#clifi

[alpaca-clouds]

Solarpunk Autumns. Solarpunk Winters.

Solarpunk as a genre exists in a state of a permanent summer. Both as a genre, and an aesthetic. Solarpunk pictures usually show us worlds that have everything in so many shades of green. Green bushes. Green trees. Green everything. Fields in Solarpunk are always filled with ripe corn and wheat. And trees in Solarpunk are full of ripe fruit.

But if we look into Solarpunk worldbuilding there is also the fact that of course at some point at many places of the world it will become autumn, and winter.

I mean, I am feeling it right now, sitting here in my bed with three blankets and shivering, as the summer has very suddenly ended.

Sure, Solarpunk originated from Brazil. And while I do not know a whole lot about Brazillian climate, I do understand that it is close enough to the equator to be fairly warm yearround.

But I honestly would love to see more stories and artworks set in Solarpunk worlds during the autumn and winter. Especially because it is a very interesting topic when it comes to both the renewable energies and the food systems of Solarpunk worlds.

Now, admittedly, the renewable energy is less interesting to me, but we still should talk about it. In winter and autumn a lot of the renewable energy sources are a bit less viable. The sun has less energy and the further north (or south) you go, the less sun you get during the winter. Wind turbines also often struggle because there is in fact too much wind - and some older turbines do not do too well during harsh winter conditions. Water usually has less of a problem, unless the water energy is created in shallow conditions where the water freezes. But of course, there is nuclear energy to take care of most issues, even if everything else fails - even though some people still do not want to hear about it.

The food aspect is a lot more interesting though, especially from a modern point of view.

Because we people today are very used to eating the same stuff year around. Like potatoes, carrots, bellpeppers, tomatoes, cabbage, oranges, apples, pears, and bananas are usually available in the supermarket no matter when you go there. But of course we also know that those only are there because of the rather destructive ways we use to cultivate food and bring it to us. These things usually are grown somewhere closer to the equator and then are brought to Europe/North America via plane, emitting a lot more CO2.

Of course, this is a fairly new development. For the most of human history, nobody - or only the very richest people - had access to imported food like that. So instead they would only eat was either was available in their own country and their own fields right now, or that they could conserve in some way or form.

And frankly... I think that is something I would like to see some more off in Solarpunk media. In people not needing everything to be available all the time. And people also working to conserve food in one way or another to make it last longer.

Also I do want to bring it up again: There were a lot of well known "winter vegetables" in Europe during most of our history there. Stuff that would get ripe in late autumn and would keep rather well. And a lot of those vegetables have been forgotten.

So... Yeah, I really would see that issue discussed a bit more.

And sure, we might be able to worldbuild around the issue in some degree with greenhouses and stuff. But I think it would be nice to just question our relation with the always available foods.

[reasonsforhope]

"To change our relationship to the physical world – to end an era of profligate consumption by the few that has consequences for the many – means changing how we think about pretty much everything: wealth, power, joy, time, space, nature, value, what constitutes a good life, what matters, how change itself happens. As the climate journalist Mary Heglar writes, we are not short on innovation. “We’ve got loads of ideas for solar panels and microgrids. While we have all of these pieces, we don’t have a picture of how they come together to build a new world. For too long, the climate fight has been limited to scientists and policy experts. While we need their skills, we also need so much more. When I survey the field, it’s clear that what we desperately need is more artists.”" -Rebecca Solnit. Emphasis added.

Artists are so so important. I've had people tell me they feel bad because, as an artist, they don't think they can contribute anything worthwhile to climate change. They're wrong.

We cannot build a future we cannot imagine. Artists are so important. Artists show us what could be - what we could be

[solacene]

Beautiful artwork. I love architecture that incorporates many elements, here we can see water, greenery, air and stone. In the ideal world architecture will be more life giving to both those who occupy them and to the planet. credit Jacek Yerka

[solarpunk-nightbird]

How Solarpunk Fiction Defies Dystopian Doomerism

Move over cyberpunk. Make way for solarpunk, the defiant ecosocialist answer to dystopian doomerism.

