Tag Archives: cli-fi

CLI-FI – A DISCUSSION WITH AUTHOR CLAUDE NOUGAT

If this is a good interview, you should thank best-selling author Bob Rector, he had really good questions!

CLI-FI – A DISCUSSION WITH AUTHOR CLAUDE NOUGAT.

Bob Rector

Some of the books discussed:

– New York under water:

Monarch butterflies invade a small corner of the Appalachian mountains causing a scary “flight behavior”:

Climate fiction also includes climate change deniers: in this book climate activists are described as “eco-terrorists”:

If you think cli fi is recent and strictly linked to climate change, think again! This is the first cli fi book published and it came out in 1962!

But what is really going to change life on earth over the next few centuries can be traced back to (1) globalization and (2) industrialization and both are the result of a new, growing divide between the rich and poor, the One Percent vs. the 99 Percent, and now the data is in – the divide is not the result of someone’s sick imagination:

And of course(!) my own cli fi novel:

Available on all e-platforms, for Amazon click here: http://www.amazon.com/Forever-Young-Part-One-Gateway-ebook/dp/B00JU99LS4/

Available on all e-platforms, for Amazon click here: http://www.amazon.com/Forever-Young-Part-One-Gateway-ebook/dp/B00JU99LS4/

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Is There a Book Cover Style for Climate Fiction?

Climate Fiction or cli-fi has evoked a surprisingly wide range of book covers. Look here at what the Cli-Fi Books.com website has put together:


This is very different from standard science fiction fare and should put to rest the argument that cli-fi is a sub-genre of sci-fi.


What is striking about these covers is the unifying focus on humanity and Earth as we know it – but with a menacing twist, usually transmitted with a frightening color filter, often red or green.

Five days ago, I presented to you two covers for my upcoming cli-fi novel Forever Young, asking you to vote for your favorite one and I used both this blog and my mirror blog on Blogger (see here) to try and get as many votes as possible. Although the sample is small (relatively few votes), the trend was crystal clear, the “full woman” – Alice’s portrait – won by a wide margin, two to one. Here she is, watching a fiery sunset on a dying world:

Part 1 is already available on Amazon here at 99 cents

I’ve already put it up on Amazon (here at 99 cents – it’s Part One of a serialized novel in 4 parts – the other episodes will be coming soon, one a week). And in a few days it should be up on all the other e-platforms for your Nook, Kobo or iPad (or any mobile device).

Other news: today Crimson Clouds is exceptionally up for sale at 99 cents. Grab your copy quick here, because tomorrow it will go back to it’s original price of $3.99.

Again, many thanks for the support,  I’m very grateful to all those who have voted!

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Interview with the Father of Cli Fi: How this New Genre Was Born is Revealed

American climate activist Dan Bloom 
visiting a local university in Taiwan  to
do some research on climate change issues

My blog post about Climate Fiction, a “hot new genre” (here) led me to “virtually” meet  Dan Bloom, the journalist and “green” activist who coined the term “Cli Fi”. I was very happy to meet him, he’s a fascinating and somewhat explosive person, a Tufts graduate who’s worked in Alaska, Japan and Taiwan (where he now lives). And he’s agreed to answer a few of my questions here.

Claude: Dan, you coined the term Climate Fiction, cli-fi for short, back in 2008. When did the term start to catch on?
Dan: The term was modelled after sci-fi, of course, and at first it didn’t really catch on, not until 2013 when NPR did the first big media story on the cli-fi genre (see here ).
Claude: I took a look at that article, it has a great title “So Hot Right Now: Has Climate Change Created a New Literary genre?” and a striking introduction mentioning a best-selling cli-fi novel, as you can see on this screen shot:


Dan: Yes, and now the term is fast becoming a buzzword in the media, culminating in the recent article in the New York Times about using cli-fi in the classrooms to teach American students how to handle the challenge of global warming (see here ).
Claude: Yes, that’s how my attention was drawn to it, from reading it in the New York Times. I noticed the story was picked up by others as well, including Sadie Mason-Smith on the Melville House website (here). And now, according to the UN’s IPCC latest report on Climate Change, climate warming is fast getting worse because too many countries have dragged their feet for too many years (see here ) So there’s a definite need for Climate Change activism! I’d like to find out how the idea of “cli fi” ever occurred to you. Why did you coin the term?
Dan: I have been an independent deep-green climate activist since 2006 when the big earth-shaking IPCC report on climate came out and it was that IPCC report and the accompanying news media articles about the report that woke me up.
Claude: So your concern for global warming and its consequences is relatively new?
Dan: Yes. Before then, I was not thinking very much about climate issues. But I woke up in 2006. Not being a scientist, there was not much I could do to join the debate about climate change and global warming.
Claude: What was your “wake-up” moment?
Dan:  A 2008 blog post by New York Times science reporter Andrew C. Revkin on his “Dot Earth” sustainability blog. That’s what did it. He mentioned how artists and novelists can use “the arts” to communicate climate issues to a broad public. That made me think what I could do, if anything, to add to that concept of art and literature as tools of communication.
Claude: So, concretely, what was your next step?

