Friday, December 9, 2016

An interview soon

Literary Hub is an organizing principle in the service of literary culture, a daily source for news, ideas and richness of contemporary literary life. 

There is more great literary content online than ever before, but it is scattered, easily lost — with the help of its editorial partners, Lit Hub is a site readers can rely on for smart, engaged, entertaining writing about all things books. Each day — alongside original content and exclusive excerpts — Literary Hub is proud to showcase an editorial feature from one of its many partners from across the literary spectrum: publishers big and small, journals, bookstores, and non-profits.

Literary Hub Partners

City Lights · Knopf/Vintage · Book People · Publishing Genius · PANK · Argos Books · A Public Space · Little, Brown and Company · BookCourt · FSG · Slice Magazine · Story Magazine · Parnassus Books · BOMB · Ecco · Post Road · Algonquin · Scribner · Tattered Cover · W. W. Norton · Politics and Prose · New Directions · Penguin Press · FENCE · Brazos Bookstore · Conjunctions · Malvern Books · AGNI · Bloomsbury · Green Apple Books · Ugly Duckling Presse · Harvard Bookstore · Penguin Books · Skylight Books · Square Books · PEN America · Riverhead · Newtonville Books · The Paris Review · The Strand · Akashic · Melville House · Archipelago · Book Passage · n+1 · Soho Press · McSweeney’s · Powell’s · House of Anansi · The Last Bookstore · Graywolf · Books Inc · Tin House · Seven Stories · Community Bookstore · Poetry Magazine · Europa Editions · Coach House Books · Catapult · Unnamed Press · ZYZZYVA · Other Press · Books and Books · Albertine · Brookline Booksmith · Gigantic Sequins · Stonecutter · Trnsfr · DIESEL Bookstore · The Common · Spotty Dog Books · Bellevue Literary Press ·  New Vessel Press · Houghton Mifflin Harcourt · Civil Coping Mechanisms · Simon & Schuster · Housing Works Bookstore Cafe · Narrative Magazine · The Kenyon Review ·  The New Press · Creative Nonfiction · Tyrus Books · Semiotext(e) · Agate · Rain Taxi · Unbridled Books · The Literary Review · The Lifted Brow · Crown · Hogarth · University Press of New England · Los Angeles Review of Books · Dzanc Books · Brevity · Arsenal Pulp · Deep Vellum · Public Books · Fact & Fiction Bookstore · Chapter 16 · New England Review · Kramerbooks · Apogee · Porter Square Books · The Loft Literary Center · The Writers’ Union of Canada · The Attic Institute · PEN Center USA · Lazy Fascist · Litquake · Restless Books · Asian American Writers’ Workshop · The Iowa Review · BookPage · Nouvella · Belladonna Series · Henry Holt and Co. · Open Letter · Kirkus Reviews · Basic Books · Da Capo Press · PublicAffairs · White Square Books · Seminary Co-op · Kepler’s Books · Magers & Quinn Booksellers · Coffee House · Trident Booksellers & Cafe · Greenlight · WORD · NY Tyrant · St. Mark’s Bookshop · Elliott Bay Book Company · Three Lives · Fountain Bookstore · National Book Foundation · Milkweed Editions · The King’s English · Riverbend Books · Feminist Press · Princeton Architectural Press · The American Scholar · NYRB · Joyland · Future Tense Books · George Braziller · Quercus · Music & Literature · St. Martin’s Press · Harper Perennial · Third Place Books · Random House · Spiegel & Grau · Papercuts J.P. · The Short Story Project · Pelekinesis · The Masters Review · The National Book Critics Circle · Writer’s Block Bookstore · Consequence Magazine · Fjords · Augury Books · Brick Magazine · Atticus Books · Community of Literary Magazines and Presses · Small Press Distribution · Seattle Arts & Lectures  · Sarabande Books · The Critical Flame · Asymptote · The James Franco Review · VIDA · Ecotone/Lookout · The Scofield · The Song Cave · The Buenos Aires Review · House of Speakeasy · The Point Magazine · The Story Prize · Kill Your Darlings · The Times Literary Supplement · Pegasus Books · Emily Books · Blue Rider Press · Riot of Perfume · Littsburgh · IG Publishing · Little City Books · Forest Avenue Press · Small Beer Press · Penn Book Center · Talonbooks · Beacon Press · Prospect Park Books · Phoneme Media · The Southern Review · Consortium · Hub City Writers Project · The Massachusetts Review · American Short Fiction · And Other Stories · Blue Willow Bookshop · Heffers Bookshop · Book Culture · Bunch of Grapes Bookstore · Morganbladet · Full Stop · The Gettysburg Review · Montez Press · The Missouri Review · Faber & Faber · Icon Books · Entropy Magazine · Overland Literary Journal · The Baffler · Transit Books · Bookforum · The Wild Detectives · Towne Center Books · Big Blue Marble Bookstore · University of Minnesota Press · Lavender Ink · Paper Brigade

Novelist Jeff Vandermeer writes this week: ''When I say, at global warming conferences, or on panels, "we may only have 30 years before things get really bad" a certain number of people push back against that, saying "no, that's not going to happen." But without any evidence to support that assertion. And I'm beginning to think that even though these folks say they believe in global warming, they really don't. They're really global warming deniers, to dismiss the probability. The other thing I'm seeing is people who jump on the environmental bandwagon to promote whatever their pet cause is...but who clearly don't give two shits about the environment. So I'm taking a harder line on all of this going forward.''

