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    Q&A: Steven Gonzalez on Indigenous futurist science fiction

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    Steven Gonzalez is a PhD candidate in the MIT Doctoral Program in History, Anthropology, Science, Technology, and Society (HASTS), where he researches the environmental impacts of cloud computing and data centers in the United States, Iceland, and Puerto Rico. He is also an author. Writing under the name E.G. Condé, he recently published his first book, “Sordidez.” It’s described as an “Indigenous futurist science fiction novella set in Puerto Rico and the Yucatán.” Set in the near future, it follows the survivors of civil war and climate disaster led by protagonist Vero Diaz, as they reclaim their Indigenous heritage and heal their lands.

    In this Q&A, Gonzalez describes the book’s themes, its inspirations, and its connection to research, people, and classes at MIT.

    Q: Where did the inspiration for this story come from?

    A: I actually began my time at MIT in September of 2017 when Hurricane María struck. It was a really difficult time for me at the Institute, starting a PhD program. And it’s MIT, so there’s a lot of pressure. I was still kind of navigating the new institutional space and trying to understand my place in it. But I had a lot of people at the Institute who were extremely supportive during that time. I had family members in Puerto Rico who were stranded as a result of the hurricane, who I didn’t hear from for a very long time — who I feared dead. It was a very, very chaotic, confusing, and emotionally turbulent time for me, and also incredibly difficult to be trying to be present in a PhD program for the first semester. Karen Gardner, our administrator, was really incredibly supportive in that. Also the folks at the MIT Association of Puerto Ricans, who hosted fundraisers and linked students with counseling resources. But that trauma of the hurricane and the images that I saw of the aftermath of the hurricane, specifically in the town where my grandmother’s house was where I spent time living as a child during the summers, and to me, it was the greenest place that I have ever known. It looked like somebody had torched the entire landscape. It was traumatizing to see that image. But that kind of seeded the idea of, is there a way to burn without fire? There’s climate change, but there’s also climate terror. And so that was sort of one of the premises of the book explores, geoengineering, but also the flip side of geoengineering and terraforming is, of course, climate terror. And in a way, we could frame what’s been happening with the fossil fuel industry as a form of climate terror, as well. So for me, this all began right when I started at MIT, these dual tracks of thought.

    Q: What do you see as the core themes of your novella?

    A: One major theme is rebuilding. As I said, this story was very influenced by the trauma of Hurricane María and the incredibly inspiring accounts from family members, from people in Puerto Rico that I know, of regular people stepping up when the government — both federal and local — essentially abandoned them. There were so many failures of governance. But people stepped up and did what they could to help each other, to help neighbors. Neighbors cleared trees from roads. They banded together to do this. They pooled resources, to run generators so that everyone in the same street could have food that day. They would share medical supplies like insulin and things that were scarce. This was incredibly inspiring for me. And a huge theme of the book is rebuilding in the aftermath of a fictive hurricane, which I call Teddy, named after President Theodore Roosevelt, where Puerto Rico’s journey began as a U.S. commonwealth or a colony.

    Healing is also a huge theme. Healing in the sense of this story was also somewhat critical of Puerto Rican culture. And it’s refracted through my own experience as a queer person navigating the space of Puerto Rico as a very kind of religious and traditional place and a very complex place at that. The main character, Vero, is a trans man. This is a person who’s transitioned and has felt a lot of alienation and as a result of his gender transition, a lot of people don’t accept him and don’t accept his identity or who he is even though he’s incredibly helpful in this rebuilding effort to the point where he’s, in some ways, a leader, if not the leader. And it becomes, in a way, about healing from the trauma of rejection too. And of course, Vero, but other characters who have gone through various traumas that I think are very much shared across Latin America, the Latin American experiences of assimilation, for instance. Latin America is a very complex place. We have Spanish as our language, that is our kind of lingua franca. But there are many Indigenous languages that people speak that have been not valued or people who speak them or use them are actively punished. And there’s this deep trauma of losing language. And in the case of Puerto Rico, the Indigenous language of the Taínos has been destroyed by colonialism. The story is about rebuilding that language and healing and “becoming.” In some ways, it’s about re-indigenization. And then the last part, as I said, healing, reconstruction, but also transformation and metamorphosis. And becoming Taíno. Again, what does that mean? What does it mean to be an Indigenous Caribbean in the future? And so that’s one of the central themes of the story.

