by Dan Bloom( Dan Bloom coined the term cli-fi )

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Foyles bookshop in London has jumped on the cli-fi trend, creating a climate fact and fiction display table.

 

Based as a newspaper reporter and climate blogger in Taiwan, since 2011 I’ve been promoting the rising ‘cli-fi’ movement to boost the literary fortunes of  ‘climate change fiction’, a new genre of literature now accompanying ‘sci-fi’ within modern literature’s classification system. I’m not a novelist or a short story writer myself, just a reader and what I described as ‘a climate activist of the literary kind’. I use my PR skills learned over a lifetime of newspaper and magazine work in North America, Europe, Japan and Taiwan to communicate my cli-fi passion with editors, novelists, literary critics and fellow readers.

I’m not the only one doing this now. There’s a veritable army of PR people and literary critics shepherding cli-fi novels and short story anthologies into publication in over a dozen languages. What started out as a small movement in the anglophone world in 2011, has now become a global phenomenon among literary people in India, Singapore, Sweden, France and Australia. among other nations.

So what is cli-fi? As a subgenre of science fiction, it crosses the boundary between literary fiction and sci-fi to imagine the past, present, and future effects of man-made climate change, allowing readers to see what life might be like on a burning, drowning, dying planet. But the genre also encompasses writers who pen utopian novels and short stories full of hope and optimism. Cli-fi is not all dystopian and nightmarish visions of the future. There’s a lot of room for hope and better days, too.

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TBASS

 

It was not always easy for John to understand Zoe’s English, but this time all he had to do was to look where she was pointing.

In the middle of the track was a large otter, standing on its hind legs. It was looking in their direction. John and Zoe, unable to move lest they disturb the creature, kept quiet. After some minutes, another large otter bounded from a pool to the right of the track, slowly passed across the track and into another pool on the other side. It was quickly followed by a troop of much smaller otters hastening across the track. When all the others had vanished into the pool, the guarding otter followed suit.

“Well, it’s the first time I’ve seen an otter traffic warden,” said John, as they both fell about laughing.

The sandy track became more defined as a road and, as the jeep climbed to the top of yet another hillock, before them lay a series of three huge, interconnected dredge holes. They had become filled with water; around them were trees and bushes. The expanse of water seemed to stretch for at least a couple of kilometres. Green islets, dotted here and there, added yet more mystery to that already intriguing expanse of water.

On May 7 th, 1861, was born a man who left an indelible mark in the world of literature, philosophy, music, education and on the  lives of many people. He wrote the national anthem for at least two countries, India and Bangladesh, and influenced the writer of the national anthem of a third country, Sri Lanka.

Rabindranath Tagore, the first non- European Nobel prize winner, was a remarkable man. Despite having his songs picked for national anthems and providing inspiration to other national anthem writers, he was critical of a system that drew borders among men and created hatred or intolerance. He withdrew from the politics of nationalism. He wrote: “…my conviction (is) that my countrymen will gain truly their India by fighting against that education which teaches them that a country is greater than the ideals of humanity.”

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I

MV Red Fin was a very small ship. She was also a very old ship. As soon as the wave swell hit medium, she would start to make ungodly sounds — as if she were breaking. More often than not she had taken her crew to the brink of disaster. She was a problem child, but that’s what made her so special. Like any difficult ship, she was very close to her crew’s hearts. The crew took pleasure in the feeling of being the only ones who could resist her every whim… who could understand her mind. It was an unwilling compromise. They tried to keep her happy; she tried to keep them safe. The crew comprised of twenty men with Captain Mohandass in command.

Captain Mohandass was quite different from Mohan the man. Behind a façade of a long, magnificent, philosopher-like, snow white beard lay a supremely bigoted mind. He had never liked visiting Pakistan and was rather unshakable in his ‘hindutvavadi’ (Hindu supremist) beliefs. But he tried to contain his resentment…to keep his nerves calm. However, as time passed that day, Mohan was starting to get grouchy. ‘They better not harm my ship or my crew.’ Mohan thought, ‘Or ill teach them a lesson.’ The last thing he wanted was ‘an incident’. Not at this port. Not in the ‘enemy territory’. All operations had to be meticulously executed. It was his responsibility to ensure that.

By Suvasree Karanjai

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Title: The Butterfly Effect

Author: Rajat Chaudhuri

Publisher : Niyogi Books,2018

 

Turning and turning in the widening gyre

The falcon cannot hear the falconer;

Things fall apart; the centre cannot hold;

Mere anarchy is loosed upon the world,

(W.B. YEATS, The Second Coming)

                                          The earth is doomed to be a ghost,

                                         She who rocks all death in herself.