Novelist Jeff Vandermeer writes this week:

''When I say, at global warming conferences, or on panels, "we may only have 30 years before things get really bad" a certain number of people push back against that, saying "no, that's not going to happen." But without any evidence to support that assertion. And I'm beginning to think that even though these folks say they believe in global warming, they really don't. They're really global warming deniers, to dismiss the probability. The other thing I'm seeing is people who jump on the environmental bandwagon to promote whatever their pet cause is...but who clearly don't give two shits about the environment. So I'm taking a harder line on all of this going forward.''

UPDATE: When someone asked Jeff what he meant by "taking a harder line on all this going forward, he replied:

 ''Oh - - well, first of all addressing some of this in the book on storytelling and global warming that I'm writing -- and challenging that on panels and re other events.  [He is hoping to finish that global warming book by the end of 2017.] He added: "I'm still working on a post about activism because I want to get it right."] But I'm still spending the next month thinking through every aspect of what I plan to say and do on these issues.''

A writer in Australia replied: ''I try to focus on the possibilities for change, partly because I feel we disempower ourselves by giving into despair, but I increasingly find myself wondering whether that isn't simply a form of denial. Because the reality is so horrific it's difficult to believe we could turn it around even if we wanted to (and the reality is most people don't).''




Said another commenter: "Speaking of Australia, one of the best but largely forgotten fictional near-future books on the potential effects of global warming and sea level rises was the rather prescient "The Sea and Summer" (1987), set in Australia, and written by George Turner (an Australian author), published in the US as "Drowning Towers" (1988)
 
To which an Australian with a new cli-fi novel comiong out soon replied: "O yeah, read that one. Horribly, horribly prescient."
 
Another commenter added: "30 years is generous. I suppose it's a question of what 'really bad' is."

And JVM added: ''Honestly, the odds are that we're all already dead. I mean, I don't want to be too depressing, but to me the choices we make in fighting now are not about us surviving but about the planet and about our grandchildren possibly surviving. And because it's the only ethical and moral thing to do.''






Oscar winner director Paul Haggis (''CRASH'') Plans to Write Script and Direct a Cli-Fi Feature Movie titled 'Ship Breaker' adapted from Paolo Bacigalupi YA series of three novels: SHIP BREAKER, DROWNED CITIES and TOOL OF WAR


 
 
 
 
Paolo bacigalupi 2012.jpg
Paolo Bacigalupi at the 2012 Texas Book Festival
Born(1972-08-06) August 6, 1972 (age 44)
Paonia, Colorado, USA
 
Paul Haggis Discussed a Possible Cli-Fi Feature titled 'Ship Breaker' with Hollywood Reporter columnist Nick Holdsworth at an overseas film festival -- in Morocco at the Marrakech Film Festival -- that he plans to write the script and shoot it. Dates not verified and release date not certain yet. 2020? 2025? Hollywood projects take time, sometimes 5 to ten years.
 
At the film festival, Paul Haggis talked about adapting 3 YA books by Paolo Bacigalupi. but he said while two have been published already, SHIP BREAKER and DROWNED CITIES, the third novel is the series, TOOL AT WAR,  is yet to come out.
 

Haggis  did not actually mention making 3 separate movies - so it might be one YA cli-fi movie based on the three part series and titled SHIP BREAKER. More news will come out later from Paolo's camp.

Will the movie he makes be a cli-fi movie,  as a subgenre of sci fi? Probably, but only in so far as the post-pocalyptic world is post-ice cap melting. Call it sci fi, cli fi, whatever. Again, the studio will decide now to label and market and promote the movie to as wide an audience as possible.

Haggis did not want to go into specifics about new projects, but when he was talking to the HR reporter about his personal interest climate change, he revealed the details about SHIP BREAKER adaptation.
No idea on release date yet.

Would Paul Haggis call the movie he plans to write and direct based on SHIP BREAKER a cli-fi movie? We will have to wait and see what the PR and marketing team do with it in the future, it's up to the producers and the PR people. One suspects that Haggis sees this SHIPBREAKER project as a good story that is in his area of interest. The story is all.
 
The Oscar-winner will write and direct a film adaptation of Paolo Bacigalupi's novel set after the melting of the polar ice caps.
   
Paul Haggis revealed details of his adaptation of post-apocalyptic young adult novel Ship Breaker.

The book, the first of three in a series by American author Paolo Bacigalupi, is set in a future after the polar ice caps have melted and major cities have disappeared beneath rising sea waters.

Haggis, who has won Oscars for both directing (Crash) and writing (Clint Eastwood's Million Dollar Baby), explained to The Hollywood Reporter he had been attracted by the project  because it involved environmental and ecological topics.

"The books are set hundreds of years in the future, after civil wars, after the ice caps have retreated and the world is populated by people who know nothing of our times," he said.

"I liked the idea that you could take that idea [of a post-apocalyptic world ignorant of the 21st century] and explore hopes and fears through that."