Dan: One day while I was doing some PR for a climate-themed book by Jim Laughter, a Tulsa, Oklahoma author, for his novel titled Polar City Red set in Alaska in 2075 (the book came out in 2012, see here ) I hit on the cli fi term I had coined in 2008 to describe Hollywood movies focused on major environmental change like The Day After Tomorrow. I decided to inject the cli fi term as part of my press release about Jim Laughter’s Alaska novel. So I sent out some press releases to book reviewers and I called his novel a ”cli fi thriller” and slowly the term took on a life of its own. A few newspapers and blogs used the term in talking about Jim’s novel, but nothing more, although one newspaper in North America reviewed it.
Claude: Yes, a major newspaper too! I noticed that the New York Times has described his book as “a thought experiment that might prod people out of their comfort zone on climate.”
Dan: Right. And, in spite of relatively slow sales for that book, I didn’t give up and tried to keep the cli fi term alive with many blog posts and by leaving a large digital footprint on the internet, so that if any reporter googled the cli fi term, hundreds of items would show up in the Google search list.
Claude: And on Wikipedia. You can read about it here. But what was the turning point?
Dan: It came in late 2012, when a climate scientist in Atlanta, Georgia named Judith Curry got interested. She is not only a dedicated scientist with a keen interest in the science of climate change but also a woman with a deep appreciation of the humanities and the arts. So she did a big post on her ”CLIMATE  ETC” blog; it’s a very popular blog and she gets 300 to 500 comments on each post – the post about cli-fi novels she titled simply “Cli fi” (see here)

Dr. Judith Curry

Claude: She opens her post by noting that cli-fi is a “fledgling new genre in literature”. Then she immediately mentions Michael Crichton’s blockbuster State of Fear, a 2004 techno thriller against the backdrop of global warming. However it got panned  apparently because of gross scientific errors. She argues that a climate scientist could however pen such a techno thriller without losing his reputation and she cites Rex Fleming .
Dan:  Cli fi as a genre was certainly ‘fledgling’ back in December 2012. But Dr Curry herself changed that. She makes a list of about 20 or so cli fi novels, including big names like Clive Cussler, Ian McEwan and Barbara Kingsolver. And she included Jim Laughter’s Polar City Red and used my press release term of calling it a “cli fi thriller”. That led four months later to NPR interviewing Dr Curry for its CLI FI radio program announcing that a new literary genre had arrived. I had sent dozens of press releases to the NPR book department email address about the cli fi concept, but the station never replied to any of my appeals for an interview or a radio show about the new genre.
Claude: Par for the course, I suppose that was rather discouraging…Of course, Dr. Curry is a big shot at the Georgia Institute of Technology.
Dan: She heads the School of Earth and Atmospheric Sciences since 2002.
Claude: Isn’t she also a rather controversial figure? There is this interesting article in the Scientific American that calls her a “climate heretic” who has “turned on her colleagues”. But that article was written in 2010 and is now probably reflecting an outdated position in the American scientific community. I rather like her position on the latest Climate Change report from the UN: she welcomes the idea of putting the Climate Change discussion behind us and focusing on the needed survival strategies rather than pursue mitigation or curbing measures… What is your take on this?
Dan: I read Dr Curry’s blog posts regularly and keep in touch with her by email from time to time, too. I deeply respect and admire the kind of scientist (and humanist) she is. She’s one of my teachers now, too.The world needs more scientists like her, who are not afraid to speak their minds and even join the debate from different sides of the table. And I am so glad she blogged about cli fi novels back in December 2012. Her post led to all this today.
Claude: You mean the interest shown by NPR?
Dan: Yes. So imagine my surprise one day in April 2013 when I see via my daily Google search for cli fi news that NPR did the story! I immediately set about doing all I could as a PR operative and a climate activist and a literary theorist to push the cli fi meme uphill, using the NPR link as the wake-up alarm. I wrote to the Guardian and asked if they could do a cli fi story for British readers. They did. I wrote to the Financial Times in the UK and asked my contacts there if they could do a cli fi story, and they did. Alison Flood, the Guardian’s book critic, did a blog post on “why cli-fi is here to stay”.
Claude: Wow, I’m impressed!
Dan: At first most media never responded to me, or even answered my email pitches. But they did line up, one by one, to add to the ”cli fi genre is rising” chorus, from Britain to Australia. I kept up the PR blitz, contacting every media outlet I could.  The New Yorker magazine followed the Brits, as did Dissent magazine last summer. There was something in the air I think, but my PR campaign was crucial. I then spent time lobbying the New York Times to report the cli fi news, and I contacted 12 reporters and met up with 6 months of rejections and emails that read “sorry not interested.” But in January 2014 I found one Times reporter I knew from earlier contacts ten years ago and I emailed him. And three months later his New York Times article came out worldwide not just in the U.S print edition and on the newspaper’s popular website, but also via the New York Times News Service which syndicated the article to over 400 newspapers worldwide, from Italy to France to Japan to Sweden.
Claude: So the New York Times article, the one I noticed, was a major turning point.
Dan: It was. Now I am focusing my media contacts on the Associated Press and Reuters News Service for wire stories about the cli-fi genre. And Nicholas Kristof, the New York Times columnist who has a keen interest in climate change issues, told me he will write a Sunday column soon about his take on the power of cli-fi literature to serve as a wake-up call. So things are happening.

