Wednesday, April 04, 2018

''Cambio climático, seria amenaza'' - ''Climate Change: The Threat We Face''

''Cambio climático, seria amenaza'' - ''Climate Change: The Threat We Face''

''Cambio climático, seria amenaza''
La Opinión

2018.3.27


LINK:

Climate change: the threat

the Opinion-2018年3月27日


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Cli-Fi: la literatura que predice el cambio climático

¿Distopía o futuro más o menos cercano? Un repaso a las grandes obras nos alerta de una realidad... ¿posible?



Tras el tirón de orejas que el papa Francisco pegó a todos los altos representantes de la ONU reunidos en Nueva York hace algunos días, otros mandamases como el Príncipe de Gales, que recientemente escribió una solemne carta a la justicia británica para que se pusiera las pilas combatiendo el cambio climático, han levantado su voz a favor de una conciencia ecológica global. No son los únicos: Leonardo DiCaprio, gran actor que además de preservar el hábitat natural de modelos de metro ochenta parece también muy preocupado por la destrucción del ecosistema de especies de tortugas amenazadas , participó la semana pasada, sin ir más lejos, en un simposio de particulares e inversores comprometidos en eliminar cualquier negocio relacionado con combustibles fósiles. El cambio climático parece algo serio a lo que parece no terminamos de hacer caso a pesar de que, no sólo los activistas políticos, sino también la ficción, llevan advirtiendo desde hace décadas. Sin ánimo de adelantar el juicio final o resultar catastrofistas, repasamos cinco obras de ficción representativas de ese género.
After the slap on the wrist that Pope Francis hit all the high representatives of the UN meeting in New York a few days ago, other rulers as Charles the Prince of Wales, who recently wrote a formal letter to the British justice to put the batteries in the fight against climate change, have raised their voice in favor of a global ecological awareness. Are not the only ones: Leonardo DiCaprio, great actor who in addition to preserve the natural habitat of 1980s metro models also seems to be very concerned about the destruction of the ecosystem of endangered turtle species , participated last week, without going any further, in a symposium of individuals and investors committed to eliminate any business related with fossil fuels. Climate change appears to be serious to what appears to not end up making the case in spite of that, not only political activists, but also fiction, take warning from decades ago. Without wishing to advance the final judgment or be catastrophists, we review 5  works of fiction representative of that genre.

1. Libro del Apocalipsis. La Biblia.(Fecha indeterminada entre el siglo I y II)Tomando la Biblia católica de manera literaria y no doctrinal, podemos decir sin temor a equivocarnos que no hay una descripción más aterradora de una catástrofe climática que la que describe el propio libro del Apocalipsis (bueno, la parte de Diluvio Universal también tiene tela) protagonizada, en este caso, por siete ángeles encargados de destruir la tierra, mar, ríos y todo bicho viviente. Algunos fragmentos dicen: (Apocalipsis 8, 7-11) “El primer ángel tocó la trompeta, y hubo granizo y fuego mezclados con sangre, que fueron lanzados sobre la tierra; y la tercera parte de los árboles se quemó, y se quemó toda la hierba verde. El segundo ángel tocó la trompeta, y como una gran montaña ardiendo en fuego fue precipitada en el mar; y la tercera parte del mar se convirtió en sangre. Y murió la tercera parte de los seres vivientes que estaban en el mar (…) El tercer ángel tocó la trompeta, y cayó del cielo una gran estrella, ardiendo como una antorcha, y cayó sobre la tercera parte de los ríos, y sobre las fuentes de las aguas. (…), “unas aguas amargas que matan a los hombres”… Y, en fin, capítulos enteros que narran toda serie de tormentas, granizos de cuarenta kilos, terremotos, azufre por doquier, y “hombres (que) buscarán la muerte, pero no la hallarán; y ansiarán morir, pero la muerte huirá de ellos”. Una masacre ecológica en toda regla.
2. El mundo de cristal (1966). J.G. Ballard. Con momentos descriptivos que recuerdan a las atmósferas más tenebrosas de Conrad, J.G Ballard, uno de los maestros indiscutibles del género, introduce desde las primeras páginas al lector en un mundo fantástico, repleto de animales extraños y selva cristalizada, que resulta, al mismo tiempo, paradójicamente real. Ese cristal que asola el mundo es, por una parte, mortal y, por otra, precioso y protector con lo que toca (¿cómo el hombre?). No es quizá su obra más famosa, pero, junto con sus predecesoras El mundo sumergido (1962), El huracán cósmico (1963) y La Sequía (1964), forma una suerte de tetralogía apocalíptica que ha sido modelo para otras muchas novelas que vendrían después.
3La carretera (2006). Cormac McCarthy. En un mundo gris, polvoriento y lúgubre, McCarthy desciende al lector hasta la hipodermis narrativa: lo desafía desgarrando a jirones su piel adormecida, indolente y resignada haciéndole espectador del viaje de un padre y su hijo por una vida sin nada: sin arte, ni música, ni naturaleza, ni risa….solo supervivencia en un planeta destruido. Y al lector no le queda otra que recoger el guante. Porque en una novela de algo más de 200 páginas no hay nombres, ni referencias históricas o temporales, no hay pasado ni futuro; solo el feroz enfrentamiento a un asfixiante presente. Y es precisamente esa falta de aire la que hace al lector incomodarse, revolcarse en el lodo de eso mismo que comparte con los protagonistas: su condición de humanos. ¿Qué se puede esperar cuando ya no queda ninguna razón para querer vivir?

