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Reality of Peak Oil Enters Our Fiction
Reality of Peak Oil Enters Our Fiction Imagine this scene. President Barak Obama stands up in the United States Congress to give the 2011 State of the Union Address and announces that the world has passed the peak in oil production. What would be the impact of this statement? Would Wall Street collapse and panic break out on the streets? The good news is that most experts and commentators (with a few exceptions) do not consider that we have reached peak oil yet, but an increasing number think that we are close enough to be gravely concerned. This discussion of peak oil has hitherto remained within the realms of the expert and has not yet permeated the public psyche. Recently, however, there have been enough novels examining possible peak oil reactions to conclude that this subject is becoming a popular fiction topic. With oil prices steadily climbing back above US$90 per barrel, much of the mainstream media worldwide — reflecting and reinforcing the depth of our general societal/systemic oil-addiction — appear reluctant to ask deeper questions about the end of cheap oil. Instead, they always seem to fall back on reality-denial, such as blaming an Alaskan pipeline shutdown or speculators. They normally don’t look at the underpinning fact that we live in a world where oil supply cannot keep pace with the demand, nor ask why this is the case. Sadly, for better or worse, we have to rely on works of fiction to prick our societal consciousness and to awaken people to the implications of a peak in world oil production, hopefully before the peak arrives. -
Douglas Coupland's
College Quarterly Winter 2011 - Volume 14 Number 1 Home Beware the Ides of Coupland: Douglas Coupland’s (Oh, So Very Canadian) Perspective on the Future and What it Means Contents to Us By Marilyn Boyle-Taylor Douglas Coupland, a prolific author/artist/lecturer and now prognosticator, is in the forefront of the arts movement in both Canada and the US. His works, starting with his breakout novel Generation X: Tales for an Accelerated Culture, have consistently worked as a bellwether of current perspectives and values, both noting our cultural milestones and influencing future trends. In books, such as Microserfs and JPod, he sensitively involves the reader in the world of the technologically wired, showing the paradox of the resultant isolation and alternative community that evolves within the computer industry. Other works, such as A Souvenir of Canada, complete as an installation, documentary, and book, and his further installation of Terry Fox, display the keenness with which he filters his North American experience, and in particular, his roots as a Canadian with specific values and artifacts. Each novel, artwork, or article shows a different side of Coupland, explores new topics, yet reiterates his belief in the randomness of behaviour, or at least humanity’s inability to control our excesses. Nonetheless, he consistently leaves the reader with a paradoxical sense of hope that there is a future, perhaps even one that is superior to what we dream. Beware the Ides of Couplandis a look at his current work and his 2010 CBC Massey Lecture series, which he presents as a “novel in five hours” about the future. -
Vancouver British Columbia
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The Failure of the Anthropostory in Douglas Coupland's Post-Millennial
Julia Nikiel Epic Fail: The Failure of the Anthropostory in Douglas Coupland’s Post-Millennial Prose Abstract: The aim of the paper is to discuss the conceptualization of humanity’s planetary agency offered by a Canadian author, Douglas Coupland, in his three post-millennial novels: Generation A, Player One: What Is to Become of Us?, and Worst.Person.Ever. Exposing the egotism of what for years he has been calling humanity’s “Narrative Drive,” Coupland comments on the fallacies of the Anthropocene. Advocating the power of stories to act as models for approaching climate change in its hyperobjectivity, the three novels hint that unless people learn to story-tell-with other terran forces and agents, the anthropostory, which positions humans as the only active agents in a sequential narrative of conquest and destitution, is bound to come to an abrupt end. Keywords: the Anthropocene, Douglas Coupland, posthumanism, extreme present, “Narrative Drive,” storyliving, making-with The Story vs. The Stories In the introductory pages of The Age of Earthquakes (2015), Douglas Coupland, Hans- Ulrich Obrist, and Shumon Basar paint the magnitude of humanity’s influence on the planet. Printed on individual pages, in black and white and with font size changing parallel to intended emphasis, short evocative statements concerning the chain reaction leading to current environmental changes read like a machine-gun volley. The message conveyed is simple: the unfolding of informational capitalism has triggered processes which directly contribute to global ecological imbalance, manifesting, among others, in the recent intensification and increased frequency of earthquakes. “The bulk of human activity is the creation and moving of information,” Coupland et al. -