Nicholas Kristof

Claude: They sure are! I’m looking forward to Kristof’s piece, I think he’s a remarkable columnist and I totally agree with the concept that climate fiction can serve as a much needed wake-up call. We need to go beyond sterile discussions about who or what is responsible for global warming and do something about it because one thing’s certain: it’s happening! Is that why the idea of cli-fi occurred to you?
Dan: Yes, as a climate activist but also as a literary activist…My major at Tufts University in the 1960s was French literature and I spent a year in Paris in 1969 absorbing the culture and drinking the coffee — I felt that a new literary term for climate-themed novels might help serve as a wake-up call for the future humankind faces now. Besides, I’ve always loved words and word games and crossword puzzles and sci-fi. I grew up with sci-fi novels in the 1950s and 1960s. I am a big sci-fi fan. So one day, my imagination just jumped over the fence and told to make a new word and call it cli-fi and see what happens. I like to see what happens. So I did it.
Claude: So are you a writer in pectore?
Dan: No, I am not a novelist or a short story writer or a screenplay scriptwriter. I don’t have those kind of writerly skills. I am just a climate activist, first, and a lifelong reader of novels, second.
Claude: I gather that Margaret Atwood was an early supporter, though she calls her own novels “speculative fiction” rather than cli-fi — while at the same time fully supporting your creation of the cli fi genre for whoever wants to work in it.

Margaret Atwood (Author page on Amazon)