Haggis, who was talking in Morocco at the Marrakech Film Festival, where he gave a master class, said that being able to obliquely explore themes that touched on global warming and environmental destruction was one reason the project caught his eye.

"Climate change is a concern of mine, and taking on a film that is not just a narrative about that is attractive," he said, adding that tackling weighty subjects directly does not always work.

"I made that mistake in [2007 crime thriller] In the Valley of Elah — although I think it is one of my best films — but at that time, no one wanted to see it. They did not want to talk about issues that were too powerful at the time."


NOTES:

Ship Breaker will be produced by Far East, set up by producer Philip Lee (The Revenant, Assassin's Creed, Cloud Atlas) and his partner, Hollywood financier Markus Barmettler. Co-founded with Lee's longtime producing partner Markus Barmettler, Facing East is currently producing Peter Segal’s sci-fi action title Inversion, scripted by Paul Haggis. The firm is also developing another project, Shipbreaker, based on the award-winning YA book by Paolo Bacigalupi, which will also be scripted by Haggis, who will direct the project. The company has also partly financed Terrence Malick's Radegund, which is slated for a 2018 release.
 Philip Lee

===========

MORE:

Paul Haggis’ ''Ship Breaker'' Sounds Like It’s Going To Be A Massive, Cli-Fi Thriller



Paul Haggis Ship Breaker


Conner Schwerdtfeger  writes:

Few film categories have become more densely populated in recent years than the Young Adult genre. Seriously, we can only watch the same, sanitized, dystopian world before all of these films start to blend together. It's a hard world to stand out in, but that's exactly what Paul Haggis intends to do. The legendary director recently opened up and provided some insight into his upcoming adaptation of Paolo Bacigalupi's Ship Breaker YA series, and it sounds like it's going to be one of the most intense YA adaptations ever.

Director Paul Haggis recently spoke to Nick Holdsworth at the THR in Morocco and provided more information regarding his upcoming adaptation of Ship Breaker. It seems that he found himself drawn to the film project   because he wanted to take on a project that would take a hard look at environmental issues and the topic of global warming. At its core, the story of Ship Breaker centers on a future version of human society that has no real knowledge of the events of the 21st century, and such an idea resonated with Haggis and his concerns about these real world issues.

The overarching premise of the Ship Breaker story sounds far more intense than the average YA adaptations that we typically see these days. Taking place hundreds of years in the future, the story centers on a dystopian version of our world in which global warming has wreaked havoc on the environment. Sea levels have risen due to shifts in worldwide temperature, and major cities have vanished as a result of rising sea levels. The story follows a young boy named Nailer who tries to survive by scavenging derelict ships for supplies, while also coping with an abusive, alcoholic father at home.

For Haggis, the ultimate appeal seems to be the opportunity tackle a story about major ecological issues in a way that audiences might actually respond to. This isn't his first foray into the realm of topical drama -- his wholly underrated 2007 film, In the Valley of Elah similarly took a hard-hitting look at the mentality of soldiers returning from Iraq -- but he thinks Ship Breaker could really be a chance for him to frame this particular issue properly.

What makes the prospect of a Ship Breaker film so interesting is the fact that it's a generally much darker cli-fi story than the average YA adaptation. Sure, projects like The Hunger Games and The Maze Runner broach some dark topics, but Ship Breaker is one of the darker Young Adult novel series in recent memory. Much of this has to do with the fact that writer Paolo Bacigalupi is actually known for writing adult oriented material, and Ship Breaker represented his first major foray into the YA world.

CinemaBlend's Conner Schwerdtfeger   will bring you any and all relevant details related to Paul Haggis' upcoming Ship Breaker adaptation as more information becomes available him. At this point only one thing is certain: Ship Breaker could be exactly what the Young Adult genre needs right now. Although the movie probably won' hit movie theaters until at least 2020.
 

Tuesday, December 6, 2016

Ian Woollen's new cli-fi novel puts a tragicomic spin on the life of John Muir in "Muir Woods or Bust" [to be published in July 2017]


Ian Woollen
Ian Woollen. Photo by Adam Kent-Isaac

FAMOUS IAN WOOLLEN QUOTE: "I grew up in Kurt Vonnegut’s house in Indianapolis. Vonnegut came back to visit a couple times when I was a kid. My dad was an architect (like Vonnegut’s dad) and, on one of the visits, my father apologized to Kurt for eliminating the master bedroom upstairs in order to create a two-story living room. Vonnegut said, “Don’t worry. I heard so much fighting between my parents coming from that bedroom that I’m glad it’s gone.”

Woollen, a psychotherapist when he’s not writing, moved to Bloomington with his wife in 1986 so she could pursue a music degree. “We’re the proverbial graduate students who never left,” he once told a reporter there, smiling. “There are still things I’m discovering about Bloomington.

“As you can tell, I’m very attached to Indianapolis stories,” he added. “Place and story are intimately connected. If you have a strong feeling for a place, you can’t go wrong.”

Ian was diagnosed with throat cancer in 2009. A week after receiving the news, he started writing a novel titled Uncle Anton. “It helped me stay focused,” he told a reporter in Indiana. “It gave me something to think about rather than cancer. I’m [seven] years out now and all clear.”