For decades we dreamed dystopia, and in March of 2020, when COVID crashed upon U.S. shores, it seemed like we had dreamed it so well we wished it into being. While wealthy reactionaries are building actual bunkers and prepping for environmental collapse, fantasizing about which shade of hopelessness our apocalypse will take is a luxury we can no longer afford. By accepting as inevitable humanity’s demise by its own hand, post-apocalyptic fiction places no responsibility on the living to course correct.

These days, climate change isn’t over the horizon, it’s here. The virus that shuts down the globe? We had that, too. Dystopian fiction? That’s so 2012. It’s time we collectively dream of something else. A better world is possible, but if artists and writers are to contribute to that better world, we’re going to need to balance our splendid hellscapes with gardens of earthly delight. We need to envision futures that are livable and happy, and we need to imagine how we get there from here. What’s more, we need to make those worlds as thrilling and engaging as any post-apocalyptic zombie-strewn nightmare.

Fortunately, we don’t need to invent a new literary genre to show us the way to a better tomorrow. Just as there is a left-wing climate movement demanding humanity break from fossil fuels to create a bright future for life on Earth, so is there a parallel climate fiction that allows us to imagine that better world. In steps solarpunk, left-wing literature’s answer to the dystopian novel. Solarpunk looks towards a post-capitalist future of renewable energy. It rejects climate “doomerism” and shows what our collective future could look like if we heal our relationship with the natural world.

Far from Star Trek’s “full luxury space communism,” where humans race across galaxies via endless sources of energy, the technology in solarpunk is imminently achievable. In the anthology Future Primitive: The New Ecotopias, science fiction writer and democratic socialist Kim Stanley Robinson describes this genre as rejecting “the inevitability of the machine future.” Instead it asks, “What is the healthiest way to live? What is the most beautiful?” Rather than Elon Musk’s tent cities on Mars, these fictional worlds “cobble together aspects of the postmodern and the paleolithic, asserting that we might for very good reasons choose to live in ways that resemble in part the ways of our ancestors.” 

-via Current Affairs, March 25, 2024

[remwigmore]

she's back

Foxhunt!!

In a lush solarpunk future, plants have stripped the poison from the air and trained warriors keep resource hoarders in check. Orfeus only wants to be a travelling singer - so why does an assassin from the Order of the Vengeful Wild come after her head? Foxhunt is the bisexual-disaster-bard, found-family, action-adventure solarpunk novel of my absolute heart, and I'm relieved beyond words that it's back available to read! Thanks extremely to everyone who's read or talked about it 🦊❤️

[debmerriam]

I just subscribed to Solarpunk Magazine 2025 and backed the City Of Hope TTRPG! Very cool project, go check it out! https://www.kickstarter.com/projects/solarpunkmagazine/city-of-hope-0?ref=thanks-copy

[mostlysignssomeportents]

Debbie Urbanski’s ‘After World’

Debbie Urbanski's debut novel After World is an unflinching and relentlessly bleak tale of humanity's mass extinction, shot through with pathos and veined with seams of tragic tenderness and care:

https://www.simonandschuster.com/books/After-World/Debbie-Urbanski/9781668023457

I first encountered Urbanski in "An Incomplete Timeline of What We Tried," an experimental short story on Motherboard's brilliant Terraform science fiction portal:

https://www.vice.com/en/article/xwvgeq/an-incomplete-timeline-of-what-we-tried

"Incomplete Timeline" is a list of climate remediation steps "working back from human extinction," like "increased military fortification of national, provincial, and state borders," "the founding of several utopias," and "redefine the word wilderness."

These items begin with a climax, or perhaps an anticlimax: "The coordinated release of various strains of a human sterilization virus."

This is the jumping off point for After World, which expands this final item to the action of a wrenching tale whose backstory is the list's remainder. Sen Anon – the story's semi-protagonist – is 18 years old when the world learns that every person alive has been sterilized and so the human race is living out its last years.

