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Issue 16

Issue XVI: Editor’s Note

Today’s environmental movements face an unusual advisory – the crisis of communication. As the world around us rapidly moves on from one story to another, take a pause to read our latest issue dedicated to exploring the culture of reading. In the 16th issue of OpenAxis, our writers will give you a glimpse into the unique ways of expressing environmental ideas – covering all bases, from graphic novels to eco-poetry.

Mongabay India, sits down with the author of the Naturalist: A Graphic Adaptation, Jim Ottaviani to talk about the journey of this book and how the idea of capturing scientist Edward O. Wilson’s life in frames came to fruition. Jim Ottaviani shares Wilson’s lessons of environmental study and conservation and how they can appeal to a fresh audience. 

Peter Speetjens from Mongabay India writes about the work of Brazilian photographer Sebastião Salgado. His latest book, Amazônia, is a visual tale dedicated to capturing the beauty of the world’s largest rainforest and the lives, culture and rituals of the Indigenous tribes. The book not only seeks to immortalize the essence of the Amazon Rainforest, but also serves as a call for the preservation of this endangered ecosystem.

2021 marked the launch of Comixense, a graphic novel magazine created by India’s first eco-graphic novelist, Orijit Sen. Stepping into the world of comics, Devanshi Daga takes a closer look at how this visual medium of storytelling can reform the way we talk about and understand climate change. 

Denis Villeneuve’s long-awaited adaptation of Dune has finally hit the theatres. And owing to the eco-centric nature of the film, discussions about climate change and the scarcity of resources have resurfaced yet again. But will these discussions translate into real climate action? Linking psychology to climate fiction, Meera Anand analyses whether or not pop culture has the power to influence attitudes towards the climate crisis.

In recent years, the number of children’s books on climate change, global warming, the world of nature and their readership has increased manifold. In the wake of this reading boom, and with a rise in the number of youth environmentalists leading environmental movements, Aritro Sarkar discusses the impact of children’s books on the climate crisis genre, on the climate movement and what it means for children. 

The Laurel Prize is one of the most prestigious International Awards for eco-poetry. Although they invite submissions from around the world, do their strict language barriers, related expenses and numerous other terms and conditions end up curbing the submissions from poets belonging to marginalised and non-English speaking communities? Ishita Ahuja probes into the selection criteria for the Laurel Prize in order to highlight the limited representation of diverse perspectives through the art of eco-poetry.

Booktube is a thriving microcosm within the Youtube universe. Run by a community of literary vloggers, it is a platform for readers to discuss and recommend their favourite books. But a trend of sharing ‘book hauls’ (i.e. the act of a vlogger displaying their huge collection of books after a shopping spree) has taken over this community. Rishita Chaudhary uncovers the environmental and social impact of this growing trend and if it can be transformed into a more sustainable practice.

The advent of Non-Fungible Tokens or NFTs, a piece of blockchain technology, has made the process of publication extremely easy and decentralised, especially for those authors who earlier used to have a tough time getting their work published. This technology however uses massive amounts of energy to operate, having a detrimental impact on the environment. Despite these concerns, authors opt to publish their work through NFTs. In his article, Cefil Joseph Soans looks into why authors are shifting to NFTs and how NFTs can be used to not only reduce but Reverse (RVRS) climate change.

– Ashana Mathur

Categories
Issue 16

Today’s environmental movements face an unusual advisory – the crisis of communication. As the world around us rapidly moves on from one story to another, take a pause to read our latest issue dedicated to exploring the culture of reading. In the 16th issue of OpenAxis, our writers will give you a glimpse into the unique ways of expressing environmental ideas – covering all bases, from graphic novels to eco-poetry. 

Mongabay India, sits down with the author of the Naturalist: A Graphic Adaptation, Jim Ottaviani to talk about the journey of this book and how the idea of capturing scientist Edward O. Wilson’s life in frames came to fruition. Jim Ottaviani shares Wilson’s lessons of environmental study and conservation and how they can appeal to a fresh audience. 

Peter Speetjens from Mongabay India writes about the work of Brazilian photographer Sebastião Salgado. His latest book, Amazônia, is a visual tale dedicated to capturing the beauty of the world’s largest rainforest and the lives, culture and rituals of the Indigenous tribes. The book not only seeks to immortalize the essence of the Amazon Rainforest, but also serves as a call for the preservation of this endangered ecosystem.

2021 marked the launch of Comixense, a graphic novel magazine created by India’s first eco-graphic novelist, Orijit Sen. Stepping into the world of comics, Devanshi Daga takes a closer look at how this visual medium of storytelling can reform the way we talk about and understand climate change. 

Denis Villeneuve’s long-awaited adaptation of Dune has finally hit the theatres. And owing to the eco-centric nature of the film, discussions about climate change and the scarcity of resources have resurfaced yet again. But will these discussions translate into real climate action? Linking psychology to climate fiction, Meera Anand analyses whether or not pop culture has the power to influence attitudes towards the climate crisis.

In recent years, the number of children’s books on climate change, global warming, the world of nature and their readership has increased manifold. In the wake of this reading boom, and with a rise in the number of youth environmentalists leading environmental movements, Aritro Sarkar discusses the impact of children’s books on the climate crisis genre, on the climate movement and what it means for children. 


The Laurel Prize is one of the most prestigious International Awards for eco-poetry. Although they invite submissions from around the world, do their strict language barriers, related expenses and numerous other terms and conditions end up curbing the submissions from poets belonging to marginalised and non-English speaking communities? Ishita Ahuja probes into the selection criteria for the Laurel Prize in order to highlight the limited representation of diverse perspectives through the art of eco-poetry.

Booktube is a thriving microcosm within the YouTube universe. Run by a community of literary vloggers, it is a platform for readers to discuss and recommend their favourite books. But a trend of sharing ‘book hauls’ (i.e. the act of a vlogger displaying their huge collection of books after a shopping spree) has taken over this community. Rishita Chaudhary uncovers the environmental and social impact of this growing trend and if it can be transformed into a more sustainable practice.

The advent of Non-Fungible Tokens or NFTs, a piece of blockchain technology, has made the process of publication extremely easy and decentralised, especially for those authors who earlier used to have a tough time getting their work published. This technology however uses massive amounts of energy to operate, having a detrimental impact on the environment. Despite these concerns, authors opt to publish their work through NFTs. In his article, Cefil Joseph Soans looks into why authors are shifting to NFTs and how NFTs can be used to not only reduce but Reverse (RVRS) climate change. 