Ian was born and raised in Indianapolis, Indiana. Going off to boarding school at age 14, he later graduated from Yale University and Christian Theological Seminary. His job history includes house painter, furniture stripper, script reader, psychotherapist. And novelist!
 
 
 
 
This blog's blurb for the novel:
 
This is a tragicomic cli-fi novel about a pivotal episode in life of the famous American environmentalist John Muir. In the 1860s, Muir had abandoned his interest in 'nature' and started a career in 'industry.' But a fateful on-the-job accident led to his return to his original calling. This book puts John Muir in a very new light!  

-- Dan Bloom, The Cli-Fi Report

=====================


Short blurb:


This tragicomic cli-fi novel about a pivotal episode in the life of environmentalist John Muir puts the American icon in a startling new light!
 
-- Dan Bloom, The Cli-Fi Report 
 
===========================
 
BACKGROUND INFO:
 
A cli-fi novel about John Muir titled "MUIR WOODS OR BUST"-- written by Indianapolis novelist Ian Woollen and set for  a July 2017 release date by Coffeetown Press in Seattle

Here's some background info:

 

It's a relatively short book  (weighing in at around 52,000 words) and Coffeetown Press in Seattle will publish the novel in July 2017. 
 
A central focus of this novel is the critical self-blinding episode in John Muir's life, at his factory job in Indianapolis in 1867.
 
At that time in his life, Muir, abandoning his interest in nature, had embarked on a career in industry. His recovery from the accidental blinding restored his vision of his true self and his environmentalist calling. His pivotal, fork-in-the-road experience mirrors industrialist America's self-blinding, too. 

Another sub-plot (in the present time) involves a psychotherapist abducted by a client. And the overlap between psychological and environmental health. The psychotherapist has developed a new diagnosis: ''Eco-Mood Disorders.''
 
Above, top of the page, is a tentative mock-up for the cover, which hints at the tragi-comic flavor.

NOTES:

Born in Scotland in 1838, John Muir came to the United States with his parents at age 11, where he grew up on a farm in Wisconsin. Life on the farm was difficult, but the surrounding woods and fields provided Muir with an escape. He was an inventor who won prizes at the state fair and earned good grades at the University of Wisconsin. In 1867, however, following an industrial accident that left him temporarily blind in one eye, Muir decided to leave the world of mechanized society.
As later described in A Thousand-Mile Walk to the Gulf, the 10th of Muir’s dozen books, he began this new life in nature by walking from Indiana to Florida. From there he traveled to Cuba and Panama, then crossed the Isthmus and sailed north to California. In 1868, when he entered the Sierra Mountains and what would become Yosemite National Park, Muir found the region of his dreams.

Extolling the natural beauty of this area, Muir became America’s most famous and influential conservationist. In 1892 he and his supporters founded the Sierra Club, which he served as president for the rest of his life, “to do something for wildness.” His books like The Mountains of California (1894) and Our National Parks (1901) attracted the attention of President Theodore Roosevelt, among others, who after meeting Muir was inspired to promote a wide range of innovative conservation programs for America.

Other books like The Yosemite (1912) and Travels in Alaska (1915), plus hundreds of magazine articles, continued to describe the importance of what was then a unique idea, that of protecting our natural resources. Muir — personally involved in the creation of Yosemite, Sequoia, Mount Rainier, Petrified Forest, and Grand Canyon National Parks — became known as ‘the Father of our National Parks,’ and the ‘wilderness prophet.’ He called himself ‘a Citizen of the Universe,’ and urged people to “Climb the mountains and get their good tidings.”

MORE NOTES:

Ian Woollen


IMG_2354

 
EVEN MORE NOTES:

Stephen J. Taylor in Indianapolis writes:

John Muir’s Vision Lost and Found

http://historicindianapolis.com/misc-monday-john-muirs-vision-lost-and-found/

 
Stephen J. Taylor grew up in Terre Haute, earned a Master's in Folklore at the University of North Carolina-Chapel Hill, and currently lives and writes in Indianapolis, where he's hot on the trail of under-reported Hoosier history and local lore. He also writes for Hoosier State Chronicles at the Indiana State Library and formerly worked for Ancestry.com at DePauw University in Greencastle.

Twitter 0 Facebook 0 Google+ 0


LinkedIn 0 Share0 Email -- Email to a friend 0 Flares ×
nypl.digitalcollections.510d47d9-bafb-a3d9-e040-e00a18064a99.001.w
The great naturalist John Muir lost his sight in an industrial accident in Indianapolis in March 1867. (Courtesy New York Public Library Digital Collections)


Mystics and scientists alike have often found that there’s a strange algebra to the universe.  From tiny cosmological beginnings, we have the immensity of all that is, says the Big Bang Theory.  A host of old creation stories concur.

In the history of the American environmental movement, one of the original “Big Bang” events — the puncturing of John Muir’s right eye by an awl, which caused him to temporarily go blind in both eyes — happened at a factory on Indianapolis’ Old Southside.  Though this was the most frightening and soul-shattering event in the young Muir’s life, somewhere in the weird matrix of fate, we can trace the survival of California’s Yosemite Valley and Muir’s deep love for the high Sierra Nevada, for the beauty of rocks and redwoods, to the intense crisis he underwent after that terrifying accident in Indiana in 1867.

