Tuesday, June 27, 2017

The Incomplete News Database of A Flawed, Dishonest and Biased Literary Website

The Incomplete News Database of A Flawed, Dishonest and Biased Literary Website

Search by Title, Author, Themes, and Pub Date

But ......Don't expect to find any novels listed under the genre of cli-fi or climate fiction, two genre terms which this curator refuses to recognize in her obstinate closed-mindedness.

 ''Science fiction'' is listed, but not ''climate fiction''.

And of course, she would never list ''cli-fi'' as a genre since she spent a year on Wikipedia denouncing cli-fi until she got caught out by several Wiki editors and then quickly erased the pseudonym ID she used to attack cli-fi under an assumed identity even though she denied ever using that now-erased ID. Perhaps she did not. Perhaps it will forever remain a mystery but everyone knows now who it was. I will never say the Canadian professor's name, of course, because that is against Wikipedia's rules.

Traces of that Canadian professor's Wiki trail , however, remain archived, and that is how she got caught out. It's obvious from the archived dates in which she first appeared on Wiki.

Return Home
© Eco-Fiction 2017
This database includes novels about climate change and the environment but for some odd reason does not list the genres of climate fiction or cli-fi, both recognized worldwide by academics and literary critics. Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Please click here for help using this database. If you want to suggest a book, please join the Ecology in Literature and the Arts community. The bookshelves have finally been organized in a more coherent manner than in the past and include an audience category (all, children’s, YA/teen, LGBT -- but please note that niether climate fiction nor cli-fi have a place on this website for reasons only the curator can explain) and a genre selection that shows typical major genres, except for climate fiction and cli-fi.

Note that her website was originally called www.CliFiBooks.com when the curator still believed in climate fiction and cli-fi and even asked that her novel Back to The Garden be reviewed and championed that way.

You can access the new bookshelf by selecting it on the right sidebar and scrolling down. There’s still one more area of taxonomy that we’re working on, and that will be a surprise!

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

NOTE: Not one book in her 500 book ''data base'' is listed as a ''climate fiction'' novel or as a ''cli-fi'' novel. Why is that, pray tell? In 2017? A flawed and dishonest and biased data base.

[see this sample page for what's going on there:]

Sunday, June 18, 2017

''After Sci-Fi Comes Cli-Fi'' -- an article in Germany by Julia Grillmayr


''After Sci-Fi Comes Cli-Fi'' -- an article in Germany by Julia Grillmayr




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


English Google machine translation is here:




Nach (after) der Sci-Fi kommt (comes) der Cli-Fi

18. Juni 2017, 10:00

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

Graz – Sie beschreiben Hitze- und Flutwellen, Eiszeiten, das Aussterben der Arten oder porträtieren Naturschönheit und zeigen ungezähmte Wälder, Meere und Tiere als besonders schützenswert. Für literarische Werke, die den menschengemachten Klimawandel und seine Folgen thematisieren, hat die Literatur- und Kulturwissenschaft seit einiger Zeit eigene Konzepte und Labels entwickelt: Man spricht von "Ökokritik" (auf Englisch "Ecocriticism") oder "Climate-Fiction", kurz "Cli-Fi".
Provokativ und mit Fragezeichen, aber nicht unernst gemeint bezeichnete Axel Goodbody Cli-Fi als das "Genre des Jahrhunderts". Der Germanistikprofessor der britischen Universität Bath sprach vergangene Woche bei der Konferenz "Literature and the Environment", die vom Anglistik-Institut der Universität Graz organisiert und unter anderem von der Akademie der Wissenschaften und dem Landwirtschaftsministerium unterstützt wurde.
Ökokritische Literatur oder Cli-Fi tritt mit einem politischen Anspruch an. Sie will mitgestalten, wie über Klimawandel und die damit verbundenen Risiken und Gegenmittel nachgedacht wird. "Klimawandel ist für die menschliche Wahrnehmung unzugänglich", sagte Goodbody. Literatur übersetze das globale, komplexe Phänomen in einzelne Raum- und Zeiteinheiten. "Sie macht den Klimawandel lokal und unmittelbar und zeigt gleichzeitig seinen dramatischen Maßstab." Cli-Fi könne positive und negative Rollenbilder aufzeigen und verschiedene Handlungsszenarien ausloten. Die meisten Werke, die als Climate-Fiction gehandelt werden, sind amerikanisch, es gibt aber auch viele deutschsprachige Beispiele, wie Goodbody zeigte. Er nannte etwa den Proto-Cli-Fi-Roman "Berge Meere und Giganten" von Alfred Döblin aus dem Jahr 1924 sowie Ilija Trojanows "EisTau" (2011).
Welche spezifische Funktion kann Literatur für ökologische Diskurse haben? Diese Frage prägt die Ökokritik und somit auch grundlegend die Grazer Konferenz. Ein zentraler Theoretiker in dieser Auseinandersetzung ist Hubert Zapf, Amerikanist an der Universität Augsburg. In seinem Vortrag hob Zapf hervor, dass Künstler ein ausgeprägtes, kritisches Sensorium für Machtverhältnisse hätten und somit eine wichtige Stimme in der Verhandlung von Umweltgerechtigkeit seien. Angesichts der ökologischen Krise seien neue Formen des Geschichtenerzählens notwendig.