Dan:  Exactly. Margaret Atwood has written three op-eds applauding the creation of the new genre that has been dubbed cli fi, one was published in the Canada Living magazine, one was published in the Huffington Post and another was published in the Financial Times recently in London. And she has often tweeted and retweeted cli fi news links to her 450,000 followers!
Claude: That’s a lot of followers on Twitter!
Dan: So yes, Ms Atwood has been instrumental in helping to popularize the cli-fi genre, come what may. I consider her my teacher, although we have never met. My other two teachers in the cli fi project are James Lovelock, whose ideas about the Earth being a kind of Gaia goddess that needs to be respected and protected or it’s curtains for the human race, and Andrew Revkin who runs the Dot Earth blog at the New York Times and which I have followed since its inception.
Claude: Okay, now let’s get down to the nitty-gritty. What is your definition of Climate Fiction?
Dan: First of all, I want to make it clear: the term I created is “cli-fi” which stands for climate fiction, of course, CLImate FIction with caps and lowercase letters, and I never use the term “climate fiction.” My PR work is not about “climate fiction” but about “cli-fi.”
Claude: I hyphenate the term by analogy with sci-fi, but I notice you don’t…
Dan:  So I want to use the term “cli fi” only in this interview and I also only use cli fi in my press releases. Why? As a lifelong journalist and PR guy, I know the power of headline buzzwords to serve as signposts along the road. So cli fi is a signpost and a wake-up call. The term “climate fiction” has been used for a long time, and I never coined that term. I just took it and tried to transform the longer version into a kind of code word and I thought of calling it “cli fi.” So let’s just talk about cli fi and leave “climate fiction” for scholars and professors to discuss. The New York Times article about cli fi just mentioned the term once in the entire 1000-word story, and not in the headline at all. 
Claude: I put it in the title of my blog!
Dan: Good! I was hoping for a headline mention of cli fi in the NYT, but in the PR business one cannot control how headlines are written or even how news articles are written. But the Times article was very important and for one special reason: cli fi has now been mentioned in the newspaper of record, The New York Times. That’s a first. This is the beginning. There is no stopping the rise of cli fi novels now.
Claude: What hopes do you have for the genre? What do you expect to achieve through it?
Dan: My hope is that cli fi will serve to bring together novelists and editors and literary agents and publishers — and readers! — as we explore the role of novelists in the ongoing debates over climate change and global warming. My hope is that the news media will start reviewing cli fi novels as cli fi novels, and stop calling them science fiction novels.
Claude: You don’t consider cli-fi as a subgenre of science fiction?
Dan: As I see things now, after several years of working on this project and getting a lot of feedback from readers and writers in both the sci-fi community and the growing cli fi community, cli fi is not a subgenre of sci-fi but a genre of its own. And sci-fi novels can also focus on climate change and still be classified as sci-fi novels, if that is how the novelists themselves want it and how literary critics see it. But at the same time, I now see cli fi as a separate genre that has attracted its own community of writers and readers worldwide. And sci-fi and cli fi are not competing genres at all; they complement each other, and they are, in a way, sister genres. I love sci-fi, and always have. 
Claude: Me too. I consider Aldous Huxley and Orwell among the greatest writers of the 20th century…
Dan: Now I am trying to popularize cli fi, too. I believe we are on the same page, sci-fi writers and cli fi writers. But one thing needs to be pointed out: While cli fi is usually filled with the moral implications of climate change issues, sci-fi is usually filled with the intention of exploring the possibilities of science and its relationship to humankind. So that is where cli fi and sci-fi go in different directions, and both genres are valid and useful.
Claude: Yes, both are useful and I love both! But what sort of future do you see for cli fi?

Dan: My hope is that a modern Nevil Shute will arise, male or female, in any country in any language, to write and publish a climate-themed cli fi novel with the same power as Shute’s 1957 novel On The Beach which served as a wake-up call about nuclear war and nuclear winter. And the movie was important, too.
Claude: The Next Big Novel that will shake society should be in “cli fi”!
Dan: Right! So I am looking for the Nevil Shute of cli fi. And to do this, I am quietly setting up what I call the international Nevil Shute Climate-Themed Novel Award to be first awarded in 2020 for the best cli fi novel in the previous ten years and to repeat the award every ten years internationally and awarding a prize of $1 million to the winner.
Claude: Hey, I’m going to candidate my soon-to-be published Forever Young! Though I must admit that cli fi is only one element, there are other things in it like the demographic explosion and growing income inequality…
Dan: Why not? You and many more writers, that’s what I’d like to see. I am now in the fundraising process of this new project, an offshoot of my cli fi PR work. I am looking for sponsors and a committee of judges to honor these kinds of cli fi novels. And I hope to see the “Nevils” — as I am dubbing the awards — keep going for 100 years, awarded every ten years for a total of ten times. And if the awards committee in 2120 wants to keep the awards going for another 100 years, I will nod yes from the grave. Literature matters. Words matter. Novels and movies made from novels can wake people up. The world is still asleep. We are facing the potential end of the human race. Wake up, world!
Claude: An impressive project! What else have you got up your sleeve?
Dan: Another thing I am working on is this: I am trying to find a reporter in New York or London who covers the book industry to find out if they can do a print newspaper or online story about how literary agents and everyone in the publishing industry view the rise of cli fi as a new genre and if they plan to use the term in future book titles or book covers. Raising the media profile worldwide of the cli fi genre is now my life’s work. And then I die. This is my way of giving back to a world that has given me so much. I go out every day to my PR office not to make money but to make a difference. I was educated to think of life this way, and now in my mid-60s, I have found a way to express myself on my own terms. I am not doing this cli fi work for myself or to benefit from it in any way. I do not want money or fame. I like to work quietly in the background and I find the internet a very pleasant place to hang my sign: “Dan Bloom, climate activist – no fees charged.”
Claude: Dan, that’s wonderful and I wish you every possible success in this most worthwhile cause. Thank you so much for joining me here and telling us about your dreams and your plans. 

I look forward to comments from my blog readers: has anyone read a cli fi novel recently? If you have, or know something about the genre that has not been covered here, please share!


