기후변화와 기후소설
Climate Change and Climate Fiction
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It is nothing new in the academic world that climate change that has aggravated on a global scale sparks a number of ‘climate fiction.’ What is intriguing is that literary consciousness and studies of the issue is not yet keen enough to grasp the seriousness of impending ecological disasters and its apocalyptic implications. Given that the generic birth of cli-fi is more than just a theoretical challenge to the scholars concerned, corresponding attention to and analytic reading of it should be properly in order. This paper, with these above-mentioned assumptions in mind, tries to peruse John Feffer’s recent works, Splinterlands and Frostlands, critically evaluating their narrative conventions and artistic achievements as a novel. Its tentative conclusion, since the last sequel is supposed to be published this coming June, is that Feffer’s texts, with all their meaningful engagement with the current climate crisis, do not fully surmount the ghettoization of genre fiction. The seriousness of the global level of climate change indeed demands creative ecological imagination as well as deconstruction of anthropocentric way of thinking. While plausibly representing climate change-cum-world disorder writ large, the two novels, despite the author’s criticism on science-oriented solution to climate disaster, paradoxically tilt heavily to cli-fi’s cliché, which is the illusion of geoengineering quick-fix. It is yet to be seen whether the ensuing last work of John Feffer’s trilogy, Songlands, can make a narrative break-through in thinking the global climate change.
Abstract
It is nothing new in the academic world that climate change that has aggravated on a global scale sparks a number of ‘climate fiction.’ What is intriguing is that literary consciousness and studies of the issue is not yet keen enough to grasp the seriousness of impending ecological disasters and its apocalyptic implications. Given that the generic birth of cli-fi is more than just a theoretical challenge to the scholars concerned, corresponding attention to and analytic reading of it should be properly in order. This paper, with these above-mentioned assumptions in mind, tries to peruse John Feffer’s recent works, Splinterlands and Frostlands, critically evaluating their narrative conventions and artistic achievements as a novel. Its tentative conclusion, since the last sequel is supposed to be published this coming June, is that Feffer’s texts, with all their meaningful engagement with the current climate crisis, do not fully surmount the ghettoization of genre fiction. The seriousness of the global level of climate change indeed demands creative ecological imagination as well as deconstruction of anthropocentric way of thinking. While plausibly representing climate change-cum-world disorder writ large, the two novels, despite the author’s criticism on science-oriented solution to climate disaster, paradoxically tilt heavily to cli-fi’s cliché, which is the illusion of geoengineering quick-fix. It is yet to be seen whether the ensuing last work of John Feffer’s trilogy, Songlands, can make a narrative break-through in thinking the global climate change.
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