Rachel Walls 1 Douglas Coupland's Visions of Regional Apocalypse
Rachel Walls Douglas Coupland‘s Visions of Regional Apocalypse. In his Vancouver fiction, Douglas Coupland implies that apocalyptic anxiety stems from the accelerated transformations of place and the increased global broadcast of apocalyptic images that are associated with globalisation. His cold war upbringing also appears to be influential on his apocalyptic imagination. However, whilst Coupland‘s visions of apocalypses are global and generational, they are also geographical. He emphasises the role of the locality in determining the specific nature of his apocalyptic fears and through his fiction maps a region of apocalypse onto Vancouver and the Northwest Coast. Although literary regionalism is troublesome, in that the assignation of region is always arbitrary and has been considered increasingly meaningless in a time where people and ideas move frequently from place to place, recent revisions of regionalism have taken these factors into account. New regionalists propose that writers remain interested in region and moreover, ”no longer simply reflect the region they describe; now they help to create the region itself.‘ 1 Coupland might be said to have a particular interest in creating a region in that he has written a number of non-fiction books that look at the impact of place on identity: two volumes on Canada and one on Vancouver. Whilst his non-fiction assertions of regional and national identity jar somewhat with his fiction‘s emphasis on globalisation as a transformative and potentially erosive force on place, his interests in creating region and nation are still evident at points in the Vancouver-situated texts Life After God, Girlfriend in a Coma and Hey Nostradamus . -
The Interplay Between the Local and the Global in Douglas Coupland's Shampoo Planet
Article Info/Makale Bilgisi Received/Geliş: 04.10.2016 Accepted/Kabul: 30.11.2016 DOİ: 10.5505/pausbed.2017.60490 THE INTERPLAY BETWEEN THE LOCAL AND THE GLOBAL IN DOUGLAS COUPLAND’S SHAMPOO PLANET Sinem YAZICIOĞLU* Abstract Many scholars of contemporary Canadian literature have maintained that authors do not mark the elements of fiction with the Canadian national identity. Furthermore, they argue that contemporary authors employ predominantly American settings and characters rather than Canadian ones. As a result, they question the ‘Canadianness’ of contemporary Canadian fiction. This essay focuses on one of such authors, namely Douglas Coupland, and analyses his novel Shampoo Planet in order to demonstrate how it deconstructs the Canadian literary canon by the author’s use of local and global settings, which are illustrated with various locations in the United States, Canada and Europe. In contrast to this critical postulate, Coupland illustrates the possibilities of a highly porous space. Through the protagonist’s perspective, Coupland finally imagines a spatial representation of Canada in which national identity requires a new definition in the age of globalization. Keywords: Douglas coupland, Shampoo planet, Globalization, Literary canon Özet Günümüz Kanada edebiyatı üzerine çalışan birçok araştırmacı, yazarların kurmaca unsurlarını Kanada ulusal kimliğiyle işaretlemediklerini ileri sürmektedirler. Bununla birlikte, günümüz yazarlarının Kanada’ya ait mekânlar ve karakterler yerine ağırlıklı olarak Amerika Birleşik Devletleri’ne ait mekânları ve karakterleri kullandıklarını savunmaktadırlar. Sonuç olarak, günümüz Kanada edebiyatının “Kanadalılığını” sorgulamaktadırlar. Bu makale, bu yazarlardan birine, Douglas Coupland’e odaklanmakta ve yazarın Shampoo Planet adlı romanını, yazarın Amerika Birleşik Devletleri, Kanada ve Avrupa’da çeşitli yerlerle örneklendirilen yerel ve küresel mekânları kullanımıyla Kanada edebiyat geleneğinin yapısını nasıl çözdüğünü göstermek üzere incelemektedir. -
An Interview with Douglas Coupland