Dan Bloom BIO:

Dan Bloom grew up in the Boston area, attended Tufts University where he majored in modern literature and minored in French, and has spent his adult life working as a newspaper reporter, editor and blogger in Alaska, Japan and Taiwan. He is now dedicating his life to promoting the new
literary genre of cli fi and working on it 24/7 from his “office” in a small internet cafe in southern Taiwan (as Dan does not own a computer and never has, describing himself as a Neo-Luddite.)

For readers or media people worldwide who want to contact him, his email at the internet cafe is danbloom@gmail.com and he welcomes all inquiries and in all languages. For more information, visit Dan Bloom’s bog, CLI FI CENTRAL, click here

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Climate Fiction: A Hot New Genre?

Is climate fiction really a hot new genre (no pun intended)? Something remarkable has happened when American colleges start to use climate fiction to teach how to prepare for the coming climate crisis. Expect writers to sit up and listen – especially science fiction writers.
The New York Times recently reported on it (see here) saying classes focus on a “heavy dose of the mushrooming subgenre of speculative fiction known as climate fiction, or cli-fi, novels like Odds Against Tomorrow, by Nathaniel Rich, and Solar, by Ian McEwan.”

Further down in the article, more cli-fi books are mentioned, among them Barbara Kingsolver‘s Flight Behavior, Daniel Kramb’s From Here, Hamish MacDonald‘s Finitude, Paolo Bacigalupi‘s The Windup Girl, Saci Lloyd’s The Carbon Diaries 2015 and more recently The Carbon Diaries 2017 (a British YA book).

Wow! I sat up and listened since my soon to be released Forever Young looked like it might fit the genre. 

Checking around on the Net, I visited Wikipedia’s definition (see here) and discovered that the earliest climate fiction book was The Drowned World published back in 1962 by J.G. Ballard (though it wasn’t Climate Change in this case but solar warming). Here’s the first edition (nice cover!):


I gathered  a slew of interesting articles (see below) and checked Goodreads. I found a whole page there dedicated to so-called “popular climate fiction books” (39 titles so far):

Take note: climate fiction has attracted big best-selling writers like Ian McEwan, Margaret Atwood (who famously tweeted about it), Clive Cussler and Barbara Kingsolver. They have all jumped into the subgenre and some as early as 2009 (in Atwood’s case).

The blogosphere is awash with posts (see below) and there’s one book selling website set up by a British Columbia  “micropress”, the Moon Willow Press, with a green conscience; take a look at their home page:

This site gives an interesting definition of climate fiction: 
“a genre of literature, film and other media that involves climate change fiction, which may be speculative, literary or science fiction”. 

So here we are moving away from the idea that it may be a “subgenre” of science fiction. It is also described as “bendable…not necessarily set in the future nor always apocalyptic”, and Barbara Kinsolver’s Flight Behavior is given as an example (the setting for this present-day story is the explosive invasion of Monarch butterflies into the Appalachian Mountains). 

There is at least one blog fully dedicated to climate fiction  set up by Dan Bloom, a journalist and writer who invented the term back in 2007 (on his blog and in an article in Vice Magazine) – the term was picked up again by reporter Scott Thill in 2010 in Wired.  

Here’s the homepage of Dan Bloom’s Cli Fi Central blog (to visit, click here):

The news reported on that page is of some 6,000 “cli fi” fans meeting in…2058 to discuss climate change! Yes, a little bit of irony doesn’t hurt (but only 6,000? That’s a depressingly small number…) 

Climate fiction is still very new and evolving. Dan Bloom acknowledges this and last summer summed it up neatly in this article about the origins of cli-fi and where it’s going, see here. He notes that cli-fi has recently drawn two stars who met and talked about it at the 2013 Kingston WritersFest: Margaret Atwood on her way to a likely Nobel Prize in Literature and Nathaniel Rich, “a freshman Manhattan newcomer” who’s fast spreading the word about “climapocalypse” to his (30’s) generation.

The news about climate fiction took off when the National Public Radio (NPR) and the Christian Science Monitor used the term – the story then rebounded on the UK Guardian in May 2013 (see Rodge Glass’ article here), and it was picked up by newspaper columnists in Turkey, Sweden, Lithuania, Spain and Italy. Yes, going global! 

The Guardian article got 139 comments, with most approving the birth of a new genre and some objecting that a new term was not needed. The best comment in my view comes from someone calling himself “Keyserling”:

“It’s apparent that “cli-fi” is nothing new, we just have a new buzz-word to describe it. I don’t like the term (my mind associates it with “clitoris fiction”, of the appalling Fifty Shades type). But we do need a new genre.