Born thirty miles east of Edinburgh on Scotland’s southeastern coast in 1838, Muir was the third of 8 children.  Given an intense and very Scottish religious upbringing — what environmental historian Mark Stoll calls the “hard and humorless religion” of his father Daniel — he eventually memorized most of the Old Testament and all of the New.  In later years Muir departed from his evangelical background and proclaimed a “wilderness gospel,” but his strict Presbyterian roots were critical to him, if for no other reason than that his father, finding the Church of Scotland not strict enough, moved the family in 1849 to the wilds of frontier Wisconsin.  Muir grew up in rural Marquette County, a few miles east of Portage, in a community of fervent Campbellite Presbyterians intent on restoring primitive Christianity.

He spent his teenage years almost at civilization’s edge:  the family had settled in Wisconsin just a year after it became a state.  Raised on the 160-acre Fountain Lake Farm (today a National Historic Landmark), the young Scottish immigrant grew to love the glacial lakes, meadows, and forests of the amazing Wisconsin wilderness.  During long, dark winter nights, when he wasn’t developing his love for nature or reading Romantic poetry, he turned to mechanical invention, building — with no technical training at all — an incredible series of clocks, thermometers, a barometer, and other devices.  In 1860, without his father’s blessing, the 22-year-old moved to Madison to enroll in the fledgling University of Wisconsin.
 
Muir's clock 2
Muir’s alarm clock and study desk was connected to a collapsing bed, which slid him to the floor while lighting a lamp.  “After a few minutes allotted for dressing, the desk then began ejecting and retracting Muir’s books following a pre-set schedule of time allotted to each subject.” (Photo Stephen J. Taylor)
 
Once there, Muir continued to hone his skills as a mechanic while also getting his first introduction to geology, natural philosophy, and the writings of the American Transcendentalists, like Emerson and William Ellery Channing, who enriched his views on both religion and science.
He also kept on building clocks.  Muir’s growing technical aptitude — the source of his fateful encounter with Indianapolis — led him to create two of the most interesting time-keepers ever made.  Built just at the outbreak of the Civil War, his impressive combination alarm clock and study desk survives and is on display at the Wisconsin Historical Society on the UW campus.  One of Muir’s designs was a folksy “scythe clock,” combining a pendulum with wheels, arrows and the long field knife that farmers once mowed hay with.  At the Wisconsin State Fair in 1860, he displayed some of these fascinating contraptions to many admirers.
When his brother Daniel fled to Ontario to escape the Civil War draft, Muir followed him, working in a Canadian sawmill and rake factory in 1864-65.  One of the great “temptations” of the future conservationist’s life was to settle down and work at mechanics, which he considered a service to humankind.  But when the Ontario mill burned down in 1866, Muir headed back to the United States.
John Muir ca 1860
A young John Muir in the Badger State, circa 1860, a few years before he came to Indiana.
Indianapolis at that time was one of the great industrial and railroad centers of the Midwest.  A year after the Civil War ended, John Muir sauntered into town.  The city’s location, in some ways, was ideal for him.  Marion County still held many great forests and two swamps, ripe for a naturalist’s study, but its busy factories meant that he would also be able to support himself here.  In an autobiographical sketch, Muir specifically mentioned the appeal that central Indiana’s hardwood forests had for him.
Though he intended to eventually go down to the Caribbean and South America, the newcomer quickly and easily found work at Osgood, Smith & Co., a carriage factory at 230 South Illinois Street.  This shop was located barely two blocks south of Indianapolis Union Station, at the intersection of Illinois and Merrill Streets.  Pogue’s Run, not yet channeled through underground tunnels, ran nearby.  The spot today, just east of the towering Lucas Oil Stadium, is occupied by an Indianapolis Post Office distribution center, one of the biggest concrete eyesores in town — appropriate, perhaps, considering what happened to John Muir’s eyes here.  In a certain accounting of destiny, this spot was the birthplace of Yosemite National Park.
Illinois and Merrill
Location of Osgood, Smith & Co., at the intersection of Illinois and Merrill Streets. (Photo Stephen J. Taylor)
Listed as a sawyer in Edward’s Annual Directory for 1867, Muir boarded at 331 South Pennsylvania Street.  Wowed by their new employee’s skills, owners J. R. Osgood and S. E. Smith nearly made him a partner in their business.  As a supervisor, he earned $25 a week.  If fate hadn’t intervened, the wagon and carriage manufacturing company might have become known as Osgood, Smith & Muir.
During his year-and-a-half stay in Indy, Muir became close friends with Catherine Merrill.  Her father was Samuel Merrill, a prominent early Hoosier who helped move the capitol from Corydon and later served as a temperance advocate and the second president of the Indiana Historical Society.  Catherine had studied literature in Germany before teaching at Wabash College in Crawfordsville.  She was also a Union nurse in Kentucky during the Civil War.  In 1867, Merrill became Butler University’s first female professor and one of the first women to teach at a university anywhere in the U.S.  Muir called her “the first friend I found in Indiana.”

