June 2018 - ClimateCultures - creative conversations for the Anthropocene

The Gift of Stories

ClimateCultures editor Mark Goldthorpe reviews Jim Crace’s imaginative 1988 novel, The Gift of Stones. Set on the cusp of change at the end of the Stone Age, a book could hardly be more relevant to the emerging Anthropocene.

2,270 words: estimated reading time 9 minutes

A copy of The Gift of Stones goes to Sarah Dry for her contribution to our series, A History of the Anthropocene in 50 Objects.

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Set at the end of the Stone Age, on the cusp of change that overtook it and accelerated us headlong into a new world, a book could hardly be more relevant to our Age of Human: the Age of Unintended Consequences. The Gift of Stones is the story of a boy whose entanglement with the shifting world beyond the settled, conservative life of his village turns him into a storyteller. Set at the end of the Stone Age, it’s a parable of unlooked-for consequences as one age morphs into another. And it’s a tribute to the power of story-telling itself: “Salute the liars — they can make the real world disappear and a fresh world take its place.” Story is a technology.

The narration is shared by the man this boy quickly becomes — when disability causes him to find a novel role as outsider-insider within his industry-fixated village — and his adopted daughter. She casts a wary eye back on his choices as a teller of tall tales, and the way he weaves in spurious detail from the natural world around them to add authenticity to his creations.

“As the bully becomes soldier, and the meany becomes merchant, so the liar becomes bard. Where is the shock in that? … He was never lost for words. He had a name for everything — or invented one. He’d out-hoot an owl, they said … The paradox is this — we do love lies. The truth is dull and half-asleep. But lies are nimble, spirited, alive. And lying is a craft.”

She brings her own outsider’s view of the myopic villagers, who remain unaware of or unconcerned at the chaos on their borders. “My father’s ornateness as a story-teller cannot obscure the one plain truth that needs no hawk for decoration — that the village was obsessed with work, with industry, with craft. It made people purposeful, wealthy, strong” — and blind to change.

Design for North Country Theatres' production of 'The Gift of Stones'. Artist: Andy Thursfield — Design for North Country Theatres’ production of ‘The Gift of Stones’
Artist: Andy Thursfield © 2015
http://andythursfield.com/

Truth that offers no escape

This is a society of flint diggers, shapers, traders. Stone is the material basis of their culture, stones are what they fashion:

“What they sought was the undisturbed floorstone of flint at depths unknown to worms. This was the act that underpinned the village … Making flints, that’s all they knew. That’s what gave them heart. That was the ritual that kept them going, that filled their time, that stocked their larders, that gave them pride … It made them feel, We do exist, We are important even, We count. They were the stoneys, heart and mind. They blindly fashioned flints [as] gulls laid top-heavy eggs and the winds blew off the sea. That’s how the world was made and never pause for thought. It wasn’t made for boys with stumps.”

The boy — hardly any of the main characters are named — has been attacked by outsiders looking for flint weapons they’ve no intention of bartering for. The villagers must amputate his damaged arm. Ironically, although these craftsmen can fashion the sharpest blades for the job, none of them is able to actually wield the knife on the boy, and this task is left to the attackers — penance for their crime. But the diggers and makers have no use for a one-armed boy so, having been saved by the act that renders him valueless to them, he’s left to his own devices. He wanders far and wide, and when he sees a ship from cliffs a day’s walk away, his storytelling takes off. “What could I say to make it sound attractive? They wanted something crafted and well turned … The truth would never do. It was too fragile and too glum. It offered no escape … Already, in my mind, I knew the story I could tell that night.”

Through his stories — some true, some invented, most somewhere in between — he brings to the stoneys more of the outside world than they glimpse from their routine trading, but it remains a conservative, closed society. All their food comes in barter, making them completely dependent on the price their flint can fetch. The boy’s stories are entertainments for them, just that. His life on the margins of village life — much of it spent beyond its borders — is mostly a solitary one, and his physical and imaginative wanderings bring self-awareness and an awareness of what society means.

