Vibrant Literary Cultures in Germany and Mexico

Here and here.

"Thank God for the Atomic Bomb"? No.

I disagree with Paul Fussell on the necessity of bombing Hiroshima and Nagasaki.

"Hiroshima's Genbaku Dome: Ground Zero of the Twentieth Century."

Walter A. Davis's book and play about Hiroshima.

The Post-Oil Novel

Some prime examples of this emerging genre of speculative fiction are discussed. http://energybulletin.net/44031.html

The essay also lists books of the related genre of "green science fiction" or ecotopian fiction (defined by Wikipedia as "a subgenre of Utopian fiction where the author posits either a utopian or dystopian world revolving around environmental conservation or destruction. Ernest Callenbach's Ecotopia was the first example of this...") : by authors such as:

• Ursula K. LeGuin ("The Dispossessed, "Always Coming Home")
• Molly Gloss ("The Dazzle of the Day")
• Judith Moffett ("Time, Like an Ever-Rolling Stream")
• Ernest Callenbach ("Ecotopia")
• Kim Stanley Robinson ("The Wild Shore" and "Pacific Edge")

Wikipedia lists the following authors and books:

• Ernest Callenbach's Ecotopia and Ecotopia Emerging
• Kim Stanley Robinson, Three Californias Trilogy.
• Robinson has also edited a collection of short ecotopian fiction, called Future Primitive: The New Ecotopias.
• Starhawk's The Fifth Sacred Thing
• Ursula K. Le Guin's Always Coming Home.
• Much of Sheri S. Tepper's work also centers on this theme as well as ecofeminism.

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To all these I would add Harvey Wasserman's SOLARTOPIA: Our Green-Powered Earth, A.D. 2030, summarized on the author's website thusly:

After the age of fossil/nuke ... a new era dawned ... Climb aboard our sleek, quiet, supremely comfortable hydrogen-powered "Hairliner" as we fly halfway around an Earth of A.D. 2030 that has mastered the problems of energy and the environment. Beneath us we see a post-industrial world booming with the wealth and harmony of a revolution in green power, one brewing since 1952, but finally in place. Written by one of the world's leading advocates of renewable energy, SOLARTOPIA takes its place with LOOKING BACKWARD and ECOTOPIA in classic visionary thinking. Read this once -- your view of the future will never be the same.

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19 January 2009 update:

Frank Kaminski wrote in his review of peak- and post-oil novels (linked above) that:

"They are most certainly the vanguard of an entire subgenre of such books, an increasing number of which will be written by veteran speculative fiction authors (assuming, of course, that we have enough energy to keep the presses running). This is not mere speculation; other authors are now waiting to deliver their own unique takes on peak oil. Speculative fiction-short-story-writer Paolo Bacigalupi, for one, clearly seemed quite engaged on the subject during an interview with Locus Magazine this past year."[25]

25 “Paolo Bacigalupi: Facing the Tiger,” Locus, issue 558, vol. 59, no. 1 (July 2007): 76-8.

Indeed, as Annalee Newitz reported:

"Awesome eco-scifi author Paolo Bacigalupi reports that he's just sold an intriguing-sounding dystopian novel to publisher Little, Brown. Bacigalupi writes, "The book in question is Ship Breaker, a young adult novel about all of my favorite things: global warming, peak oil, genetic engineering, poverty and collapsed societies. You know, happy fun stuff. Fortunately, it’s also a ripping adventure. Joe Monti at Little, Brown is the cool guy who decided to buy it, in a two-book deal." Bacigalupi has already published a book of short stories, Pump Six, [No, it has nothing to do with gas stations--P.Z.] and is working on another novel called The Windup Girl. [via Windup Stories]"

Kaminski noted that the peak-oil genre is taking off:

"...Peak oil enthusiasts have indeed begun doing all of these things, as evidenced by the online discussion boards, book reviews, and post-oil short story contests. It will be interesting to see how their debate evolves, as well as how the post-oil novel, and the unlikely partnership between speculative fiction and peak oil, build over time."

A brief search for the abovementioned turned up a story fragment on how not even the Amish are immune to the deprivations wrought by peak oil. There is also an interview with Robert Pogue Ziegler, who won a Rocky Mountain News-sponsored short-story contest with his post-carbon story "Heirlooms."
And Alan Wartes lets out a full-throated "peak oil rallying cry to artists":

"...What we desperately need now are new stories. ...

