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Nicanor Parra … courtesy Arteaga

With protests staged by environmentalists of different ages in many parts of the world, one is left wondering if this is not a major issue that needs to be addressed by the literary community over other issues as it links to our basic survival. These lines by Nicannor Parra, the famous Chilean poet, say it all.

The mistake we made was in thinking

that the earth belonged to us

when the fact of the matter is

we’re the ones who belong to the earth.

He redefined himself as an eco poet in the latter part of his career and said: “The eco-poet also works with contradiction, he defends nature, but he cannot fall into the trap of a new dogmatism. So there are some eco-poems which are apparently anti-ecological, like the following: ‘I don’t see the need for all this fuss, we all know the world is at its end.’ It must be kept in mind that any type of dogmatism, including ecological dogmatism, produces a hardening of the soul. To avoid this hardening, this new dictatorship, this new central committee, one has to denounce even ecological dogmatism. Paradoxically, this is also the soul regulating itself. The man who only affirms runs the risk of freezing up inside. Constant movement, vital motion is crucially important for me.”

So, what is eco literature? Is it the same as cli- fi ?Is it in the genre of speculative fiction or science fiction?

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). 

 

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.

Compared with other literature, science fiction is a genre best able to transcend cultural boundaries, as what it depicts is a universal crisis facing the entire human race, China’s leading sci-fi writer Liu Cixin told Xinhua.

“For instance, the doomsday portrait in a sci-fi novel is an apocalyptical scene descending onthe entire human race, rather than a single race,” he said.

by Felicia Low-Jimenez, Interviews Editor, Kitaab

Zen ChoThe first time I read a story written by Zen Cho was in LONTAR #1: The Journal of Southeast Asian Speculative Fiction. The piece was titled Love in the Time of Utopia and was set in a possible future-Kuala Lumpur. I was immediately intrigued and wanted more. The second time I came across Cho’s name was when I read about a new collection of short stories, Spirits Abroad, which was going to be published by Fixi Novo, an award-winning Malaysian publisher well-known for putting out edgy, controversial titles by local authors. I was intensely curious to find out more because science fiction and fantasy writers hailing from Southeast Asia are relatively rare compared to those from the west—at least those writing and publishing in English. The third time I heard Cho’s name was when I learned that she had been picked up by major publishing houses (Ace Books in the U.S. and Pan Macmillan in the UK) for a new fantasy trilogy set in Victorian London. The more of her stories I read, the more I realized that Cho is an immensely imaginative writer who is able to infuse a vulnerable humanity into the mythological creatures that she writes about, and at the same time, as many great speculative fiction writers do, comment on the society in which she lives in—regardless of where she might be.

You primarily write speculative fiction. Is there a reason why you gravitate towards these particular genres?

I enjoy science fiction and fantasy on a few different levels–I like the element of strangeness; I get a kick out of dragons and spaceships; and I like playing with the tropes. They’re hooks you can hang a story on, and then you wander off and explore a bunch of other things at the same time. I don’t really like stories that are only about one thing, which is what contemporary non-genre fiction often feel like to me.