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Issue 16

RELOOK: Mukul Sharma on the Hindu right’s eco-politics, a decade later

This 2011 book examines contemporary environmental issues and movements in independent India on the one hand, and the development of Hindu conservative ideology and politics on the other. It includes the first thorough investigation of Anna Hazare’s movement in Maharashtra.

Mukul Sharma argues that these two social currents—environmental conservation and Hindu politics—have forged bonds which reveal the hijacking of environmentalism by conservative and retrograde worldviews. This, he says, constitutes a major aspect of hinterland political life which neither academics nor journalists have seriously analysed. Environmentalism and politics cannot be seen as separate from each other, for environmental issues are being defined in new ways by an anti-secular form of Hinduism. In turn, Hindu ideologues are gaining mileage for their ideology by espousing major environmental projects.

Anna Hazare’s impact is studied in detail through a careful field investigation of his environmental initiative in Ralegan Siddhi. Sunderlal Bahuguna’s opposition to the Tehri Dam in the Garhwal Himalaya is outlined with great anthropological subtlety. And the regeneration of Vrindavan’s urban and riverine hygiene by internationally funded NGOs is subjected to a historical scrutiny that includes an examination of how Lord Krishna has been redefined as the great god of conservation.

Sharma discusses Nazi Germany and fascist appropriations of environmentalism in Europe to contextualize Hindu conservative nationalists within a larger universe. By pinpointing the communal and authoritarian discourses within some of the new social movements, his book alters the way in which we look at everyday life in the subcontinent. For, says Sharma, at stake in this intermeshing of environmental Green and Hindu Saffron is nothing less than the way Indians understand their humanity. Excerpt from an interview

How did you come to focus on the connections between religious and environmental values and the associated patterns of political mobilization in environmental movements?

Between 1990 and 2001, I happened to do at least three kinds of fieldwork, in different regions, with diverse agendas, and these led me for the first time to begin asking questions about the emerging interrelationships between religious and environmental values and a certain kind of conservative, nationalistic politics in India.

First, as a member of an environment journalists team, organized by the Centre for Science and Environment, Delhi, I visited Ralegaon Siddhi village and met Anna Hazare, to write on an ideal green village and an environmental crusader. I published three positive reports on this in the Hindi newspaper Navbharat Times, I was a special correspondent with them at that time. However, uneasy memories, notes, and documents on the use of Bharat Mata, Shivaji, Vande Mataram, army rules, religious symbols, codes and conduct in the village, along with publications by the then prominent leaders of the Rashtriya Swamsevak Sangh portraying the village and its leader as a model for the country, continued to haunt me.

Second, I had been covering the anti-Tehri dam movement in Garhwal for long, and in one of my visits to the dam site in the late 1990s, where Sunderlal Bahuguna was sitting on a long fast, I met a group of sadhus distributing pamphlets that anchored the religious and environmental values of Ganga not only as a pivot against the dam, but also against alleged ‘enemy’ symbols and people of the country: i.e. mosques and Muslims.

And third, when in 2000 I began working with the political foundation of the Green Party of Germany and had an opportunity to visit the country a couple of times, I found a troubled past and present regarding the relationship between the environment and certain kinds of political and religious beliefs. I also felt that environmentalists in the Green Party Foundation were reluctant to formally discuss these linkages. These experiences led me to think in a more concrete and focused fashion on the connections between religious and environmental values, and the associated patterns of political mobilization in environmental movements.

How would you respond to the assertion that books on religion and ecology, often by scholars of religion, have focused on the realms of culture and spirituality as they reflect ideas of nature or information on ecological relations in the natural world. Such scholarship takes little interest in the political realm or the politics present in cultural constructions of nature or sacred objects in nature.
On the other hand, the social science of environmental politics often lacks insight into the affective and devotional dimensions through which individuals and groups may relate to nature and thereby find affinity to the natural world in the form of a religious experience. If you agree with this formulation, is it your interest to bridge this divide?

Most works on religion and ecology, in the specific context of India and Hinduism, are often banal and unidimensional. They usually explore Vedic and Brahmanic understandings of religion, and apply them to the natural world. Leave aside the political realm, they do not even have space for contesting visions of religion and environment. Let me give an example from my village Vishwaspur, in Bhagalpur district of Bihar, where there is a thakur vadi (place of God), owned and nurtured by us, a few Brahmin families, in the name of the whole village. The religious values and practices associated with this place have a robust conservationist and protectionist streak concerning the ponds, trees, and water bodies in its vicinity. However, this religious place, its fruits and ceremonies, are closed to the Dalits of the village. The ‘sacred’ trees of the complex can only be worshipped and used by the Brahmins and Thakurs. So what kind of religious and spiritual values of the environment are we talking about, and by and for whom? I have also been finding many such instances in the state of Rajasthan—where there has been much hype around religiously and culturally celebrated ponds and water bodies—in the course of my new research on Dalit environmentalism. We need to dissect the various forms and content of religion in the environmental arena so that their regressive and liberatory aspects are understood simultaneously. Howsoever, worthy the religious beliefs and practices of an individual or a group may be for the environmental world, my interest lies in seeing it through the spectrum and cross-section of caste, class, gender, justice, and equity, and not as a stand-alone point of reference. Green and Saffron reflects precisely such a politics of the environment. It explores the cultural, ethnic and sectarian dimensions of green issues in India. This also underscores the intermeshing of identity, power, and nature.

How did your earlier career in journalism and subsequent career in the world of civil society organizations come to influence your research and writing of scholarly work?

As a journalist, I gained experience doing intensive and regular field work on the environment and rural issues at several critical sites in India and abroad. Tags like ‘rural’, ‘environment’ and ‘labour’ journalist came later, invented narrowly by media organizations. Some of the habits and practices developed at that time—going to the field and staying there, spending time listening to a cross-section of people, gathering diverse facts and documents, cross-checking, visiting local libraries, and most critically seeing a particular environmental or rural issue not only from the lens of a subject, but also from a cross-cutting of subjects and articulations—have influenced my present work.

After that, my continuing career in the world of civil society organizations made me conscious of the slippery and often shallow nature of research undertaken, and how not to do an academic and serious research work. Also, civil society organizations, working particularly in the field of the environment, made me more alert to its political implications. I have seen here, for example, how the notion of ‘sustainable development’ has frequently been stripped of cogent meanings and how incongruous actors, from power-driven governments and profit-making corporations to indigenous people and city-action groups, have couched their intentions in the language of sustainable development.

