Repair-adise: The Myth of the Self-Cleaning Earth

3224040683_22edd9a60cOkay, I’ve seen the trope enough.  Yes, it is a hopeful image, but it perpetuates a myth.  End of movie: three or four people after post-apocalyptic disaster come out to “healed” Earth.  200 years in City of Ember.  700 years in Wall-E.

Gaia is a nice idea–that the Earth is bigger than us and will heal itself even from our damage.  However, it lessens any personal responsibility, and gives us some odd idea that humans, in the form that we know them, will be back one day after the Earth has gone through a cycle similar to a self-cleaning oven.

Oddly enough, the base idea is shared by those who don’t believe in Global Warming, or who don’t believe that Man is causing global warming–the idea that the Earth shifts in cold and hot and finds a balance and everything is returned to a state of Eden.

Here’s two things I know: The last Ice Age was a documented shift in the planet’s balance of hot and cold.  Those ice sheets lasted for more than 100,000 years, ending about 10,000 years ago.  The animal and plant life that we know from then have changed quite a bit over that span of time.  No more giant ground sloths, mammoths or neanderthals.  Even the steppe grasses are gone.  So,  it took the Earth 10,000 years to right itself–after some massive glaciation.  In other words, Global Warming may well indeed have been a natural shift, but Humanity will not survive a massive shift like that–certainly not in the way we are now. And likely, the Earth will come up with some radically new life forms–if it recovers at all.

The second idea here is that the Earth can take a beating from us.  No problem.  A) if it disposes of us, what have we learned?  and B)  We are capable of damaging an atmosphere irreparably.

Those Ice Ages, devastating as they were, still counted on an atmosphere.  If we hurt our atmosphere, isn’t it possible that we not just trigger an Ice Age, but stop it from fixing itself?  James Lovelock, the man who created the idea of Gaia–the earth that is an organism–was interviewed in New Scientist.

Do you think we will survive?

I’m an optimistic pessimist. I think it’s wrong to assume we’ll survive 2 °C of warming: there are already too many people on Earth. At 4 °C we could not survive with even one-tenth of our current population. The reason is we would not find enough food, unless we synthesised it. Because of this, the cull during this century is going to be huge, up to 90 per cent. The number of people remaining at the end of the century will probably be a billion or less. It has happened before: between the ice ages there were bottlenecks when there were only 2000 people left. It’s happening again.

I don’t think humans react fast enough or are clever enough to handle what’s coming up. Kyoto was 11 years ago. Virtually nothing’s been done except endless talk and meetings.

It’s a depressing outlook.

Not necessarily. I don’t think 9 billion is better than 1 billion. I see humans as rather like the first photosynthesisers, which when they first appeared on the planet caused enormous damage by releasing oxygen – a nasty, poisonous gas. It took a long time, but it turned out in the end to be of enormous benefit. I look on humans in much the same light. For the first time in its 3.5 billion years of existence, the planet has an intelligent, communicating species that can consider the whole system and even do things about it. They are not yet bright enough, they have still to evolve quite a way, but they could become a very positive contributor to planetary welfare.

How much biodiversity will be left after this climatic apocalypse?

We have the example of the Palaeocene-Eocene Thermal Maximum event 55 million years ago. About the same amount of CO2 was put into the atmosphere as we are putting in and temperatures rocketed by about 5 °C over about 20,000 years. The world became largely desert. The polar regions were tropical and most life on the planet had the time to move north and survive. When the planet cooled they moved back again. So there doesn’t have to be a massive extinction. It’s already moving: if you live in the countryside as I do you can see the changes, even in the UK.

He has a lot of optimism that despite all the damage we can do as a species, that the Earth will recover–even that perhaps these amazingly smart humans, in his opinion, the apex of creation, will figure out how to live in harmony with the Earth–eventually.

But it also might allow both a fatalism and a hedonism to develop–as if we can do nothing to hurt the Earth at all.  Lovelock was instrumental in getting the global CFC ban that led to saving the Ozone layer.   Perhaps there are still more things to do to stop the warming that’s happening–as he suggests in the article.   Certainly, we have to think short term.  Lovelock’s vision–is that after thousands and thousands of years–humanity will survive and learn.  Movies shorten that to a few hundred years, a slap on the hand for our negligent behavior instead of the mass extinction probably waiting for us.  They believe in Man rebooting after the Earth has rebooted itself.  Repair-adise.