Wednesday, January 17, 2018

he Humanity Bureau is one of the latest examples of the ”cli-fi” genre, a climate-change-themed action thriller which revolves around global warming wreaking havoc on the world in the near future. Nicolas Cage plays “an ambitious and impartial caseworker”, who works for a government agency that sends “unproductive members of society” to a colony called “New Eden”, which we just KNOW is nowhere near as pleasant as it sounds. We can be sure that some dystopian truths will be uncovered. Sarah Lind, Jakob Davies and Hugh Dillon have also joined the cast. http://junkee.com/nicolas-cage-vr/143237 The Humanity Bureau hits USA cinemas in April, while the VR series launched on March 2. Nic Cage’s Next Cli-Fi Film Is Coming To Virtual Reality First, Because Of Course It Is Patrick Lenton at Junkee Media in Australia on Nic Cage's new cli-fi movie THE HUMAN BUREAU by PATRICK LENTON 18 JANUARY HTTP://JUNKEE.COM/NICOLAS-CAGE-VR/143237

he Humanity Bureau is one of the latest examples of the ”cli-fi” genre, a climate-change-themed  action thriller which revolves around global warming wreaking havoc on the world in the near future. Nicolas Cage plays “an ambitious and impartial caseworker”, who works for a government agency that sends “unproductive members of society” to a colony called “New Eden”, which we just KNOW is nowhere near as pleasant as it sounds. We can be sure that some dystopian truths will be uncovered. Sarah Lind, Jakob Davies and Hugh Dillon have also joined the cast.
The Humanity Bureau hits USA cinemas in April, while the VR series launched on March 2.

Nic Cage’s Next Cli-Fi Film Is Coming To Virtual Reality First, Because Of Course It Is

Patrick Lenton at Junkee Media in Australia on Nic Cage's new cli-fi movie THE HUMAN BUREAU

Thursday, October 12, 2017

Academics have led the way in championing the rise of the cli-fi literary genre, while the mainstream media sat on its tuches and did nothing

OPED by staff writer
 
Headline: Academics have led the way in championing the rise of the cli-fi literary genre, while the mainstream media sat on its tuches and did nothing
 
TEXT:
 
As the cli-fi literary genre gathers steam world, it turns out that the major force beind its rise -- both championing cli-fi and studying it -- is academia.

Cli-fi is where it is today largely due to the interest of academics in several English-speaking nations, including the USA, Canada, Australia and the UK.

Cli-fi has become popular *not* because of the lazy, provincial, partying media -- not the mainstream media (MSM)), not major newspapers like the New York Times or the Washington Post -- nor because of book reviewers, or literary critics or bloggers. The main force behind cli-fi's rise has been the global army of literary academics who have been writing papers, penning opeds and publishing books about cli-fi.
 
I am talking about Stephanie LeMenager, Andrew Milner, Julia Leyda, Susanne Leikam, Ted Howell, and 100 other academics worldwide. I salute them all! Scroll down to see their names at the bottom of this page!

Literary gatekeepers at such mainstream corporate newspapers with links to the publishing industry, such as the New York Times or the Washington Post or the Los Angeles Times, don't have cli-fi on their radar and some have even asked their reporters not to mention the term "cli-fi" in books reviews or news articles. The editor of the NYT books section has even said that as long she is the editor there, the cli-fi term will never appear in print in her section. Can you believe it? I saw the email. She really said that. 

The MSM is not interesting in the rise of cli-fi, while globally, scores of academics have risen to the challenge of studying the genre and delving into its origins and possibilities.  For MSM newspaper reporters and books section editors, the very nature of their jobs keeps them preoccupied with business as usual in kissing up the the corporate book industry and they say that they just don't have the time or interest in looking beyond their career and provincial literary borders.
 
Ask any editor at the New York Times or the Washington Post or the Los Angeles Times. But not Reuters or the Associated Press. Both wire services have reported on the rise of cli-fi, without fear from the corporate book industry at such publications as Publishers Weekly, which has also banned the cli-fi term from appearing in its pages as per orders from top editor Jim Milliot. Oy. C'est la vie. Business as usual.
 
 
But academics are interested in cli-fi and for a very good reason. The rise of cli-fi fits into the reason why they worked hard to obtain their PhDs and become academics in the first place. They are not beholden to the mass media or literary gatekeepers of the publishing industry or PW and the Sunday Book Review editor. Academics are pioneers, seekers, philosophers, critics. They see the world through their own personal lenses, and cli-fi fits right into their very reason to be alive and living in the 21 Century. Academics are the vanguard, while the MSM literary gatekeepers are the rear-guard. It's always been that way. Academics fear nothing. Literary gatekeepers at the NYT and the Washingston Post and the Los Angeles Times and the Boston Globe fear losing their access to power and posh publishing parties.