Indian writing on environmental topics, even by people who wish to contribute to scholarly debates, or those who ultimately become academics, has often originated in activism or public concern around a specific issue. Do you find these ties between political engagement and scholarship limiting the kind of topics and perspectives environmental scholarship in India has taken up? Are there consequent gaps in the scholarship? What might they be?

I find Indian environmental scholarship, otherwise very rich and path-breaking, thin in terms of its political engagement in post-Independent India, especially in comparison with other parts of the world. There are only a few specific arenas, like dams, water, forests, and gender, where ties between environmental scholarship and political engagement have produced significant studies. Such concerns have expanded environmental horizons, including its subject, actors, and writers. However, there is still too little politics in environmental scholarship and too much rhetoric in political writings on the environment. We are yet to see nuanced and rich understandings of ecological politics in India, in all its dimensions. Studies on the politics of a particular moment and movement, of a community and its leader, of an area and its tradition, are not enough to fill the lacuna of a broader and wider understanding of ecological politics in the country. There is a vast and vibrant political canvas of secularism and communalism, nationalism and authoritarianism, democracy and political parties, capitalism and socialism, Dalit and Brahmin, red and blue, superpower and regional power, which impinges on environmental politics, and vice versa.

This book, Green and Saffron, has been long in the making. In what ways is it different from the project you originally embarked on?

I would respond in two parts: how is it different from my earlier works, and from its earlier conception. The making of this book reminds me of the story of the rabbit and the tortoise, narrated to us since childhood: to win the race, the rabbit runs fast, but the tortoise carries on slowly and steadily. If my journalism was the run of the rabbit, this book has been the slow-steady walk of the tortoise. Where my journalism ended, this book began. It also has a distinctive feel because, since its inception, I have been working formally and informally with some brilliant environment scholars and historians. Editors normally publish. However, academics make it difficult (at times impossible) to publish. And this gave me a robust/difficult discipline, and style of writing and publishing. Also, my other projects like Contested Coastlines (co-worked with Charu Gupta) were more environmental and human-rights oriented in nature, while this work is more political and sensitive. Here I was journeying with some well-established people and vibrant movements in tumultuous political times, attempting to chart a relatively unexplored territory. This long painstaking path was slow in the making and also difficult to pen.

When I initially conceived this project, some ten years back, I saw fragmentary and inadvertent links between Green and Saffron. However, as this work progressed, these faint associations became more concrete and wider. Further, I earlier envisioned the work largely in the context of the present and the contemporary. However, later I also dwelt on its deeper historical, social, and political roots.

Could you name and discuss five or six books that, over the years, have influenced your thinking or shaped your writing?

The readings that have shaped my writings have ranged from footpath literature, pamphlets, to journalistic works and scholarly books. However, if I were to pick five or six books, though difficult, I would choose the following: Rahi Masoom Raza’s Hindi novel Aadha Gaon, which narrates the story of a village in Uttar Pradesh at the time of partition and independence, and how Muslim and Hindu families were torn apart. The novel is a powerful testament of how communal politics weaves itself into our everyday existence. Open Veins of Latin America by Eduardo Galeano for the ways in which it rejects a straight-jacketed chronology and instead traces Latin America’s exploitation and impoverishment through a history of its principal commodities over five centuries. John Rawls’ A Theory of Justice has great resonance for me for its ideas of reconciliation between freedom and equality, justice as fairness, and distributive justice. Ramachandra Guha’s The Unquiet Woods has a continuing influence on me for its in-depth and path-breaking study of Himalayan social protests. I consider Richard P. Tucker’s work, especially his Insatiable Appetite: The United States and the Ecological Decline of the Tropical World, a landmark study on modern global environmental history. It opens up new areas for me to study any ‘empire’ in the environment. A Field of One’s Own by Bina Agarwal has also been a regular companion.  

Image credit: Permanent Black

This interview has been republished with permission, from the publishing house Permanent Black’s blog and the author of the book. You can see more blog posts here.

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Issue 16

In the year of the crypto-creators raking it in, what about the energy bill?

Photo by Old Money on Unsplash

More than a decade had passed since American writer Blake Butler tried to sell his novel. Ironically titled Decade.

In February 2021, he sold it as an NFT for 5 ETH (short for cryptocurrency Ethereum). At the time, 5 ETH was worth approximately $7,570 (INR 5.5 lakh). It was more money than what his previous books, published the traditional way, had made together. Value is up since. This one in GIF mode is downloadable to read as a PDF. 

In an interview with Literary Hub, Butler says of NFT, “It feels like a moment for reinvention, where the field is as wide open as you could want,” But before getting to what it means for the environment let’s see, what in internet heaven is an NFT? Here is a hypothetical story to explain this.

Give me those cards,” says the teacher while snatching the action superhero cards from the students in the classroom. She then locks up the cards (not the kids)It’s not fair,” one student cribs to the other. “I wish nobody stole our own cards from us,” says another, ready to howl.

In 2021, digital versions of these cards or books can be kept as Non-Fungible-Tokens or NFTs. These are unique digital files you cannot touch or put in your bag but just see on a screen. So, no teacher can take away a superhero action card, if it is in the form of an NFT. But how does someone own one?

One student feels that the other student has a card they want. They exchange cards. Many others follow suit. Now, to avoid confusion, everyone writes down who owns which cards in each of their notebooks. They keep updating their notebooks real-time. This notebook is a ledger. 

When a student tries to cheat by showing more cards in their notebook than they actually have, it simply does not match with the other notebooks. So no cheating. But what if a student without any cards wants to get their first one?“Those who update the notebooks will get yellow coins,” a smart chap puts an idea forward, “people can use these coins to buy the superhero action cards.” 

Those writing on notebooks may find it boring to maintain, but cryptocurrency is the reward for those who maintain a ledger. You get it? This is not just child’s play, but an internet model for buying and selling things, in a virtual marketplace worth millions. A collection of such notebooks, action hero cards and children, online is like a blockchain network in operation. 

Every computer is constantly creating copies and maintaining such ledgers in a decentralised way. While regarded as low on error, this system is heavy on energy use. Harvard Business Review says, “Bitcoin (the most common cryptocurrency) currently consumes around 110 Terawatt Hours per year — 0.55% of global electricity production, or roughly equivalent to the annual energy draw of small countries like Malaysia or Sweden.” Yet, people are increasingly using it

Writers like Indian self-help author Arun Batish, published EKA, as a paperback in 2019. It is available as an NFT too. In 2020, N.E Carlisle published a young adult book, Mermaid Eclipse. In the same year, she announced it as the first NFT Novel in collaboration with cyber artist, Lori Hammond.  They have launched this magic tale as an NFT with the book’s manuscript and a signed copy of the original artwork. An Indian and a global example, but you get the drift? NFT is helping writers.