All these movies have people waiting out the storm, walking into paradise, virtually unchanged.  Free of humanity for a mere 200 years, the planet heaves a rainbow sigh of relief, bushy gardens of plenty.  But with our weapons we can inflict planetary damage; Wall-E can never clean up all the trash and one plant can’t feed the multitudes–and there will be a long wait for the storm to be over.  And humans may not survive as humans.  There may be no humans to come back out after 55 million years….and if there are, will they remember what they did wrong?  We have to affect change.

Sure, we may not die, but we will all be changed.

Inaugural Poem: Take Out Your Pencils. Begin.

I just finished watching the Inaugural Events on TV. Many things to talk about, but I want to use the words of the Inaugural Poet, Elizabeth Alexander, as a call to writers, and a call to Americans, to face the challenges we face in the world today.

Her poem, Praise Song for the Day, was Whitmanesque in its description of everyday people doing their jobs, but when she came to the Teacher telling the students to take out their pencils and begin, it stirred me. It reflected Obama’s call to action, and I heard it as a writer.

In Canada, I feel a bit outside of history as an American. As if America has gone on without me. It was my choice to leave America and work and live in the Yukon. I don’t regret that choice as much as I seek to know what my role is now. If anything, the Inauguration of Barack Obama called out the American part of me to work hard for freedom and justice. But here I am, in another country, and not so skilled at building bridges or repairing roads or even close enough to move towards changing policies. But I am a writer, an American writer. And there is much you can do with a pencil.

Alexander’s poem reminded me that we are all at the beginning of a test. A fiscal test, an international test, a test of our ideals and the strength of our nation. Wherever we are, we have that test before us–and now is the time to bring out our pencils and begin writing.

On this Inauguration Day, let us all take out our pencils and write the future. Write new policies, new ideas, to “meld imagination with a common purpose” as Pres. Obama said, and change what needs to be changed with a pencil and an eraser. Because with pencils, erasers are standard issue–we make mistakes, but we can correct them. Still, we have to write. Write to inspire. Write to correct. Write to change. To remind. To call out. Envision. Direct. Encourage. Explain. Record. Unite. Obama said to the nations that would oppose America–“We will outlast you.” And writing can outlast a thousand nations, even as it forges them.

Yes, I can build a bridge, repair a road, strengthen infrastructure–even from outside the United States. Writing has no borders.

Writers, go forge. “Take out your pencils. Begin.”

Yukon Fantasy/Science Fiction Writer Profiles: Marcelle Dubé

Marcelle DubéThe Yukon is home to more than just one science fiction/fantasy writer. In fact, there’s quite a few, so I’d like to profile them. These will be based on my experiences with them, not just interviews, though I’ve linked and excerpted sections of an interview Marcelle did with Joanna Lilley in What’s Up Yukon.

I first met Marcelle during the first Yukon Writer’s Conference in 2002. She was instrumental in bringing up Canadian sci-fi guru, Robert Sawyer, and for co-organizing a writer’s conference here that would do any university proud. We had six major writers, across genres, editors and agents, each giving multiple seminars. It was a three day event, complete with contests, one-on-one sessions with editors and agents, and food. I remember how shocked I was that this major operation was run by two people. Marcelle was stuffing bags full of free On Spec magazines, pens and pads of paper, in the Westmark when I ran into her for the first time. She didn’t seem like she was running amok–so I had no idea that she didn’t have a staff of twenty with her somewhere in the hotel.

We became friends, writing colleagues. She was part of the growing science fiction/fantasy community here in Whitehorse. And she wanted to provide writers here with the same advantages that writers down south would have. Not to mention, i think, that she wanted to bring up some people that she wanted to meet too!

Marcelle describes her work in this interview with Joanna Lilley:

I always like a plucky heroine who finds herself in a situation and needs her brains and her courage to get herself out.

Her stories often have well-conceived, elaborate cultures. I remember one of my favorite stories of hers, “Jhyoti“, that concerned how women prepared the dead for burial. Vividly detailed, well written, the story ended up in Challenging Destiny. Richard Horton, of Locus, recalls her story and two others (out of 14) in his end of the year review of Challenging Destiny:

From #25 I really enjoyed a rather traditional story — but very well done — by Marcelle Dubé: “Jhyoti”. The heroine is a low-caste woman trying to make it in the Academy. Doing some research, she finds evidence of terrible abuse and murder of a low-caste woman by a higher-caste person — can she risk her career, and disappoint her patrons, by investigating this? There are no surprises here, but it was quite satisfying.