    Q: How does the novella intersect with the work you’re doing as a PhD candidate in HASTS?

    A: My research on cloud computing is very much about climate change. It’s pitched within the context of climate change and understanding how our digital ecosystem contributes to not only global warming, but things like desertification. As a social scientist, that’s what I study. My studies of infrastructure are also directly referenced in the book in a lot of ways. For instance, the now collapsed Arecibo Ionosphere Observatory, where some of my pandemic fieldwork occurred, is a setting in the book. And also, I am an anthropologist. I am Puerto Rican. I draw both from my personal experience and my anthropological lens to make a story that I think is very multicultural and multilingual. It’s set in Puerto Rico, but the other half is set in the Yucatán Peninsula in what we’ll call the former Maya world. And there’s a lot of intersections between the two settings. And that goes back to the deeper Indigenous history. Some people are calling this Indigenous futurism because it references the Taínos, who are the Indigenous people of Puerto Rico, but also the Mayas, and many different Maya groups that are throughout the Yucatán Peninsula, but also present-day Guatemala and Honduras. And the story is about exchange between these two worlds. As someone trained as an anthropologist, it’s a really difficult task to kind of pull that off. And I think that my training has really, really helped me achieve that.

    Q: Are there any examples of ways being among the MIT community while writing this book influenced and, in some ways, made this project possible?

    A: I relied on many of my colleagues for support. There’s some sign language in the book. In Puerto Rico, there’s a big tradition of sign language. There’s a version of American sign language called LSPR that’s only found in Puerto Rico. And that’s something I’ve been aware of ever since I was a kid. But I’m not fluent in sign language or deaf communities and their culture. I got a lot of help from Timothy Loh, who’s in the HASTS program, who was extremely helpful to steer me towards sensitivity readers in the deaf community in his networks. My advisor, Stefan Helmreich, is very much a science fiction person in a lot of ways. His research is on the ocean waves, the history and anthropology of biology. He’s done ethnography in deep-sea submersibles. He’s always kind of thinking in a science fictional lens. And he allowed me, for one of my qualifying exam lists, to mesh science fiction with social theory. And that was also a way that I felt very supported by the Institute. In my coursework, I also took a few science fiction courses in other departments. I worked with Shariann Lewitt, who actually read the first version of the story. I workshopped it in her 21W.759 (Writing Science Fiction) class, and got some really amazing feedback that led to what is now a publication and a dream fulfilled in so many ways. She took me under her wing and really believed in this book. More

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      Benjamin Mangrum receives the 2023 Levitan Prize in the Humanities

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      Benjamin Mangrum, assistant professor of literature at MIT, has been awarded the 2023 Levitan Prize in the Humanities. This award, presented each year by a faculty committee, empowers a member of the MIT School of Humanities, Arts, and Social Sciences (SHASS) faculty with funding to enable research in their field. With an award of $30,000, this annual prize continues to power substantial projects among the members of the SHASS community.

      Mangrum will use the award to support research for his upcoming book, which is a cultural and intellectual history of environmental rights. In the book, Mangrum discusses the cultural structures that have helped link rights language to environmental concerns. Mangrum plans to use the funding from the Levitan Prize for research into a chapter involving literary personhood.

      “Assertions of environmental rights are typically the result of pragmatic or strategic alignments between, say, naturalists and labor organizers or indigenous communities and governments,” he writes. “My book examines the compromises and conceptual negotiations that occur for ‘environmental rights’ to be a workable concept.”

      The notion of environmental rights can refer to the right of citizens to live in a healthy environment, but it can also include the attribution of rights to nonhuman entities. Such designation received increased attention when New Zealand gave the Whanganui River a legal identity, bringing the longest-running litigation in New Zealand history to an end. India has named rivers legal entities and Bangladesh has given all its rivers legal rights.

