Wednesday, April 24, 2019


review by NYT reviewer Phillip Lopate

The attraction of Anglo-American writers to Japan as the source of an alternate way of being is a long story, going back to the 19th century (Lafcadio Hearn)...
Pico Iyer — globe-trotting TIME magazine journalist and travel writer — says he first  fell in love with Japan when he was 26.
Born in England to Indian parents who later moved to Santa Barbara, Calif., he attended graduate school at Oxford and Harvard and then went to work for Time magazine.
On a Tokyo stopover while returning from a TIME magazine trip to Hong Kong, he was enchanted to find “a world suddenly intimate and human-scaled. … By the time I boarded my plane in early afternoon, I’d decided to leave my comfortable-seeming job in New York City and move to Japan.”
He met a Japanese woman who left her husband and moved with her two small children and the author into a tiny apartment. In Japan, he notes, people accommodate themselves to small spaces, and so he and Hiroko have for 25 years.

The book ....besides Iyer’s elegantly smooth prose style and gift for detailed observation, is a circling around the theme of autumn in Japan and this autumnal period in his own life as a man in his 60s now.
Self-described as having a restless “‘birdlike’ traveler’s temperament,” he spends half the year tending to his aging mother in California or reporting on subjects like “the warlords of Mogadishu,” but flies back to Japan each fall.
This season teaches him the lesson of impermanence, the inevitability of decay, and “how to hold on to the things we love even though we know that we and they are dying.”
Not much plot to speak in the book:
Readers can watch Iyer going through his daily rounds, dropping in on his local ping-pong table tennis club, visiting his mother-in-law in her nursing home, recalling scenes from the past.
Iyer’s wife Hiroko makes for a marvelous presence, zooming away on her motorbike to her job in a boutique, cleaning the house briskly like a tornado or dashing off to honor dead ancestors at shrines and grave sites.
Hiroko is the book’s motor, and Iyer is in awe of her energy, even as he says, a bit condescendingly: “It’s one of the qualities I most admire in her: She doesn’t stop to think” and “I have a wife who reminds me with every gesture that the only impulses to trust are the ones that arise without thought.”
Hiroko strikes me as more quick-witted than thoughtless.
His own self-portrait is dimmer. He comes across as a modest, kind, gentle man, somewhat colorless, as though trying to practice spiritual erasure of the ego.
He says he had moved to Japan “to learn how best to dissolve a sense of self within something larger and less temporary” an admirable pursuit, though problematic for autobiographical writers.
In a way, his attraction to Japan can be seen as an attempt to hold onto its exotic, eternal appeal — to his partly idealized picture of what the East has to offer an expat Asian Person of Color in the way of healing. His parents were both from India, and his complexion is not white but brown.
Now in his 60s, Iyer like trying to communicate his tentative revelations about life. There’s much wisdom in what he says, though some of it comes close to platitude.
But then, perhaps it’s the nature of hard-earned wisdom to sound like something we’ve heard many times before.

Monday, March 25, 2019

NEWS story ....TOYS

This is how pitching news tips to reporters sometimes works. In this case it worked, but of course it does not always work out this way.
When I was pitching a news tip to a reporter in America about an issue I was involved with, I sent him this note after first spotting his name and newspaper affiliation on Twitter.