So long live academics! They are championing cli-fi in a way the MSM has never chosen to do. Academics go where their interesting take them, without fear or favor. Academics are trailblazers, the MSM literary editors are mere gatekeepers, keeping the "new" out of sight and off their radar screens.

This online essay by Susanne Leikam and Julia Leyda shows exactly how welcoming the academic world has been to the rise of cli-fi: http://www.asjournal.org/62-2017/cli-fi-american-studies-research-bibliography/ 
 
 
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Schulz, Kathryn. “Writers in the Storm.” New Yorker 23 Nov. 2015. Web.
Schwartzman, David. “From Climate Crisis to Solar Communism.” Jacobin 1 Dec. 2015. Web.
Scranton, Roy. Learning to Die in the Anthropocene: Reflections on the End of a Civilization. San Francisco: City Lights, 2015. Print.
Seymour, Nicole. Strange Natures: Futurity, Empathy, and the Queer Ecological Imagination. Urbana: U of Illinois P, 2013. Print.
Skrimshire, Stefan. Future Ethics: Climate Change and Apocalyptic Imagination. London: Continuum, 2010. Print.
Slovic, Scott. “Science, Eloquence, and the Asymmetry of Trust: What’s at Stake in Climate Change Fiction.” Green Theory and Praxis: The Journal of Ecopedagogy 4.1 (2008): 100–12. Web.
Slovic, Scott, and Paul Slovic, eds. Numbers and Nerves: Information, Emotion, and Meaning in a World of Data. Corvallis: Oregon State UP, 2015. Print.
Solnit, Rebecca. “The End-of-the-World’s Fair.” Harper’s Magazine 4 Dec. 2015. Web.
—. Paradise Built in Hell: The Extraordinary Communities that Arise in Disaster. New York: Penguin, 2010. Print.
Sontag, Susan. “The Imagination of Disaster.” Against Interpretation and Other Essays. New York: Picador, 1961. Print.
Stager, Curt. “Tales of a Warmer Planet.” New York Times 28 Nov. 2015. Web.
Stankorb, Sarah. “Climate Fiction, or ‘Cli-Fi,’ Is the Hottest New Literary Genre.” GOOD Magazine 22 Mar. 2016. Web.
Sturgeon, Noël. Environmentalism in Popular Culture: Gender, Race, Sexuality, and the Politics of the Natural. Tucson: U of Arizona P, 2009. Print.
Swanson, Heather Anne. “The Banality of the Anthropocene.” American Anthropological Association. Cultural Anthropology Website 22 Feb. 2017. Web.
Svoboda, Michael. “Cli‐Fi on the Screen(s): Patterns in the Representations of Climate Change in Fictional Films. Wiley Interdisciplinary Reviews: Climate Change 7.1 (2016): 43–64. Web.
—. “Interstellar: Looking for the Future in All the Wrong Spaces.” Yale Climate Connections 12 Nov. 2014. Web.
—. “(What) Do We Learn from Cli-Fi Film? Hollywood Still Stuck in the Holocene.” Yale Climate Connections 19 Nov. 2014. Web.
Szabo, Ellen B. Saving the World One Word at a Time: Writing Cli-Fi. Gloucester: Yellow Island P, 2015. Print.
Telotte, J. P. “Science Fiction Reflects Our Anxieties.” Room for Debate Blog. New York Times 30 July 2014. Web.
Thomas, Sheree Renée. “Imagination will Help Find Solutions to Climate Change.” Room for Debate Blog. New York Times 29 July 2014. Web.
Tonn, Shara. “Cli-Fi—That’s Climate Fiction—Is the New Sci-Fi.” Wired 17 Jun. 2015. Web.
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Trexler, Adam. Anthropocene Fictions: The Novel in a Time of Climate Change. Charlottesville: U of Virginia P, 2015. Print.
Traub, Courtney. “Ecocatastrophic Nightmares: Romantic Sublime Legacies in Contemporary Experimental American Fiction.” Arizona Quarterly 72.2 (2016): 29–60. Print.
Tuhus-Dubrow, Rebecca. “Cli-Fi: Birth of a Genre.” Dissent 2 (2013). Web.
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'Yale Climate Connections' champions the rise of the 'cli-fi' literary genre

''Burning Worlds'' is Amy Brady’s monthly column dedicated to examining current trends in climate change fiction, or “cli-fi,” in partnership with Yale Climate Connections at Yale University.



As the new literary genre of cli-fi gathers steam worldwide, the Yale Climate Connections website is getting into the act as well. In her first piece to launch a monthly cli-fi trends column earlier this year, New York literary critic Amy Brady ran a general introductory Q&A article about the rise of cli-fi, with some "reading suggestions" for those who wanted to explore several varieties of cli-fi literature. The Yale Climate Connections website reprinted her column as well.
In her ongoing column, Brady has already interviewed such novelists as Kim Stanley Robinson, Aaron Thier, Annalee Newitz and Ashley Shelby as well as academics such as Malcom Sen and others. And there's more to come.
As the 20th century morphed into the 21st century in the late 1990s, the global landscape of cultural production started to teem with a cornucopia of fictional ''cli-fi'' texts in print and on cinema and TV screens, engaging with the local and global impact of man-made global warming. In academia as well as in popular culture, this rapidly growing body of texts is now commonly referred to by the catchy linguistic portmanteau ''cli-fi.''