Continuing with the student analogy, what happens next? One student puts forth a demand, “Everyone has to write this condition in their notebooks, I will pay for this action card only if it allows me to win the card competition tomorrow.” The seller can choose to sell the card if the other party agrees to this condition. The buyer too knows the terms. A condition like this is called a smart contract.

RVRS, one instance of a cryptocurrency, is using such a smart contract. When someone is buying or selling using this token, they are asking its users to agree on a condition. Which in their case is, “we will be using a tenth of your transaction amount to remove carbon dioxide from the atmosphere.” RVRS says they support tree planting projects around the globe.“Does anybody need a shovel?”, asks a volunteer, in their PR tree-planting drive video

As the first year of a new decade wind down, NFT sales and creativity for its collaborators will define the upcoming decade. But so will the uncryptic truth that Terms and Conditions are the only major superhero action card the industry has authored, in exchange for its carbon footprint. So far.

Cefil is a student of Mathematics and Environmental Studies at Ashoka University. 

We publish all articles under a Creative Commons Attribution-NoDerivatives license. This means any news organisation, blog, website, newspaper or newsletter can republish our pieces for free, provided they attribute the original source (OpenAxis). 

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Issue 16

Hey BookTuber, your book hauls? Not a good look for COP26

Reading is usually a pretty solitary, quiet event so getting to find a place where people are passionate and excited and wanting to talk about what they’ve read is what’s really magical about BookTube,” says Ariel Bissett, a prominent Canadian writer and BookTuber with 274K subscribers, in November 2021.

Booktube is, broadly speaking, a community of 16 to 25 yr olds, who come together on Youtube, as literary vloggers, sharing their passion for books through reading-related recreation. This not only includes book reviews but popular video formats such as read-along, bookshelf tours and hauls.

A book haul usually features a creator showcasing their book buying spree, done in one go. Popular in nature on beauty and fashion channels, these book haul videos also have quite a following. With clickbait titles like “Giant Book Haul!70+ books” or “I have a book buying problem that I don’t plan on fixing | a big book haul”. A video is often set against a backdrop of gigantic bookshelves spilling with hardcovers and one is made to believe that owning more books is the only means of occupying a legitimate seat in the community.

In 2015, Oscar Leal, a Mexican BookTuber called this out and proposed the hashtag #Prostitubers (“prostitutes + BookTubers”) to discuss how BookTubers were faking love and passion in exchange for free books. See an Indian rant here.

This exhibitionist side of BookTube is often a feature of how marketing is insidiously a norm on the platform. The term collaboration is thrown around to mask the commercial nature of the relationship between the creator and the brand sponsoring online content. In their video description, BookTubers usually add a link of books discussed in the video to online retail sites. Reading becomes a commodity, where creators not only suggest what books to read next but what book to buy next. It makes passive consumption a likely aspiration. This consumerism rests on the fallacy that economic growth is endless. A finite planet with finite resources cannot sustain endless growth, and pretending it does has led us to the climate crisis we see today

BookTube, also known for its discussions on the young adult canon, seems to be falling short at CoP26, being held in early November, 2021. Rather than leading the way in compiling environmentally themed book reccos, it has been flooded with Halloween-themed haul videos. From cozy spooky books to read if you dare to Scary books to read. The boomers are making all the climate read reccos for kids and the young in November. This is when climate activism has gotten younger, creating online communities like never before and young reading has seen a Greta Thunberg effect since 2018.

While boomers place screens and books on opposing ends of the spectrum, the internet and social media have repeatedly offered possibilities for readers to forge virtual connections with each other. With deep structural transformation in the industry, the global publishing industry is constantly trying to find innovative means of connecting with younger readers. This is where BookTube works. Prominent figures in the community with high engagement and a large number of followers, or as the French sociologist Pierre Bordieu proposed, social capital, are often sought out to connect with active readers. These creators’ authority and opinions often influence their audiences’ purchasing habits, in contrast to conventional print media which is less likely to sway them. This social capital often translates into economic capital for both publishing houses who see a rise in spending on books and creators, who often receive a commission for books sold via them. Even just the high-frequency nature of purchase lauded in the community, can often burn a hole in viewers’ pockets, often discriminatory on grounds of disposable income and location (availability, shipping costs). Separating people into two camps; those who have and those who don’t.

Another important dimension of BookTube is the emphasis it places on the physicality of the books. While reading ranges from ebook to audiobook, Booktubers often incorporate only physical copies because they cater to the visual aspect of the platform. Catchier to hold up a book, flip through its pages, instead of a bland Kindle. However, the manufacture and distribution of a physical book comes at the expense of environmental degradation. Copies not sold by bookstores are often shredded down to pulp and mixed with industrial solvents and bleach for recycling purposes. This process is very energy-intensive and is fueled by coal and natural gas. Paper manufacturing accounts for the third-largest use of fossil fuels contributing to global warming.

Going digital and adopting e-books can stop this. The threshold at which books emit more GHG emissions than an e-reader is somewhere between 13 and 30 (average 20) university textbooks. For heavy readers, like BookTubers, physical copies can shoot up greenhouse gas emissions in contrast to investing in an e-reader. E-books and library subscriptions are often more inclusive and sustainable means of being a reader in today’s age. 

So BookTubers, what’s December going to look like? The horror of more consumptive hauls? Or a cli-fi listicle by your own, for your own? What can possibly be a good look in the second year of a never-ending pandemic though? Any ideas?

Rishita Chaudhary is a second-year student studying political science, international relations, and media studies at Ashoka University.

We publish all articles under a Creative Commons Attribution-NoDerivatives license. This means any news organisation, blog, website, newspaper or newsletter can republish our pieces for free, provided they attribute the original source (OpenAxis).

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Issue 16

Is the 2021 Laurel Prize for environmental poetry exclusionary with too many T & C ?

We passed the woman without comment,

though she stood there in her cloak of wood,

the globe held in the lathed green of her hands.” 