"I have a news tip for a possible news story by you in the February-March time frame, '' I said in my first email contact. "Is this something you can report on, or does an assignment editor have to assign it to you? How does the process work? I was thinking mid-March might be good timing and maybe you can sit in on one of the college classes with the professor I mentioned in order to get feel for how students react? Just an idea."
The reporter emailed back to me and said: ''I am fascinated by the idea. I  bounced it off our news outlet's New York editor and he said to 'go ahead and do it.' If you’d like to call me at my office next week, we can chat."
Buoyed by his positive reactions and the positive reactions from his editor in Manhattan, I called the reporter right back from my office in Tokyo and chatted with him for half an hour.
When the reporter asked for some more details, I mentioned two books worth knowing about and reading: ''Flight Behavior'' by Barbara Kingsolver and ''Odds against Tomorrow'' by Nathaniek Rich.
"Nice to chat with you by phone," I said in a subsequent email. "Have fun with this story if it works for you and your editors in New York and thanks for tracking it all down."
I added: "I will send you a link to Bll McKibben's 2005 essay in Grist magazine where he said: ''Hey where are the novels and movies about global warming? We need artists to explore this issue, too. Where are they?" 
"Well, cli-fi novels are in the pipeline now, and college students are reading them in dozens of cli-fi classes nationwide," I told the reporter in a subsequent email a week later. You can quote me on that if you want a quote.''
I also suggested that the reporter speak with some people he might want to talk to for quotes, and named 12 (with their email adresses and Twitter handles) for him.
Later, in early March, two months after I first contacted the reporter with my gentle, soft-spoken pitch, the reporter wrote back with an ''advisory,'' saying:
''Hi Danny: Unless I get distracted by some unforeseen piece of news, I am planning to write about this issue this weekend.
I find you everywhere online. How and why did you get into this? And can you give me a bit of background on you?
If you’d like to answer here that would be fine. If you’d like to call and chat that would be ok too, but I do realize we have opposite schedules in terms of time zones on other sides of the world.''
Finally, just before the article went live on the internet worldwide a few days later, the reporter sent me a quick note to say that the story was coming out that coming weekend but that he was not able to get my name or connection to the story into his article for space reasons, and that he hoped I would not be disappointed at the development over limited space in writing up the story for publication.
"The story is coming out Sunday," the reporter in said. "I hope you're not disappointed, but I couldn't get you into it for reasons of space limitations. It was a fun story to research and write. I'm glad you sought me out."
I replied in internet time: "Sir, no problem on not putting my name or work in the article. I prefer, in fact, to remain the shadows. You know, the role of a good PR guy is to stay in the background and let the article follow its own arc. All this was never about me, but about the real writers and academics and scientists doing the heavy lifting. I'm just the bat boy, the water boy, unseen, invisible. I love being in the background. Let the quotes from others work their magic.''
''I am sure I will love yr story on Sunday," I told the reporter on the other side of the world. "I already love it. Your byline will make the story sing! I am glad Twitter brought us together by email and phone. It was great to get to know you and I am now a fan for life! I love reporters, especially those like you who know how to tell a good story. Can't wait. And thanks for letting me know the date. Sunday. I will read it on Monday here in Japan and given the reach of your newspaper with the wire, it will likely appear in print in the  papers here later on. I am delighted! I couldn't have found a better byline. Storyteller par excellence. The new is in good hands.''
''My name not germane to the news article. I'm just a quiet gadfly and I'm happy to promote the other people in the story. I know my place. In the shadows. But yes, fun to meet you and renew my memories of of the newspaper trade. I was very lucky to find you! Thanks again.''

Online creep causes me to lock my public blogs for now until the abuse and harassment passes

#CliFi news alert: -- due to an inappropriate and confused email from an online creep re my public blogs, I've had to lock all my blogs from public view until that person withdraws their threats or apologizes. #WeirdInternet. #DifficultPeople Sorry for the disruption. #Patience

#CliFi news alert: -- due to an inappropriate and confused email from an online creep re my public blogs, I've had to lock my cli-fi blogs from public view until that person stop their unprovoked harassment and withdraws their threats. #WeirdInternet. #DifficultPeople - Sorry for the disruption. #Patience

A new literaray trend: American lawyers writing novels about climate change iissues

I've noticed an interesting literary trend in lthe ast few years where more and more lawyers and law professors are writing literary novels, thrillers, cli-fi novels and science fiction novels with climate themes. Two writers come to mind: Edward Rubin, a law professor at Vanderbilt University in Nashville, and Sam Bleichner, an adjunct professor at Georgetown Law School in Washington.
Bleichner has a new novel that was repleased on April 22, titled "The Plot to Cool The Planet," so I asked him what he thought about this literary trend I've noticed.