Marcelle also got her work published in Julie Czerneda’s anthology of Polar Science called Polaris. She is just starting to sell, like me, and she has an excellent critical eye for story. I value her critique on my work. She attended World Fantasy with me and Claire Eamer (another writer you will get to meet on this blog soon) and made several more contacts. I suspect we’ll be hearing a lot more from Marcelle in short stories to come. She has attended a Master Class workshop in the short story from Dean Wesley Smith on the Oregon Coast, and will be attending another this year.

But Marcelle is not satisfied with just growing her own career. She wants to help all of us. This generosity of spirit has made her invaluable to the writing community. Since 2002, she has helped host two other conferences, that I can think of, and one coming up in 2009. She and Barb Dunlop invite writers, editors and agents that span every genre–romance, literary, mystery, science fiction–so that everyone gets helped up here. Because of these conferences I have met more science fiction writers than I ever did in Texas (cause none of them came to Lubbock, Texas ) and all the writer’s conferences were done by AWP or MLA or SWPCA and had hundreds or thousands of attendees, which meant that authors, agents and editors were swarmed by people, who had much higher clearance than some refugee from Texas Tech. (I met Ray Bradbury in Lubbock–which is another story.)

Because of Marcelle and Barb–and the moneys granted to them by the Advanced Artist Awards and other Yukon agencies for the growth of the Arts–I was able to meet, dine with, and learn from Robert Sawyer, Matt Hughes, Candas Jane Dorsey, Terrence Green, and editor, Diane Walton of On Spec–as well as authors, agents and editors in othe genres. Yes, in the Yukon. Taking classes from Terrence Green moved my story “Lemmings in the Third Year” to publishable quality and his suggestions on places to send it helped it get published quickly in Tesseracts Nine.

See, we are never alone as writers. We are always beholden on the community around us to lift us up, connect us, encourage us, critique us, kick our asses. I’m glad Marcelle is up here; she’s a great colleague and friend and I hope to see more of her unique vision in all the fantasy and science fiction magazines. I also hope, for the Yukon’s sake, she and Barb continue to organize these conferences which bring the world of Publishing to the Yukon.

See you all in April for the 2009 Yukon Writer’s Conference!

Novelists! Classes start Monday at Yukon College

rightimg1Happy New Year to Everyone! I hope this coming new year brings you what you want.

It’s a long and interesting journey, no doubt.

Perhaps, you are looking to work on your novel? Perhaps, you have been working on one for years and you want to get some guided help through a course? Maybe, you just plunked one out in November during NaNoWriMo (National Novel Writing Month) and you want to work on revising it, or just getting feedback on it.

Yukon College is offering two courses: Monday nights for Realism/Mainstream writing and Tuesday nights for Speculative Fiction (Fantasy, Science Fiction, Horror, Fantastical Children’s Lit). The school, though, is closed till Jan 2, or Friday. So, if you’re gonna sign up and come to the first class on Monday, you’ll have to sign up on Friday or Next week. Regardless of when you sign up, come to the first classes. We have to get a viable head count to know if the classes will make. We need 8 people each class, at least, to make this happen. We’ll be working on synopsis writing and editing three chapters of your novel.

Click on Writing Classes to learn more.

Also, don’t forget that Yukon writers, in classes or not, should be getting ready for the Editor’s Weekend that is happening at the beginning of April. Six editors are coming up to talk with Yukoners, give workshops, about the next steps in publishing their manuscripts. This coincides with the last weekend of our coursework. So it makes a fitting transition after our class is done to move towards shopping a manuscript around.

So, if working on your novel is part of your planned journey for 2009, I hope to see you in class in the new year!

New Anthology Market– Triangulation: Dark Glass

March 31, 2009, Deadline— From Their Website:

Taking Flight by Vincent ChongTriangulation is an annual 125-150+ page short fiction anthology that publishes science fiction, fantasy, horror, and any other speculative fiction that caught the editors’ fancy. Every year we have a theme: 2009’s theme is “Dark Glass”. We pay semi-pro rates and are available online at places like Amazon.com. We use Lulu.com as our printer, so if the publish-on-demand thing leaves a foul taste in your mouth, avoid us. We’re a small outfit but we work hard to produce a quality product; Asimov’s Science Fiction said we were “equal to any issue of your favorite prozine.”