Artists, we need you. We need your vision and your courage to tell the truth. We’ve got plenty of “analysis,” and enough punditry to last us forever. What we lack are the gut-wrenching stories that put a human face on the collapse that is upon us. We lack imagination to see through the present smoke and dust to what comes next. We lack the icons of this revolution that can sum up the future in a single phrase or image - and suggest what must be done to face it. ...

I offer this small step forward: at So Long, Hydrocarbon Man, we will now take submissions of poems, short films, short stories and images that speak to the realities of peak oil, climate change and life at the end of the era of Hydrocarbon Man. Visit the site and read our submission guidelines. Spread the word to artists: a challenge has been issued to create stories that tell the truth about where we are and ones that imagine the possibilities of where we can go from here. ..."

Alan Wartes is a filmmaker, writer and musician. He writes a blog at www.hydrocarbonman.com,[now defunct--P.Z.] a site that is now taking submissions for art work - short films, poems, short stories and photos - that speaks directly to life at the 'end of the era of Hydrocarbon Man.'"

Kaminski soon revisited the peak-/post-oil novel by reviewing Ill Wind, a book set in a post-oil world but not about peak oil, unlike the novels in his previous review. (In the story, experimental oil-eating microbes set loose on a tanker spill escape to devour the world's petroleum.)

Is College for All? Part Two

Steve Sailer thinks condensed books might do the trick for students.

If I were a high school English teacher, I'd welcome condensed versions of books. They'd be less intimidating to students and they'd take up less time in class, so you can move on to other books. All the economic incentives these days are for publishers to churn out thick books in which readers can wallow in their favorite author's writing, but classrooms contain a wide variety of tastes, so a class is better off with more shorter books than fewer longer books.

With lots of older books, you could just cut out the descriptive prose. Before visual images became hyperabundant, people had a hunger for mental imagery. So, as late as "The Maltese Falcon" in 1930, you have to endure two pages of description of what Sam Spade looks like, which turned out to be not at all like Humphrey Bogart -- Hammett's Spade is 6'3" and blond.And lots of fat books have a thin book lurking inside. For example, Tom Wolfe's 426-page The Right Stuff could furnish a terrific 125-page biography of Chuck Yeager.

Earlier, Steve recommended tweaking school reading lists to appeal to more students:

Unfortunately, educators are living in a dreamland about what kind of books are suitable for their lowest-scoring students. Let's take a look at the recommended reading list for high school students (grades 9-12) who rank lowest out of the 13 levels of scores on the test. So, that's like youths in the bottom decile in reading ability, right?Here are five of the 57 recommendations from the bottom of the barrel list:

Collected Poems by W.H. Auden

Hamlet by William Shakespeare

Major Barbara by George Bernard Shaw

Murder in the Cathedral by T.S. Eliot

Paradise Lost by John Milton

Right Look, at this level, you just want these kids to read something, so you should be recommending, I don't know, 32-page sports hero biographies in big type with lots of pictures. The Da Vinci Code is way too hard for these poor bastards.This seems to be a general pattern, pushing public school kids toward books that are way over their heads.Let's now talk about average public high school students, rather than the bottom 1/13th. For example, Shakespeare is frequently introduced to students via Romeo and Juliet, which is the young Shakespeare at his most show-offy and incomprehensible. You should start instead with Julius Caesar, which is written in Shakespeare's simplest style in imitation of Latin. And it's about war and politics, which boys like, and boys are the problem these days. Most of them probably won't get it, but at least they have a fighting chance with Julius Caesar.For those high school students who go on to a second Shakespeare play, Henry IV, Part I has perhaps the most entertainment value, with war, politics, honor, and some humor that's still kind of funny in Falstaff. Avoid Shakespeare comedies that are based upon transvestism but aren't actually funny, like Twelfth Night. They appeal to a certain type of English teacher, but not to most students. In general, tragedy endures better than comedy.And avoid "problem plays" like Measure for Measure, which are problem plays because they have problems (i.e., aren't very good).If you are building a public high school reading list of classics, you should look for 1) simple, 2) short, and 3) appealing to boys, which means you'd start with The Old Man and the Sea by Ernest Hemingway.