"What do you think accounts for this literary trend?" I asked Bleichner, adding: "Of course, lawyers are good with language, they know how to set a table with language in a court case or an academic paper, but what else might account for this trend?"
He told me: "I agree that lawyers have the writing and storytelling skills, but I think some other important factors are involved:

(a) People who are interested in future-oriented issues hope to spread their ideas to a wider audience than just those who read footnoted non-fiction books. 
(b)  Futuristic fiction can paint a picture of a world that might await us, expanding readers’ vision and imagination in a way that non-fiction projections of the future can’t. 
(c)  In the climate change arena, a novel can bypass the arguments with climate deniers and “Garden of Eden” nostalgic environmentalists and present the real world as the author sees it, without proving every statement with a footnote."

I'm looking forward to reading Bleichner's cli-fi thriller.

Meanwhle, Rubin's novel, "The Heatstroke Line," published a few years ago but still available from Sunbury Press and Amazon,
was intended as a warning to us all, but it was also intended to be an entertaining read from a man who is a life-long fan of science fiction.

"This book belongs to a genre known as post-apocalyptic science fiction,'' Rubin says. "It includes a number of sci-fi classics such as 'Earth Abides,' 'A Canticle for Leibowitz,' 'The Day of the Triffids,' and 'The Road,' and some recent best-sellers like' Oryx and Crake,'  'The Wind-Up Girl,' and 'Station Eleven.'"  None of these books, however, not even the recent ones, portray the disaster they envision as resulting from the real danger that we face, which is simply the increasingly temperatures.  More significantly still, these works tend to use the disaster to clear away the technological and bureaucratic features of the modern world and tell an adventure story of one sort or another.  In 'The Heatstroke Line,' the result of the oncoming disaster isn’t a primitive world filled with long journeys on foot and hand-to-hand combat.  There are still governments, still cars and factories, and still all the mundane details of modern existence.  It’s simply that life has become much worse for nearly all Americans.  In other words, this is a realistic picture of what life might look like in our country if we allow global warming to continue unabated.''

"'The Heatstroke Line' is an adventure story of its own," Rubin adds. "Fiction can teach us many things, but it won’t work unless it has an engaging plot and convincing characters.  In my novel, the main character is an entomologist at one of the few universities left in the former United States.  He is sent to the South (below “the heatstroke line”) to investigate an outbreak of biter bugs -- vicious, flesh-eating insects that have developed as a result of the increased heat.  Once there, he is taken captive, for reasons that are a mystery to him, by the frenetic, disaffected and sometimes vicious people who have clung on in this nearly uninhabitable region. The action in the book involves his efforts to survive, his plans to escape, and the mysterious young woman who he meets there.  She has written a post-apocalyptic novel of her own (part of which appears in the book), filled with standard science fiction tropes. The contrast between her teenage fantasies and the “real world” that the main character encounters reveals the mystery of his capture to him and motivates the action that brings the novel to its close."  

"I hope you enjoy reading my book as much as I enjoyed writing it, and I also hope that at the end of it, you feel as concerned as I do about the future of our nation and our planet," Rubin said.

An interview with Sam Bleicher, author of the cli-fi thriller "THE PLOT TO COOL THE PLANET" -- on sale now