The news triggers a manic insistence that this is a good thing – long overdue, in fact – and the perfect opportunity to scan every person alive for eventual reincarnation as virtual humans in an Edenic cloud metaverse called Gaia. That way, people can continue to live their lives without the haunting knowledge that everything they do makes the planet worse for every other living thing, and each other. Here, finally, is the resolution to the paradox of humanity: our desire to do good, and our inevitable failure on that scor8e.

And so the Earth is converted to a place of mass suicides, as people gurn and mug while boarding airplanes filled with explosives so they can go out in a literal blaze of glory. The food will run out soon, and the government makes sure everyone has a suicide pill for the day when the hunger grows too intense. Not everyone is lucky enough to get on one of the suicide flights, and, being eager to see themselves off before they harm the planet further, just hang themselves in the garage or jump off a roof. They are counted as heroes, but also nuisances, because disposing of the bodies is a lot of work.

But some people – young people – are given a mission to live on for as long as possible. These are the observer/recorders who are charged to spend the last days of the species closely watching the return of the natural world, the seeing off of humanity, and to write it all down in longhand in a succession of notebooks that are taken away by drones. This is part of the story humanity cooks up for itself about extinction being a noble choice, rather than a chaotic act born of desperation.

Sen Anon is one of these observers, and her mothers take her to a remote cabin to live out (and observe) the last of humanity's days, ensuring she is settled in and then killing themselves. After all, without them, Sen Anon's limited food supply – meagerly supplemented by drones in proportion to the quality of the observations in her notebooks – will stretch further.

Much of the novel takes the form of Sen Anon's notebook observations, countersunk with an omniscient third-person narrator who is revealed to be [storyworker] ad39-393a-7fbc, a software agent involved in the project to recreate all those dead humans in the Gaia metaverse.

[storyworker] ad39-393a-7fbc is a very unreliable narrator, who reprograms itself through the course of the story, all the while muttering asides to itself about the theoretical basis for telling Sen's story this way. [storyworker] ad39-393a-7fbc struggles with a supervisory AI that has been charged with overseeing all the [storyworkers], but which can't – or won't – rein in [storyworker] ad39-393a-7fbc as [storyworker] ad39-393a-7fbc grows more involved in Sen's life.

This experimental storytelling style (supplemented by found texts from humanity's dying, like a glossary of terms to be retired and new terms being created by a linguist who is starving to death as they complete their task) creates a contradictory narrative distance and closeness.

It's a curiously flawed omniscience that's allows Urbanski to capture the yawning, bottomless horror of the climate emergency of today and on the horizon. I don't think I've ever experienced the kind of sustained, deepening existential dread that After World created, chapter by chapter.

To sharpen this, Sen's mothers – scientists who were given exceptions to the no-child policy because their work was deemed essential to the now-abandoned project of saving humanity – are grimly supportive of the mass suicide project. When Sen's own horror creeps up on her, her mothers are sharp and often unkind, with only the smallest flashes of love and sorrow for their daughter escaping their facades, all the more vivid for their rarity.

In contrast, [storyworker] ad39-393a-7fbc grows ever more sympathetic to Sen and the rest of vanished humanity. [storyworker] ad39-393a-7fbc is a very convincing alien with motives and perspectives that are profoundly nonhuman, and yet, the compassion and love are unmistakable.

Of After World's two protagonists, [storyworker] ad39-393a-7fbc might be the more relatable. It takes an alien point of view to truly see humanity's flawed glory, irredeemable and irreplaceable. If you reveled in the nonhuman umwelts on display in Laura Jean McKay's 2020 debut The Animals In That Country, [storyworker] ad39-393a-7fbc will stretch your brain and imagination in similar ways:

https://pluralistic.net/2022/04/27/im-a-backdoor-man/#doolittle

After World is a book that goes hard. Pitiless, merciless and relentless, it takes you to the darkest depths of climate despair and reveals the indestructible beauty at our species' core.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2023/12/18/storyworker-ad39-393a-7fbc/#digital-human-archive-project

[justalittlesolarpunk]

What I’ve been reading recently