“People on their own do foolish things. They don’t know when to stop. They don’t know how. Now you understand why people live in villages, sniffing at their neighbours’ cooking and their conversations. They fear themselves and what would happen if the leash were cut and they were all alone…”

He travels further, from the cliffs to a saltland heath “sodden and yellowed by the winter … sweating in the sun. It smelled like rotten fruit, like beer, like cow’s breath. The earth was passing wind; it belched at every footfall; its boil had burst; it was brackish and spongy with sap and pus and marsh.” There, he encounters a woman living alone with her daughter and her dog, and so discovers the smallest of communities, but one that needs more of him than simple entertainment saved for when the day’s real work is done:

“She hadn’t cared about my arm. Or knapping flints. Or stone. She’d said, Do this, Do that. Make sure the pot is safe. Here, take the child. And hold the dog. Can’t you kill a chicken? Could you walk down — take this bag — and pull some samphire roots? Before, I’d only ever idly stared through doors to watch the workers shaping stone, to smell their smells, to watch their lives while waiting for the Scram, Get out, We’ve work to do.”

Cover to The Gift of Stones, Picador / Pan Books edition 1989 Photographer: Geoff Brightling © 1989

King of the wild world

Further off, other communities make their living through what they create from the land; when our storyteller meets a group of farmers come to camp on the edge of the heath, he hears a new story from them, “of a farming year that was rhythmic as a drum.”

“The first note in the spring was emmer wheat. Then six-row corn. Then beans. Then flax, the last to bed, the hater of the frost. The goats did well all year on fodder mulched from leaves. Their milk and cheese were said to taste of elm or ash depending on the forest where they fed. In autumn there were unearned gifts in mushrooms, nuts and fruit. In winter there were bacon sides and apples wrinkled like a widow’s cheek, and grain from rat-free, stilted stacks.”

It soon becomes clear that the reason these men are on the heath is to exact revenge on flocks of wild geese that have gathered there. “They’d harvested the field, these airborne slugs,” and now the farmers would “show the wild world who was king by wiping out all geese.”

And so, despite its possibilities of plenty, this farming life is seemingly more precarious than an existence built on the steady need for stone tools and weapons, lived at one remove from raising your own food from unpredictable nature. Farming involves a war on the wild world, and the storyteller can spot the farmers’ false confidence in humans’ ultimate power. “If they’d stayed … they would’ve seen who was king of that wild world. When everybody’s dead, there’ll still be crabs and flies and carcass shrubs and weeds to strip and clothe the world.” (And, showing his native prejudice, he adds: “There’ll still be stone.”)

For his widowed heathland companion, however, the geese are an intimate connection between the wild and the human:

“… geese are people who have died. They say my husband and my boys are geese.’ She shrugged. ‘Who knows? I’ve also heard them say that geese bring babies, that geese bring dreams, that geese are blessings to the poor. I’ve heard it all. Myself, I know the truth. I’ve seen it every year. The geese bring summer and take away the frosts. You’ll see.’”

And it’s connections such as these that the storyteller takes back to his stoney community, crafting his gifts of story.

“There was the story of the talking goose. It was snow-white except for a golden bill and feet. It said . . . and here my father could devise a goose-borne message that would tease whatever audience he had assembled at his feet. There was the story of the woman and her magic dog. They lived inside a house made out of hair. The dog could cook and stitch and start a fire. The woman hunted rabbits with her mouth. There was the story of the boy with the gift of flames. He could spit fire. Those people who stayed close to him need never fear the cold.”

Stones, chaos and coma

The storyteller’s experiences beyond the village teach him that “the world was cut in two — one for chaos, one for coma … All the outside world required was the liberty to pound and crush, to hammer and to bruise … It didn’t matter if the blows were rained on geese or huts or dogs or boys, so long as there were blows and careless brawls and sudden ghosts of hardship to blow good fortune down.” But the villagers remain complacent. Within their coma, they cannot imagine an end to the simple laws of tradition and economics that their lives are built on, are completely wedded to.

“This was the lesson they had learned whenever trade had slackened in the past: the outside world was never free from stone. There was no sickling of the corn, no scraping hides, no fishing, hunting, wars, no cutting flesh, no knives, no fires, except for stone and stoneys. Without the stoneys, men would have to fight with sticks. And what would women use to cut the cord when children came? Their teeth? What next? Were people just as mean as wolves?”