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." (Julia Grillmayr, 18.6.2017)

An interview with novelist R.E. Greene, author of the novella ''DESCRIPTIONS OF HEAVEN''

1. How did you go about finding an agent an editor and a publisher for your novella?

I found most agents wouldn't represent something quite so slim word-count-wise. So I sought out publishers who took unagented manuscripts. Three publishers took an interest in my book. I ruled one out myself based on a close inspection of their company. The second ruled themselves out when they heard they were competing against Harvard Square Editions (they admitted they had even less resources and had much less experience publishing books).
Harvard, like most publishers, decided that an editor was needed for a final coat of polish on the novella. I ended up with Martine Bellen. Descriptions of Heaven is a poetic book, and Martine is a poet. This, I believe, worked to my manuscript's advantage. When I found out she was a librettist too, I knew that this was an editor who would understand my sensibilities.




2. Why is it a novella and not a novel? What's difference?

A diet novel; novel 'lite' perhaps? Descriptions of Heaven is simply a short book, but (as some readers have pointed out) it's compact with ideas and themes which can be excavated at length from any number of angles. It's about the right length for the tone and pacing.
And although the right length, I didn't know exactly what I was composing when the idea for this work first came to me. I was playing with a theme for a novel-in-progress that wasn't taking root. "Perhaps," I thought, "this is just a writing exercise" when I began working with this theme through the lens of a different story. But as I wrote, I realized it was more. And once it was far past the length of any short story I'd ever read, realized that I had a small book in my hands. Beings I write all things by hand at first, I wasn't even sure what length I had reached. After typing it, I judged it to be around the size of Heart of Darkness or Crying of Lot 49 (I believe Descriptions of Heaven actually falls somewhere between these two).


3. How you YOU prefer to  classify your novella in terms of genre?

I classify it as literary fiction. This is itself a broad category, which subsumes a lot of the best of the world's literature. My book has elements that take it beyond contemporary realism: it's set in the future during a time of worldwide drought. The family lives in one of the few places that still gets rain regularly. The lake their house looks on is actually artificial, made to naturally pool more water.
With that said, the book doesn't don the trappings of typical sci-fi, forcing some sort of post-apocalyptic future or even focusing on the science of the sci-fi. But the elements are there, and they're there to help make a point about the climate, which is the backbone of the book, the theme that threads together this tragedy. So it is cli-fi, climate fiction firstly, subtle sci-fi second, and the overall mood, tone, and writing places Descriptions of Heaven squarely in the camp of literary fiction.


4. What kind of PR and promotions has your publisher done and what PR are you doing? Radio, TV, blogs, podcasts, newspapers?

My publisher does run on a shoestring budget, but they have help to advertise events and articles on related websites and within their realm of influence. They've run a free ebook campaign on Amazon and had a great list of places to which advance release copies were sent.

I've been fortunate to be featured in local newspapers several times. Many bloggers have done interviews with me, and many others have reviewed Descriptions of Heaven. While I've slowed down on actively getting book reviews, I ran a Goodreads giveaway until the end of May. What I'm focusing on now is finding more places to do book signings. I've had one book signing at a Barnes & Noble and one book signing/reading at a cafe. I'm happy to say that both were quite successful. I've also have a forthcoming podcast interview on the Write Now Podcast with Sarah Werner. My hope is that the interviews, reviews, and book signings just become a regular part of the monthly goings-on.



6. What's next for you?

I'm currently working on a short story collection. After that, I want to pick up where I left off with a novel-in-progress about a rock band that gains fame through infamy. It's about half done, but these stories need to be written first.


7. What's yr age, college major and where, and age now?

I'm 32 years old. I have a degree in English and Anthropology from the University of South Dakota.



I've been married about 5 months now. We hope to have children in our future. My wife and I also hope to find reason to move to other parts of the country, though there are perks to living here in Iowa, close to both of our families. I'd like to immerse myself in a literary community again. This may entail moving to a city with a more robust "literary scene" or pursing a MFA in Creative Writing. For now I'm content to write at a local Sioux City cafe and enjoy the company of my tri-state friends and family.

Friday, June 16, 2017

The New York Times news bureau in Australia asks readers: ''What makes Australian intellectuals and cultural critics hunt in packs and want to cut down tall poppies of creativity?''

 
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?"
 

 
''I’m honestly not sure what my questions last week and the answers we got reveals about the degree to which Australians welcome or resist the boldest forms of cultural expression, which was one of the questions I raised last week. This seems to be something that Australians themselves, separate from me, continue to debate. ''
''On Twitter in particular, there was some resistance to the idea that there might be Australian constrictions on creativity, the idea that some element of “tall poppy syndrome” might undermine the expression and celebration of bold creativity that breaks with convention. But in our inbox, we also found several emails from creators of all kinds who said they either left Australia because of this issue, or had been forced to confront it in their own lives here. ''
''This NYT newsletter is not the forum to continue that ''discussion'' (though we will keep discussing it in our subscriber Facebook group) which is a closed FB group only for paid subscribers to the NYTimes, in order to keep out outliers and rabblerousers. ''
 
 
 
 
 
 
Cave, who is now the editor of the New York Times in Australia bureau, a new posting for him, wondered why ''some'' established-genre cult-genre  literary critics, tend to be publicly negative towards new literary and cinema genres in such publications as the SMH and the the Sydney Review of Books. Cave noted in a Times newseletter for readers of the Oz edition and his take is headlined


''The Fall and Rise of Australian Culture ''


and he wrote 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? "***


 


****Write to us at nytaustralia@nytimes.com, *** and tell us what you think.

'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 narrow minded Australian ''literary critics'' who hunt in packs and so-called ''public intellectuals''
saying that they are 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's cli-fi novel MR ETERNITY is released in paperback edition and profiled in Amy Brady's cli-fi column at the Chicago Review






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

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.

 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: 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 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 Chinese proverb: "dripping water penetrates stone" which means slowly, over time, it will catch on. Glacially.

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

see full text with pics at

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.


Arise!