1. DAN BLOOM, blogger at ''The Cli-Fi Report'': I've noticed a trend in last few years. Lawyers and law professors, you, for example, and Ed Rubin at Vanderbilt University, writing sci-fi or cli-fi thriller novels with climate themes. What do you think accounts for this literary trend? Of course, lawyers are good with language, they know how to set a table with language in a court case or academic paper, but what else might account for this trend? 
  1. SAM BLEICHER, AUTHOR: I agree lawyers have the writing and storytelling skills, but I think some other important factors are involved:
(a)  People who are interested in future-oriented issues hope to spread their ideas to a wider audience than just those who read footnoted non-fiction books. 
(b)  Futuristic fiction can paint a picture of a world that might await us, expanding readers’ vision and imagination in a way that non-fiction projections of the future can’t. 
(c)  In the climate change arena, a novel can bypass the arguments with climate deniers and “Garden of Eden” nostalgic environmentalists and present the real world as the author sees it, without proving every statement with a footnote. 
3.      What's the plot of The Plot To Cool The Planet? How about a short elevator pitch, 60 seconds or so, or a longer stab at it? 
“The Plot To Cool The Planet” begins in the year 2020 with the assassination of a charismatic climate scientist who forcefully advocates geoengineering to save humanity.  Her death shocks the world.  The two Canadian investigators are under pressure to find both the murderer and those behind it.  The notorious murder also angers a handful of diplomats frustrated by institutional paralysis on global warming.  They take matters into their own hands, organizing a rogue geoengineering experiment without international knowledge or approval.  Their goal is to save their small island states, risking their own careers and lives.  The project uncovers another surreptitious climate intervention, which ignites Great Power military conflict and diplomatic confrontation on global governance of geoengineering.  
4.      When did you first come across the new genre term of cli-fi, and did you know that NPR radio did a five-minute radio segment on it in April 2013? Is it a useful term for your new novel? 
“Sci-fi” has been around forever, but I hadn’t run across the term “cli-fi” until very recently, even though I have read numerous books that fall in this category.  The first climate change novel I read was Arthur Herzog’s “Heat” (1977),  which I read shortly after it was published.  I was a senior official at NOAA at that time, so it came to my attention.  Newly available remote-sensing satellite data and quantitative computer modelling were just beginning to shape our knowledge of the real parameters of the climate change threat. 
I do think the “cli-fi” category is useful.  At this point there is more than enough novelistic material to justify a category that separates “cli-fi” from the more established robotics and space travel sci-fi literature.  And there will inevitably be more in the coming decades.
5.      There's a popular movie titled ''Snowpiercer'' set in the distant future that is also about a cooled planet. Did you see it or hear of it yet?
No, I haven’t.  From what I glean from Amazon, “Snowpiercer”, like “Watermelon Snow”, which the authors call cli-fi, only qualifies in the sense that climate conditions form the backdrop in which his story takes place.  “The Plot To Cool The Planet” directly focuses on the science, engineering, policy, diplomacy, and politics of geoengineering.
A lot of my current reading is non-fiction, like ''The Uninhabitable Earth” and ''The Sixth Extinction.”  I want to make sure of the science so that I can correctly articulate the science I am relying on in my novel.
6.      How do you plan to promote your novel in this era of Donald Trump? Newspaper interviews, radio interviews, bookstore signings? TV interviews? Op-ed columns in newspapers? Letters to editors? College lectures? 
By beginning in 2020, “The Plot To Cool The Planet” minimizes direct confrontation with the Trump administration (although the assassinated climate scientist has strong hostile opinions about climate deniers in and out of the government).  It assumes that a Democratic Party President with a more rational perspective is elected in 2020.  Nevertheless, the events in the story force him to come to grips with difficult decisions about the governance of geoengineering.
As for methods of promoting my book, aside from my teaching and family commitments, I’m happy to spend all my time promoting it every way I can, through book signings, radio and TV interviews, Newman Springs Publishing’s web page, Facebook, and Twitter (@BleicherSamA).   I am writing some articles, but they are non-fiction ones about climate change.  I hope my book and these columns will reinforce each other.   

The day Jeopardy used cli-fi as a clue on the March 20 quiz show

News alert! March 23, 2019

Hollywood is catching up with the popular ”cli-fi” buzzword these days, if the popular TV show “Jeopardy” is any indication.

Let me explain: On my cable TV set in Taiwan, where I can watch over 100  channels from around the world in over a dozen languages, I cannot get Jeopardy’ and to be honest I’ve never watched the program in my entire life. But I know what it is, of course, and how it is set up and who the host is: the one and only Alex Trebek, a Canadian native of Ukrainian heritage who now works in Hollywood and has been a naturalized American citizen since 1998.

So imagine my surprise and pleasure last week when a friendly college English professor in New Jersey named Juda Bennett notified me by email that episode 57 on March 20 aired nationwide featuring a ‘Jeopardy’ ”cli-fi” clue and its correct answer of ”climate fiction.”