Eventually, the outside world — the world of chaos — reaches inside the borders of the village. But it’s a different kind of emergency that befalls the stoneys than the one that cost their boy one arm and their village one useful worker. Rather than simply the violence of weapons, of shaped stone turned back upon the stone shapers, this is an end to stone itself: stone as a subtle technology and staple trade. An end which even the storyteller failed to foresee (“There’ll still be stone”). Human ingenuity can always turn to other materials, fashioning other economies, and the war on the wild can take another turn, tightening as it goes and leaving peoples and places ruined in its wake. All of which is raw material for the storyteller when he spies more ships and men “armed with weapons that were gleaming in the oddest way. The stones that made them were as light as leaves; their arrows sped like swallows. Compared, our arrows were like pigeons, plump and clumsy in the air.”

No one will be wanting arrows like pigeons now that ones like swallows can be had, “this sharp and shiny leaf, this bronze.” And it’s this — more than merely the more efficient violence that this new thing, metal, unleashes — that heralds the end of the stoneys’ world, leaving them “as helpless as a beetle on its back.”

The gift of stones is the gift of all technology, as double-edged as the new bronze swords that will sweep away the age of stone. The gift of stories is also two-faced, with lies and truth intertwined. A novel that leaves to one side the prehistoric beliefs and sites — the megalithic monuments and the mysteries of their ritual uses which so fascinate us looking back and seem (falsely) to separate us from them — The Gift of Stones focuses on the daily ritual of precarious living off the land, living with neighbours and outsiders, centres and margins, and with landscape and nature. Stories that we might come to remember.

The storyteller looks back at his home:

“I knew no sight more sad than that — the sight of that small, kempt place, its walls as ordered and as uniform as ribs laid bare, its life as timorous, fettered and discreet as that enjoyed by barnacles on stone. And all around and all beyond, in blues and greys and greens, and fading far away into the whites of distance and of sky, was all the outside world. It seemed as if the outside world was like a mist and the mist was closing in. And all our world was shrinking, breath by breath. Someone, something, was hovering between our village and the sun.”

Find out more

The Gift of Stones — Jim Crace’s second novel — was first published in 1988 and is published by Pan Macmillan.

In 2015, North Country Theatres toured an adaptation of The Gift of Stones. The Director, Nobby Dimon, said in the production programme that the novel “appealed to me because it is about the origins of storytelling and by extension the origins of theatre, because its language has a poetry which is not found often in contemporary fiction and because its remote setting is both strange yet recognisable. ‘The past is another country, they do things differently there, but Crace reminds us that even our remote ancestors share intellect and feelings with us.”

Mark Goldthorpe

An independent researcher, project and events manager, and writer on environmental and climate change issues - investigating, supporting and delivering cultural and creative responses.
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My Voice in the Climate Change Crisis

Poet and artist Salli Hipkiss, in the first of two posts, reflects on how she came to understand the urgent challenges of climate change, and decided to write The Riddle of the Trees, a novel supporting positive change.

1,320 words: estimated reading time 5.5 minutes

It all began in 1999 with ‘A Novel Idea’. Not the idea for a book, but a wonderful bookshop of the same name on a dusty peninsular of the East African town of Dar es Salaam in Tanzania. Living there as a teacher, a weekend treat was to head to ‘A Novel Idea’ where highly contemporary international new books appeared as if magically in a town where other correspondence from the rest of the world often failed to arrive. One particular Saturday a book found its way into my hands, as ‘just the right book’ seems to do from time to time. It was The Carbon War by Jeremy Leggett.

I read it in a couple of power-rationing interrupted evenings (the irony was not lost on me) and came away knowing I had been introduced to possibly the most serious issue of our time, and one that would become a greater and greater problem and international focus over years to come. The issue in question was, of course, climate change. My immediate action was to apply for a new additional post at the school where I worked, aiming to become ‘Leader for the Environment’. I was given the post and for two years, in addition to my art teaching duties, I was the Environmental Education coordinator for the secondary school. Over this time I tried to introduce some of the urgency I had sensed through the book, including creating a whole school Environmental Charter.

A meaningful contribution

Jump to September 2006. I had left both Tanzania and full-time teaching in 2002 with the intention to retrain and hopefully carve out a new career in one of my other great passions: music, alongside my arts and sustainability commitments. I was living in Cambridge in the UK as a self-employed arts and sustainability practitioner and educator when An Inconvenient Truth hit the cinemas.