As the world knowingly embraces climate destruction, and we reap the whirlwind, islands will be lost, coastlines, then streets and cities flooded. Continents may perhaps become lethal or altogether uninhabitable, and eventually, a much reduced mankind may be reduced to living in polar colonies, or on space platforms orbiting our once abundant planet.

As that happens – like a global, inevitable, unstoppable, slow motion car crash – authors will more fully focus on the actual decay and destruction around them, and their observational fiction may not neatly slot into the overcrowded dystopian / apocalyptic / post-apocalyptic genres, alongside Planet of the Apes, Level 7, or The Day of the Triffids, et al.

So yeah, a new genre, to reflect new times. O brave new world!”

And another writer, Joe Follansbee, has come up with “6 rules” for writing climate fiction on his blog; briefly put, climate change has to be the “driving narrative” and it’s not to be confused with a weather event (say a tornado) which is short-term. We are speaking here of long-term climate trends that affect humanity’s future.

But the latest United Nations report on climate change has put a new twist on it: it’s no longer an “exceptional event” that would demand it be stopped but something that humanity has to learn to live with. See this illuminating article in The Atlantic. The idea is that all is not lost, we can adapt to a warming world. 

That seems to put paid to Climate Change as a primary source of high suspense for climate fiction!

I would argue that the demographic explosion, the overwhelming trend towards urbanization and growing socioeconomic inequality are beginning to look like better candidates for suspense – or at least they look like very credible sources of social tension and recurring human-created disasters (e.g. displacement and extinction of species, recurring local wars, smog-caused health emergencies, refugee crises and population displacements, spikes in food prices leading to famines etc etc). 

Add to the mix natural disasters like floods, earthquakes or tsunamis, and an already fragilized socio-political situation could easily get out of hand. 

That is a much more likely future than the one posited by Climate Change alone. That is the future I see in my upcoming book, Forever Young – set 200 years from now. Why 200 years? Because I don’t believe things will come to a head all that soon. People always cry foul and use biblical language to warn humanity of impending doom – a doom that never comes on schedule. Which is why 200 years seemed like a reasonable lapse of time…

And Climate Fiction as a subgenre? I’m not sure it’s headed anywhere…What is very striking is that as a subgenre, it hasn’t developed a recognizable style of book covers. Take a look above at the Goodreads bookshelf. Or take a look at the book covers you find on the Cli-Fi Books site, here are a couple, chosen at random:


Clara Hume’s novel takes the reader “through apocalytpic American after climate change and other ecological disasters have greatly altered the planet”:

But you wouldn’t guess that from the cover, would you?

Do you see any pattern in the design of these covers? Personally, I don’t. They’re nice covers, often with a retro charm (like Clara Hume’s), but there is surprisingly little or no reference to a doomed or threatening future, which is the least you would expect.

What do you think? I tend to believe that climate fiction might possibly merge into the “hard science fiction” genre (see here) which is based on scientific accuracy, i.e. on the best informed guess about where we are headed…At least “hard” sci fi covers have a distinct sci-fi flavor, see here for an early book in the genre:

First edition (published in 1970)

But the latest best-seller in the genre, Hugh Howey’s WOOL, certainly sports a rather bizarre cover that is a radical departure of the “classic” science fiction genre:

 
So it looks like the reverse might be happening: “hard” science fiction is merging into climate fiction… 

Perhaps this is not as far-fetched as it sounds. Some people are convinced that climate change is “the hottest thing in science fiction”, as Dave Burdick put it (see here, on Grist) and he reports the interesting observation made by Csicery-Ronay, an English professor at DePauw University in Indiana and co-editor of the journal Science Fiction Studies: “Cli-fi is getting some interest from folks who are not necessarily interested in science fiction.”

I’m very happy to hear that. Because climate fiction is not a silly fantasy. Because the whole point of it is to make us think seriously about the future of humanity and where we’re going…

One thing’s for sure: climate fiction sells as it attracts more and more people beyond strict science fiction fans. An example? Knopf’s recent acquisition of Paolo Bacigalupi’s new novel The Water Knife, to be released next year, see here (before that he was with a small press). Following on his success with the Windup Girl (200,000 copies sold), the editor at Knopf is convince his new novel is set to attract a “cross over audience” beyond Bacigalupi’s “core readers”.

Hey, are you ready for climate fiction? I know I am!

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