Contestant Lindsey Shultz got it right and earned some money in the process.

All this was told to me by Juda in a brief email message that arrived out of the blue. Surprised and delighted, I Googled to try to find a video and the transcript of the show.

Juda wrote: “Hi Dan, you contacted me about my “Walking in the Anthropocene” class a while back and so now I am contacting you to make sure you know that your term, cli-fi, was a ‘Jeopardy’ question yesterday.  Actually, they gave the question away when they asked what does cli-fi refer to, and I believe they referenced Kim Stanley Robinson’s work.”

Juda, an author, literary theorist and professor at The College of New Jersey, added: “Yes, it was the March 20 show where Jonathan Lindeen won.  I looked for the episode but I don’t know when they post these things.  The clue — if I remember correctly — comes on the program about 3/4 of the way in.”

My Google searches led to me to an online transcript of episode 57 with this initial clue: ”The planet’s in trouble in the novel ‘New York 2140’ by Kim Stanley Robinson, part of the ”cli-fi” subgenre, short for this.”

Lindsey clicked her stage buzzer before the other two contestants and got the answer right:  “climate fiction.”

Here’s a link to the transcript on the second page of a fan site run by fans of ”Jeopardy” which has no connection to the the producers of the show:

Yes, they did give it away, but Jeopardy increasingly gives away the answers,” Professor Bennett told me. “It is difficult to assess because the rest of the world is just catching up to you (and the term you coined) my friend. There are even people who do not believe in anthropogenic climate change. This reminds me of a 1980s Jeopardy question about AIDS, which was also a question that they gave away, but when I saw it during the early 1980s our American president at that time had still never said the AIDS word in public. Words are power.”

This month has been a busy month for the cli-fi genre in literary circles, and the Jeopardy mention was just icing on the global warming cake, so to speak.

On March 13, the Oprah Winfrey magazine “O” published a news article titled “7 Books That Provocatively Tackle Climate Change: They Each Fit Into a New Genre: Cli-Fi.”

Oprah! Who knew?

”O” introduced the article this way: ”[We identify] an intriguing epidemic: the proliferation of provocative novels in which the enemy is climate change.” “As news of the oceans warming and icebergs melting grows ever more urgent, the light drizzle of fiction about eco-disaster spawned by J.G. Ballard’s ahead-of-its-time sci-fi thriller 'The Drowned World' (1962) has gone full-on flood, with apocalyptic visions from a diverse array of authors hitting the mainstream.”

“In Barbara Kingsolver’s 'Flight Behavior', pollution and other biospheric disruptions throw a colony of butterflies off their migration course to disastrous effect, while in Claire Vaye Watkins’s 'Gold Fame Citrus,' a California besieged by sandstorms illuminates social inequities and the excesses of Hollywood. So robust is the growing genre that it’s earned its own name: cli-fi (short for climate fiction),” O noted.

And then O introduced the following cli-fi novels: Clade by James Bradley; The Water Knife’ by Paolo Bacigalupi;  The Year of the Flood by Margaret Atwood; American War by Omar El Akkad; Blackfish City by Sam J. Miller; New York 2140′ by Kim Stanley Robinson;  and Salvage the Bones by Jesmyn Ward.

From Jeopardy’ to ”O,” the PR doesn’t get much better than this.

