How do we connect across the climate divide? In this episode of the Climate One podcast, Greg Dalton explores the answer with Nathaniel Rich, author of the new book Second Nature: Scenes from a World Remade, and yours truly. Have a listen here.
The Nature of Plastics
Artwork: Steve McPherson
EARLY IN 2004, a buoy was released into the waters off Argentina. Half of the buoy was dark and the other light, like a planet in relief. The buoy sailed east, accompanied by the vastness of the ocean and all the life it contains, the long-lived great humpback whales with their complex songs that carry for miles, and the short-lived Argentine shortfin squid. Along the way, many thousands of minuscule creatures were colonizing this new surface, which had appeared like a life raft in the open waters of the South Atlantic.
The researchers who’d dropped the buoy followed its movement in hopes of learning more about ocean currents than generations of science and sailing history had revealed. They watched the buoy float into the wide-open ocean between South America and Africa, those twin coastlines that struck me, as I gazed at them on the pull-down map in first grade, as two puzzle pieces that once linked. They surveilled its movements by GPS. Eighteen months later, the signal ceased. Silence from the satellites.
The buoy continued along the currents of the South Atlantic, free from surveillance, sheltered and shocked by sun and clouds and storms overhead. It was likely molded out of a thermoplastic polymer called acrylonitrile butadiene styrene, or ABS, which, like most plastics, was crafted from the extracted remains of long-ago life-forms. ABS was engineered in the lab to endure—rigid, resilient, capable of withstanding all that being let loose at sea may foist upon it.
All plastic begins in a factory. That much we know. But where it goes next remains poorly understood. Only 1 percent of the plastic released into the marine environment is accounted for, found on the surface and in the intestines of aquatic animals. The rest is a little harder to measure. Some presumably washes back ashore. An untold amount settles, sunk by the weight of its new passengers. (One study found four times more plastic fibers in the sediment of the deep-sea floor than on the surface of the ocean.)
And some, like the buoy, just keeps drifting along.
***
I have spent thirty years fixated on environmental issues, spawned during my own oceanic migration in the fall of 1989….
The New Nature of Plastic
Join me for a talk at University of Arizona this Wednesday! I’ll be exploring plastics, boundaries, and monstrous ecologies and reading a bit from a forthcoming Orion piece.
Wednesday, February 10, 2021
7:00 pm MT (9:00 pm ET)
Zoom: https://arizona.zoom.us/my/joelajacobs
Keep Environmental Journalism strong
I wasn’t going to post a year-end plea on behalf of the Society of Environmental Journalists this year, where I served as the President until earlier this month. So many asks at this year-end moment, and in such a year where the needs are bottomless, and I didn’t want to add to the pile.
But IF you are still making your 2020 contributions, if you are moved by the news of journalists who have died from the coronavirus contracted while covering the pandemic to bring us news, or the staggering number of layoffs and publications permanently shuttered, I can attest to the value of your donation. SEJ has an incredible team of dedicated staff and volunteers who made it possible to ride out this year and keep the organization stable. We got money to those who needed it most, forming a rapid response grant and a Members-in-Need fund. To see more about what we accomplished this year, you can read my final President’s Letter here.
I was fortunate, teaching and writing longer-form pieces from home, able to postpone reporting trips indefinitely. But so many were out there on the frontlines, continuing to cover stories about historic hurricanes and wildfires, climate upheaval, and environmental protection rollbacks under the Trump administration that will manifest in diminished human health and a compromised natural world for a long time to come.
If you hope to see environmental journalism continue into 2021 and beyond, I invite you to join me with a contribution to SEJ. Check out our incredible (and growing) Wall of Heroes, listing some of the best journalists out there on this beat.
One big bonus this year: up to $300 in charitable giving can be deducted “above the line” from your 2020 taxable income, even if you take the standard deduction. That means everyone can receive a tax benefit from their donation to SEJ, not just those filers that itemize.
And if you can’t do anything this year, that’s fine too. No matter what, I just hope this finds you and yours safe and healthy, and staying that way as we tip into the new year.
with love,
~meera
Anger & Angels: Artist Edith Vonnegut Responds to Trump
After President Trump’s inauguration in 2017, artist Edith Vonnegut was outraged. Her response? She embarked on a creative frenzy of artistic works, one a day, for the first 100 days (except on the days that the new president was playing golf), with a few pranks along the way.
Meanwhile, I was a Knight Science Journalism fellow at MIT, taking a class in short docs with Vivek Bald. Thanks to Edie for letting me follow her around, filming, learning as I went along.
Here’s her story.
Take Back What the Devil Stole
Life leads you, one thing to another, one project to another, one person to another.