This is an excerpt from the 2021 Laurel Prize winner, Sean Hewitt’s poem, Dryad from his book Tongues of Fire. The winner gets a cash prize of 5000 Euros, a commission from the National Association of Areas of Outstanding Natural Beauty (AONB), a UK charity, to create a poem on their favourite landscape and the work gets wide media exposure. Twelve of the twenty long-listed poets of the 2021 Laurel Prize are from the UK, three are from the United States, two Australian, and one each is a New Zealander, Swiss and Canadian. English is the most commonly spoken language in three of these four countries, barring Switzerland. Of the three judges, Maura Dooley and James Thornton were born in the UK. The third, Imtiaz Dharker, though born in Pakistan, has lived in the UK for most of her life. The winner of the 2020 Laurel Prize, Pascale Petit too, is a British writer. Submissions, though, are accepted from poets all over the world. 

The work must have been originally written in English. Translated poetry from the world’s languages into English does not qualify. In 2021, that means about 1.34 million English-speakers of the 7.9 billion people in the world can apply (if they are poets). But if a poet is self-published, no chance either.

Since it is the poet’s publisher who is required to send five hard copies of the book to an address in Gloucestershire, by a certain date. The publishing process itself involves an author paying first for the composing unit’s work. That is type-set, digital printing, and proofreading. Secondly, the author pays for printing via a tracing sheet, for paper needed for printing, and for the cover image and/or illustrations in the book. Finally, the author pays for binding and must pay extra for a hard-back cover. Printing is then completed and the author earns only if the book makes money. Doesn’t this narrow down the number of poets who can afford to first get their books published, then pay for at least five hard copies to be sent to a UK address, at a relatively prohibitive cost for international entries? Not to mention the amount of paper being used.

That’s not all. All winning poets are expected to attend events to talk about their work and be at the award ceremony, without overseas travel being covered by the Laurel Prize organizers. 


2019 National Poet Laureate of the UK, Simon Armitage, started this award from his own honorarium received from the Queen, as part of the award (A British tradition visible back in the 17th century). This is “an annual award for the best collection of nature or environmental poetry to highlight the climate crisis and raise awareness of the challenges and potential solutions at this critical point in our planet’s life.” While the award sponsor’s message is urgent, how exactly is it reaching out to a diverse world, if it is accepting global entries, but not deepening equitable access?

What the message does confirm though is that ecopoetry as a subgenre within environmental themes is now increasingly being seen as distinct from just good old nature poetry. ‘The present is burning’ says The Guardian in Sean Hewitt’s Tongues of Fire. John Shoptaw, an American professor, teaching ecopoetry and looking at the poetry of climate change wrote in 2016, “Ecopoetry is nature poetry that has designs on us, that imagines changing the ways we think, feel about, and live and act in the world. Ecopoetry doesn’t supplant nature poetry but enlarges it.” 

In Greek mythology, a dryad is itself “a nymph or nature spirit who lives in trees and takes the form of a beautiful young woman.” Nature’s grace, coping with his father’s death, ideas of mortality intermingle in Hewitt’s poetry. In Black American poet Alexis Pauline Gumbs’s 2020 work Dub: Finding Ceremony, ‘Gumbs channels the voices of her ancestors, including whales, coral, and oceanic bacteria, to tell stories of diaspora, indigeneity, migration, blackness, genius, mothering, grief, and harm. Tracing the origins of colonialism, genocide, and slavery as they converge in Black feminist practice.’

Shoptaw also suggests “an ecopoem must be tethered to the natural world.” and that “human interests cannot be the be-all and end-all.”  Homero Aridjis, with over forty collections of poetry and prose has been called the “poetic soul” of Mexico’s environmental movement, is one answer to Shoptaw’s urgency possibly. ‘The monarch butterfly, with its tigerish orange wings and its ability to fly up to 100 miles a day during its 3,000-mile migration to central Mexico, has become Aridjis’s emblem, featured in numerous poems, in his 2000 novel La montaña de las mariposas [Butterfly Mountain], and in his 2015 children’s book María la monarca [Maria the Monarch], as well as in dozens of articles denouncing the destruction of forests by loggers protected by government officials.’ A 2016 poem by him goes,

A temple not in the temple

A temple apart from its form

A temple older than the stones

A temple speaking to us but not naming us

A temple without motion that moves on its way

A temple swifter than thought

I refer to air

the temple of air.

But if his new poem collection were to send in an entry for the Laurel Prize, it would remain ineligible. For its first tongue is Mexican. Even though, in speaking of air here, the poet connects us all.

Ishita Ahuja is a second-year undergraduate student at Ashoka University. She is an aspiring Literature major and Environmental Science minor, with an affinity for the outdoors. She hopes to become an environmental journalist soon.

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Issue 16

Children are reading on climate change more than ever before: Good or bad?

Lending colour to a grey January day, a green Christmas tree stood on the side of the road, ignored, by all, but one. Young Brian noticed the tree, “why nobody was smiling at her anymore” he wondered.

Bethany Welby’s beautifully illustrated The After Christmas Tree, a 2020 picture book, follows young Brian as he takes care of the tree, nurtures it and then sees it attract all the birdlife a tree can. The allegory is strikingly clear: children notice, and are acting to protect the earth. Welby, an award-winning UK-based picture book illustrator, is then one of a growing corpus of children’s book writers-illustrators, combining eco-action with a story. Some Western publishers say Greta lit the spark.

When Greta Thunberg boycotted school one Friday in 2018, her protest marked the resolve of children and youngsters to act. It also highlighted their frustration at the lack of climate action being taken to preserve a planet that is theirs to inherit. Riding on this ‘Greta Thunberg Effect’, young people in many parts of the world were joining a conversation they were often not invited to. People sat up and took notice. Publishers were among them, and soon, children’s literature on climate flooded the shelves.

2019 data from Nielsen Book Research,  shared with The Guardian, revealed that the number of new children’s books looking at the climate crisis, global warming and the world of nature has more than doubled in the span of a year, since 2018, as have their sales. Is it also boosting the reading habit among the young?

It also poses an interesting paradox. On the one hand, today’s children and youth are seen as the generations gradually giving up on reading. According to a 2014 study conducted by Common Sense Media, a US-based children’s media non-profit, 22% of thirteen-year-olds and 27% of seventeen-year-olds said they never or hardly read for pleasure, a figure that has tripled from 8% and 9% respectively, since 1984. On the other hand, the rise of children’s climate literature is suggesting that the young are interested in the issue in the book. With figures like Thunberg and Vanessa Nakate, a 22-year-old activist from Kampala, Uganda’s capital, coming increasingly into the fore of the climate movement, there is a natural rise in the number of youth leaders that youngsters can look up to all over the world. This is part of a wider shift towards giving young people a voice in the climate movement. 