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



Climate change: the threat

the Opinion-2018年3月27日


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. 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
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: 
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.
Ingram, David. Green Screen: Environmentalism and Hollywood Cinema. Exeter: U of Exeter P, 2000. Print.
Ivakhiv, Ivan. Ecologies of the Moving Image: Cinema, Affect, Nature. Waterloo: Wilfred Laurier UP, 2014. Print.
Johns-Putra, Adeline. “Care, Gender, and the Climate-Changed Future: Maggie Gee’s The Ice People.” Canavan, Gerry, and Kim Stanley Robinson, eds. Green Planets: Ecology and Science Fiction. Middletown, CT: Wesleyan, 2014. Print.
—. “Climate Change in Literature and Literary Studies: From Cli-Fi, Climate Change Theater, and Ecopoetry to Ecocriticism and Climate Change Criticism.” WIREs Climate Change 20 Jan. 2016. Web.
—. “Ecocriticism, Genre, and Climate Change: Reading the Utopian Vision of Kim Stanley Robinson’s Science in the Capital Trilogy.” English Studies 91.7 (2010): 744–60. Print.
—. “Historicizing the Networks of Ecology and Culture: Eleanor Anne Porden and Nineteenth-Century Climate Change.” Interdisciplinary Studies in Literature and Environment (2015): 1–20. Print.
—. “How ‘Cli-Fi’ Novels Humanize the Science of Climate Change.” New Statesman 28 Nov. 2015. Web.
—. “‘My Job is to Take Care of You’: Climate Change and Cormac McCarthy’s The Road.” Modern Fiction Studies 62.3 (2016): 519–40. Print.
Kainulainen, Maggie. “Saying Climate Change: Ethics of the Sublime and the Problem of Representation.” Symplokē 21.1–2 (2013): 109–23. Web.
Kaplan, E. Ann. Climate Trauma: Foreseeing the Future in Dystopian Film and Fiction. New Brunswick: Rutgers UP, 2016. Print.
Kara, Selmin. “Anthropocenema: Cinema in the Age of Mass Extinctions.” Post-Cinema: Theorizing 21st-Century Film. Ed. Shane Denson and Julia Leyda. Falmer: Reframe, 2016. E-book.
Klein, Naomi. The Shock Doctrine: The Rise of Disaster Capitalism. New York: Knopf, 2007. Print.
—. This Changes Everything: Capitalism vs. the Climate. New York: Penguin, 2014. Print.
Kollmorgen, Sarah. “Why are Climate Change Docs So Boring?” New Republic  22 Apr. 2015. Web.
Lakoff, Andrew. Disaster and the Politics of Intervention. New York: Columbia UP, 2010. Print.
LeMenager, Stephanie. Living Oil: Petroleum Culture in the American Century. New York: Oxford UP, 2014. Print.
Leikam, Susanne, 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. Print.
Lennard, Natasha. “Against a Dream Deferred.” New Inquiry 2 Feb. 2012. Web.
Lester, Libby. Media and Environment: Conflict, Politics and the News. Cambridge: Polity, 2010. Print.
Leyda, Julia, Kathleen Loock, Alexander Starre, Thiago Pinto Barbosa, and Manuel Rivera. “The Dystopian Impulse of Contemporary Cli-Fi: Lessons and Questions from a Joint Workshop of the IASS and the JFKI (FU Berlin).” Working Paper of the Institute for Advanced Sustainability Studies, Potsdam (Dec. 2016). Web and Print.
Leyda, Julia, and Diane Negra, eds. Extreme Weather and Global Media. New York: Routledge, 2014. Print.
Leyda, Julia. “Enough Said? Beasts of the Southern Wild, Sharknado, and Extreme Weather.” Antenna: Responses to Media and Culture 26 July 2013. Web.
Lowe, Thomas D. “Is This Climate Porn? How Does Climate Change Communication Affect Our Perceptions and Behavior?” Working Paper 98, U of East Anglia Tyndall Centre for Climate Change Research (2006). Web.
Macfarlane, Robert. “The Burning Question.” Guardian 23 Sept. 2005. Web.
