Friday, December 8, 2017

Yes #Clifi is a thing.Doug Parsons interviews Amy Brady to explain in this online podcast from 2017

America Adapts @usaadapts 12 小時前
Yes is a thing.


Subscribe/listen to podcast on Apple Podcasts.Now on Spotify! https://itunes.apple.com/us/podcast/america-adapts-climate-change/id1133023095?mt=2 Listen here. On Google Play here. Please share on Facebook! On Twitter: @usaadapts Donate to America Adapts (We are now a tax deductible charitable organization!) In episode 32 of America Adapts, Doug Parsons talks “Cli-Fi” with Dr. Amy Brady, Senior Editor with the Chicago Review of Books.  Amy just debuted a monthly column dedicated specifically to cli-fi called "Burning Worlds." Doug and Amy cover such diverse topics as: CLI-FI – What is Cli-Fi? Learn the history of this emerging genre of fiction. BURNING WORLDS - Amy describes her new monthly column focusing on this emerging field and what she hopes to accomplish with the column. AUTHOR AS CLIMATE CHANGE ACTIVIST – Amy explains the backgrounds of various Cli-Fi authors and how some see their role as inspiring readers to take action on climate change. SCIENCE FICTION OR HIGH ART – Since Cli Fi is such a new area of fiction, it’s unclear if it’s considered just another form of science fiction, or something else. Doug and Amy discuss the controversies associated with the genre. SCIENCE OR SCIENCE FICTION – Doug and Amy discuss the use of sound science in writing Cli-Fi and what responsibilities authors feel in using science in writing fiction. NUCLEAR AGE VERSUS THE CLIMATE AGE – Doug and Amy discuss the parallels between the nuclear age of the 50s and 60s and how that drove science fiction writing and how climate change will influence literature. SCENARIO PLANNING WITH FICTION WRITERS – Doug and Amy discuss the possibility of fiction writers joining adaptation planners and scientists in the scenario planning process, relying on their creative talents to create a likely future scenario. GRAPES OF WRATH – Amy argues that John Steinbeck’s Grapes of Wrath was the original Cli-Fi novel. MUST READ CLI FI AUTHORS – Amy gives her suggestions on Cli Fi authors. She identifies books for new readers or for the robust consumers of fiction.  Additional Segment(starts at 55:45 into podcast):  Dr. Molly Cross (previous guest!) and Darren Long from the Wildlife Conservation Society come on for a short discussion to promote the call for proposals for the Adaptation Fund, one of the first granting programs focusing on climate adaptation. They discuss deadlines, strategies for applying and examples of previous grantees. We also briefly discuss the Atlanta Falcons historic collapse in the Super Bowl (Darren is a big Falcons fan). Additional Resources: Dr. Amy Brady https://chireviewofbooks.com/author/dramybrady/ Burning World Column https://chireviewofbooks.com/2017/02/08/the-man-who-coined-cli-fi-has-some-reading-suggestions-for-you/ Cli Fi resources: http://cli-fi.net/ and eco-fiction.com. Essays that provide quick overviews of the genre: http://www.salon.com/2014/10/26/the_rise_of_climate_fiction_when_literature_takes_on_global_warming_and_devastating_droughts/ https://www.theatlantic.com/entertainment/archive/2015/08/climate-fiction-margaret-atwood-literature/400112/ Anti Cli-Fi:  emerging as a conservative rebuttal to clifi's more progressive stance on climate change: https://thinkprogress.org/the-untapped-value-of-clifi-shakespeare-passover-supergirl-and-game-of-thrones-5344df553732#.lb0man9di Wildlife Conservation Society’s Adaptation Fund http://wcsclimateadaptationfund.org/program-information America Adapts also has its own app for your listening pleasure!  Just visit the App store on Apple or Google Play on Android and search “America Adapts.” Finally, yes, most of your favorite podcasts are supported by listeners just like you! Please consider supporting this podcast by donating through America Adapt's fiscal sponsor, the Social Good Fund. All donations are now tax deductible! For more information on this podcast, visit the website at http://www.americaadapts.org and don't forget to subscribe to this podcast on Itunes.   America Adapts on Facebook!   Join the America Adapts Facebook Community Group. Check us out, we’re also on YouTube! Subscribe to America Adapts on Itunes Doug can be contacted at americaadapts @ g mail . com .

