feminista? En España existen iniciativas para ampliar el alcance de autoras hispanohablantes y extranjeras, como La Nave Invisible, el grupo de Goodreads ‘Leo Autoras Fantásticas’ creado por la escritora Felicidad Martínez, la antología ‘Alucinadas’ que edita Palabaristas y este año publicará su cuarto volumen, y también numerosas escritoras comprometidas con el feminismo como Lola Robles, Cristina Jurado, Layla Martínez o Elia Barceló, que en su obra ‘Consecuencias naturales’ (1994) denunciaba la infantilización de las mujeres. Y aunque ser mujer y escribir ciencia ficción no equivalga necesariamente a hacerlo desde una perspectiva feminista que rompa con los clichés del género (y sociales), AnsibleFest admite que hay cada vez más conciencia de la importancia de la inclusión y un mayor protagonismo de personajes femeninos, tanto en la literatura como en el cine, a pesar de que les preocupe “la fagocitación capitalista del feminismo”. “Las historias están cambiando, ampliándose y haciéndose más complejas, abordándose desde identidades que cuestionan los feminismos de segunda ola (es muy interesante leer, por ejemplo, las críticas que se le hace al clásico de Russ, ‘The Female Man’, desde una perspectiva transfeminista)”, dicen. Y también las obras de destacados representantes de las nuevas corrientes de ciencia ficción decolonial y queer, como Rebecca Roanhorse, J.Y. Yang o Sheree Renée Thomas, son buena prueba de ello. “¿Y si en AnsibleFest…?”, les pregunto, retándolas a que imaginen un final utópico propio de un festival de ciencia ficción feminista? A lo que ellas contestan: “Y si no escuchamos un solo ‘no todos los hombres’ en todo lo que dure el festival. FIN”. Habrá que asistir para comprobar si esta historia más que utópica es oracular. Ojalá que lo sea. La biblioteca a de AnsibleFest Hemos pedido a las organizadoras que nos recomienden algunas obras de ciencia ficción feminista para ir abriendo boca de lo que se avecina los próximos 21 y 22 de septiembre en Bilbao. Toma buena nota: En cómic nos gusta mucho ‘Bitch Planet’ de Kelly Sue deConnick y Valentine De Landro, y la serie de grapas ‘Paper Girls’, de Brian K. Vaughan y Cliff Chiang. En cuanto a novelas, tres publicaciones recientes de corte marcadamente feminista que recomendamos son ‘Parentesco’ de Octavia Butler, ‘Nueva madre’ de Eugene Fischer y ‘Nueva Amazonia’, de Elizabeth Burgoyne Corbett. Feliz lectura…

Nace el primer festival de ''ciencia ficción feminista'' de España: Ansible Fest


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Sponsored by Ursula K. Le Guin, in spirit and power literary and feminist, the AnsibleFest will be held in Bilbao the next 21 - 22 September 2018 with lectures, panels on science fiction and feminism, film screenings, workshops, a publishing fair, and even toy library for children.

Imagine a device of communication between distant planets capable of overcoming any space-time barrier. No, better not do; Ursula K. Le Guin, one of the mothers of the science fiction, as us - as in almost all-, describing the invention of the 'ansible' in his novel 'have-nots' (1974). A gadget so powerful that a few years later a group of science fiction authors received the message, and I think in 1977 the Wiscon, the first feminist science fiction and fantasy, which is held every May in Madison (Wisconsin). And the expansive wave transfer new frontiers, faster than the light; the ideas jumped from one workbook to another, from one head to the next, until you get to Bilbao, the new Madison the fantastic feminist, where in September will take place the first edition of the AnsibleFest. And how could it be otherwise, it all started with a 'What if…?'

"The idea arose of reeds between Arrate Hidalgo and Laura Gaelx, chatting about books and projects. In these situations we are to say things like: "And what molaria fit…?" and the festival all of a sudden we saw it as impossible. Were the desire, some experience and, above all, the feeling that the people he was doing lack a feminist space to talk about the transformative power of speculative fiction without having to go through the rim of the table "women" of the conventions to the use. The nice thing to start thinking about AnsibleFest was that we started of ideas that are more complex than those bases that still have to fight in the mainstream ("women write science fiction", for example). We have been well that Arrate has the good fortune to take five years going to WisCon, because in a way we can learn from their successes and failures and bring the energy of an institution's legendary feminist in the world", explained the organizers of the festival, including translators, editors, writers and, above all, lovers of science fiction.