Already cli-fi has transitioned from a sub-cultural colloquialism circulating informally around the blogosphere into both a cultural buzzword and a staple academic term as well.

For an extensive bibliography of over 100 academic links, see "Cli-Fi in American Studies: A Research Bibliography,'' an online article by Europe-based researchers Susanne Leikam and Julia Leyda.


Yale Climate Connections is a nonpartisan, multimedia service providing daily broadcast radio programming and original web-based reporting, commentary, and analysis on the issue of climate change, one of the greatest challenges and stories confronting modern society.


Edited by veteran journalist and journalism educator Bud Ward, YCC provides content developed by a network of experienced independent freelance science journalists, researchers, and educators across the country. In doing so, it brings together a dynamic global community of individuals, scientists, educators, and media and communicators in their common pursuit of better understanding and of responsibly addressing climate-related risks.


Yale Climate Connections is an initiative of the Yale Center for Environmental Communication (YCEC), directed by Anthony Leiserowitz of the Yale School of Forestry & Environmental Studies on the campus of Yale University.

Wednesday, October 11, 2017

New Report: "Cli-Fi in American Studies: A Research Bibliography"

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CLIMATE-L Digest for Wednesday, October 11, 2017.

1. Now in German - Peatlands and climate change infographic
2. Pathways for sustainable cities of the future – Join us in Brussels on October 23-25
3. Invitation to Register for the 2017 IBS Conference on Climate Change and Human Migration in Busan, South Korea






 4. New Report: "Cli-Fi in American Studies: A Research Bibliography"






 5. International Climate Policy Magazine N.48
6. BRACED Wébinaire: Les services météo s'allient aux agro-pasteurs - leçons du Niger - Oct 12, 11h00-12h00 UTC
7. OECD Green Investment Financing Forum - 24-25 October, Paris
8. Guyana Forestry Commission- Invitation for Proposals
9. OPINION: World needs a collective strategy to deal with US at Bonn climate conference
10. Share Your Work at the Nexus of Agriculture & Climate Change with the Climatelinks Community
11. Smart water solutions for sustainable development – Join us in Brussels on October 23-25
12. REGISTER | Towards a Pollution-Free Planet: UN Environment North American stakeholder consultation in advance of UNEA-3 | Toronto, Canada, Oct 26
13. weADAPT: Ever wondered what resilience looks like in practice...?
14. Paris will hosts the 3rd edition of Ecopreneurs pour le Climate on 21 October
15. After COP23 - International Civil Society Week (4-8 December, Fiji)
16. Asset Risk Screening - New Approach Applying The Latest GCM/RCM Data

Spunky Knowsalot


Is this Spunky Knowsalot?

---------------------------------------------

American climate activist Bill McKibben has entered the cli-fi world, with a debut novel titled “Radio Free Vermont.” And we have Spunky Knowsalot to thank for this 250-page seriocomic piece of writing. Who? Keep reading to find out who Spunky Knowsalot is!


Way back in 2005, McKibben was calling for novels and movies about cli-fi, and he revisited the same essay in an updated form again in 2009, also calling for cli-fi novels as he did in 2005, but it took him another 12 years to finally sit down with the help of Spunky Knowsalot to write his own comic entry in the cli-fi sweepstakes.


When he wrote the Grist essay titled ”What the warming world needs now is art, sweet art” in 2005, the cli-fi term had not yet been coined. But fast foward to 2017 and McKibben is aboard the train now, using a semi-comic novel to reach readers worldwide, as the book will be translated into 25 languages over the next several years.

So who is Spunky Knowsalot? He first surfaces on the book's dedication page where Mckibben writes: "For Spunky Knowsalot"

Starting November 7, which is the novel’s official publication date, McKibben will embark on a nationwide book tour to promote the novel, and you can expect literary critics and book reviewers and newspaper reporters to ask him about the identity of Mr Spunky Knowsalot. Who? Keep reading.

McKibben’s debut novel -- and a goood solid piece of cli-fi it is! -- follows a band of Vermont patriots who decide that their state might be better off as its own republic in the Age of Trump.

Witty, biting, and terrifyingly timely, ”Radio Free Vermont” is Bill's fictional response to the burgeoning resistance movement created by the election of Donald J. Trump in 2016. It’s cli-fi with a comic twist, as only Mckibben can twist it.

So before we end this preview, who the heck is SPUNKY KNOWSALOT? So far, Bill is not telling, his editors at Blue Rider Press are not telling, his PR people at Penguin RandonHouse Group USA are not telling, and his marketing team is not saying either.
Hint: if anyone knows the identity of Spunky Knowsalot, please leave a message in the comments section below.

Meet Megan Herbert and Michael Mann.


Megan Herbert and Michael Mann
We’re both life-long communicators, Michael in the field of science, and Megan as a writer and illustrator. Despite coming from different backgrounds, we share the same purpose: to communicate about climate change to children in a way that educates and empowers them to make a real difference.