Having read The Carbon War I was very aware of Al Gore and his climate change advocacy work, but most people I knew at that time saw him solely as the former US presidential candidate. An Inconvenient Truth changed all that. I went to see the film three times at the cinema and bought the DVD for friends. My passion was renewed and I wondered once again how I could contribute meaningfully to the conversation around climate change and help to turn things around for the better.

Teacher training workshop with Conservation Society of Sierra Leone in Kenema, Sierra Leone, 2006. Photo: Salli Hipkiss — Teacher training workshop with Conservation Society of Sierra Leone in Kenema, Sierra Leone, 2006.
Photo: Salli Hipkiss © 2018 www.sallihipkiss.com

Later that month an opportunity arose to travel to Sierra Leone to help with forest conservation education and my time there helped focus my thoughts. The idea began to form that my personal contribution to the climate change solution could be to write a book that inspired dialogue and change: after all, a book and a bookshop had been my introduction to the issue. Straight away I knew it would be a book for young people, and that the science would be put across through the medium of a magical story. I started to make notes and sketches and by the time I came back from Sierra Leone I had made a firm commitment to write the story.

Vital threads

The advice generally given to writers is to “write what you know”. Although my musical ambitions had suffered many setbacks, music remained a source of great joy and wisdom in my life, and as the idea to write a novel took shape I knew music would be one vital thread through the story. The imperative to help with the climate change challenge formed the other.

I began to read more widely about carbon sequestration and carbon trading and gradually the story began to take shape. It was to be set in a future when ‘carbon balance’ has been achieved through widespread reforestation. A new crisis would then emerge when a mysterious disease befalls one such forest and threatens the others, and therefore puts the carbon balance into peril and the threat of climate change looms again.

My deeper ecological message was to illustrate that in planning for widespread increased sequestration as one solution it is vital that we also keep sight of the need to protect biodiversity and that a healthy planet will only prevail if we seek health on all levels. The other deeper message was that this may only come about if we put aside our cultural differences and work together as one humanity.

The Riddle of the Trees

Characters appeared next: a lonely teenage girl, a shy teenage boy, a Forest Keeper grandfather who is too often absent due to his commitment to the forest, international musicians who carry the sounds of nature and the seeds of culture from all quarters of the world within their music. Other key characters are a heavy-handed Ealdorman who tries to save the forest by imposing greater and greater restrictions, and a reclusive artist living in the forest who provides intuitive wisdom born of her close connection with and immersion in nature. Then the settings emerged: a forest by the sea, a former palace turned cultural centre, a portside town, and a mysterious cottage in the woods with a magical tower and observatory.

I started to write, sitting at a corner desk in my one-bedroom maisonette with a cherry tree just outside the window, or in one of the many cafes in and around Cambridge.

Lino cut illustration for The Riddle of the Trees. Image: Salli Hipkiss — Lino cut illustration for The Riddle of the Trees
Image: Salli Hipkiss © 2018
www.sallihipkiss.com

In 2007 I embarked on a Masters degree in Children’s Book Illustration, envisaging, amongst other outcomes, a beautifully illustrated chapter book of my story, or even an interactive ebook with moving illustrations and strains of music at key moments. The course turned out not to be the right place to nurture the story, and a year in I took a break and a part-time job in a shop aptly named ‘One World is Enough’.

I continued to write. Then after focusing on finishing the MA in 2010, I completed the first draft of the story and The Riddle of the Trees was born.

Since then the story has undergone numerous revisions and attempts at publication while I have also been raising a family. Now, almost twenty years after first reading The Carbon War I feel inspired once again to try to get the story out into the wider world where I hope it will inspire young people and others to care more deeply about climate and biodiversity issues and to take individual and collective action. Perhaps when this happens we will be one small step closer to achieving not only carbon balance but also ‘Carbon Peace’.

***

Salli’s second post in this series is The Riddle of the Trees: A Paean for the Natural World. And her recent poem, Modest Things — asking how English poet, artist and radical William Blake might have responded to climate change and what examples we might take — is published at Finding Blake.

