
The concept of imaginative fatigue in the Anthropocene presents a kind of heady platform for lighting into all kinds of literary corruption and gatekeeping issues that are holding the rising waters in place, out of view or at least off the page:
This makes itself evident in the paucity of fiction devoted to the carbon economy, something the Brooklyn-based Indian writer Amitav Ghosh addresses in his marvelous recent book, The Great Derangement, writing, “When the subject of climate change occurs . . . it is almost always in relation to nonfiction; novels and short stories are very rarely to be glimpsed within this horizon.” Ghosh, who has depicted the precarious ecology of the Sundarban mangrove forests of Bengal in his novel, The Hungry Tide, says that this absence has to be “counted as an aspect of the broader imaginative and cultural failure that lies at the heart of the climate crisis,” a failure so pervasive that he calls our era, “which so congratulates itself on its self-awareness . . . the time of the Great Derangement.”
I agree with the reviewer that any discussions about the ‘ravages of the carbon economy’ would necessarily include story lines on the failure of capitalism. And talk about a contrivance. Who would believe that? Perhaps at no point have we ever been so self-hemmed in – constrained by our own no-go areas. Does any writer today imagine Zola or Hugo, or Anatole France or, good grief Racine, adhering to such constraints? Is it only fear? Will the publishers and agents love us no longer? What then? Asking for a friend of the fate of the world.
Image: Author photo of the flooded Seine, June 2016.

In early September 2008, I drove down to Charleston to visit a cousin who had recently suffered a terrible accident. Throughout the drive I listened to extended public radio reports on an evolving calamity: the collapse of Lehman Brothers financial services firm. The horror that the government was going to allow such a large firm to go under was decorated with the baroque gadgetry of terms that would become more familiar in the coming years: credit default swaps, subprime mortgage lending, tranches, CDOs. The gore and detail of the cover that had been constructed around scams and fraud at the broadest level was audible in the voices of interviewers and guests. There was a tinge of disbelief within their attempts to explain what these terms meant and how they had gotten us all (!) into so much peril. It was as close to 1929 as we had come and potentially far worse – so extensively had the giant vampire squid of financial engineering welded its tentacles to every sector. Housing, banking, investing, construction, debt, bonds… this is business America now, and every other activity is vulnerable to its caprice. It was the stretch run of a presidential election as well; one candidate tried to suspend the campaign, the other fortunately tried to hold things together.
The stupidity of millions, millions of individually stupid decisions, has brought a spiteful revolution to its denouement. Or a screaming kid to its mall, whichever you prefer.
In tribute to the great
Peter Singer’s 1975 book
Published in 1938 as USA, the trilogy recounts the evolution of American society during the first three decades of the 20th century. The jazz age had been engulfed by the stock market crash, the depression, and the rise of fascism. Dos Passos was still a communist, mindful of the gaps between rich and poor in America. The first volume,
“That’s right, Robin.”
We wish they were more rare. But just as rising wages are bad news for business(?) and solar most horribly spells doom for coal, word in the oil game is that consistent catastrophes are needed
:
Like smartphones teach us to be dumb – to not know things, to not be able to find our way except by using the device – we are also learning how to forget the past. Or how to remember it inaccurately, disconnected from the forks in the road where our path darkened and we lost something irretrievable, something we did not make nor deserve but that came from us and birthed us, was us, the best and the worst, that pushed us in the right direction because we were scared to go on our own until we learned we could pull ourselves there if we could just join enough hands.