photo 2(3)
Indianapolis Sunday Star, May 25, 1913. (Photo Stephen J. Taylor)


Though a May 25, 1913, article in the Indianapolis Star mentioned that Muir knew a certain visitor to town — archaeologist Heinrich Schliemann, discoverer of Troy, who came here to take advantage of Indiana’s lax divorce laws — the Star was wrong.  Schliemann came in 1869 and only stayed for a few months.  He did own land on the Old Southside, however.  Before Schliemann went to Turkey to dig up ancient Troy, he held title to land that became the parking lot at Shapiro’s Deli.  In his will, he left his daughter Nadezhda some other property now occupied by Lilly’s downtown campus, a short walk from where John Muir worked.
The fateful event that changed Muir’s life occurred on March 6, 1867 — curiously enough, on a day that saw a total solar eclipse.  While tightening a spinning leather belt on a machine at the workshop, Muir lost his grip.  A metal awl or file that he was holding flew up into his right eye and punctured his cornea.  Vitreous ooze began to flow out.  “My right eye is gone,” workers in the shop heard him cry out, “closed forever on all God’s beauty.”  The uninjured left eye temporarily sank into “sympathetic” blindness.
What came next Muir described, literally and figuratively, as the darkest time in his life.  Three days after the accident, he wrote home to his mother, Ann Gilrye Muir, back on the family farm in Wisconsin:
I am completely prostrated and the eye is lost. I have been confined to bed since the accident and for the first two or three days could not eat or drink a mouthful, but I am a little better today and hope to be at work again in a month or two.  I am condemned by the doctor to a dark room for some 2 weeks.  I am surprised that from apparently so small a shock my whole system should be so completely stunned…  My love to all, John Muir.  I have written at random and in the dark but hope you will be able to read my meaning.”
Another letter to his mother, penned in the room in Indianapolis where he was kept sheltered from light, shows his handwriting trailing off as he struggled to write a straight line across the page.  Toward the end, some of his words overlap.  Though striking a confident note to his mother, privately Muir slipped into a deep existential crisis and depression.  He wrote this letter while nursed by friends and a helpful Indianapolis family who took him into their home at Union and McCarty Streets.
John Muir Letter March 12, 1867
(Written in a darkened room on McCarty Street, this letter shows Muir’s script trailing off as he struggled to see the page.  Courtesy John Muir Correspondence, University of the Pacific/Calisphere)
Muir received several letters from his concerned family and friends.  His brother David offered to take the train down to Indianapolis and bring him home.  One beautiful letter came from his friend Jeanne C. Carr.  Carr was married to the pioneer Wisconsin geologist Ezra Slocum Carr, who taught natural science at the University of Wisconsin before he took a professorship in 1869 at the University of California-Berkeley.  Dr. Carr first got to know the talented Muir after seeing his fabulous “whittled” clocks at the Wisconsin State Fair.  Jeanne Carr, who remained a close friend, kept up a correspondence with Muir for the next thirty years.  From Madison, she struck a comforting religious — even Transcendentalist — tone as she wrote to her friend in Indiana on March 15, 1867:
Jeanne Carr to John Muir, March 15, 1867 (2)
(Jeanne Carr wrote to Muir from Madison, Wisconsin, on March 15, 1867.  Courtesy John Muir Correspondence, University of the Pacific/Calisphere)
Dear John,
I grieve, as your sister might, at this news which has come today — that God has been leading you into the darkness, and long to be able to minister to your comfort while the burden of pain and weakness and loneliness is to be borne.  What can I do, now, while you are so far from us, but whisper some of those sweet promises which fasten the soul to the source of Light and Life?  …It is hard, dear friend, it seems cruel, but let us look away beyond the suffering of the present, let us believe that nothing is without meaning and purpose which comes from the Father’s hand… 
I am glad to feel that you will see more with one visual organ than most persons could with half a dozen… And then you will come here and we will be eyes for you.  The Cordilleras & the Amazon will stay in their places.  They are waiting — have waited thousands of years to be set to music.  The Queen of the Antilles will be as beautiful in her next year’s green as now.  You will take a richer heart, and a clearer mind, with which to interpret them, for this retirement.  Dear John.  I have often in my heart wondered what God was training you for.  He gave you the eye within the eye, to see in all natural objects the realized ideas of His mind.  He gave you pure tastes, and the steady preference of whatsoever is most lonely and excellent.  He has made you a more individualized existence than is common…
I am getting a dimness in my eyes thinking of yours and must say good night.  Make your mark now and then, dear, on these envelopes, for better or worse as you feel.  I can read your “worsest words” and am always your loving friend — Jeanne Carr
Muir to Carr April 6 1867
John Muir, “Letters to a Friend, Written to Mrs. Ezra S. Carr, 1866-1879. (www.archive.org)
In response, Muir diagrammed a drawing of the injured eye for Carr.  Some of their correspondence has been published.
Catherine Merrill saw to it that a Dr. Parvin, “said to be a very skillful oculist and of large experience both here and in Europe,” watched over Muir.  During the rich Indiana spring, Muir wrote home that “I have been groping among the flowers a good deal lately,” as he fumbled along the ground, trying to feel what he still had some trouble making out.  “I have nearly an eye and a half left.”  When not touching the ground, his hands gripped a traveler’s account of the Yosemite Valley, a place he had read about a year before and thought of “most every day.”  Four years later, he was Ralph Waldo Emerson’s guide through the valley.
Fortunately, by May the vision in his left eye had mostly come back, and he was up and moving, walking outdoors, reading Carr’s letters “upon a moss-clad fallen tree… I will try not to tell you how much I enjoyed this walk after four weeks in bed.  You can feel it.”
On June 9, 1867, Muir was finally able to report to Carr that he was leaving Indianapolis for a five- or six-week stay in Wisconsin.  Accompanied by an 11-year-old boy named Merrill Moores, he took the train to Decatur, Illinois, then wandered north for a few weeks, “botanizing” on the still-vast Illinois prairies, perhaps walking overland all the way from Decatur to Madison.
This jaunt was just a quick prelude to the next great episode in Muir’s life.  In August, he rode the train back to Indianapolis.  Thankful, and elated at his restored vision, Muir swore to see the wider world at last.  Later in life he wrote of this decision: “I bade adieu to all my mechanical inventions, determined to devote the rest of my life to the study of the inventions of God.”  Striking out from Indianapolis on September 1, he took the train through southern Indiana as far as Jeffersonville.  Once he got to Louisville, he then walked all the way to Florida.  Muir told this story in his book A Thousand-Mile Walk to the Gulf.  After traveling to Havana, Cuba, he set out “by a crooked route” — bound for California at last.
John Muir Obit -- Indianapolis News, December 24, 1914
Muir’s obituary in the Indianapolis News, December 24, 1914. (Courtesy Indiana State Library)
Muir in Petrified Forest 2
Muir examines a log in California’s Petrified Forest in 1905. (Courtesy Bancroft Library, UC-Berkeley)
FURTHER READING:
William Frederic Badè, The Life and Letters of John Muir, Houghton-Mifflin, 1924
Mark R. Stoll, Inherit the Holy Mountain: Religion and the Rise of American Environmentalism, Oxford University Press, 2015
John Muir, Spiritual Writings, Orbis Books, 2013
Bonnie J. Gisel, ed., Kindred and Related Spirits: The Letters of John Muir and Jeanne C. Carr, University of Utah Press, 2001.


