This issue of Paradoxa: Studies in World Literary Genres on ‘Climate Fictions’, consisting of sixteen essays and fourteen artist dialogues from international contributors, deliberately attends to the slippage between fiction as a category or as a mode of representation, and fictions as the lies or fabrications that continue to enable and animate climate change and environmental politics. ‘Climate Fictions’ continues to open up the concept to new modes of theorizing the relation between climate and fiction beyond the boundaries of the novel and beyond questions of genre, where climate fiction scholarship has so far largely resided, through the study of visual and performance art, music, game design, film, climate modeling, food studies, architecture, climate activism, and more.
462 pp., ISBN 978-1-929512-43-0
[Paradoxa]
Table of Contents
INTRODUCTION
Alison Sperling, ‘Climate Fictions’
Part 1: SIMULATION
Dialogues
Simon(e) van Saarloos and Paula Chaves Bonilla, ‘Tomorrow You Are A Cactus’
Stina Attebery and Elizabeth LaPensée, ‘Balance is Possible’
Dehlia Hannah and Charles Stankievech, ‘The Future was Yesterday’
Alison Sperling and Lina Lapelytė, Vaiva Grainytė and Rugilė Barzdžiukaitė, ‘Sun and Sea (Marina) Performing Climate Change’
Essays
Bogna Konior, ‘Modelling Realism: Digital Media, Climate Simulations and Climate Fictions’
Péter Kristôf Makai, ‘ Climate Change on Cardboard: Ecological Eurogames’
Cameron Kunzelman, ‘ Video Games as Interventions in the Climate Disaster’
Andrew Wenaus, ‘Nodding Off from the Anthropocene: Picnolepsy and Rehearsing Disappearance in Space Exotica’
Gerry Canavan, ‘ The Legend of Zelda in the Anthropocene’
Part 2: NARRATION
Dialogues
Viola Lasmana and Khairani Barokka, ‘Stories of Where We Come From’
Stef Craps and Alexis Wright, Last Aboriginal Person Standing in a Climate-Changed Australia: A Conversation with Alexis Wright
Jim Clarke and Adam Roberts, ‘The Malign Flipside of Fluke’
Amelia Groom and Anna Zett, ‘Dear Environment’
Callum Copley and Federico Barni, ‘Documenting Fictions’
Essays
Julia D. Gibson, ‘ Stories We Tell About the End of the World: (Post)Apocalyptic Climate Fiction Working Towards Climate Justice’
Z. Gizem Yilmaz Karahan, ‘Tracking Climate Change from Ancient Times: Ancient Mesopotamia and Atra-hasis’
Allan Rae, ‘ A Submergent Imaginary: The Radical Ecology of J. G. Ballard’s The Drowned World’
Catriona Mills, Rebecca Olive, and Nina Clark, ‘Sinking and Floating on a Shoreless Sea: Co-Reading “The Fool and His Inheritance”’
Gordon Sullivan “Something to do with Black Water”: Climate, Complicity and Cosmic Horror in John Langan’s The Fisherman’
Part 3: SPECULATION
Dialogues
Marlon Miguel and CasaDuna, ‘Ruins and Erosion: Reflections on the CasaDuna project’
Isabel de Sena and Janet Laurence, ‘Through the Portal’
Romy Kießling with Marleen Boschen and Charles Pryor, ‘Architectures of Seed Banking’
Daniela Naomi Molnar and Walidah Imarisha, ‘There Are No Givens’
M. Ty and Shu Lea Cheang, ‘Uncertain Harvest’
Essays
Suzanne F. Boswell, ‘ The Four Tourists of the Apocalypse: Figures of the Anthropocene in Caribbean Climate Fiction’
Alexander Popov and Konstantin Georgiev, ‘Crises of Water and New Maps to Utopia’
Conrad Scott, ‘ “Everything Change”: Ecocritical Dystopianism and Climate Fiction’
Tyler Austin Harper, ‘ Unequal Survival: Climate Fiction, Paranoid Anthropocentrism, and the Politics of Existential Risk’
Glyn Morgan, ‘ Economies of Scale: Environmental Plastics, SF, and Graphic Narratives’