Marshall, George. “Climate Fiction Will Reinforce Existing Views.” Room for Debate Blog. New York Times 29 July 2014. Web.
—. Don’t Even Think About It: Why Our Brains Are Wired to Ignore Climate Change. New York: Bloomsbury, 2014. Print.
Maslin, Mark. Climate: A Very Short Introduction. Oxford: Oxford UP, 2013. Print.
Maxwell, Richard, Jon Raundalen, and Nina Lager Vestberg, eds. Media and the Ecological Crisis. London: Routledge, 2014. Print.
Mauch, Christoph, and Sylvia Mayer, eds. American Environments: Climate, Cultures, Catastrophe. Heidelberg: Winter, 2012. Print.
Mayer, Sylvia. “Explorations of the Controversially Real: Risk, the Climate Change Novel, and the Narrative of Anticipation.” Mayer and Weik von Mossner, The Anticipation of Catastrophe 21–38. Print.
Mayer, Sylvia, and Alexa Weik von Mossner, eds. “The Anticipation of Catastrophe: Environmental Risk in North American Literature and Culture—Introduction.” Mayer and Weik von Mossner, The Anticipation of Catastrophe 7–18. Print.
Mayer, Sylvia, and Alexa Weik von Mossner. The Anticipation of Catastrophe: Environmental Risk in North American Literature and Culture. Heidelberg: Winter, 2014. Print.
McGraw, Seamus. Betting the Farm on a Drought: Stories from the Front Lines of Climate Change. Austin: U of Texas P, 2015. Print.
McKibben, Bill. Eaarth: Making a Life on a Tough New Planet. New York: Macmillan, 2010. Print.
—. “What the Warming World Needs Now is Art, Sweet Art.” Grist 22 Apr. 2005. Web.
McKim, Kristi. Cinema as Weather: Stylistic Screens and Atmospheric Change. New York: Routledge, 2013. Print.
Mehnert, Antonia. “Things We Didn’t See Coming—Riskscapes in Climate Change Fiction.” Mayer and Weik von Mossner, The Anticipation of Catastrophe 59–78. Print.
Milkoreit, Manjana. “The Promise of Climate Fiction: Imagination, Storytelling, and the Politics of the Future.” Reimagining Climate Change. Ed. Paul Wapner and Hilal Elver. London: Routledge, 2016. 171–91. Print.
Mirzoeff, Nicholas. “Visualizing the Anthropocene.” Public Culture 26.2 (2014): 213–32. Print.
Mitchell, Timothy. Carbon Democracy: Political Power in the Age of Oil. London: Verso, 2011. Print.
Moore, Jason W. Capitalism in the Web of Life: Ecology and the Accumulation of Capital. London: Verso, 2015. Print.
—. “The Capitalocene, Part I: On the Nature and Origins of Our Ecological Crisis.” Journal of Peasant Studies 44.3 (2017): 594–630. Web.
Morton, Timothy. Dark Ecology: For a Logic of Future Coexistence. New York: Columbia UP, 2016. Print.
—. Hyperobjects: Philosophy and Ecology after the End of the World. Minneapolis: U of Minnesota P, 2013. Print.
Murphy, Patrick D. Ecocritical Explorations in Literary and Cultural Studies. Lanham, MD: Lexington, 2009. Print.
—. “Pessimism, Optimism, Human Inertia, and Anthropogenic Climate Change.” Interdisciplinary Studies in Literature and Environment 21.1 (2014): 149–63. Print.
Murray, Robin L. Monstrous Nature: Environment and Horror on the Big Screen. Lincoln: U of Nebraska P, 2016. Print.
Murray, Robin L., and Joseph K. Heumann. Ecology and Popular Film: Cinema on the Edge. Albany: State U of New York P, 2009. Print.
—. Film and Everyday Eco-Disasters. Lincoln: U of Nebraska P, 2014. Print.
Narine, Anil, ed. Eco-Trauma Cinema. New York: Routledge, 2014. Print.
Negra, Diane, ed. Old and New Media After Katrina. New York: Palgrave-Macmillan, 2010. Print.
Nixon, Rob. Slow Violence and the Environmentalism of the Poor. Cambridge: Harvard UP, 2011. Print.
Norgaard, Kari. Living in Denial: Climate Change, Emotions, and Everyday Life. Cambridge, MA: MIT P, 2011. Print.
Ó Heigeartaigh, Seán. “Hollywood Global Warming Dramas Can Be Misleading.” Room for Debate Blog. New York Times 4 Aug. 2014. Web.