In an editorial in the New York Times this August, with a young activist each from Sweden, Mexico, Bangladesh, and Kenya, Thunberg introduced UNICEF’s first-ever Climate Risk Index, framing the climate crisis as a child rights issue. Worried about their futures, young climate campaigners present their activism as not just an issue that concerns the environment but tackling climate change as a matter of global justice

In 2014, children – four to fourteen-year-olds – of the Brazilian Landless Workers Movement stormed the Ministry of Education’s offices in Brasilia, demanding that the government keep rural schools in the countryside open. Their curriculum included rural sustainable development and the pedagogy revolved around the environment. “Closing schools is a crime”, they insisted. The Landless Workers Movement, immensely successful as a public movement figures in global case studies on social justice and environmental education. It is powerful that this zeal has been inherited by the children of the workers as well.

However, Jedediah Britton-Purdy in, ‘The Concession to Climate Change I Will Not Make’,  asks as to where one draws the line between having a child wonder at the world and having a fear for their future. Introducing the concept of climate change, an unpleasant future, at a young age, can come with its own pitfalls. Despair can creep into reading, which is, in essence, an act of leisure and learning. According to a survey, the largest of its kind asked 10,000 young people in 10 countries how they felt about climate change and government responses to it.  Results published in September 2021, in Nature magazine, found that 60% of 16 to 25-year-olds feel ‘extremely worried’ about climate change. Patrick Barkham, however, argues in The Guardian that it is indeed possible to capture the imagination of children, and underscore the themes of climate change and environmentalism, without it necessarily coming across as terrifying or patronizing: he speaks of how climate literature fascinates his own daughters, who immerse themselves into the story and emerge knowing Jane Goodall, Wangari Maathai, and the Chipko Movement.  

Respecting nature in children’s literature in world languages, though, is not a 21st Century phenomenon. Dr. Seuss’ The Lorax (1971) is seen as one of the early English language children’s books adopting ideals of environmentalism. K. Norel’s 1977 Dutch book ‘Ik Worstel en Kom Boven’ (I Struggle and I Resurface), shows how moral education centered around the environment was imparted to children: it was written by Norel to bring to light the struggles of the 1953 floods in the Netherlands. 

Clare Echterling, a researcher of environmental literary studies at the University of Kansas, suggests that much of this literature is explicit about its intention, educating children on the environment.  She also cites Clare Bradford and Geraldine Massey, who argue that such texts socialize children into becoming ‘ecocitizens’ driven by the ideals of sustainability locally, and environmental responsibility, globally. As the case study from Brazil proves, not only does environmental writing in school curricula and storytelling have an older, non-Western, and multi-social class vintage, in India too, environmental education in various forms became mandatory by the mid-90s. The 1990s showed early signs of a boom in children’s eco- storytelling, one that seems to have exploded post-2018, in some parts of the world.

It is a growing nook in Indian writing in many languages including English. From Orijit Sen’s first Indian graphic novel in 1994 on a people’s struggle over a river to be dammed to children’s libraries including eco-warriors and action. Be it Pratham’s eco-stories as stand-alone books or their Story Weaver programme, an open-source treasure house of animal, science and nature stories in several Indian and foreign languages. Kid-lit sites now host reviews for books such as the Indian 2020 award-winning book on climate change for the young adult, Bijal Vachharajani’s A Cloud Called Bhura. Sandeep Virmani’s A New Home for Ajiri, and M. Yuvan’s Saahi’s Quest, published within the last year by Kalpavriksh, an environmental action group that has also put out Secrets of the Jungle in Hindi. 

From CoP1 in 1995 to CoP26 in 2021, children’s climate literature is now one long, growing list.

Aritro Sarkar is a fourth-year student of history, international relations, and media studies.

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Issue 16

Will the new DUNE get the older SF fan and the younger cli-fi film buff to act on climate change? Studies so far, say no

As the closing credits rolled at the world premiere of Dune, the 600 ticket-holders at the Venice Film Festival clapped for almost eight minutes. Until the cast politely gestured it was time to leave. French-Canadian director Denis Villeneuve looked beyond pleased at the reaction. 

Following a history of notoriously poor adaptations, had he successfully managed to film the 1965 novel by Frank Herbert? One, considered a classic by science fiction fans and a piece of literature he certainly regarded as important. At the press conference held before the screening, he explained why,“When Frank Herbert wrote Dune in the 60s, he was making a portrait of the 20th century, but through time, it became more of a prediction of the 21st.

Set very far into the future, the novel presents a story ahead of its time as Villeneuve sees it. A nearly uninhabitable planet, almost entirely covered in sand. Where water is scarce but there is one thing it has. A precious spice wanted on many planets. This piece of science fiction, with its striking eco-centric theme, may fall into what is known as cli fi or climate fiction today, a growing literary subgenre of narrative fiction or a type of science fiction about our environmental future. 

While the category lacked a formal name, before its coinage in 2007 by Taiwan-based teacher and journalist Dan Bloom, science fiction and dystopian thrillers have always reflected on ecological change, The phenomenon of seeing what the earth would look like in the future began as early as the 19th century. With works like Gabriel De Tarde’s Underground Man in 1896 and M.P. Shiel’s The Purple Cloud in 1901. Kim Stanley Robinson’s Mars trilogy (1993–1996) tells a story about making Mars livable for human life and asking if that was okay to do.

While none of these works were necessarily scientifically accurate, Environmental Humanities scholar, Julia Leyda in her 2016 paper, The Cultural Affordances of Cli Fi uses such works to reveal how people imagined their future. She applies the concept of structures of feeling devised by cultural theorist Raymond Williams, to “signify as a set of shared sensibilities and values held in a particular time and place, most often articulated in artistic forms and conventions such as the novel or the cinema.” She concludes that it is in fact prevailing structures of feeling that inform pop culture, not the other way around

If this is true, a question around Raymond Williams’ structures of feeling remains unanswered. If science fiction written in a particular period can influence cultural perception in its own era, surely, engaging with such fiction must impact a reader in some way? For instance, will climate fiction in 2021 make the reader more aware of the climate crisis?  

Singapore’s Yale-NUS College conducted a survey of 161 American readers in 2018 to understand the influence of climate fiction. They found a surprisingly wide range of ratings for most works of climate fiction, concluding that readers do not experience literature the same way. Life experiences, age, political beliefs, all count. However, the readers of cli fi themselves were found to be younger. (Almost 40 % between 18-34), liberal and already invested in climate change, compared to non-readers. The empirical study implied that climate fiction does not perhaps have the power to sway the opinion of climate deniers, since they aren’t reading this genre anyway. Cli fi can certainly stir one’s imagination though.