Find out more

Jeremy Leggett’s The Carbon War is no longer in print but you can find second-hand copies online, and you can read a download of his follow up book, The Winning of the Carbon War at JeremyLeggett.net

In An Inconvenient Truth, (2006) by Davis Guggenheim, the film follows former vice president and presidential candidate Al Gore on the lecture circuit, raising public awareness of the dangers of global warming. Grist has an interesting behind-the-scenes at how the film came about, An oral history of An Inconvenient Truth.

The 2017 ‘sequel’ film An Inconvenient Sequel: Truth to Power, by Bonni Cohen and Jon Shenk, follows Gore as he speaks with scientists and leaders, and is featured in this Scientific American (28/7/17) article, Al Gore Returns with an Ever-More Inconvenient Truth.

Salli Hipkiss

A writer, artist and educator, producing picture books, a novel and songs, with a background teaching and facilitating arts and sustainability with schools and communities.
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A History of Eco-fiction, Part 2

Author Mary Woodbury, who outlined some of the common ground that helps ‘define’ eco-fiction in Part 1, looks at how this super-genre has grown and diversified in recent years. Her story returns to a family trip to Ireland.

2,360 words: estimated reading time 9.5 minutes

You can read part 1 of A History of Eco-fiction here.

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Eco-fiction may have become popular decades ago, but it has not gone away. It is evolving. When reviewing the recent novel Borne, by Jeff VanderMeer, for the New York Times, Wai Chee Dimock stated in There’s No Escape From Contamination Above the Toxic Sea,

“This coming-of-age story signals that eco-fiction has come of age as well: wilder, more reckless and more breathtaking than previously thought, a wager and a promise that what emerges from the 21st century will be as good as any from the 20th, or the 19th.”

The Canopy Expands

The world seems less and less hopeful. So many crises exist now that it’s hard to wrap our heads around them. We are reminded in the news, every moment and every day, of school shootings, shaky politics, poverty, starvation, refugee crises, murder, racism, rape, sexual harassment, and hate. Authors take these issues into consideration when building stories, and some of the biggest crises (which don’t necessarily make their way into the news: climate change, extinction, and dwindling wilderness and biodiversity) are subjects making their way into plots, world-building, and tension among characters. We haven’t seen anything like our world before. We imagine the wilderness so that we can hang onto what’s left. We want to write about our world before its best parts are gone. In fiction, there is desperation to cling to unlogged forests, clean oceans, sparkling rivers, vast deserts, and even just backyard ecosystems that mesmerize us. I have sat at a lake in the mountains of British Columbia watching minnows for hours, amazed.

I run a monthly spotlight on authors who explore climate change in fiction, and have had many interesting discussions. One was with John Atcheson, who stated:

“I think fiction still has an important role to play in defining the zeitgeist of an era. What I find fascinating is the plethora of dystopian works in film and fiction. I believe they are both a reflection of the times we’re in, and a creator of them. By which I mean, there’s a vague sense of dread, even among those who don’t acknowledge climate change, and dystopian stories allow them to grapple with their fear. Actually, I think the dread goes beyond climate change. The institutions and the disciplines we used to rely on are in disrepute so there’s an inchoate sense of doom … hence the other phenomena in film, and in graphic novels, The Super Hero.”

Eco fiction - Winds of Change: short stories about our climate — Winds of Change: short stories about our climate
Published by Moon Willow Press, 2015.

Here is the gist: fiction plays an important part in helping readers grasp large concepts that are simply numbers and bytes in the news. Good storytelling, which is not didactic, is an art form that allows the reader to not just escape but reflect, care, and cope. Stephen Siperstein, who contributed poems to Winds of Change, an anthology of stories about climate change that I published in 2015, said that many do not give climate change a thought and that there is rampant denialism, skepticism, and “climato-quietism” (Bruno Latour’s term for that laid-back attitude that somehow, without us acting, things will take care of themselves). According to Stephen, “This is the ‘new normal’ of our cognitive and affective lives, and for us to figure it all out, we need help. We need guides and maps. We need emotional resources. In short, we need the literary and cultural arts.” Bill McKibben preceded this idea in Grist, back in April 2005: “What the warming world needs now is art, sweet art.”

A short note on Dystopia and Utopia

"Both utopia and dystopia are often an enclave of maximum control surrounded by a wilderness — as in Butler’s Erewhon, E. M. Forster’s The Machine Stops, and Yevgeny Zamyatin’s We.