Oliver-Smith, Anthony. “Theorizing Disasters: Nature, Power, Culture.” Catastrophe and Culture: The Anthropology of Disaster. Ed. Anthony Oliver-Smith and Susanna M. Hoffman. Santa Fe: School of American Research P, 2002. 23–48. Print.
Oreskes, Naomi, and Erik M. Conway. The Collapse of Western Civilization: A View from the Future. New York: Columbia UP, 2014. Print.
Otto, Eric. Green Speculations: Science Fiction and Transformative Environmentalism. Columbus: Ohio State UP, 2012. Print.
Parham, John. Green Media and Popular Culture: An Introduction. London: Palgrave-Macmillan, 2016. Print.
Parikka, Jussi. The Anthrobscene. Minneapolis: U of Minnesota P, 2015. Print.
Parenti, Christian. Tropic of Chaos: Climate Change and the New Geography of Violence. New York: Nation Books, 2011. Print.
Parr, Adrian. The Wrath of Capital: Neoliberalism and Climate Change Politics. New York: Columbia UP, 2012. Print.
Pendell, Dale. The Great Bay: Chronicles of the Collapse. Berkeley, CA: North Atlantic Books, 2010. Print.
Pérez-Peña, Richard. “College Classes Use Arts to Brace for Climate Change.” New York Times 31 Mar. 2014. Web.
Purdy, Jedediah. After Nature: A Politics for the Anthropocene. Durham: Duke UP, 2015. Print.
Robinson, Kim Stanley. “There Is No Planet B: We’re Not Colonizing the Milky Way Any Time Soon.” 17 Jan. 2016. Web.
Rose, Deborah Bird, Thom van Dooren, Matthew Chrulew, Stuart Cooke, Matthew Kearnes, and Emily O’Gorman. “Thinking Through the Environment, Unsettling the Humanities.” Environmental Humanities 1 (2012): 1–5. Print.
Ross, Andrew. Strange Weather: Culture, Science, and Technology in the Age of Limits. New York: Verso, 1991. Print.
Rust, Stephen, Salma Monani, and Sean Cubitt, eds. Ecocinema Theory and Practice. New York: Routledge, 2013. Print.
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.
Torday, Piers. “Why Writing Stories about Climate Change Isn’t Fantasy or Sci-Fi.” Guardian 21 Apr. 2015. Web.
Toscano, Peterson. “A Queer Response to Climate Change.” Peterson Toscano Blog n.d. Web.
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.
Ullrich, J.K. “Climate Fiction: Can Books Save the Planet?” Atlantic 14 Aug. 2015. Web.
Urry, Amelia. “Can Fiction Make People Care about Climate? Paolo Bacigalupi Thinks So.” Grist 9 July 2015. Web.
Valentine, Ben. “Solarpunk Wants to Save the World.” Hopes and Fears n.d. Web.
Wapner, Paul, and Hilal Elver, eds. Reimagining Climate Change. London: Routledge, 2017. Print.
Wark, McKenzie. Molecular Red: Theory for the Anthropocene. London: Verso, 2015. Print.
Warrick, Joby. “Why Are So Many Americans Skeptical about Climate Change? A Study Offers a Surprising Answer.” Washington Post 23 Nov. 2015. Web.
Weik von Mossner, Alexa. Moving Environments: Affect, Emotion, Ecology, and Film. Waterloo: Wilfred Laurier UP, 2014. Print.
Whiteley, Andrea, Angie Chiang, and Edna Einsiedel. “Climate Change Imaginaries? Examining Expectation Narratives in Cli-Fi Novels.” Bulletin of Science, Technology, and Society 36.1 (2016): 28–37. Print.
“Will Fiction Influence How We React to Climate Change?” Room for Debate Blog. New York Times  29 July 2015. Web.
Worden, Daniel. “Fossil-Fuel Futurity: Oil in Giant.” Journal of American Studies 46 (2012): 441–60. Print.
Yaeger, Patricia. “Editor’s Column: Literature in the Ages of Wood, Tallow, Coal, Whale Oil, Gasoline, Atomic Power, and Other Energy Sources.” PMLA 126.2 (2011): 305–10. Print.
Ziser, Michael, and Julie Sze. “Climate Change, Environmental Aesthetics, and Global Environmental Justice Cultural Studies.” Discourse 29.2–3 (2007): 384–410. Print.