“He was previously cognizant of the science of climate change, but said that it “was more theoretical before. Now, while fiction, the book has made me more aware of what our planet could become”, the Yale-NUS study reports about a participant’s experience of reading Naomi Oreskes and Erik M. Conway’s The Collapse of Western Civilization. Similarly, many participants feel that they were able to picture potential futures better, a typical example of a shift in what the study calls the psychological construal level from “abstract and vague” to “detailed and concrete”. 

The University of East Anglia did a study on the UK filmgoer in 2006, wanting to see if the movie, The Day After Tomorrow, influenced public understanding of climate change. They found that viewers felt a strong urge to act but did not know what to do. The drama did not help separate scientific fact from the story’s fiction, anxiety went up for some, but many thought like this participant, “I don’t know enough about it to know if that is really going to happen.”

The difference in results between the two studies may be a result of the number of sub-genres the topic of climate change figures in, across film and book. Many 20th and 21st-century works fall into both realistic and speculative forms of narrative fiction as Literary Studies scholar Juha Raipola describes in What is Speculative Climate Fiction? Memory of Water (Emmi Itäranta’s 2014 novel) or even Dune, for instance, is set in a fictional world where “speculative visions of flooding cities, melting glaciers, catastrophic storms, or drought-suffering environments demonstrate the potentially disastrous effects of climate change”.

On the other hand, the genre of realistic climate fiction, set in a more believable near-future is certainly more scientifically accurate. So, Juha Raipola believes that owing to the large variety of climate storytelling, it is impossible to truly assess what kind of psychological impact reading the ever-emerging genre will have on a reader’s mind. Unless we develop a deeper understanding of every sub-genre of cli fi. But the rider in his essay also wonders, can it offer a “cognitive and emotional toolbox for adapting to life on a warming planet.”

Perhaps with the new DUNE out, the time is ripe for older sf-speculative fiction readers and younger cli-fi readers and film buffs to be studied together,  in how they see it?

Meera Anand is a third year undergraduate student pursuing a Major in Economics and a Minor in Media Studies. 

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Issue 16

India’s Climate tales: Graphic [novel] approach can give a fuller picture

Picking up a book lying on the table, you flip through absentmindedly. Stopping at the tenth page. Sketch and picture, cover to cover. Is this a kids comic, you wonder? Stories usually told through words, now spill in action sequences which don’t seem very kiddo-friendly in use of words or color? More panels like the still photography of a movie follow. Image dominates. Less wordy. But distinct from newspaper comic strips read by adults, where the action goes from start to finish in one go.

This complete narrative – the adult graphic novel, which as a lovechild of cinema and literature is hoping to go from it’s alternative status in the 20th century, to the mainstream, in India of the 21st. Orijit Sen’s The River of Stories published in 1994 was India’s first to step away from the devotional, the mythical and the historical hero and slam dunk straight into environmental politics of the then present, the controversial construction of the Sardar Sarovar Dam on the Narmada river. Twenty six years later in 2021, Sen is the editor-in-chief of Comixense, a quarterly magazine, which at Rs 1600 for a two year subscription is specifically aimed at twelve to seventeen year olds. In an interview with The Hindu, Comixense contributors shared recently how the stories hope to break a biased narrative children have of certain communities and show the issues people are fighting for, by telling relatable humane tales.

Framing Climate Change ‘Panels’

Climate change is often a toughie to wrap one’s head around, not only because it is vast, but also because it happens over time. Often the connection between causes and effects of climate change do not register clearly either, as we go about our daily life. Can its effect be understood then in an instant?

Yes, panels in graphic novels are able to compress time and space in cinematic flashback and forward. In The River of Stories, Sen used the panels to juxtapose the voice and thought of the displaced. While over the rest of the page, a canvas unfolded, showing the dense forests, by the Narmada. He didn’t have to then state their role in the ecosystem. It became visually obvious by connecting the distant with the near.

Like good cinema it can also make the invisible visible. Clever page design often in fact makes some connections graspable. Like Figure 2 here, from the 2015 comic, The Fragile Framework: Can Nations Unite to Save Earth’s climate?

What helps most though is positioning people as part of the story. Through the experience of the protagonist, the reader can be more willing to explore unfamiliar situations. A 2017 study conducted at US’ Pepperdine University, in fact confirms that when a graphic novel is used as teaching material, it advances visual literacy and deepens student engagement. A reader gets to actively participate in the story, while the blend of image and text, breaks the continuous monotony of either. Quite like the underdog in movies cinegoers identify with, but here there is time to stop and reflect, go back and forth and then perhaps root for.

For instance, the second issue of Comixense has a graphic adaptation of the title story from the award winning short story collection by Hansda Sowvendra Shekhar, The Adivasi Will Not Dance. Set in one of the nine districts where coal is mined in Jharkhand, it takes you into the racha, the inner courtyard of a Santhal adivasi home. It tells you the story of the conflict between the adivasi and development as the governments see it, from a Santhali point of view. The adivasi gets a face one can see and a context unfolds like a tale. Not dry facts and figures in otherwise well meaning school textbooks.

Colouring in the gaps

While the impact of both sequential visual art and graphic novels dealing with climate change on readers is quite an understudied area, a 2017 study by Sweden’s Lund University did explore the issues with perception. With creators and readers, through in-depth interviews of authors and focus groups with two groups of fifteen students each.

Results showed that graphic novels helped become a relatable conversation opener to discuss problem areas. While some used to reading text did not pay attention to the images, some others looked only at the visuals, with only a few doing both, for perhaps more complete meaning making. The participants also expressed the importance of integrating art with science to better visualise the aftermath of climate change and natural disasters. Communications thinker McLuhan back in 1964, associated comics with games and with the social in the human. Later thinkers saw its potential for instruction and entertainment. While comics are often derided historically for not being serious, several experiments continue regardless. 

The Economist in 2018 attempted a graphic novel approach on Instagram to make the work of data journalists understandable through Data Detectives. Comics Uniting Nations routinely partners with UNICEF to help the young connect with Sustainable Development Goals, goal by goal. NASA in September 2021 came out with a fictional interactive graphic novel to showcase the story of the first woman on the moon. At the ongoing CoP26, 5×15 brings together authors, activists, entrepreneurs, slam poets, graphic storytellers and a singer who has been concerned about the environment since she was 3! The aim, an art and science combo event. Creating a buffet of skilled storytelling to provoke thought, stir the imagination and take the climate change conversation forward. 