We’re both parents. We love our kids. We worry about the state of the world that we’re passing onto them. And we want them to know that, as much as we wish it weren’t the case, we have a big mountain to climb if we’re going to overcome the climate crisis. And it is a crisis. If we don’t act to significantly and quickly reduce carbon emissions and change our global habits, the world future generations inherit from us will be one of scarcity, extreme weather, and social unrest.


But how to communicate all this to children?


https://www.kickstarter.com/projects/worldsavingtantrum/the-tantrum-that-saved-the-world-carbon-neutral-ki?ref=356451&token=fdb215f2

This fall of 2017, people are performing short plays about #ClimateChange in theaters, classrooms, and even living rooms: Chantal Bilodeau explains

This fall, people are performing short plays about in theaters, classrooms, and even living rooms:


https://www.yaleclimateconnections.org/2017/10/in-lead-up-to-un-talks-climate-change-meets-theater/


https://www.yaleclimateconnections.org/2017/10/in-lead-up-to-un-talks-climate-change-meets-theater/


This fall, people are performing short plays about climate change in theatres, classrooms, and even living rooms around the world. It’s all part of an initiative called Climate Change Theatre Action.
Bilodeau: “Sometimes the science can be intimidating and the politics can be divisive. So it’s a way to have a conversation that is more human-based and based in personal experiences and emotions rather than ideologies.”


That’s Chantal Bilodeau, artistic director of the Arctic Cycle, the group behind the global event. She says anybody can volunteer to present a play at a location of their choosing. Participants must select at least one short script from the theater’s collection.


Bilodeau: “They can add poems, dance, songs.”


People are also asked to include an action – anything from signing a petition to having a scientist talk about global warming.


The performances may take place in intimate venues, but they’re livestreamed when possible to reach larger audiences.


This year, Climate Change Theatre Action started in early October and runs through the U.N. climate talks in November, giving these local performances a global significance.

Monday, October 09, 2017

Bill McKibben pens a darkly comic cli-fi novel titled "Radio Free Vermont"



And already cli-fi has transitioned from a sub-cultural colloquialism circulating informally around the blogosphere into both a cultural buzzword and a staple academic term as well.
Just to name a few examples from a long list: cli-fi was recently added to the Oxford Dictionaries, it has started to appear as a term in numerous academic conferences and publications, and there has been emergence of the first how-to manual such as Ellen Szabo’s Saving the World One Word at a Time: Writing Cli-Fi, and Amy Brady's monthly cli-fi lit column in the Chiago Review of Books on current cli-fi trends, and the increasing inclusion of cli-fi as a label in award classifications and marketing endeavors.


As you can see, cli-fi is in the air, and there's no stopping it.




There's no stepping on it, either.




However, despite the wealth of cli-fi primary texts across all media, there has not yet been a comprehensive compilation of secondary sources facilitating the engagement with cli-fi in the environmental humanities. Now there is.


---------------------------------------------




The list of over 100 references is a stepping stone into cli-fi's diverse, at times hotly debated, conceptual trajectories, disciplinary appropriations, and ideological underpinnings.
The next 25 years will likely provide scholars and students in literary studies and related disciplines with rich ground for new research and classroom debate, calling for an even more rigorous scrutiny of the multiple contact points and interlockings between cli-fi and American literature -- and world literature as well.




-----------------------------------




And now American climate activist Bill McKibben has entered the cli-fi world, with a debut novel titled "Radio Free Vermont."


Way back in 2005, McKibben was calling for novels and movies about cli-fi, but it took him another 12 years to write his own entry in the cli-fi sweepstakes.


When he wrote the Grist essay titled ''What the warming world needs now is art, sweet art" in 2005, the cli-fi term had not yet been coined. But fast foward to 2017 and McKibben is aboard the train now, using a semi-comic novel to reach readers worldwide, as the book will be translated into 25 languages over the next several years.


Starting November 7, which is the novel's official publication date, McKibben will embark on a nationwide book tour to promote the novel, and you can expect both glowing book reviews from climate activists and progressive literary critics as well as darkly negative reviews from climate denialists and rightwingers with their heads in the climate sands.


McKibben, a religious Christian who has been a Methodist all his life, is the founder of the environmental organizations ''Step It Up'' and 350.org, and was among the first to warn of the dangers of global warming. In 2010 The Boston Globe called him "probably the nation's leading environmentalist."


The novel, which is also likely to be the beginning of a movement, is McKibben's debut and it follows a band of Vermont patriots who decide that their state might be better off as its own republic in the Age of Trump.

As the host of Radio Free Vermont -- a pirate radio station that is "underground, underpowered, and underfoot" -- an elderly man in his 70s named Vern Barclay is currently broadcasting from an "undisclosed and double-secret location." With the help of a young computer prodigy named Perry Alterson, Vern uses his radio show to advocate for a simple yet radical idea: an independent Vermont, one where the state secedes from the United States and operates under a free local economy. But for now, he and his radio show must remain untraceable, because in addition to being a lifelong Vermonter and concerned citizen, Vern Barclay is also a fugitive from the law.