No, we don’t get tired of mentioning that Asimov’s said nice things about us.

We define “short fiction” as “up to about 5,000 words or so.” We have no reason to impose hard and fast arbitrary word limits, but we are interested in publishing a wide variety of entertaining and literate stories, so the more space a story would take, the more it will need to impress us. If you have an awesome story that exceeds 5K then by all means send it; but be warned that if you’re closer to 10,000 words, it will probably need to have the editorial staff cheering and high-fiving each other so much that the senior editor’s roommate’s poodle runs into the room to see what all the commotion is about. And that dog likes his naps.

We dig flash; there is no minimum word count.

We have no interest in getting more specific about the term “speculative fiction.” Science fiction, horror, fantasy, magic realism, alternate history, whatever — if there’s a speculative element vital to your story, we’ll gladly give it a read.

We love creative interpretations of our theme, “Dark Glass”. Don’t ask us what it means — tell us what it means with a story that convinces us you’re right.

We publish both new and established writers; the level of experience for the authors gracing our pages has ranged from “first time in print” to “Hugo winner.” The majority of our stories usually wind up being from American authors, but we’ve had a number of international contributions; we’re happy to consider work from anywhere in the world, just as long as it’s written in English.

We will run mature content if we like the story. So make sure there’s an actual story in that mature content.

We will gladly consider reprints. If the story ran someplace obscure, then it’s probably new to our readers; and if it ran someplace high-profile, it’s probably really good. Either way, we win!

No poetry. Sorry.

No fanfic, even if it’s fanfic of a fictional universe that has passed into public domain. Cthulhu Mythos, I’m looking in your direction.

No thinly-disguised transcripts of roleplaying sessions, no settings obviously based on D&D or other such games. Don’t get us wrong, we love to game ourselves — which means our imaginations are probably too cluttered with elves and dwarves and orcs and the like as it is.

Submission deadline is March 31, 2009. All electronic submits must be sent by that time, all snail mail submits must be postmarked by that date.

Compensation:

We pay two cents per word (USA funds, rounded to the nearest 100 words, US$10 minimum payment) on publication and a single contributor’s copy. The anthology will be published in late July of 2009. We purchase North American Serial Rights, and Electronic Rights for the PDF downloadable version; since we’re cool with reprints, we really don’t care whether we have firsties. All subsidiary rights released upon publication. Contributors will also have the option of purchasing additional copies of the anthology at-cost, exact price TBD.

How To Submit:

Electronic submissions make our lives easier. Please send your story to editor@parsecink.org. Please put your subject line in the format of “SUBMISSION: Story Title” so we can tell you apart from the spam.

We’ll consider stories ONLY in the following formats:

  • .odt (OpenDocument Text — format used by the OpenOffice.org suite) — preferred format
  • .rtf (Rich Text Format — generic document format that most word processors can create)
  • .doc (MS Word — we’re not crazy about it, but let’s face it, it’s the one most people actually use)

Please use industry standard manuscript format. There’s disagreement on some of the exact details of the “standard” — we’re cool with that. We’re not testing you to see if you can follow each and every niggling detail, we just want a manuscript that looks professional.

If you absolutely positively can’t use email, please send the manuscript (with either a SASE or a return email address) to:

Triangulation 2008
134 Orchard Dr.
Penn Hills, PA 15235

No hand-written manuscripts. We gotta draw the line somewhere.

Please, no multiple submissions; only send us one story at a time. We’ll get back to you promptly, we promise.

For Full GUIDELINES, CLICK HERE>

How Fiction Changed Christmas

1971-toon-ghost of christmas presentI received this on my SF Canada listserv from Celu. But it fit so well into what we’ve been talking about here–that FICTION has power to change the world, that I wanted to post it. If there are errors in this posting, I apologize. I did not vet it ahead of time. The pic is from the 1971 cartoon. I grew up on this one and the Mr. Magoo version.

Merry Christmas!

_____

A CHRISTMAS CAROL: THE LITTLE GHOST STORY THAT SAVED CHRISTMAS

Not too many people are aware of the influence of Charles Dickens’ A Christmas Carol on the evolution of the modern Christmas holiday.