AND EVEN MORE LITERARY AND PR NOTES:

This blogger and literary sleuth has an inner radar feeling that ian Woollen's novel will be a big hit with both literati and climatrati when published in July 2017. One can envision a big nytimes feature story about the book, in addition to a review in Sunday book section. The Muir name guarantees wide media attention.

Also if it can be arranged for an NPR interview with the author either with DC bureau or his own Indianapolis npr station  ...NPR radio is huge for book news and reaches key players in print media too...it will be good PR.  

And... a good feature story in his local news paper there with a reporter will be useful for AP wire to pick up and send on its national wire. So our radar envisions ...a nyt front page feature article with a top reporter there ....an NPR interview ....and a local hometown newspaper feature

So called "off the book page" coverage will be vital. Reviews are important, yes, but feature stories about Ian and the genesis of this Muir novel and the tragicomic theme will be most useful for prime PR.

 

Friday, December 2, 2016

What's new in the world of cli-fi? UPDATE INTERVIEW

Anything new in the cli-fi world?

A major news portal, THE CLI-FI REPORT, with several icon buttons to choose from here: cli-fi.net


Any new interviews or news articles or opeds on the horizon?

A big interview with a literary website in the USA is coming up soon, scheduled now and the reporter is calling next week.

Any good literary articles or book reviews of cli-fi novels recently?

Biggest next big thing is Kim Stanley Robinson's new cli-fi novel titled ''NEW YORK 2140'' and skedded for a March 14, 2017 pub date.

Cli-fi in Hollywood. Any new cli-fi movies in production or pre production or ready for release soon?

The new Nicolas Cage movie is shooting in Canada now, and set in 2030 near future. Dystopian cli-fi. Cage will star in the action thriller “The Humanity Bureau,” with shooting in British Columbia.

Rob King is set to direct from a script written by Dave Schultz. Sarah Lind, Jakob Davies and Hugh Dillon have also joined the cast.

The story is set in 2030 with global warming wreaking havoc in parts of the American Midwest. In its attempt to take hold of the economic recession, a government agency called The Humanity Bureau exiles members of society deemed unproductive and banishes them to a colony known as New Eden.

Cage will play an ambitious and impartial caseworker who investigates a case appealed by a single mother (Lind) and her son (Davies). RELEASE DATE: SUMMER 2017

In academia, any new cli-fi classes set for this semester or next? Any recent academic articles or quotes from them worth highlighting?


Yes, a lot is happening within academia and among academics worldwide now with cli-fi. Symposiums, online forums, academic papers, and more.

  

A professor tells this blog: "I’m awaiting word now on a possible grant for a project on cli-fi where I, in collaboration with two colleagues from another college, will have reading groups read cli-fi novels in their location (so, ''The Water Knife'' in AZ, Kim Stanley Robinson's "NEW YORK 2140"  in NYC), journal about their reading, and discuss it with us. We’ll try to take some measure of the effects of cli-fi novels on their imaginations of the future and their climate politics."  