Local Playwright Lisa Matsumoto

[Links provided by me.--P.Z.]

http://the.honoluluadvertiser.com/article/2007/Dec/14/br/br4351672089.html

Updated at 3:47 p.m., Friday, December 14, 2007
Hawaii playwright seriously injured in H-1 crash
Advertiser Staff

Lisa Matsumoto was involved in a head-on crash on the H-1 today. Officials said the vehicle may have been driving in the wrong direction. [Courtesy photo]

Noted local playwright Lisa Matsumoto, 43, is in critical condition following a head-on crash in the west-bound lanes of the H-1 Freeway early today, authorities confirmed.
Matsumoto was driving a green Toyota Camry in the wrong direction and collided with a black Toyota Corolla being driven by a 35-year-old woman, who was also injured in the 3:32 a.m. crash.

The younger woman, who swerved to the right to avoid Matsumoto's vehicle, was taken to The Queen's Medical Center in serious condition with head and leg injuries.

It took more than an hour for Honolulu firefighters to free the woman from the wreckage.
A 21-year-old man whose car crashed while trying to avoid the collision was treated at the scene and did not have to be taken to the hospital, said Bryan Cheplic, spokesman for the city Emergency Services Department.

Police blocked off all lanes of H-1 west at the Houghtailing off-ramp while police traffic investigators examined the crash scene.
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When Lisa's play Once Upon One Time debuted on the Big Island. http://media.bigisland.org/press-releases/106/lisa-matsumotos-once-upon-one-time-makes-its-big-island-debut

On Translation and World Literature

This article in New York on some of the best books yet to be translated into English has piqued my interest in world literature. I haven't heard of any of the eleven authors. Except for a Francophone Egyptian writer, Africa has been entirely overlooked, despite outstanding work from Somalia to Senegal and from Algeria to Zimbabwe. Oceania is totally off the map, and Asia is represented only by South Korea's Jo Kyung-ran and Israel's (technically part of Asia) Gabriela Avigur-Rotem. This list of novelists includes Tayeb Salih (Sudan) and Mario Benedetti (Uruguay) ("He is not well known in the English-speaking world, but in the Spanish-speaking world he is considered one of Latin America's most important living writers."--Wikipedia)


A Guardian blog post about literary translation points out that "Only three per cent of books published in the UK every year are originally written in another language." (Of course, the situation is comparable in America as this chart about comparative literature indicates.) The Guardian goes on to say:

Language is identity. Across the whole world, millions of people live their whole lives in a mental space that only marginally involves English. Yet these people are not intellectual cripples. Far from it. They can often communicate internationally using English, and still have a reserve of their own - their mother tongue.

At the London Book Fair we were treated to soothing words that told us that it was quite normal that only three per cent of books published in Britain are translations. At the Leipzig Book Fair a few days later, a Ukrainian intellectual spoke about the state of his culture. Yuri Andrukhovych has written one of the few Ukrainian postmodernist novels to have been translated into English - Perverzion, translated by Michael Naydan - but he is also a blunt purveyor of home truths when it comes
to central and eastern Europe. At Leipzig, Andrukhovych suggested that Ukrainians should be afforded visa-free travel to western Europe. But are they being afforded such travel into the minds of British readers?

We do, in Britain, have a number of publishers, such as Serpents' Tail, Harvill-Secker, Arc, Peter Owen, Hesperus, [not to be confused with the music group--P.Z.] Portobello and several others that promote translations of literature. But as British
television does not have a high-prestige books programme, such as the German Literarisches Quartett with the colourful Marcel Reich-Ranicki or the French Apostrophes with Bernard Pivot, British readers never get to know that there are more than a very few non-English books worth reading.

Britain is lagging behind. I fear that the fog may not be so much in the Channel, cutting off the continentals from Britain, but in the minds of those British publishers, editors and journalists that continue to take an introverted view of "world" literature, where only that written in English counts as "real".

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17 July update: Brave New Words is a blog on translation, Words Without Borders concerns world literature, and Parnassus: Poetry in Review marked its thirtieth anniversary in March with a 600-page International Poetries Issue.