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Call for Short Stories: Our Entangled Future

Here’s an exciting new call for submissions from the UiO (University of Oslo) Department of Sociology and Human Geography:

Attention writers and humanities researchers: this is a call for narratives that bring us closer to the potentiality of the present and activate “the politics of the possible” in our changing climate. Twelve stories will be selected for publication in the Our Entangled Future anthology. We welcome your words, your “new ontological metaphors”, your not-yet-here imagined realities.

The three most compelling stories about quantum social change will receive awards of EUR 1000, EUR 750, and EUR 500. The most promising stories will be edited by renowned author, editor, and writing teacher Jordan E. Rosenfeld (http://jordanrosenfeld.net/about/). 

Click here to learn more.

EXTENDED DEADLINE: February 1, 2019

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Book Review: Fracture: Essays, Poems, and Stories on Fracking in America, co-edited by Stefanie Brook Trout and Taylor Brorby

Reviewed by Lucia Hadella in partnership with Oregon State University’s Spring Creek Project and Environmental Arts and Humanities program.

How does one go about telling the story of hydraulic fracturing in the United States in a way that illuminates its repercussions for humans and nonhumans? Through poetry? A short story? An essay? Does one travel to a town where fracking is prevalent and talk with its residents, see the operations, walk across the scarred ground? Editors Stefanie Brook Trout and Taylor Brorby made the decision, when putting together Fracture, to include all of these approaches in an effort to capture the qualms and indignations surrounding fracking.

The story of fracking is globally relevant, contributing to the larger saga of climate change and energy production, but it is also local, personal, and intimate. In her poem “Small Buried Things,” poet and singer-songwriter Debra Marquart writes to fracking states, such as North Dakota, with a warning and a plea. Highlighting the sacrifice of life-sustaining water and air for the quick returns from fossil fuel development, she writes, “more oil than we have water to extract / more oil than we have atmosphere to burn.” Addressing her home state, she urges, “north dakota   dear sleeping beauty   please, wake up / they have opened you up and said, come in   take everything.”

I first learned about fracking during my senior year of high school, and I can still remember those infographics depicting the cracks that spread through the shale layer, sometimes more than a mile below the Earth’s surface, branching like a system of roots where trees will never reach. I remember the video of a woman in Pennsylvania turning the knob to her kitchen sink, lighting a match, and flinching as the water ignited with a flash. She talked about methane levels, about getting dizzy in the shower, about the money the gas companies gave her to lease her land for drilling. As an Oregonian who had not witnessed fracking firsthand, my schooling on the subject was important but incomplete.

Indeed, one can only learn so much about fracking by watching videos and studying diagrams. A collection like Fracture helps to humanize the on-site damage done by fracking and offer a more complete look at the political and economic forces at play. In order to gain insight for his Fracture contribution “The Occupation,” writer and professor Paul Bogard traveled to southeastern Ohio to better understand how communities there are affected by natural gas extraction. “What I saw in Ohio,” he writes, “is a land under occupation.” Between the “ubiquitous tankers labeled ‘brine’” and the “constant industrial noise, like a factory’s churn and whine,” Bogard quickly determines that the real-life fracking scene is far different from that described by the oil company Halliburton.

Fracking wastewater pond, courtesy of the Filmmaker Fund

On their website Halliburton depicts fracking operations as quick, quiet, and safe. Advertising to communities made vulnerable by poverty and limited access to education, the company downplays the environmental disruption and chemical contamination while emphasizing opportunities for job growth and “easy money.” Bogard learns from his hosts, Appalachia locals, that the oil and gas companies first try to coax landowners into signing leases, and then they revert to divisive tactics if that doesn’t work, “turning neighbor against neighbor.”

Like so many other contributors, Bogard’s narrative style entices Fracture readers, and I found myself roped in by the human intrigue of his journalistic approach—and then I remembered that these disturbing stories are real. The threatening industry representatives, the landowners who are duped and coerced, and the ground that “has the look of a recent battle, torn up and scraped bare, all yet to heal” comprise the reality right now in many towns across the nation. It seems appropriate that some authors in Fracture chose fiction as their avenue for exploring a practice whose implications for the future are both significant and unknown. The subject is heavy, and it tugs at the imagination, demanding an explanation and a way to look forward for what actions must be taken.

This heaviness is the reason why Fracture, which reads smoothly from page-to-page, author-to-author, and genre-to-genre, is also demanding. It requires from its readers a degree of empathy and self-reflection, all the while provoking frustration with a larger system that allows and perpetuates suffering at the hands of power. In her essay “The View from 31,000 Feet: A Philosopher Looks at Fracking,” nature writer and philosopher Kathleen Dean Moore stares down at an eastern Utah landscape speckled with fracking wells. From her seat in the airplane she wonders, “By what right do humans take what they want from the land—not just what they need, but whatever they want—with no regard for the living, animate community that already exists in that place?”