In this entertaining cli-fi, McKibben, no spring chicken himself, expands upon an idea that's become more popular than ever: seceding from the United States of America. Along with Vern and Perry, McKibben imagines an eccentric group of activists who carry out their own version of guerilla warfare, which includes dismissing local middle school children early in honor of 'Ethan Allen Day' and hijacking a Coors Light truck and replacing the stock with local brew.




Witty, biting, and terrifyingly timely, ''Radio Free Vermont'' is Bill McKibben's fictional response to the burgeoning resistance movement created by the election of Donald J. Trump in 2016.


It's cli-fi with a comic twist, as only Mckibben can twist it.

Sunday, October 08, 2017

Cli-Fi in American Studies: A Research Bibliography


Cli-Fi in American Studies: A Research Bibliography



That cli-fi has transitioned from a subcultural colloquialism circulating around the blogosphere into both a cultural buzzword and staple academic term alike can be seen, to name but a few examples from a long list, by its recent addition to the Oxford Dictionaries, its appearance in numerous academic conferences and publications, the emergence of:

1. the first how-to manuals such as Ellen B. Szabo’s Saving the World One Word at a Time: Writing Cli-Fi (2015),

2.  the establishment of Amy Brady’s monthly column, “Burning Worlds,” examining cli-fi in the Chicago Review of Books,

3. and the increasing inclusion of cli-fi as a label in award classifications and marketing endeavors.



Despite the wealth of cli-fi primary texts across all media, there has not yet been a comprehensive compilation of secondary sources facilitating the engagement with cli-fi in the environmental humanities.

Our research bibliography aims to close this gap by providing an extensive, albeit necessarily fragmented and incomplete, pool of resources for scholars, educators, and the interested members of the public. This list extends from journalistic considerations of cli-fi texts and of the term itself to academic scholarship theorizing the generic and disciplinary implications of cli-fi for research and teaching, capturing the heterogeneity, productivity, and heteroglossia in the field. It is meant to provide a stepping stone into cli-fi’s diverse, at times hotly debated, conceptual trajectories, disciplinary appropriations, and ideological underpinnings.

Up to now, there is no general agreement on how cli-fi is defined, and the same pertains to its conceptual frameworks, methodological approaches, and theories.


Variously understood as merely an abbreviation for climate fiction, its own standalone literary and/or cultural genre, a subfield of science fiction, or a comprehensive concept for assessing the cultural production in the Anthropocene (to name but very few of the many current designations), cli-fi thus provides a momentum, instigating the (re)visitation of fundamental disciplinary questions—some of them novel, some of them long-established and intimately familiar, as we and our contributors discuss at greater length in regard to American Studies elsewhere (see Leikam and Leyda).


As one of the most prolific generators, disseminators, and adaptors of literary and cultural texts, North America participates at the forefront in the recent spate of cli-fi. Even more importantly for American Studies, as one of the key fossil-fuel consumers with global political influence, North America, particularly the United States, features prominently in cli-fi narratives. To date, the Trump administration’s decidedly anti-environmentalist agenda, especially its stated intention to withdraw from the Paris Climate Accord, is further fueling the production of cli-fi and intensifying the scholarly and public attention paid to these texts. The next few years will certainly provide scholars and students in American Studies and related disciplines with rich ground for new research and classroom debate, calling for an even more rigorous scrutiny of the multiple contact points and interlockings between cli-fi and American Studies. As more scholars take up the topic in their work and as greater numbers of students enroll in courses centering on climate change, it is our intent to aid these endeavors in academic research, pedagogy, and outreach projects through the compilation of this secondary source bibliography of cli-fi.


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

Bibliography

This bibliography complements Susanne Leikam and Julia Leyda, eds. “‘What’s in a Name?’: Cli-Fi and American Studies.” Extended forum of Amerikastudien/American Studies 62.1 (2017): 109–38.