HTTP://VOICE.AIGA.ORG/ Generation X-Wear: An Interview with Douglas Coupland Written by Steven Heller Published on July 6, 2010 Filed in Voice: Journal of Design ouglas Coupland is the best-selling author of the novel that gave a post-baby boom epoch its name—Genera- Dtion X—and its recent sequel, Generation A. He’s also written Life After God, Microserfs and JPod, among others. What his legions of followers might not realize is that he first trained to be an artist and designer. Therefore, it shouldn’t seem out of character that Coupland is now the creator of a fashion line, produced by the Canadian outdoors company Roots. That he collaborated with filmmaker Chris Nanos adds yet another page-turning twist. The Roots x Douglas Coupland collection ranges from apparel and accessories to furniture and original artwork. Launching on July 8, Coupland’s line celebrates the Vancouver-based artist’s homeland, as well as early TV test patterns, pixels and computer circuitry. I connected with Coupland to discuss how his most recent “art/design experiment” has taken the form of arm warmers, patterned leggings and club jackets. Heller: I suppose the most obvious question to ask is, why have you started a fashion line? Coupland: It’s not so much a line as an art/design experiment. I’ve been doing art, design and book projects since 2000 that explore new ways of perceiving “being Canadian.” Roots, a large Canadian clothing company, has been doing it since 1973. A friend in common said, “You two really ought to be doing something together.” It was a good idea, and wonderfully free of cynicism. -
Vancouver Tourism Vancouver’S 2016 Media Kit
Assignment: Vancouver Tourism Vancouver’s 2016 Media Kit TABLE OF CONTENTS BACKGROUND ................................................................................................................. 4 WHERE IN THE WORLD IS VANCOUVER? ........................................................ 4 VANCOUVER’S TIMELINE.................................................................................... 4 POLITICALLY SPEAKING .................................................................................... 8 GREEN VANCOUVER ........................................................................................... 9 HONOURING VANCOUVER ............................................................................... 11 VANCOUVER: WHO’S COMING? ...................................................................... 12 GETTING HERE ................................................................................................... 13 GETTING AROUND ............................................................................................. 16 STAY VANCOUVER ............................................................................................ 21 ACCESSIBLE VANCOUVER .............................................................................. 21 DIVERSE VANCOUVER ...................................................................................... 22 WHERE TO GO ............................................................................................................... 28 VANCOUVER NEIGHBOURHOOD STORIES ................................................... -
New Constellations
New Constellations UBC archivist SARAH ROMKEY gazes on a Canadian literary star’s archive. One of Canada’s most renowned COUPLAND FONDS CROSSES authors, an internationally recognized visual artist DISCIPLINES and a cultural icon who popularized the term Access to an author’s archive (or fonds, the “Generation X,” recently gifted his archive to the word archivists use to describe the documents University of British Columbia Library, a move naturally created and received by a person or that opens 30 years of records dating as far back organization) provides special insight into as 1980 to scholars’ and collectors’ investigation. their work. Archivists have long recognized Douglas Coupland—famous for his novel the value to scholarship of the documenta- Generation X (1991) and more recently Hey tion that leads to the finished book. Archival Nostradamus! (2003) and visual art such as the institutions across Canada preserve not only two Souvenir of Canada volumes— officially the archives of authors, but also of publish- donated his papers to UBC in December ers, printing houses and literary agents. 2008, a gift recognized at his receipt of an Many of the “big names” in Canadian honorary doctorate at the university’s spring literature have their archives preserved at convocation on May 27, 2010. At the ceremony Library and Archives Canada in Ottawa, such as he was hailed as a “writer and artist whose Carol Shields, Robertson Davies and Timothy work speaks of ourselves and our times.” Findley, while other authors may deposit in Describing the donation as an act that or bequeath their archives to an institution made him “feel old and yet young at the same closer to their own home, or a university which time,” Coupland said in a statement at the they attended. -
Presentation to City Council July 23, 2014
