Hollywood embraced global warming as a theme only recently. Young Ones, released on October 9, posits a future with little fresh water, and Into the Storm, which opened August 8, shows a small town devastated by a series of climate-driven super-tornadoes. Science fiction writers, however, have imagined a climate-ravaged world since the early 1960s. One of the most prescient early books is George Turner’s The Sea and Summer, published in 1987. His vision of an Australia flooded by rising seas is echoed by Paolo Bacigalupi’s Bangkok in his 2010 novel The Windup Girl. The Thai capital is kept alive by dikes and gates reminiscent of the Thames Barrier in London. Continue reading
For the midlist author or the writer rejected by the legacy world, Amazon and its cousins in the self-publishing universe are a godsend. I’m a case in point. Proposals for my first book, a history of an important Seattle-area fishing schooner, were turned down by more than a dozen traditional publishers, including several that specialize in stories from the Pacific Northwest. One editor said too few people would buy the book to justify the risk. That makes perfect sense: Maritime history is a niche market, publishing is a risky business, and a press needs to break even on its investments at least. A generation ago, the project would have ended there. In the 21st century, the self-publishing world made possible my small contribution to local history. The book is now available in Seattle-area public libraries and for purchase online. Since then, I’ve published other books through Amazon or its companies in this way. For me, Amazon is my friend. Continue reading
Could it be that dystopia’s opposite–utopia–is simply boring?
Today’s complaints about dystopian stories originate with the movie made from the novel the Hunger Games, about a young woman who challenges an autocratic society that oppresses weaker communities with a blood sport. It’s really a classic “us-against-the-world” teen rebellion story, but the environment is dystopian, so it gets mentioned in the same breath as 1984, a gross injustice to George Orwell. Continue reading
Ellis’ imagined future may be happening right now. Economists say that we may have found all the oil that’s economically feasible to extract. From this moment of “peak oil” forward, further extraction costs more and more money. Production falls sharply, disrupting advanced economies. Natalie and Richard, a Vancouver, BC power couple before the peak, move with a select group of friends to a isolated farm in the British Columbia interior. Over the next few years, society collapses around them, and when we meet the couple and their tiny, self-sufficient community, slaving gangs roam the empty roads and overgrown countryside attacking isolated homes and towns. The farm’s inmates greet each stranger with suspicion, and guns settle arguments as often as words. Continue reading
The new ordinance takes particular pains to head off any cries of “takings” or other property-rights nonsense by Tea Party fanatics or otherwise ignorant property owners. An email by King County Councilmember Larry Phillips, whose entire district is inside liberal Seattle’s city limits, says the ordinance “carries no regulatory, procedural, or property management constraints. It is intended solely to support heritage and tourism potential.” In other words, it does nothing concrete; it’s symbolic only, and even then, it only touches “potential,” a philosophical construct for something that doesn’t exist, but might. Wrap your head around that logic. Continue reading
My instinct is to support authors. In the book world, writers are the makers. Publishing could not exist without them. A whole ecosystem of editors, graphic artists, sales and marketing experts, and the bookstore itself (including Amazon), depends on authors sharing their dreams and nightmares. But Authors United has twisted this world into a fantasy. In its letter to Amazon’s board, it casts books as “the unique, quirky creation of a lonely, intense, and often expensive struggle on the part of a single individual” and publishers as providers of “venture capital for ideas.” Authors United romanticizes an industry that has ignored orders of magnitude more writers than it will ever publish. The industry has inflicted far more financial and emotional pain on writers in the past 200 years than Amazon will in the next 200 years. One has only to compare legacy publishers’ pitiful royalty rates to Amazon’s generous rates to see how authors figure in each camp’s mind. Continue reading
Add to these Paolo Bacigalupi and The Windup Girl, which won the 2010 Hugo Award for Best Novel. Critics and marketers who insist on genre-izing everything have labeled it “biopunk,” a story taking humanity’s ten-thousand-year-old penchant for tinkering with biology to logical, if not absurd, commercial and scientific extremes. Writers fiddling with stories about climate change or GMO foods ought to look to The Windup Girl for lessons in how to approach these issues. Continue reading