Adamson, Morgan. “Anthropocene Realism.” New Inquiry 30 Nov. 2015. Web.
Ahuja, Neel. “Intimate Atmospheres: Queer Theory in a Time of Extinctions.” GLQ: A Journal of Lesbian and Gay Studies 21.2–3 (2015): 365–85. Print.
Alaimo, Stacy. Bodily Natures: Science, Environment, and the Material Self. Bloomington: Indiana UP, 2010. Print.
Anderson, Alison. Media, Culture, and the Environment. London: Routledge, 1997. Print.
Arnold, Gordon B. Projecting the End of the American Dream: Hollywood’s Visions of U.S. Decline. Oxford: Praeger, 2013. Print.
Atwood, Margaret. In Other Worlds: SF and the Human Imagination. New York: Doubleday, 2011. Print.
—. “It’s Not Climate Change: It’s Everything Change.” Matter 27 July 2015. Web.
Bacigalupi, Paolo. Foreword. Loosed Upon the World: The Saga Anthology of Climate Fiction. Ed. John Joseph Adams. New York: Saga, 2015. xiii–xvii. Print.
Bales, Kevin. Blood and Earth: Modern Slavery, Ecocide, and the Secret to Saving the World. New York: Random, 2016. Print.
Barrett, Ross, and Daniel Worden, eds. Oil Culture. Minneapolis: U of Minnesota P, 2014. Print.
Baucom, Ian. “‘Moving Centers’: Climate Change, Critical Method, and the Historical Novel.” Modern Language Quarterly 76.2 (2015): 137–57. Print.
Beck, Ulrich. World at Risk. 2007. Trans. Ciaran Cronin. Cambridge: Polity, 2009. Print.
Bergthaller, Hannes. “On the Margins of Ecocriticism: A European Perspective.” Literatur und Ökologie: Neue literatur- und kulturwissenschaftliche Perspektiven. Ed. Claudia Schmitt and Christiane Solte-Gresser. Bielefeld: Aisthesis, 2017. 55–64. Print.
Bloom, Dan. Introduction. The Cli-Fi Report from Taiwan 2017. Web.
—. “To Fight Climate Change, We Need Better Movies.” Outtake 29 July 2015. Web.
Bonneuil, Christophe, and Jean-Baptiste Fressoz. The Shock of the Anthropocene: The Earth, History, and Us. London: Verso, 2016. Print.
Boykoff, Maxwell T. “Lost in Translation: United States Television News Coverage of Anthropogenic Climate Change, 1995–2004.” Climatic Change 86 (2008): 1–11. Print.
Bradley, James. “The End of Nature and Post-Naturalism: Fiction and the Anthropocene.” Blog post. City of Tongues 30 Dec. 2015. Web.
Brady, Amy. “Burning Worlds.” Monthly column. Chicago Review of Books Feb. 2017. Web.
Brauch, Hans Günther. Coping with Global Environmental Change, Disasters and Security. Berlin: Springer, 2011. Print.
Brereton, Pat. Environmental Ethics and Film. New York: Routledge, 2015. Print.
—. Hollywood Utopia: Ecology in Contemporary American Cinema. London: Intellect, 2004. Print.
Bulfin, Ailise. “Popular Culture and the ‘New Human Condition’: Catastrophe Narratives and Climate Change.” Global and Planetary Change 2017. Web.
Button, Gregory. Disaster Culture: Knowledge and Uncertainty in the Wake of Human and Environmental Catastrophe. Walnut Creek, CA: Left Coast P, 2010. Print.
—. Everyday Disasters: Rethinking Iconic Events in Cultural Perspective. Walnut Creek, CA: Left Coast P, 2014. Print.
Canavan, Gerry, and Kim Stanley Robinson, eds. Green Planets: Ecology and Science Fiction. Middletown, CT: Wesleyan, 2014. Print.
Carruth, Allison, and Robert P. Marzec. “Environmental Visualization in the Anthropocene: Technologies, Aesthetics, Ethics.” Public Culture 26.2 (2014): 205–11. Print.
Chakrabarty, Dipesh. “The Climate of History: Four Theses.” Critical Inquiry 35.2 (2009): 197–222. Print.
—. “Postcolonial Studies and the Challenge of Climate Change.” New Literary History 43.1 (2012): 1–18. Print.
Clark, Timothy. Ecocriticism on the Edge: The Anthropocene as a Threshold Concept. London: Bloomsbury, 2015. Print.
Clarke, Michael Tavel, Faye Halpern, and Timothy Clark. “Climate Change, Scale, and Literary Criticism: A Conversation.” Ariel 46.3 (2015): 1–22. Print.
Cohen, Tom, ed. Telemorphosis: Theory in the Era of Climate Change. Vol. 1. Ann Arbor, MI: Open Humanities P, 2012. Web.
Cubitt, Sean. EcoMedia. Amsterdam: Rodopi, 2005. Print.
—. “Ecomedia Futures.” International Journal of Media and Cultural Politics 10.2 (2014): 163–70. Print.
Cullen, Heidi. “Personal Stories about Global Warming Change Minds.” Room for Debate Blog. New York Times 30 July 2014. Web.
Cumming, Torr, and Anne Gjelsvik. “Icebreakers: Visionary Men and the Visualization of Climate Change.” Ekfrase: Nordic Journal for Visual Culture 6.1–2 (2016): 21–37. Web.
Danielewitz, Christian, and Peter Ole Pedersen. “Documenting the Invisible.” Ekfrase: Nordic Journal for Visual Culture 6.1–2 (2016): 10–20. Web.
Dixon, Wheeler Winston. Visions of the Apocalypse: Spectacles of Destruction in American Cinema. London: Wallflower, 2003. Print.
Dwyer, Jim. Where the Wild Books Are: A Field Guide to Ecofiction. Reno: U of Nevada P, 2010. Print.
Emmett, Robert, and Frank Zelko, eds. “Minding the Gap: Working across Disciplines in Environmental Studies.” Spec. issue of RCC Perspectives (2014). Web.