Maximizing Investment in PUBLIC ART Presentation to City Council July 23, 2014 1 COUNCIL MOTION February 28, 2012 Report back on: “…ways to structure the City Public Art Program to stimulate additional investment in public art in Vancouver” and consider: • Best practices in civic investment • Create a public art fund • Coordinate with Park Board • Identify sites throughout the city • Position Vancouver as a global leader 2 23-Jul-14 Achieving the Vision: Tools 1. Revise Developer Options 2. Create a Signature Projects Fund & Destination art site 3. Provide Core Civic Funding LightShed, 2004 Coal Harbour Seawall By Liz Magor 3 23-Jul-14 1. Revise Developer Options Developer Options Current Model Proposed Model A: On-site artwork 98% to artworks on site 90% to artwork on site 2% admin fee 10% to Public Art Program for civic priorities B: Cash-in-lieu 100% cash in lieu to Public 20% developer incentive Art Reserve 80% to Signature Projects Fund C: Combination of on-site 60% to art on site No longer available artwork AND cash-in-lieu 40% to Public Art Reserve 4 23-Jul-14 Estimated Total Annual Private-Sector Contribution Artworks on $ 2.45M Development Sites Funds to the City : 80% Cash-In-Lieu1 $ .38M 10% of all projects $ .65M to Civic Program $ .27M Average Annual Private- $3.1M2 Sector Contribution Based on 2008-2012 average of $3.2M, annual amounts vary 1Assumes 15% of developers choose to cash out to Signature Projects Fund 2Total is $.1M less than annual average due to 20% incentive 5 23-Jul-14 2. -
Douglas Coupland, Player One: What Is to Become of Us: a Novel in Five
FICTION / NON-FICTION Douglas Coupland, Player One: What Is to Become of Us: A Novel in Five Hours, House of Anansi, 2010 Sarah Leavitt, Tangles: A Story about Alzheimer’s, My Mother and Me, Freehand Books, 2010 Presented as Douglas Coupland’s 2010 Massey Lecture, Player One is a portrait of humanity at the brink of change. Set in a perhaps once fabulous but now terribly seedy hotel bar, Player One is narrated by five people: Karen, a divorced mother on her way to what she hopes will be a life-changing Internet date; Rick, the recovering alcoholic bartender who has lost everything but hope; Luke, who has within hours made the shift from pastor to atheist, sponsored by money stolen from his flock; Rachel, a gorgeous but emotionally unreach- able young woman seeking to be impregnated; and an omniscient voice—a video game avatar—named Player One. These five voices, all collected at the airport bar by varied circumstances, narrate a por- tion of each hour as the novel counts down to a catastrophic event that will change the course of history. In Player One’s pages, Coupland fans will delight in noticing the words of characters they have loved before; he recycles lines and mo- 107 ments from his previous novels, which lends a sense of déjà vu to the pages. Rather than being distracting, this choice complicates each character, layering his or her identity with the echoes of Coupland’s existing canon. The effect is, for the Coupland fan, characters who are richer and come to life more readily, as though the reader has been preparing for their arrival for years. -
Final Proof-2.Inddproof-2.Indd 5 22011-10-21011-10-21 15:22:1615:22:16 6 Papers of the Bibliographical Society of Canada 49/1
X-plained: The Production and Reception History of Douglas Coupland’s Generation X Christopher Doody* Welcome to the overnight and highly charmed success story of Generation X. – Douglas Coupland1 Introduction Generation X … is a novel that has achieved widespread popular recognition. According to the perverse logic of the literary establishment, its popularity calls into question its validity as a literary text. And yet this is a novel worth looking at seriously, if only for the influence it has had on contemporary culture. – G.P. Lainsbury2 Douglas Coupland’s novel Generation X: Tales for an Accelerated Culture was among the five novels chosen for CBC’s 2010 Canada Reads contest. It was, however, eliminated within the first two days, alongside Ann-Marie MacDonald’s novel Fall On Your Knees. Both books were deemed poor contestants for the contest, by the celebrity judges and readers alike, because they were already well- known Canadian novels. This dismissal, however, raises the question of how well Canadians, or the world for that matter, really know Coupland’s novel. Although most Canadians today might accept that this novel is part of the Canadian canon, consider these two * Christopher Doody is a Master’s candidate in English (Public Texts) at Trent University. His thesis examines the paratextual and ergodic elements of Douglas Coupland’s novels. He would like to thank Zailig Pollock, Elizabeth Popham, and the two anonymous readers for their invaluable suggestions. 1 Douglas Coupland, “Douglas Coupland on How He Came to Write Generation X,” Guardian [London], 26 September 2009. 2 G.P. Lainsbury, “Generation X and the End of History” in GenXegesis: Essays on “Alternative” Youth (Sub)Culture, ed.