The dedication page of the novel reads "For Spunky Knowsalot" who is, according to sources the New York York Times did not check with for confirmation, is none other than Bill's writer wife Sue Halpern, like McKibben, a longtime transplanted Vermonter, she from New York, he from Boston.





Jennifer Senior, one of the daily book reviewers on staff at the New York Times finally reviews Bill McKibben's debut cli-fi lite novel RADIO FREE VERMONT 30 days after publication on November 7 after dozens of small papers reviewed the book will 5 stars and thumbs up -- this way with a headline reading ''A Polite Drive for Secession in ‘Radio Free Vermont’''

The dedication page of the novel reads "For Spunky Knowsalot" who is, according to sources the New York York Times did not check with for confirmation, is none other than Bill's writer wife Sue Halpern, like McKibben, a longtime transplanted Vermonter, she from New York, he from Boston.


EXCERPT from the paywalled review, with slight editorial annotations and edits here by this blogger for amplification and clarification:

".....Like Mailer and Breslin, the central character of Vern Barclay, the old-school radio host and "forever young" hero of Bill McKibben’s ''cli-fi lite'' debut novel “Radio Free Vermont,” doesn’t truly believe he’ll have any success with the secessionist movement he leads. He’s an accidental renegade, a guy who fell backward into the revolution business while reporting his final story.


That was that. A movement for Vermont’s independence was born.
In his public appearances, McKibben, a Vermonter and one of the best-known environmentalists of our age, can be an extremely droll and appealing Cassandra.

But there was little in his many previous books to suggest he can pull off a novel-length satire. He’s a serious man.

(To Bill Maher, who complained that McKibben wasn’t giving him enough hopeful news, the author said: “This is your fault. You asked someone on whose most famous book was called ‘The End of Nature,’ O.K.?”)
Yet “Radio Free Vermont” is a charming bit of artisanal resistance lit. It’s a bit rough, with the occasional nailhead poking up too high. (Perry’s upspeak? It gets to be, um, a bit much?) But what’s surprising is how well-crafted the book is overall; how unhokey its folksiness feels, and how true its observations ring.
The finest running joke in “Radio Free Vermont” — not least for being so plausible — is that Barclay and his supporters are a supremely pleasant group of separatists. When he disrupts the canned music at Starbucks to point out that Vermont has plenty of locally owned coffee shops, he signs off with, “Remember: small is kind of nice.” When his pal Sylvia, the woman who provides him shelter in her farmhouse, hijacks a Coors truck — who needs Big Beer in a state with Hill Farmstead and Heady Topper? — she hands the driver a picnic lunch and apologizes for including only one Long Trail Coffee Stout. “We’re serious about DUI in this state,” she says, “but I think you’ll find it filling.”

        
Walmart’s management assumed Barclay was responsible for the stunt. He wasn’t. It was the handiwork of a 19-year-old hacker and social activist named Perry, a kid Barclay had never met before. It didn’t matter; he and Perry were now in the soup together. The two fled, took refuge in an old farmhouse and began a series of untraceable podcasts. “Underground, underfoot and underpowered” became its tagline, with every broadcast sponsored by a different Vermont-made craft beer. Vermont has almost as many microbreweries making craft beer as it does pet cats.

That was that. A movement for Vermont’s independence was born.




.....“Radio Free Vermont” is a charming bit of artisanal resistance lit. It’s a bit rough, with the occasional nailhead poking up too high. (Perry’s upspeak? It gets to be, um, a bit much?) But what’s surprising is how well-crafted the book is overall; how unhokey its folksiness feels, and how true its observations ring.

The finest running joke in “Radio Free Vermont” — not least for being so plausible — is that Barclay and his supporters are a supremely pleasant group of separatists.