Indeed, some Fracture contributors, such as Moore, take their discussions beyond fracking, seeing the practice as one component of a broader system of resource exploitation in the name of growth, convenience, and progress. In his essay “Insanity,” activist and philosopher Derrick Jensen examines fracking as one part of a dominant culture obsessed with growth at any cost. He reminds readers that “[f]racking is not one lone mistake. It’s not one lone act of greed. It’s part of a larger pattern. It’s one symptom of the disease—the insanity—that is this culture.” He urges readers to fight fracking with this larger picture in mind and to understand that what is needed in taking action against fracking is a systemic shift and not one that views the extractive practice in isolation.

And indeed, Fracture is a call to action. In fact, it comes complete with several guides on how to take charge against fracking. In “A Feminist’s Guide to Fighting Pipelines,” activist-publisher Ahna Kruzic and sociologist Angie Carter share sage advice on getting started, building community, moving forward, caring for oneself, and adhering to radical imagination. I will leave you with their words as a gesture of resistance: “Trust that through the undoing, the dismantling, the collapse, we will learn to remake and will remember to question, to honor, to debate and disagree and come together again.”

Lucia Hadella grew up in Talent, Oregon. She received her B.S. in Natural Resources from Oregon State University, where she is currently earning an M.A. in Environmental Arts and Humanities.

Fracture: Essays, Poems, and Stories on Fracking in America

Ice Cube Press

Read and share your own thoughts on the Center for Humans and Nature’s Questions for a Resilient Future Series: Does fracking violate human rights?

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Submission window is now open for the 4th annual Siskiyou Prize for New Environmental Literature

Now in its fourth year, The Siskiyou Prize for New Environmental Literature is now open for submissions of published and unpublished manuscripts, including novels, memoirs, short story collections, and essay collections..

The 2017 prize will be judged by New York Times bestselling author Jonathan Balcombe.

The winner will receive a cash award of $1,000 and a four-week residency at PLAYA. The submission deadline is September 30, 2014. For complete writers’ guidelines, click here. All unpublished manuscripts entered for the Siskiyou Prize will be considered for publication.

New environmental literature” refers to literary works that focus on the environment, animal protection, ecology, and wildlife. The prize seeks work that redefines our notions of environmentalism and sustainability, particularly when it comes to animal protection. The award isn’t for books about hunting, fishing, or eating animals—unless they are analogous to a good anti-war novel being all about war. Under these basic guidelines, however, the prize will be open to a wide range of fiction and nonfiction with environmental and animal themes.

The Siskiyou Prize is named for the Klamath-Siskiyou region of northern California and southern Oregon, one of the most diverse eco-regions in the world. Considered a global center of biodiversity, the Klamath-Siskiyou region is an inspiring example of the importance of preservation.

For more information, click here, or visit the Ashland Creek Press submissions page.

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Book Review: Fragment

You may have read that in mid-July a massive iceberg broke off from Antarctica’s Larsen C ice shelf. Measuring about 2,000 square miles—nearly the size of Delaware—it is one of the largest icebergs ever to calve from the ice shelves ringing the continent. Scientists expect that it will eventually fracture, with some pieces remaining in the Weddell Sea and others moving into the Atlantic Ocean. They don’t expect the pieces will pose any danger nor do they anticipate sea level rise should they melt. But what if, rather than an iceberg splintering off an ice shelf, the continent’s largest ice shelf, itself, a land mass the size of France, were thrust into the ocean? How much global devastation might result from an event of that magnitude?

For the answer, look to Craig Russell’s fast-paced eco-thriller, Fragment. When the novel begins, a glacial avalanche severs the Ross Ice Shelf from the continent and creates a tsunami of ice that destroys two polar research stations, Scott Base and McMurdo Station. “The wave is not a perfect line,” writes Russell. “It is the product of four, falling, runaway glaciers, thrust like goring bulls into the Ice Shelf’s back…shards of surface ice are launched ahead of the onrushing swell. Launched like harpoons, catapulted forward at the speed of sound.” Only three people survive the onslaught: a polar climatologist, an astronomer, and a marine biologist.

Fragment is their story, but not theirs alone. The novel is driven by an ensemble cast that includes sailors aboard a U.S. atomic submarine, journalists, climate-change denying politicians, a self-promoting marketing director of a major cruise line, a Scottish sailor literate in the wild waters of Drake Passage, and a blue whale named Ring. All (of the human characters) are trying to make sense of what the ice shelf’s surge into the Atlantic could mean for coastal countries, and some are warning of the epic environmental and human carnage to come. It will be no surprise to readers that these warnings fall on proverbial deaf ears. Says a German scientist at a hastily-called European conference, “Such examples are imaginative, but we must not inflame the passions of the public…we must take a balanced view. We cannot simply adopt an alarmist view.”