Good citizens of utopia consider the wilderness dangerous, hostile, unlivable; to an adventurous or rebellious dystopian it represents change and freedom. In this I see examples of the intermutability of the yang and yin: the dark mysterious wilderness surrounding a bright, safe place, the Bad Places — which then become the Good Place, the bright, open future surrounding a dark, closed prison . . . Or vice versa.

Ursula K. Le Guin Explains How to Build a New Kind of Utopia

Dystopian literature may be hopeful, and utopian literature may present problems it doesn't imagine.

I have noted often that eco-fiction stories are not just frightening but may offer hope. Often we are the antagonist, but redemption transforms us into the protagonist. We can do good together, even in times of crisis. Despite the dismal forecast for how climate change will continue to affect us and all other species on the planet, the strongest stories seem to happen when we “feed the good wolf” — when we look up, face our mistakes, apologize for them, and fix them … when we do what’s right. And what’s right, in this case, is also becoming what’s cool!

The concept of solarpunk is also a positive for literature; it’s not just a fiction genre but a hopeful aesthetic. I interviewed one of its stewards, Adam Flynn, who said:

“As billions of people in the developing world begin the rise out of poverty, they are looking for a vision of the ‘good life’, and unfortunately the current vision tends to involve fast food, large cars, big houses, and conspicuous consumption. Sustainability at scale means renewable energy, reusable infrastructure, an end to throwaway culture, room for human dignity, and the possibility for continued flourishing (although perhaps in different ways than how we define it currently).”

‘Wilder, more reckless, more breathtaking’

Ecologically oriented fiction is growing, and it’s entirely organic. Nobody says “hey, here’s a cool genre — write in it!” That’s not how fiction works. What is happening is that people naturally worry about the state of our world, and our future — just like people have been doing from the beginning of time — and some people tell stories about these things. When these things include an exploration of ecological systems around us, and how we relate to them, eco-literature is born and also is evolving with the shaky times. Running eco-fiction.com, I have built a database of books posted at the site, and while it is not exhaustive, almost 600 books are listed. The project is nearing its fifth birthday (on August 13th, 2018), and it’s evident that the number of fiction writers who fashion tales from stark realities is growing. This site has turned into a lifetime project, and in continuing with this study, I have grown fond of the diversity of storytelling within eco-fiction — it’s the most important thing to me, because the authors are all unique with their life experiences. They draw from different places, languages, and cultures, enriching this body of literature with fresh voices.

Fiction - The Wild in You by Lorna Crozier and Ian McAllister — The Wild in You by Lorna Crozier and Ian McAllister, published by Greystone Books, 2015

I always think back on Wai Chee Dimock’s words on how eco-fiction is evolving: wilder, more reckless, more breathtaking. This description is so apt. Authors are writing, and thus also documenting, the story of how humans evolve in what seems to be a mass extinction. The Holocene extinction, otherwise referred to as the Sixth extinction or Anthropocene extinction, is the ongoing extinction event of species during the present Holocene epoch, mainly as a result of human activity. Various modes of literature place ourselves in this epoch, which is full of sorrow, ghosts, dwindling biodiversity, plastic oceans, and death. It’s also full of embracing the wild within us. I chatted with the wise poet Lorna Crozier, who remarked:

“If we’re lucky enough to get into the wilderness, our bodies and our spirits crackle with life. Our legs on a trail feel stronger. They become animal again. Our sense of smell is honed. Raven speaks to us in one of the 200 dialects ornithologists have been able to measure. When a grizzly inhales my scent, I live for a moment inside his body, inside his mind. How can I not be changed? To get inside myself in a deep and meaningful way, where I might, if I’m lucky, find words to say what can’t be said, I have to get outside. I have to be larger than myself. Rain-drenched, I have to breathe in the wolf, the grizzly, breathe in the wild beauty of the world. And I have to figure out what to do to protect it — to stop all those human things that are causing such harm. The most optimistic part of me hopes the poems are one small way to do that.”

And the most optimistic part of me hopes that fiction will accomplish this.