When he disrupts the canned music at Starbucks to point out that Vermont has plenty of locally owned coffee shops, he signs off with, “Remember: small is kind of nice.” When his pal Sylvia, the woman who provides him shelter in her farmhouse, hijacks a Coors truck — who needs Big Beer in a state with Hill Farmstead and Heady Topper? — she hands the driver a picnic lunch and apologizes for including only one Long Trail Coffee Stout.

“We’re serious about DUI in this state,” she says, “but I think you’ll find it filling.”

Lest you think this is just the latest blue-state-flavored ice cream from Ben & Jerry’s, remember: Vermonters love their guns.

The ability to shoot them — while skiing — figures prominently in the plot. Barclay is a former coach of high school biathletes. One of his former students, a woman named Trance, won a gold medal in the Olympics, was a sharpshooter in Iraq and ultimately becomes a heroine of the Vermont independence movement.

“Radio Free Vermont” is more than “A Fable of Resistance,” as its subtitle says.


It’s a love letter to the modest, treed-in landscape of Vermont, which Barclay wouldn’t trade for all the grandeur of Montana.


It’s a dirge for the intense cold, which Barclay sorely misses — why is the world now brown in January, rather than white? (“It made him feel old,” McKibben writes, “as if he’d outlived the very climate of his life.”)

It is an elegy for a slower, saner Vermont — “the world’s rush was doing it in” — and dependable Yankee virtues, like neighborliness and self-reliance and financial prudence.


The book also helps contextualize Bernie Sanders’s anti-establishment crankiness. Barclay likes to remind his listeners that Vermont was once its own republic.


Throughout the story, the secessionist movement gains in popularity. Bumper stickers start appearing on cars: “Barclay for Governor.” “Barclay for Prime Minister.”


Post offices start flying a new Free Vermont flag designed by Barclay’s mother. (The New York Times in the novel even runs a Timesy feature story under the headline, “In Quaint Green Mountain Hamlets, a Push For Independence.” Gotta admit that’s pretty good. Yes, Jen, very good!) Barclay increasingly devotes his podcasts to questions of feasibility were a divorce to take place: Can Vermonters defend themselves with guns? How would its citizens collect on their Social Security?


McKibben never suggests he truly believes secession is the solution in times of political turmoil.


If anything, it’s the opposite; Barclay eventually worries he’s asking people “to do something a little dangerous and more than a little weird.”

What he’s proposing is merely a thought experiment, daring the reader to ponder the virtues of smallness in an age of military and corporate gigantism. In his acknowledgments, he notes that Vermont has already had one “minor-league attempt” at a secession movement, about a decade ago, that failed, spectacularly.

The dedication page of the novel itself reads "For Spunky Knowsalot" who is, according to sources the New York York Times did not check with for confirmation, is none other than Bill's writer wife Sue Halpern, like McKibben, a longtime transplanted Vermonter, she from New York, he from Boston.


But if non-Vermonters need refuge in the months or years ahead of the evil undemocratic Hitlerian Trump administration, Bill adds in his afterword: “you’re all welcome to come to the Green Mountain State. We’ll teach you to drive dirt roads in mud season.”

LINK
https://www.pastemagazine.com/articles/2017/10/20-of-the-best-vermont-beers-from-paste-blind-tast.html

Friday, December 1, 2017

Chris Beckett with his new book America City


American novelist Amitav Ghosh stirred literary circles up recently with his rebuke to “realist” modes of writing. Where, he asked, is all the fiction about climate change?


Well, it turns out that the answer is ''cli-fi,'' aka climate fiction, which Ghosh was aware of at the time of his writing and even mentioned in his book about climate change, The Great Denouement.


Genre writing has been exploring the possible futures of climate change for many years, and 2017’s three best novels engage in powerful and varied ways with precisely that subject. Kim Stanley Robinson is the unofficial laureate of future climatology, and his cli-fi novel titled New York 2140 (Orbit), a multilayered cli-fi novel set in a flooded Big Apple, is by any standard an enormous achievement. It is as much a reflection on how we might fit climate change into fiction as it is a detailed, scientifically literate representation of its possible consequences.
Just as rich, though much tighter in narrative focus, is Paul McAuley’s superb cli-fi novel titled  Austral (Gollancz), set in a powerfully realised near‑future Antarctica transformed by global warming.