In this climate change allegory, characters are somewhat thinly drawn in background, if not environmental outlook. Readers will quickly distinguish between those who are noble—who respect earth and all her inhabitants—and those who are selfish and scornful of nature. This lack of complexity in character development combined with short chapters that jump among settings, pitch the action of the story forward at a steady, page-turning clip. Fragment is hard to put down.

Perhaps the most compelling character in the novel—and certainly the purest of heart—is the blue whale, Ring. When the scientists who survive the Antarctic tsunami develop a language that makes communication with Ring possible, what follows is inter-species cooperation unlike the world has ever seen.

Fragment leaps so seamlessly from fact to fiction that it may drive readers to their computers or smart phones to find out where exactly fact ends and fiction begins. That’s how well-researched and executed I found Craig Russell’s eco-thriller.

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Book Review: South Pole Station

Ashley Shelby’s debut novel, South Pole Station, takes readers to the bottom of the earth for a wry, multi-layered story that tightly packs art, science, polar history, climate change, politics, humor, and human relationships into a vivid tale of courage and redemption.

The novel’s central character is thirty-year-old Cooper Gosling, whose life has hit its nadir. Cooper’s art career is going nowhere, her relationship with her parents is strained, and her twin brother’s suicide has left her emotionally unmoored. Seeking something—there’s an ambiguousness to what that might be—Cooper applies to the National Science Foundation’s year-long Artist & Writer’s Program at Amundsen-Scott South Pole Station, “the most remote research station on the planet.” (Vetting includes 500 questions—a “pelvic exam of the mind,”—that includes such queries as “How many alcoholic drinks do you consume a week? A day?” and “Would you rather be a florist or a truck driver?”)

At the station, Cooper establishes an easy camaraderie with her fellow “Polies,” an eclectic group of scientists, support personnel, and artists whose defining characteristic is that they “don’t fit in anywhere else.” This commonality of sorts is what sustains the station’s fragile ecosystem. But cracks begin to emerge following the arrival of Frank Pavano, a scientist in the pocket of climate change-denying politicians and their allies in the fossil fuel industry.

Pavano’s presence at Amundsen-Scott—he’s out to prove global warming is a hoax—infuriates the station’s scientists and puzzles many of the non-science personnel, including Cooper, who befriends Pavano, and Pearl, a cook with Machiavellian ambition. When the scientists seek to undermine Pavano’s every activity, Cooper agrees to travel with him to the “ice-coring camp,” on the fringe of the polar outpost. It’s there that a freak accident will change Cooper forever, imperil the station, and ignite a global controversy.

This climate thread, one of many plot lines woven into South Pole Station, is what givethe novel its tension and an unexpected timeliness. (The book is due out in July.) In a recent article for Slate Shelby writes:

In 2010, I began work on a novel set in a time I was certain would be looked upon as one of the most embarrassing periods of the climate change “debate”: the George W. Bush era. The novel, set at South Pole Station and the West Antarctic Ice Sheet, … is, in part, a dark comedy, and it was a fun story to write—mostly because Obama was in office and the absurdities of politicians trying to legislate climate change out of existence had begun to fade away.

But as the opening scenes of the Trump era began to play out, these gremlins are springing back to life.

How much will Trump’s withdrawal of the U.S. from the Paris climate accord and his administration’s claw back of Obama-era environmental regulations energize “these gremlins”? How much might they slow, or even reverse, progress made over the last decade? My hope is very little. But “hope,” as Shelby sees it, is, ironically, what climate deniers often prey upon. Thus, this exchange between Cooper and two scientists—Sal and Sri—following a well-attended climate lecture by Pavano:

“No, she’s right,” Sal said, still looking at Cooper. “Pearl is the test case. She was buying last night. She was feeling guilty about participating in a consumer economy that is leading to the destruction of the earth. Remember what she said? ‘I don’t want the earth to be warming.’”

“So? None of us do,” Sri said.

“But when Pavano told her it wasn’t, she said that made her feel better. She was relieved. Pavano gave her the out she was looking for.”

“Pearl is Everywoman,” Cooper said, through a mouthful of pancake.

Sri looked from Sal to Cooper and back again, his black unibrow furrowed. Suddenly, his eyes widened. “And it took Pavano two-thousandths of a second to plant doubt in Everywoman’s brain.” He stared at the wall. “Shit. People are dumb.”

“Pearl’s not dumb,” Cooper said…

“The problem isn’t brain power,” Sal said. “It’s hope. They’re hopeful. Deniers provide hope. We don’t. We’re doom and gloom, and that’s what makes it so easy for Pavano to convert.”

Shelby likely didn’t intend for South Pole Station to be a call to action, but in the age of Trump it may become one. That would be a good thing. But I’d be remiss not to emphasize that South Pole Station is a solid read for any era. Shelby’s quick wit and journalistic eye for detail ground a story that will appeal to readers of environmental literature, polar enthusiasts, and anyone who loves a story with complex, quirky characters and a compelling plot.

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