While I was a Knight Science Journalism fellow at MIT in 2016, I took a photography class with B.D. Colen. I was trying to hone a lifelong passion of taking photographs into something more skilled than just setting the aperture. He pushed us to take brazen photos of strangers on the street, and create a 24-hour time capsule of our lives (the only photos we would be able to look at for the rest of our lives when we were shot into space). We had to get dozens of good shots with the restriction that our subject and our own feet could not move at all once planted (thanks, Lauren Whaley!). He had us document the 2016 presidential election as it unfolded, imploded, and he documented me the morning after the election, when we bagged classwork to watch Hillary Clinton’s concession speech (remember those?) during class. [Read more…]
On America: Writing & Reading the Environment
From our home places, we convene. It is tonic. To get a chance to explore storytelling with these talented writers, all approaching their craft from different angles, was such a pleasure. Here’s the full post about the October 1 event, with an expansive suggested reading list. We were: a panel of writers, journalists, and climate change activists considering the formal, structural elements environmental writers can bring to storytelling, how to handle or tell stories that support political stances, and examine the stories out there that can foster a better understanding of our environmental crisis. But it was so much more. Exploring systems of reciprocity, how far writing can reach (will there ever be another Silent Spring?) and, and, and….
Have a look. And then pick up Kerri Arsenault’s rooted true tale Mill Town. And Bathsheba Demuth’s exquisite Floating Coast. Travel the world through John’s latest Freeman’s: Love. Seek out the deeply thought-through essays on climate and the hard questions they force upon us by Emily Raboteau and Meehan Crist.
Thanks to our hosts: Center for Fiction in collaboration with Orion Magazine and the National Book Critics Circle as part of the Brooklyn Book Festival’s Bookends series.
Art and Urgency: Journalism in the Post-Truth Era
This was an evening of incisive conversation with MacDowell Fellows who work in investigative and long-form narrative journalism. In this era of the 30-second soundbite and relative truth, in-depth reporting and groundbreaking nonfiction writing are more important than ever.
MacDowell has been supporting journalists for decades, and believes a new model of assistance is needed for journalists who dedicate their lives to telling complex stories that have the power to change our lives and make our society better. The Art of Journalism Initiative at MacDowell is one way we support groundbreaking voices in non-fiction—like those of James Baldwin, Shane Bauer, Ta-Nehisi Coates, Frances FitzGerald, Sheri Fink, William Finnegan, Adrian Nicole Leblanc, and others.
With The Art of Journalism initiative, we are investing $2 million in Fellowships for journalists and long-form non-fiction authors, as well as providing journalism project grants, while helping to link a new network of publishers, non-profit newsrooms, and other key players in the journalism community to MacDowell’s artist community. Get the scoop here .
Watch the video here: Art & Urgency Video
Climate Change as Threat (& Opportunity) Multiplier
My year at Princeton University is coming to a close, although the second half of the spring semester was disrupted, as everything has been, by the COVID-19 pandemic. But I still wanted to share the syllabus for the class, which includes the adaptations I made given the shifting situation. After spring break in March, we all transitioned to Zoom, and our planned trip to a local farm to learn about carbon farming had to be cancelled, but the class remained a great series of discussions, inquiries, tough questions, thoughtful answers, exciting possible solutions, and more.
Here’s the description for ENV 381, which was cross-listed in journalism and urban studies:
The US Department of Defense has called climate change a “threat multiplier,” referencing military bases inundated by sea level rise and increased global political instability from extreme weather events, especially in vulnerable countries already struggling with poor governance and impoverished populations. Likewise, among conservation biologists and urban designers, farmers and social justice activists, there is acknowledgement that perennial challenges are all exacerbated because of a rapidly warming planet for these same reasons. Every aspect of life on earth, for humans and other living creatures, is changing. This class will explore everything from the state of songbirds to the national security concerns of war hawks to agriculture to urban design to storytelling to social justice. The aim is to understand how, while climate change aggravates existing struggles, innovative climate action solutions might also help ease them.
As always, feel free to reach out to me with your suggestions or to let me know if you’ve adapted it for your own class. Here’s the full syllabus:
(Cancelled) New Imaginings: Storytelling, Science & Activism
Imagery: Jules Bartl/BBC World Service
*Due to the coronavirus/COVID-19 crisis, this event has been cancelled*
During my time at Princeton University, I have the pleasure of organizing an event, and I decided to shape it around the powerful novel The Overstory. If you’re in the Princeton area on March 26, please join me. And thanks to Jules Bartl and the BBC for letting us use this exquisite image for the event (check out the short animated film!).
Award-winning environmental journalist Meera Subramanian will host the discussion “New Imaginings: Storytelling, Science and Activism” featuring Pulitzer Prize-winning novelist Richard Powers, author of The Overstory; Robin Wall Kimmerer, SUNY professor of environmental biology and author of Braiding Sweetgrass; and forest activist Timothy Ingalsbee, executive director of Firefighters United for Safety, Ethics and Ecology.
Subramanian, the 2019-20 PEI Barron Visiting Professor in the Environment and the Humanities, will lead a conversation exploring how the work of scientists, artists and activists come together to inspire fundamental shifts in perspective. From the underground networks that feed forests to how human activity impacts the upper atmosphere, our understanding of how the world works shapes our minds, the stories we tell, and the way we act.
This event is free and open to the public. Books will be available for purchase from Labyrinth Books.
Thu, Mar 26, 2020
4:30 PM – 7:00 PM
Princeton University, McCosh Hall, Room 10
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