Concentrating on a powerful, emerging genre, Tatiana Konrad’s Climate Change Fiction and Ecocultural Crisis provides a survey of popular narratives that further our understanding of climate change in contemporary fiction. Konrad advocates for the expansion and redefinition of the cli-fi genre and argues that industrial fiction from the nineteenth century is the first example of climate change fiction. Tracing the ways through which cli-fi outlines a history of our modern ecocultural crisis, this book demonstrates how the genre employs four major thematic clusters to achieve this narrative: weather, science, religion, and place.

Focusing on a diverse range of issues, including fossil fuels, cheap energy, the intricacies of human–more-than-human relationships, and postcolonial geographies, Konrad illustrates how cli-fi transcends mere storytelling. The genre ultimately emerges as an important means to forecast, imagine, and contemplate climatic events.

The book invites a broadening of the environmental humanities discourse, asking readers not only to deepen their understanding of the current climate crisis, but also to consider how cli-fi culture can be viewed as an effective method to address climate change.
 

Drawing on contemporary and historic literary and media examples of Western colonialism and Anglophone writings, Disability, the Environment, and Colonialism traces how the perverse nature of colonialism continues to dominate the globe today.

The editors and contributors provide a careful analysis of the intersection of disability, the environment, and colonialism to understand issues such as eco-ableism, environmental degradation, homogenized approaches to environmentalism, and climate change. They also look at the body as a site of colonial oppression and environmental exploitation.

Contributors: Holly Caldwell, Matthew J. C. Cella, John Gulledge, Memona Hossain, Nancy J. Hirschmann, Iain Hutchison, Andrew B. Jenks, Suha Kudsieh, Gordon M. Sayre, Jessica A. Schwartz, Anna Stenning, Aubrey Tang, Alice Wexler, and the editor.