Chris Beckett in the UK with his new cli-fi novel ''AMERICA CITY'' (photo)


Chris Beckett with his new book America City. Picture: Keith Heppell
Chris Beckett in the UK with his new cli-fi novel ''AMERICA CITY''

Chris Beckett  tweeted to this blogger at 1:09 AM on Sat, Dec 02, 2017:

 ''I'm very happy for you to call it Cli-Fi!''
 

Thursday, November 30, 2017

The best cli-fi novels of 2017


American novelist Amitav Ghosh stirred literary circles up recently with his rebuke to “realist” modes of writing. Where, he asked, is all the fiction about climate change?


Well, it turns out that the answer is ''cli-fi,'' aka climate fiction, which Ghosh was aware of at the time of his writing and even mentioned in his book about climate change, The Great Denouement.  


Genre writing has been exploring the possible futures of climate change for many years, and 2017’s best cli-fi novels engage in powerful and varied ways with precisely that subject. For a list of these novels, check with the cli-fi category in the search windows at Amazon.com and Goodreads.com and at the news links at cli-fi.net

Paul McAuley, author of cli-fi novel ''AUSTRAL''

Paul McAuley, author of ''AUSTRAL''


SYNOPSIS: The world is still warming, sea levels are still rising, and the Antarctic Peninsula is home to Earth’s newest nation, with life quickened by ecopoets spreading across valleys and fjords exposed by the retreat of the ice. Austral Morales Ferrado, a child of the last generation of ecopoets, is a husky: an edited person adapted to the unforgiving climate of the far south, feared and despised by most of its population.


American novelist Amitav Ghosh stirred literary circles up recently with his rebuke to “realist” modes of writing. Where, he asked, is all the fiction about climate change?


Well, it turns out that the answer is ''cli-fi,'' aka climate fiction, which Ghosh was aware of at the time of his writing and even mentioned in his book about climate change, The Great Denouement.


Genre writing has been exploring the possible futures of climate change for many years, and 2017’s three best novels engage in powerful and varied ways with precisely that subject. Kim Stanley Robinson is the unofficial laureate of future climatology, and his cli-fi novel titled New York 2140 (Orbit), a multilayered cli-fi novel set in a flooded Big Apple, is by any standard an enormous achievement. It is as much a reflection on how we might fit climate change into fiction as it is a detailed, scientifically literate representation of its possible consequences.
Just as rich, though much tighter in narrative focus, is Paul McAuley’s superb cli-fi novel titled  Austral (Gollancz), set in a powerfully realised near‑future Antarctica transformed by global warming.

Why Lost Ice Means Lost Hope for an Inuit Village, a very good and important piece of reporting by NYT James Reston Reporting Fellow intern Livia Albeck-Ripka

RE: From The New York Times:
''Reporters Get New Datelines So They Won’t Seem Out of Place''
The Times is changing how it shows where articles were written, hoping to more clearly convey that “we are on the scene around the world.”
                      

Why Lost Ice Means Lost Hope for an Inuit Village


[Very well-reported and researched by James Reston Reporting Fellow for the New York Times Livia Albeck-Ripka]

[ORIGINAL FAUX DATELINE HAS BEEN DELETED FOR EDITORIAL REASONS AND STANDARDS AND PRACTICES OVERSIGHT]


Leaning over the handlebars with one knee up on the seat, Derrick Pottle commanded his snowmobile between rocks and sheets of gray sea ice before stopping suddenly at the mouth of a bay.
“It’s open,” Mr. Pottle said, turning off his machine. Ten yards away, the ice had cracked and opened a dark hole in the water that made it impossible to drive across the inlet.
It was Jan. 7, 2017 (when the reporter was not a New York Times employee and paid for the trip through her own funds or a generous un-named media sponsor) unusually late in the season for Mr. Pottle’s first trip to his winter cabin — a few hours drive by snowmobile from his hometown, Rigolet — over what should have been more than 60 miles of frozen trails and solid ice.