First of all– in 1843, when Dickens wrote it, the state of the Christmas Holiday was in flux. In the decades before that, Christmas celebration had been slowly falling off in Britain as a result of two factors: the residual effect of Puritanism under Cromwell’s government, which had completely shut down overt Christmas celebration in the mid-17th century, and a desire to get away from the older, more raucous practices of British Christmas.

Before Cromwell’s English Revolution and the resulting Protectorate, Christmas was celebrated much differently than most today imagine. It was more akin to 12 days of Mardi Gras, dominated by the “festum fatuorum,” or Feast of Fools on January 1st and lasting until Twelfth Night— during which time people traditionally took to the streets in all manner of outlandish costumes, with the sole motivation of getting drunk and eating until one was ready to burst. Roles were often reversed during this period, with servants “taking over” households and playing the part of the Master and Mistress of the house, while the rich rubbed elbows with the poor in a way not seen during the rest of the year– a way not always to their liking. This practice dated back to Roman rule in Britain, and had mingled with various Celtic and Norse traditions to produce a great feast of plenty to end the year, a fiery masquerade to drive away the cold and dark of winter and send the ghosts of the dead off in gran

Wassailing, the act of traveling in groups and singing at houses, was less a festive entertainment than an act of robbery. Drunken mobs would move from door to door like trick-or-treaters, demanding food and spirits from every house they passed “to honor the Season.” And if the occupants of a house were not forthcoming, they could expect retribution, and the mob might even storm the building and loot it then and there.

Give us some Figgy Pudding, indeed.

This debauchery sometimes got completely out of hand and turned into drunken city-wide riots, during which shops and homes were looted indiscriminately and whole neighborhoods were burned down. Several popes and prominent clergymen passed Papal Bulls and Interdicts against the practice, and it was roundly denounced by several English monarchs.

Oliver Cromwell and his puritan Protectorate squashed all of that. But after the Restoration, people didn’t really have much left by way of tradition to apply to their Christmas celebrations. Christmas became a big party, or series of smaller parties– but the riotous drunken feasts of yore were no more.

As the Age of Reason progressed into the beginnings of the Industrial Revolution, the celebration of Christmas began to lull. Many considered it an uncouth throw-back to heathen times best forgotten, and not civilized enough for the new buttoned-down, corseted society of the dawning era of enlightened Victorianism.

Christmas had become old fashioned and passe. And was gradually fading away.

Enter Charles Dickens.

By 1843, Dickens was already a best-selling author and novelist, who had firmly gained the ear of his country and whose works were growing in international popularity. Victoria, 23 years old, had been queen for 5 years, and a new spirit of youth and vigor was abroad in the land, supported by Victoria’s rejection of the stodgy customs and arbitrary political probity of the Charlesian period which preceded her. British economic might was on the upswing, there was a hint of liberalism in the air, and things were changing.

So it was that Dickens sat down in December of 1843 to write a Christmas book. It was not entirely a charitable act for the ages– Dickens had recently had a number of monetary investments go sour on him, and needed to generate some quick cash to pay off a debt. But as was his gift, Dickens had the uncanny knack for stating in prose what the rest of his countrymen were thinking. He was England’s literary conscience. And he was able to speak directly to the hearts and minds of his readers.

The name of his story was “A Christmas Carol in Prose, Being a Ghost Story of Christmas.” Dickens himself called it his “little Christmas Book.” It was first published on December 19, 1843 with illustrations by John Leech. Despite his financial duress, Dickens didn’t believe it would do that much to bail him out– his own sentimental insistence that the novella be richly bound and copiously illustrated seemed to doom the little book to earn little in the way of profit. Still, its simple message seemed worth telling– that there was much that was good and true about the sincere celebration of the Christmas season, and that the true meaning of the holiday– forbearance, hope, brotherhood and good will to all men– still had a worthy place at the center of the ever-changing English hearth and home.

Dickens was wrong about its financial chances. Despite its brevity (Dickens was known at the time for lengthy novels published in serial form), it was a smash hit– a runaway bestseller. It completely sold out and went to reprint almost immediately, selling over six thousand copies in one week. It has never been out of print since the day it was published.

The book re-popularized Christmas in the British Isles, and the “traditional British Christmas” it represented spread far and wide to influence the rest of the world. Christmas had become civilized– indeed, NOT to celebrate the holiday had become downright UNcivilized.