With cli-fi getting as young as climate activism around the world and with screens dominating India, Comixense and the visual world seem in timely cahoots. Whether young or adult in India, climate change can be as graphic as they come.

Devanshi Daga is a fourth year undergraduate student at Ashoka University. She has completed her major in Psychology and is currently pursuing her minor in Sociology and Media Studies.

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Issue 16

‘Amazônia must live on’: Photographer Sebastião Salgado returns home with his new book

  • Brazilian photographer Sebastião Salgado traveled the Amazon for six years to capture nature and the people of the world’s largest rainforest, now depicted in his new book, Amazônia.
  • Salgado, one of the most respected documentary photographers in the world, returned to the region four decades after gaining fame shooting the Serra Pelada gold mine and its thousands of mud-covered diggers.
Cover of Amazônia. The book is published by Taschen in May and listed at $150 (Hardcover, 35.8 x 26 cm, 4.19 kg, 528 pages).

Having photographed people and landscapes in more than 100 countries, Brazilian photographer Sebastião Salgado has returned to the country of his birth for his latest book, Amazônia, which is at once an ode to the beauty of the world’s largest rainforest and a cry for its preservation.

For six years, Salgado, now 77, traveled the Amazon to portray its trees, rivers, mountains, forests and people in his trademark black-and-white style in an attempt to capture the heart and soul of a region that for many people, both in and outside Brazil, remains the great unknown.

“For me, it is the last frontier, a mysterious universe of its own, where the immense power of nature can be felt as nowhere else on Earth,” Salgado writes in the foreword. “Here is a forest stretching to infinity that contains one-tenth of all living plant and animal species, the world’s largest single natural laboratory.”

Over more than 500 pages, Amazônia offers a wide mix of images, from aerial photography to intimate portraits, which, thanks to Salgado’s eye for light, drama and detail, turn into still lifes of a timeless quality.

Zo’é men in the Zo’é Indigenous Territory, in the state of Pará. Image by Sebastião Salgado.

So we see the Maiá River meandering through the land like a vein of silver, towering cloud formations like castles in the sky, and rainfall so heavy that, from afar, it looks like a massive pillar. People often forget that the Amazon evaporates so much water that it produces aerial rivers, which bring rain and life to people and lands thousands of miles away.

An important part of the book is dedicated to the lives, dances and rituals of a dozen Amazon tribes, including the Yanomami, Asháninka, Yawanawá, Zo’é, Korubo, Marubo and Awá, thus giving names and faces to people of the forest who, elsewhere, are all too often and too easily reduced to the rather anonymous “Indigenous.”

So we meet Ino Tamashavo, a young Marubo girl covered in necklaces made of white snail shells and holding up a baby bird, which she will raise as a pet, while hunters Pinu Vakwē Korubo and Xuxu Korubo pose behind two woolly monkeys, freshly shot with their blow guns.

Pinu Vakwë Korubo, left, and Xuxu Korubo pose with a piping guan and two woolly monkeys that they killed with poisoned darts in the Vale do Javari Indigenous Territory, in the state of Amazonas. Image by Sebastião Salgado.

Yara Asháninka and Bela Yawanawá are both young girls living in Acre state. But while the former wears only a few feathers in her hair and has modest designs painted on her face, which indicates she is not yet engaged, the latter has painted a black Zorro-like mask around her eyes and wears an enormous headpiece of feathers reaching to her waist.

40+ years photographing the world

Salgado was born in 1944 in Aimorés, in the southeast of Minas Gerais state. He obtained a degree in economics before traveling to Paris in 1969. His wife, Lélia Wanick, went on to study architecture, while he got a job at the International Coffee Council, which regularly took him to Africa.

It was there, with Lélia’s old Leica camera, that Salgado discovered his true passion: photography. Although already 33 by then, he decided to follow his heart, give up his job, and try to become a full-time photographer.

And with success. Within no time, he was snapping photos for agencies such as Gamma and  Sygma and, in 1979, was invited to become a member of Magnum, the legendary photographers’ cooperative founded by the likes of Robert Capa and Henri Cartier-Bresson.

Salgado’s first books dealt with the African Sahel, Latin America and manual laborers of the world, yet he really shot to fame with a project set in the Amazon: Serra Pelada, the notorious mine where thousands upon thousands of mud-covered men descended into the belly of the earth on makeshift wooden ladders in search of a grain of gold.

In 2013, he published what is arguably his opus magnum: Genesis, the result of an eight-year journey to all corners of the globe to rediscover mountains, deserts and oceans, animals and people, that somehow escaped the claws of modern society and still show a glimpse of life as it, perhaps, once was.

As Salgado said of the book, “Some 46% of the planet is still as it was in the time of genesis. We must preserve what exists.” Amazônia was born and shot in the same vein as Genesis.

A storm in Serra do Divisor National Park, in the state of Acre. Image by Sebastião Salgado.

4 million trees planted in the family farm

Salgado is not religious. Yet, deeply convinced that all Earth’s creatures are equal, he is a humanist and environmentalist both in and outside his work.

About his 2004 portrait of a marine iguana in the Galápagos, he famously said: “Every movement in the arm of the iguana is the same that we have in our arm — I identify with the iguana as my cousin. All of us came from the same cells. In a moment it was possible to be an iguana and the iguana to be me.”

In 1998, he and Lélia returned to his father’s farm in Aimorés, a sleepy village of some 25,000 souls in Minas Gerais’s Doce River Valley. Like so many other people in the region, his father raised cattle. And as in so much of the region, years of overgrazing had heavily eroded what some 150 years ago was still a very green part of the Atlantic Forest.

It was Lélia’s idea to try bring the land back to its former glory. Thus the Instituto Terra was born. In 1999, they planted the first seeds of some 300 different tree species. Today, more than 4 million trees have been grown, half of which make up a forest that covers most of the Salgado family land. The other half was sold to generate income.

Visit Instituto Terra today and you’ll see lush vegetation, birds and water streams where just 23 years ago there was just barren land. While it’s encouraging to know that regeneration is possible, Salgado says he hopes it will never be needed for the Amazon.

“My wish, with all my heart, with all my energy, with all the passion I possess, is that in 50 years’ time this book will not resemble a record of a lost world,” he says of Amazônia, which he has dedicated to the Indigenous peoples of the rainforest. “Amazônia must live on.”

Banner image of the Marauiá mountain range in the Yanomami Indigenous Territory, in the state of Amazonas. Image by Sebastião Salgado.

This article was republished with permission from Mongabay. You can see their coverage here.

Note: This is the parent site of Mongabay, different from Mongabay-India.