Ereaut, Gill, and Nat Segnit. “Warm Words: How Are We Telling the Climate Story and Can We Tell It Better?” Institute for Public Policy Research 3 Aug. 2006. Web.
Evancie, Angela. “So Hot Right Now: Has Climate Change Created a New Literary Genre?” NPR Books 20 Apr. 2013. Web.
Farnsworth, Stephen, and S. Robert Lichter. “Scientific Assessments of Climate Change Information in News and Entertainment Media.” Science Communication 34.4 (2012): 435–59. Print.
Fernandes, Rio. “A Subfield Changes the Landscape of Literary Studies.” Chronicle of Higher Education. 1 Apr. 2016: A18(2). Print.
Finn, Ed. “Imagining Climate: How Science Fiction Holds up a Mirror to Our Future.” Matter 27 July 2015. Web.
Fleming, James Rodger. Fixing the Sky: The Checkered History of Weather and Climate Control. New York: Columbia UP, 2010. Print.
Flynn, Adam. “Solarpunk: Notes Toward a Manifesto.” Hieroglyph 4 Sept. 2014. Web.
Forrest, Bethan. “Cli-Fi: Climate Change Fiction as Literature’s New Frontier?” Huffington Post 23 July 2015. Web.
Gaard, Greta. “From Cli-Fi to Critical Ecofeminism: Narratives of Climate Change and Climate Justice.” Contemporary Perspectives on Ecofeminism. Ed. Mary Phillips and Nick Rumens. New York: Routledge, 2015. 169–92. Print.
Gerhardt, Christine. “Beyond Climate Refugees: Nature, Risk and Migration in American Poetry.” Mayer and Weik von Mossner, The Anticipation of Catastrophe 139–59. Print.
—, and Christa Grewe-Volpp, eds. “Environmental Imaginaries on the Move: Nature and Mobility in American Literature and Culture.” Spec. issue of Amerikastudien/American Studies 61.4 (2016). Print.
Gerrard, Greg, ed. Teaching Ecocriticsm and Green Cultural Studies. Basingstoke: Palgrave-Macmillan, 2012. Print.
Ghosh, Amitav. The Great Derangement: Climate Change and the Unthinkable. Chicago: U of Chicago P, 2016. Print.
Glass, Rodge. “Global Warning: The Rise of ‘Cli-Fi.’” Guardian 31 May 2013. Web.
Goodbody, Axel. “Risk, Denial and Narrative Form in Climate Change Fiction: Barbara Kingsolver’s Flight Behavior and Ilija Trojanow’s Melting Ice.” Mayer and Weik von Mossner, The Anticipation of Catastrophe 59-58. Print.
Grusin, Richard, ed. The Nonhuman Turn. Minneapolis: U of Minnesota P, 2015. Print.
Heise, Ursula K. “Plasmatic Nature: Environmentalism and Animated Film.” Public Culture 26.2 (2014): 301–18. Print.
—. Sense of Place and Sense of Planet: The Environmental Imagination of the Global. Oxford: Oxford UP, 2008. Print.
—. “Terraforming for Urbanists.” Land and the Novel. Spec. issue of Novel: A Forum for Fiction 49.1 (2016): 10–25. Print.
Heer, Jeet. “Farewell to Dystopian Lit, Here Come the New Utopians.” New Republic 10 Nov. 2015. Web.
Hitchcock, Peter. “Oil in an American Imaginary.” New Formations 69 (2010): 81–97. Print.
Holthaus, Eric. “Hollywood is Finally Taking on Climate Change: It Should Go Even Further.” Slate 9 Aug. 2016. Web.
Houser, Heather. “The Aesthetics of Environmental Visualizations: More Than Information Ecstasy?” Public Culture 26.2 (2014): 319–37. Print.
Howell, Ted. “On Teaching Cli-Fi (and a Call for Utopian Cli-Fi).” Medium 28 July 2015. Web.
Huber, Matthew. Lifeblood: Oil, Freedom, and the Forces of Capital. Minneapolis: U of Minnesota P, 2013. Print.
Huggan, Graham. Nature’s Saviors: Celebrity Conservationists in the Television Age. London: Routledge, 2013. Print.
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Authors

Susanne Leikam is assistant professor of American Studies in the American Studies Department at the University of Regensburg, Germany. She currently conducts research in the fields of visual culture studies, disaster studies, environmental justice studies, and ecocriticism. Publications include her Ph.D. dissertation Framing Spaces in Motion: Tracing Visualizations of Earthquakes into Twentieth-Century San Francisco (2015) and the special issue of Amerikastudien/American Studies titled Iconographies of the Calamitous in American Visual Culture (2013). Her most recent article is “Extreme Weather and Masculinity/ies in Contemporary American Popular Cultures” (Rachel Carson Center Perspectives 2017).
Julia Leyda is Associate Professor of Film Studies in the Faculty of Art and Media Studies at the Norwegian University of Science and Technology in Trondheim and Senior Research Fellow at the Graduate School for North American Studies at the John F. Kennedy Institute at the Freie Universität Berlin. She is the author of American Mobilities: Class, Race, and Gender in US Culture (2016). Julia Leyda has edited or co-edited several books, including Todd Haynes: Interviews (2014) and Extreme Weather and Global Media (with Diane Negra, 2015). Her current book projects center on the financialization of domestic space in 21st-century US screen culture and climate change narratives in fiction, film, and television.

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