"The authors of science fiction have still a visibility almost zero. You just have to see what happens when someone says: 'There are no women writing science fiction' and someone says: 'Well if: Ursula Le Guin'. This very well, but there are hundreds more."
One of the mighty works of literature is this powerful 'what if…', which gives the possibility to authors and readers to explore alternative futures or the possible consequences of the decisions we make as a society and the oppressions we suffer, something that has already claimed the writer Ursula K. Le Guin in relationship to the situation of women.

For the four founders of AnsibleFest, science fiction is political because it is our place in the world, but, in the end, what keeps us in suspense is the story that is told. "The good thing of fantastic literature is that you can delete or shape the axes of oppression in the real world, creating imaginary universes so attractive that its political element comes to you in a much more direct: "And if there were no gender assigned at birth? What if there was a matriarchal utopia in symbiosis with the ocean to the point of being invaded…?'is not only a platform for analysis, but expands our way of feeling and thinking thanks to the famous 'sense of wonder'. And point out that, in spite of the many references of writers from the beginnings of the genre - 'Frankenstein' of Mary Shelley, without going any further, is considered the first science fiction novel of the story, even today its visibility is almost zero.

Octavia Butler: Slavery, scars and time travel
"You just have to see what happens when someone says 'No women writing science fiction' and someone answers, with all its good intention, 'Well if: Ursula Le Guin'. That is all very well, and you have to read it and reeditarla more, but where are James Tiptree, Jr. (pseudonym of Alice Sheldon), Eleanor Arnason, Nalo Hopkinson, Octavia Butler, Pat Murphy, C.J. Cherryh or hundreds more? 

In this case we speak of perhaps a triple invisibility at the state level for being women, writing style and not be translated. We lose a genealogy that comes to us in fragments. The bombing of Ann Leckie baby much of the sagas of space opera of C.J. Cherryh, for example. Wouldn't we want to be able to read it to her, too?" summary.

A second golden era of CF feminist?
In Spain, there are initiatives to expand the scope of foreign and Spanish-speaking authors, such as the Ship Invisible, the group of Goodreads 'Leo Authors Fantastic' created by the writer Happiness Martínez, the anthology 'Palabaristas Alucinadas' that edit and this year will publish its fourth volume, and also many writers committed to feminism as Lola Robles, Cristina Jury, Layla Martinez or Elia Barceló, who in his work 'natural consequences' (1994) denounced the infantilization of women.

And although being a woman and write science fiction does not necessarily equal to do so from a feminist perspective that breaks with the clichés of the genre (and social), AnsibleFest admits that there is a growing awareness of the importance of the inclusion and a greater role of female characters, both in the literature and in the cinema, in spite of concern to them "the fagocitacion capitalist feminism". "The stories are changing, expanding and becoming more complex, addressing from identities that challenge the second wave feminism (it is very interesting to read, for example, the criticism that makes the classic Russ, 'The Female Man', from a transfeminista)", they say. And also the works of prominent representatives of the new flows of decolonial and queer science fiction, like Rebecca Roanhorse, J.Y. Yang or Sheree Renee Thomas, are proof of this.

"And if in AnsibleFest…?", he asked, retandolas imagine a utopian end of a feminist science fiction festival? To what they answered: "And if we do not hear a single 'all men' throughout the duration of the festival. Order".

It will be necessary to attend to check if this story more than utopian is oracular. I wish it to be.

The library of AnsibleFest
We have asked the organizers recommend us some feminist science fiction works to whet your appetite for what is coming over the next 21 and 22 September in Bilbao. Takes good note:

In comic we like 'Bitch Planet' Kelly Sue DeConnick and Valentine of Landro, and the number of clips 'Paper', Brian K. Vaughan and Cliff Chiang. In the novels, three recent publications of feminist sharply cut that we recommend are 'kinship' of Octavia Butler, 'New mother' of Eugene Fischer and 'New Amazon', Elizabeth Burgoyne Corbett.

Happy reading...

Thus arose the climate fiction novel or 'cli-fi', a genre focused on climate change and its future effects that has become popular in recent years and ...

Así surgió la novela de clima ficción o 'cli-fi', un género centrado en el cambio climático y sus efectos futuros que se ha popularizado en los últimos años y ...