See ''The Holocene Hangover'' by University of Chicago professor  Fredrik Albritton Jonsson .  

Thomas Davis in the English department at OSU in Ohio notes that he will be teaching a cli-fi seminar in the spring of 2018, adding:  "A bit far off, but I’m collecting materials now."

Some forthcoming cli-fi related papers from the desk of Austrian professor Alexa Weik von Mossner:
Troubling Futures: Cli-fi Modes and the Feeling of Risk
The short article is part of an extended forum on the meaning of the term “cli-fi” for American Studies in the journal Amerikastudien/American Studies. It examines American climate fiction through the lens of risk theory (Beck) and through psychological approaches to the perception of risk (Slovic, Leiserowitz), including both fiction and non-fiction formats in its deliberations as well as a number of hybrid formats that imagines the risks associated with climate change.
(forthcoming in an essay cluster on cli-fi in Amerikastudien/American Studies, edited by Julia Leyda and Susanne Leikam)
Climate Risk and the Thrill of Terror in Paolo Bacigalupi’s The Water Knife
The Water Knife is perhaps Paolo Bacigalupi’s his most successful attempt to date at conjuring future climatic conditions in a way that allows readers to imaginatively experience them. The essay uses the analytical tools of cognitive ecocriticism to demonstrate how Bacigalupi’s dystopian novel uses the human bodies of characters and their sensual and affective capacities in order to allow readers to imaginatively experience a decidedly unpleasant future world. Bacigalupi uses anthropogenic climate change as a catalyst for drastic developments in the ecological, economic, and social realm, inviting readers to understand on a visceral level that changed climatic conditions will inevitably lead to such conflicts and vulnerabilities.
(forthcoming in Meteorologies of Modernity. Eds. Sarah Fekadu, Tobias Döring, Isabel Kranz and Hanna Strass. REAL: Yearbook of Research in English and American Literature. Tübingen: Narr)
Vulnerable Lives: The Affective Dimensions of Risk in Young Adult Cli-Fi
The article focuses on the psychological dimensions of readers’ engagements with dystopian young adult climate fiction, arguing that the mental simulation of a fictional climate-changed world can offer much more than simple entertainment or escapism. Instead, it might impact teenagers’ understanding of the social, economic and ecological risks associated with climate change. The article builds on research in the psychology of fiction in its examination of the narrative strategies of Paolo Bacigalupi’s YA cli-fi novel Ship Breaker. It demonstrates how the novel invites young readers to an imaginary and yet embodied experience of a dystopian future world that may wish to avoid.
(forthcoming in a special issue of Textual Practice on ““Fiction in the Age of Risk,” edited by. Golnar Nabizadeh and Tony Hughes-D’Aeth)
Touching the Senses: Environments and Technologies at the Movies
The essay explains how film techniques and technologies play on human brains’ embodied simulation to create empathetic responses in viewers, and then analyzes Jeff Orlowski’s Chasing Ice and the results of the reception study about the film that I conducted together with Brigitte Hipfl. It not only shows how the film creates emotional responses in viewers, but also addresses the reasons that those responses do not necessarily translate into action. Despite the ways in which we “live in denial,” the essay argues that such films can contribute to long-term cultural change.
(forthcoming in The Routledge Companion to the Environmental Humanities. Eds. Ursula K. Heise, Jon Christensen, and Michelle Niemann. New York and London: Routledge)
QUOTE FROM ACADEMIC IN EUROPE: - "The term cli-fi has not only been proliferating at recent international conferences, but also within university curricula as educators in many disciplines embrace the recent spate of fiction and film dealing with climate change in humanities courses and beyond. ...In my study of cli-fi, I consider the proliferation of the term and theorize about its usefulness. If the novelty of the term itself provokes discussion, perhaps that too makes it an asset in generating interest climate change-related fictional and screen texts.''
 

 


Cli-fi novels. Any word on new and upcoming cli-fi novels in the pipeline, either from the publishing world or self-publishers?

The ''next big thing'' is Kim Stanley Robinson's new cli-fi novel titled ''NEW YORK 2140'' and skedded for a March 14, 2017 pub date

Where's cli-fi headed these days?

#Writersofcolor penning ''cli-fi'' novels worldwide - part of our 25-part #CliFi YouTube Video series https://www.youtube.com/watch?v=b4_PbuCnVb8&t=21s

Who's in charge of cli fi these days and who owns the term, if anyone?

Nobody is in charge, it's an open meme, and nobody owns cli-fi or ever has. It belongs to the world,  and has taken on a life of its own after its initial quiet and almost invisible launch. Most people still have never heard of the term yet -- 90 percent of the general public have never heard the term or seen the term in print. It's still early days. But things are cooking, yes. Slowly. Simmering.

Overseas Tweets? Yes!

  1. Jonáš Zbořil @jonaszboril 20 小時20 小時前
  2. neporadíte mi dobrý non-fiction o ekologii, civilizačních kolapsech, dystopickejch vizích a věcech jako je svalbard global seed vault?
  3. Jan Nemček @jan_nemcek 18小時18 小時前
    Moc jsem toho z cli-fi nepřečetl, ale líbil se mi Solar od Iana McEwana.​