What traditions did Dickens re-popularize in his little Christmas book?

Well, there are no Christmas trees in A Christmas Carol. Those had yet to be imported from Germany by Prince Albert and Queen Victoria, nor did that happen until 1848, when a woodcut featuring the Queen and Royal Consort at their Christmas tree appeared publicly, sparking a frenzy of emulation througjout England and abroad.

Santa Claus or Saint Nicholas do not appear in A Christmas Carol, either. Not in his Victorian (and later accepted British and American) form, that is.

But he DOES appear in the story in his original pagan form– The Ghost of Christmas Present— the SPIRIT of Christmas– is depicted in Dicken’s work as being essentially identical to the far older concept of “Olde Christmas” and “Master Christmas” described by Ben Jonson in the late 16th century, and believed to be older by far even than that.

The Christmas traditions Dickens reinvigorated were simply the act of giving, of generosity of the spirit, of familial togetherness and joyful celebration. Dicken asserted that Christmastime was still, and had always been, SPECIAL. And the world believed him.

Dickens’ tale is also primarily a ghost story– a fact which he adamantly asserted until the end of his days. Ghost stories are also traditionally connected with Christmas, that 12 day period being the time when the last wandering ghosts of the dead are sent by the finality of year’s end to their ultimate fates. Christmas ghost stories are very much a part of our oldest traditions, a way to bid farewell to our fallen friends and love ones, while enjoying a shudder as we consider the icy hand of death that constantly awaits, perhaps just beyond our doors.

It also bears mentioning that the events depicted in A Christmas Carol are not strictly Victorian– in fact they seem to predate Victoria by several decades, despite the fact that many modern interpretations of the tale move it forward into the mid-1800’s.

Scrooge was an old man, or at the very least middle-aged, when the ghosts visited him. The events of Christmases Past took place around the turn of the 19th century, therefore, or even earlier– which explains Fezziwig’s old style powdered Welsh wig. The events of Christmas Present, to Scrooge, take place over the holiday when the ghosts visited him– but we are later told by Dickens, who is writing in 1843, that Scrooge went on to become much-revered as a great champion of Christmas in the time following his great change of habits. So it makes sense that Scrooge was visited by the ghosts much earlier than 1843– perhaps in the 1830’s or thereabouts.

None of which really matters. The simple fact is, Christmas was a dying tradition by the time Dickens took hold of it and reinterpreted it for his Victorian audience, who took it to heart and embarked on a Victorian Christmas craze from which we today draw our most beloved and revered Christmas traditions. Dickens lit the spark– and a romantic Victorian England, hungry for the stability and emotional resonance of tradition, fanned it into a flame that has since warmed the world.

And so I raise my proverbial glass to Master Dickens, this year and every year, and toast the old fellow, whose little Christmas book reinvigorated and reinvented one of the celebrations which so many hold so near and dear to their hearts.

Well done, sir, sayeth I. Well done indeed.

____________________________________

Thanks, CELU!!

PS.  Wherever you find pics of the Ghost of Christmas Present, he’s always a hunk.

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carol-5

Writing Classes at Yukon College–Get Your Novels Out

Hey, Novelists!

For some of you Nanowrimo was a great experience–but what next??  Or some of you have an old novel kicking around in your closet.  Dust it off, get it ready.

I’m teaching two courses at Yukon College in the Winter, both of them are Fiction Writing Workshops.  You can read more about them if you click on Writing Classes up on the Menu Bar.

In brief:  Monday night is for novels that are more realistic–they don’t have magic, or time travel, or science fiction, or monsters in them.  They are set in this world, working with people as we know them.  They can be set in the past.

If you have at least 3/4 of a novel manuscript through a first draft, you are welcome to join the course.  If you don’t have that much done, that’s okay to join too, as long as you know that a majority of people will be working on novels, and that class time discussion will be focussed on longer story arcs.  People with novels are required to workshop 3 chapters over the course of the semester, comment on other people’s chapters, and with a group, present one novel to the class, one of the ones that we will be reading (we have three on the schedule), and  turning in to the class a synopsis of your novel.

The practical side is that in April you will need one synopsis and the first three chapters of your novel ready to show editors who are coming to the Yukon!!  Don’t pass up this opportunity. BIG name people are coming to look for manuscripts and help people move towards publication.  They will take our class to the next level, much farther than most could take you.  They will also take you to that next level if you AREN’T a part of the class–the Editor’s Weekend is a Yukon Wide event… (oh, it won’t be named Editor’s Weekend…I just made that up….).