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













[When a New York Times article has an unvetted ''dateline'' that reads  ON SEA ICE NEAR RIGOLET, Labrador —  with a sentence that reads ''that made it impossible to drive across the inlet. It was Jan. 7, unusually late in the season for Mr. Pottle’s first trip to his cabin'' ....does this mean the article was researched and reported and that the reporter was there in Canada on January 7, 2017 (hint, the reporter WAS THERE on that date) and made the toe-touch for the dateline in that time period...OR that the article which was published on November 27 in the NYT was using a quote and research from a trip to Rigolet in January 2017 when the reporter was NOT YET a staff intern at the NYT and was using old file material masquerarding as a current NEW NEWS STORY when in fact at the time of January 7, the reporter was NOT a NYT reporter at all, not even freelance NYT reporter. So in this case, what does the DATELINE mean in November 2017? Did the reporter make a new toe-touch in November for the story and was the reporter using old  information and quotes from older material when that reporter was NOT a NYT reporter? Where does the line be drawn between real datelines and faux datelines and could a bief editor's note or author's note explaining that the early part of the article was researched in January when the reporter was not working for the NYT and who later after being hired by the TImes did some additional research and gathered new quotes from experts for a VERY GOOD NEWS ARTICLE that will stand the test of time. So there is is newsroom Journalism 101 question here about DATELINES and OLD QUOTES from before a reporter was hired by the TIMES.


Your take on this?]


see:
https://www.nytimes.com/2017/04/16/insider/dateline-byline-reporters.html?mwrsm=Email




Congratulations to Labrador Institute Director Ashlee Cunsolo and her colleagues in Rigolet, LI Postdoctoral Fellow Robert Way, and LI Research Associate Nat Pollock for their research being featured in the The New York Times today. Great coverage!


Back in January 2017, an amazing freelance journalist, Livia Albeck-Ripka, who was not yet employed as a James Reston Fellowship intern by the New York Times,. her current employer, travelled to Rigolet, Nunatsiavut on her own dime or under the sponsorship of an unnamed and uncredit media outlet to learn about the ways in which climate change is impacting ...Inuit lives, livelihoods, culture, and mental wellness. She spent later last months after returning to NYC researching and writing a great article for her current gig at the NYT, and is now sharing story in the The New York Times. And it is illustrated beautifully by Heather Campbell.
Congratulations to Derrick Pottle (Wendy Pottle), Robert Way, Glenn Albrecht, Harlie Eva Pottle, and Laurence Kirmayer -- it's an honour to be featured alongside you all.
And Nat Pollock, there is a link to your AJPH article.
See More












SEE JACK SCHAFER's take  a few years ago on this topic:


What is a dateline?
First, you have to know what a dateline is -- and what it is not.
The dateline of a news story has important information -- it indicates the city the journalist was in when he or she reported on the story. It also indicates the date the story was filed.
However, the dateline does not indicate the place of publication. For example, an article that was published in a US-based newspaper, website, or TV network was produced in the US for an audience of Americans. It can thus be considered to have the US as its place of publication -- regardless of the dateline. (See example, right).


Dateline - Wikipedia

https://en.wikipedia.org/wiki/Dateline


http://www.easymedia.in/what-is-a-dateline-and-how-it-is-written/

Toe Touching



Rick Bragg's "Dateline Toe-Touch"

A New York Times writer gets gets caught cutting corners.

http://www.slate.com/articles/news_and_politics/press_box/2003/05/rick_braggs_dateline_toetouch.html


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


and TIME magazine controversy over a dateline with Laurie Goodstein
https://www.mrc.org/articles/times-commits-dateline-toe-touch-episcopal-churchs-anaheim-convention


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toe-touch - A Way with Words

https://www.waywordradio.org/toe_touch_1/