The Cli-Fi Report (CFR) is a research tool for academics and media professionals to use in gathering information and reporting on the rise of the emerging cli-fi term worldwide.
Climate fiction, or climate change fiction, popularly abbreviated as cli-fi (modelled after the assonance of "sci-fi") is a term describing a growing body of fiction literature that deals with climate change and global warming.[1][2] Not necessarily speculative in nature, works of cli-fi may take place in the world as we know it or in the near future. University courses on literature and environmental issues may include climate change fiction in their syllabi.[3] This body of literature has been discussed by journalists Scott Thill, Rebecca Tuhus-Dubrow and Dan Bloom, among others.[4]
https://en.wikipedia.org/wiki/Climate_fiction
What will our new world look like? How will we—can we—adapt? The clash of a rapidly changing environment with earth’s self-styled ruling species, humans, provides ample creative fodder for this riveting anthology of original science fiction. In Welcome to the Greenhouse, award-winning editor Gordon Van Gelder has brought together sixteen speculative stories by some of the most imaginative writers of our time. Terrorists, godlike terraformers, and humans both manipulative and hapless populate these pages. The variety of stories reflects the possibilities of our future: grim, hopeful, fantastic and absurd.
Included is new work by Brian W. Aldiss, Jeff Carlson, Judith Moffett, Matthew Hughes, Gregory Benford, Michael Alexander, Bruce Sterling, Joseph Green, Pat MacEwen, Alan Dean Foster, David Prill, George Guthridge, Paul Di Filippo, Chris Lawson, Ray Vukcevich and M. J. Locke.
http://www.orbooks.com/catalog/greenhouse/
Arctic Circle is about three penguins who have migrated from the Antarctic to the small town of Snowpeak within the Arctic Circle. The penguins have joined a polar bear, a snow bunny, a lemming and an Arctic tern. Collectively, they deal with everything the 21st century has to throw at them, including climate change, fashion, Facebook and genetically modified organisms gone wild.
http://arcticcirclecartoons.com/
Graphic novels marry art and writing for a totally immersive reading experience. But they’re not just about superheroes. They can also be thought-provoking meditations on the deepest issues of our time, including the destruction of our environment.
What are the causes and consequences of climate change? When the scale is so big, can an individual make any difference? Documentary, diary, and masterwork graphic novel, this up-to-date look at our planet and how we live on it explains what global warming is all about. With the most complicated concepts made clear in a feat of investigative journalism by artist Philippe Squarzoni, Climate Changed weaves together scientific research, extensive interviews with experts, and a call for action. Weighing the potential of some solutions and the false promises of others, this groundbreaking work provides a realistic, balanced view of the magnitude of the crisis that An Inconvenient Truth only touched on.
https://www.amazon.com/Climate-Changed-Personal-Journey-through/dp/1419712551
Perfect for: Poetry lovers, environmentalists tired of climate change naysayers
In Nick Hayes’ graphic novel retelling of Coleridge’s most famous poem, the mariner shoots the albatross with a gun rather than a cross-bow, and he tells his tale not to a hapless wedding guest but a cynical divorcee. Hayes draws from The Rime of the Ancient Mariner’s naturalistic ideas to illustrate (literally) the frightening 21st-century environmental issues we face, in a world he calls “detached from consequence.”
After killing the albatross, Hayes’ mariner sees all manner of horrors—a North Pacific drilling barge leaking a “glossy thick petroleum slick,” swaths of polystyrene bobbing in the heart of the North Pacific gyre, and nylon netting in the body of the albatross itself—all rendered in precise but nightmarish line art. Through a lavishly illustrated dream sequence, the mariner comes to an understanding of his place in nature, a sort of rebirth that has him feeling truly interconnected with life on earth.
Hayes stays true to the original poem’s flowing rhyme, somehow working in phrases like “polymethyl methacrylate” and “Themisto gaudichaudii” gracefully. And unlike his busy divorcee, Hayes lingers over the poetry, dedicating whole pages of painstakingly detailed art to a single elegant line. The art is expressive—streaky and ragged or simple and clean-cut in all the right places.