Tuesday nights are for those novelists with a speculative element in their novel.  There are different considerations when you are working with speculative elements and you will want people who are familiar with those elements.  The rest of the class will be VERY similar to the Monday night group–all that’s different is that we will be working with texts that are outside of realism, even just slightly.

The courses are 16 weeks long, are the cheapest prices in any college in North America (dare anyone to beat $150 per course), and I think you will get more bang for your buck.  Workshops are good to use to get a good opinion of what to look at more closely.  Only come if you are ready to receive the opinions of 15 other readers, and to consider their thoughts on your work.

Come and Join us for a good workshop experience!  CRWR 241: Fiction Writing Workshop (Mondays–realism; Tuesdays–Speculative) Starts Jan 5 at Yukon College!

Muslim Punk Rock, or What Fiction Can Do

23moth_muslimThis just in from the New York Times. Michael Muhammad Knight wrote a book about Muslim-Americans forming a punk band in Buffalo New York. From the article by Christopher Maag, “Young Muslims Build a Subculture on an Underground Book“:

Five years ago, young Muslims across the United States began reading and passing along a blurry, photocopied novel called “The Taqwacores,” about imaginary punk rock Muslims in Buffalo.

“This book helped me create my identity,” said Naina Syed, 14, a high school freshman in Coventry, Conn.

A Muslim born in Pakistan, Naina said she spent hours on the phone listening to her older sister read the novel to her. “When I finally read the book for myself,” she said, “it was an amazing experience.”

The novel is “The Catcher in the Rye” for young Muslims, said Carl W. Ernst, a professor of Islamic studies at the University of North Carolina at Chapel Hill. Springing from the imagination of Michael Muhammad Knight, it inspired disaffected young Muslims in the United States to form real Muslim punk bands and build their own subculture.

As a writer, the article is fascinating to me. Fiction has the power to give method and ideas to real people, helping to create reality. Now Stephanie Meyer’s Twilight isn’t gonna make vampires out of anyone–but it might make teenage girls want a chaste boyfriend. But Taqwacores imagined a reality for alienated Muslim teens in the States, a way to cope, a way to establish a new identity, a counter culture. The book empowers people. Through fiction.

Countless movies have played on the idea that a writer could create reality through writing about it–they are mostly comedies. But the concept, I think, is a powerful one. What if –instead of reflecting culture–we created it? What if we consciously created something that was not there before–something that could happen–so that it inspires others to create it?

Science Fiction often does this in reverse. Create something that we DON’T want around and then destroy it. And thank God we got rid of “it.” I think the Shine Anthology is seeking to help us imagine some creative solutions–and I still encourage you to submit. But I want to keep harping on the idea that you, as writers, can change the world. Michael M. Knight did. (I love that his name is the same as the hero from Knight Rider, the 80s TV show (with recent makeover)).

Go create something you want to see that doesn’t exist right now. Like Knight, create a subculture for disenfranchised teens. Or create the ultimate youth center in your town and inspire someone to imagine the real one. Or show oppressed people in power, how a family operates using green technology in their house, believable, doable, possible things. And then I hope your novel is photocopied and passed around and around and around. The world.

How Science Fiction has influenced Space exploration: video

s124e009982_lThe European Space Agency has a wonderful educational video (which you can hear in any language you like) that tracks the inspiration of science fiction on space exploration. Going back to Jules Verne, the ESA makes the case that inspiration pushes science. “A lot of space scientists are actually science fiction writers.” And vice versa: Working scientists become sci fi writers, and help Science make the Leap. Let’s not underestimate inspiration–without it, people don’t think of launching rockets into space, and sometimes a writer can shake out a problem that science faces by making those leaps–but don’t take my word for it. Watch the video. It’s really good and only 6 minutes long. Here’s the link.

Or if you can’t reach that link–here’s the address:

http://www.esa.int/SPECIALS/Space_In_Bytes/SEMNJ0STGOF_0.html

If you are a teacher, on the right at the website you’ll see lesson plans to go with the video. Inspire your students to write science fiction that will inspire scientists, or inspire your future scientists to read science fiction. We’ll all benefit from the cross pollination of ideas.

(I found this link on http://www.planet-x.com. Thanks!)