Then there’s Jeff VanderMeer’s body of new weird fiction novels that are perfect examples of wild and breathtaking storytelling. I referenced his work in my three-part series at SFFWorld.com, Exploring the Ecological Weird. When I talked with Jeff about the Southern Reach Trilogy, he said:

“I’ve always explored weird real-life biology in my fiction, especially in the context of fungi, which often seems alien in its details. These are in a sense transitional forms, between animal and plant, that are incredibly complex and which we don’t quite understand all of that complexity just yet. So often it’s not that you go out to explore ecology through weird fiction, but that the weirdness of the real world suggests certain impulses in your fiction. The Southern Reach is just the most personal exploration, and thus the dark ecology content probably is more intense and more front-and-center. This is largely because the setting is highly personal — North Florida wilderness — and certain elements, like the (at the time) seemingly endless spiral of the Gulf Oil Spill that kind of took up residence in my subconscious.”

As we walk along the heavy Fleet Streets of our time — as W B Yeats did in his day, thinking of The Lake Isle of Innisfree — it’s not enough to dream about nine bean rows, linnet’s wings, a bee-hive, and a small cabin made of wattles and clay; though there’s nothing wrong with that, but we are on the global Fleet Street now, one that is being extinguished. Authors are telling our story, and in some way it’s an old story, but in many ways it’s a new one, now that the Anthropocene has been recognized.

The reason we went to Ireland is because my mother’s relatives came from there long ago, and it was her dream to visit the country someday. Dad, unfortunately, had early onset Parkinson’s disease, and he retired early and never was able to travel far. After he died, I relied on my mother more and more for her old mountain ways and advice (she grew up in the Appalachian hills with parents who lived off the land), and my husband and I wanted to take her on a lifelong dream trip to her ancestor’s homeland, a place she had dreamed of visiting since a child.

Showing: 'Mom and me at Fitzpatrick’s pub in Doolin. I made a heart around us, because I love her!' a picture by Mary Woodbury — Mom and me at Fitzpatrick’s pub in Doolin. I made a heart around us, because I love her!

I still feel Ireland every day, though it’s been two years since we visited. I see tiny orchids and Burnet’s roses and mountain avens poking through rocks in the Burren and vast swamp and peat lands filled with rocky outcrops and hills. We climb one hill, and there’s even a higher one. The further we go, our perspective of the Irish green patched land is wide-ranging, but we never can seem to reach the very top. It’s somewhere up there. Our GPS gets confused and takes us down forgotten country lanes where abundant heather springs up around ruins of centuries-old cottages and barns. I see the big ocean swipe the rocky beaches below my run on the precipitous trail above the Cliffs of Moher, where tall grasses sway in the early June gales. I also feel cold winds slap my face on the boat to the same cliffs, where tens of thousands of seabirds nest in the rock shelves. At first, we didn’t see anything but whitish vague shapes in the rocks, but the closer the boat got to the cliffs and the seastack, it became so clear: puffins, razorbills, guillemots, kittiwakes, gulls, and other birds everywhere. I see the blackness in Doolin Cave (Poll an Eidhneáin), home of the longest free-hanging stalactite in Europe. We stand next to its waxy looking body in the dim light set up in there, and feel ancient. Running down a country lane flanked by peat fields and bloody cranesvilles and stinging nettles, I feel like Gandalf will come along in his wagon at any moment. I hear the cottage shutters banging night after night from the strong North Atlantic winds. No matter where we go there are verdant fields and groves of trees and cows. What existed at one time still remains: ancient ruins of old forts and castles and farmhouses, along with dolmens, cairns, and other megaliths. It’s a place where time is not linear, where the past transcends the present, where a faerie may take your hand and take you away to the waters and the wild. Much like the field of literature called eco-fiction.

***

You can read Part 1 of a History of Eco-fiction here.

Find out more

There’s No Escape From Contamination Above the Toxic Sea, Wai Chee Dimock’s review of Borne by Jeff VanderMeer, was published in The New York Times (5/5/17).

What the warming world needs now is art, sweet art by Bill McKibben, was published by Grist (22/4/05).

Ursula K. Le Guin Explains How to Build a New Kind of Utopia was published at Electric Lit (5/12/17).

You can find out more about the Holocene Extinction — also known as “the Sixth extinction or Anthropocene extinction … the ongoing extinction event of species during the present Holocene epoch, mainly as a result of human activity” — in this Wikipedia article.

You can also read author David Thorpe’s ClimateCultures posts on utopian and dystopian fictions via his profile page in our Members Directory.