(Sophia De Mello Breyner, I Feel the Dead)

We all dream of a utopia, an ideal, the zenith of flawlessness and excellence. With the concept of utopia comes  its inverse, dystopia, which lurks behind curtains with equal power to devastate and destroy. In recent times, dystopias have become an independent literary genre, a potent medium to envision and warn against catastrophes, a result of what could have started as an alternative futuristic ultra modern/utopian state. Rajat Chaudhuri’s “well-oiled” and polished novel, The Butterfly Effect,is a welcome addition to such tellings that aim to reiterate obliquely the oft-quoted saying: “With great power comes great responsibility” and to question whether we are ready to shoulder that liability.

The Butterfly Effect is a brilliant exploration of the local and the global, Calcutta and the world, in a post-apocalyptic state in the face of ultra-modernisation, totalitarianism and technologization.

Rajat Chaudhuri, an esteemed bilingual (Bengali and English) novelist and short story writer with a number of prestigious fellowships under his belt, has been involved with environment and development. His concerns are reflected in his  earlier works (like Hotel Calcutta, Amber Dusk) as well as in his recent novel The Butterfly Effect (2018). 

A new genre has started to nudge for space in the world of literature — cli-fi.

Cli- fi are stories around climate changes and global warming wrought by mankind. The term even has a birthdate to it. It was used for the first time on the American National Public Radio during a talk show on April 20th, 2013.

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The French edition of The Purchase of North Pole or Topsy Tury

Despite being a new genre, two novels by nineteenth century writer Jules Verne have been classified as Cli-fi; Paris in the Twentieth Century written in 1883 and set in 1960s and The Purchase of North Pole published in 1889. Both the novels deal with climate change due to man’s intervention. A few dystopic novels by twentieth century British writer JG Ballard (well- known also for his book, Empire of the Sun, adapted by Speiberg for a film of the same name) were also dubbed as cli- fi fiction. The genre is being enlarged by inclusion of books by current day writers such as Michael Chrichton and Margaret Atwood.

By Haimanti Dutta Ray

 

People gathered at Oxford Bookstore, Kolkata, on the evening of the 3rd of May, disregarding the Meteorological Office’s predictions of the impending cyclone, Fani. The occasion was the book launch of the acclaimed film director, music director and cinematographer, Gautam Ghose, and the subsequent panel discussion lined with luminaries from the literary as well as cinematic circles. The book, Beyond The Himalayas: Journeying Through The Silk Route, has been co-authored by producer and writer Michael Haggiag.

The panellists for the evening included renowned actress and film-maker Aparna Sen; novelist Kunal Basu whose The Japanese Wife was made into a film; former diplomat and essayist Jawhar Sircar; critic and editor Samik Bandopadhay, who is also known for his translations of works by noted playwright Badal Sircar and celebrated author Mahasweta Devi; and film scholar Jagannath Guha. Guha had accompanied Ghose on his expedition along the famous Silk Route. Gautam Ghose had made his documentary in 1996 based on the journey he had undertaken. The film was also named Beyond The Himalayas.

Gautam Ghose, the recipient of many national and international awards, including a knighthood from Star of Italian Solidarity, thanked all the persons who had worked tirelessly with him to bring out the book. He especially mentioned his co-author, Michael Haggiag. Haggiag was not present for the occasion. Ghose said that the idea for the book came to him when he re-discovered the negatives of the Silk Route lying at the bottom of his cupboard. The 14,000 km journey they made in1994 took them through Central Asia, China and Tibet. They journeyed through a number of places like Bukhara, Tashkent and Samarkand.

 

The Best Asian Speculative Fiction

For some time, I tried to find my way towards the centre of the station. I encountered dead-ends and paths blocked by fire, metal, and machines. I had to backtrack several times and wondered if I would be killed by a whirring gear out of nowhere, or impaled on an inopportune girder. After the longest hour of my life, I saw my destination: a massive metal ball in the middle of the station, supported by several pylons. With the propulsion rig, I roved over the ball’s surface to find a hatchway into the control centre. Steadying myself against the wall near a hatch, I keyed opened the door and pulled myself into the structure.

The inside of the control centre had a similar appearance to the command centre in the habitat section: a wide, 360-degree view of the whole interior of the station, two chairs instead of one, and a wide array of consoles and banks of monitors. Though it was dark inside the chamber, the viewing glass allowed the industrial lights around the centre to paint the whole chamber a stark white.