      “Personhood status was a compromise between the government and a group of Māori tribes who demanded recognition for the river based on past treaties,” Mangrum writes. “I’m interested in how these very different kinds of discourse — political rights, environmental science, indigenous culture, public health — have come together during the 20th and 21st centuries.”

      For the chapter, Mangrum explores the argument made by legal theorist Christopher Stone in “Should Trees Have Standing?” First published in 1972, Stone’s essay is a foundational argument in environmental law. Stone maintains that natural objects can be given legal personhood, an argument that is often cited in legal framings of environmental rights. Mangrum explores the literary dimensions of legal personhood.

      “I argue that the intellectual and cultural history of legal personhood shares unacknowledged debts to the evolution in theories of literary personhood,” Mangrum writes. “A reader’s attribution of personhood does not serve the same social and moral functions as the attribution of personhood to corporations and other nonhuman entities. However, I argue that modern ideas about literary personhood are cognitively homologous with legal personhood: despite serving different functions, these conceptions of personhood share conceptual structures and intellectual origins.”

      In one recently published article, he examines the language used by Rachel Carson and others in the nascent environmental movement. In 1963, Carson testified before a U.S. Senate subcommittee on the threat of pesticides. It was considered a watershed moment for environmentalism, but notable also for intellectual history. Her use of the vocabulary of rights and her advocacy for environmental regulations in a public forum were significant forces in the institutionalization of environmental rights.

      Mangrum notes Carson’s claim of “the right of the citizen to be secure in his own home against the intrusion of poisons applied by other persons.” Carson uses the language of rights to introduce environmental concerns within the public sphere, but this language also has implications for how we understand our relationship to the nonhuman world.

      Before arriving at MIT in 2022, Mangrum taught at the University of the South, the University of Michigan, and Davidson College. He is the author of “Land of Tomorrow: Postwar Fiction and the Crisis of American Liberalism” (Oxford 2019), which examines 20th-century literary fiction and popular philosophy to understand shifts in American liberalism after World War II. He received his PhD from the University of North Carolina at Chapel Hill. More

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      in Environment

      Q&A: Tod Machover on “Overstory Overture,” his new operatic work

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      Composers find inspiration from many sources. For renowned MIT Media Lab composer Tod Machover, reading the Richard Powers novel “The Overstory” instantly made him want to adapt it as an operatic composition. This might not seem an obvious choice to some: “The Overstory” is about a group of people, including a wrongly maligned scientist, who band together to save a forest from destruction.

      But Machover’s resulting work, “Overstory Overture,” a 35-minute piece commissioned and performed by the chamber ensemble Sejong Soloists, has come to fruition and will have its world premiere on March 7 in Alice Tully Hall at New York’s Lincoln Center. Opera superstar Joyce DiDonato will have the lead role, with Earl Lee conducting. On March 16, the piece will have its second performance, in Seoul, South Korea. MIT News recently talked to Machover about his original new work.

      Q: How did you get the idea for your new work?

      A: I’ve been a fan of Richard Powers’ novels for a long time. He started out as a musician. He’s a cellist like I am, and was a composer before he was a writer, and he’s also been deeply interested in science for his whole career. All of his novels have something to do with people, ideas, music, and science. He’s always been on my radar.

      Q: What’s compelling to you about this particular Powers book?

      A: “The Overstory” is made up of many stories about characters who come together, improbably, because of trees. It starts with short chapters describing characters with relationships to trees. One is about a family that moved to the Midwest and planted a chestnut tree. It grows for 150 years and they take pictures every year, and it’s at the center of the family until it gets cut down in the 1990s. Another guy is in a plane in Vietnam and gets shot down, and his parachute gets caught in a tree right before he hits the ground.

      One character is named Patricia Westerford and she’s a scientist. Her life work is studying the forest and trees, and she discovers that trees communicate — both underground, through the roots, and through the air, via particles. They’re much more like a network than they are static, isolated objects. Her whole world is discovering the miracle of this network, but nobody believes her and she loses her tenure. And she basically goes and lives in the forest. Eventually all the characters in the book come together to preserve a forest in the Northwest that’s going to be destroyed. They become connected through trees, but in the book, all their lives are basically destroyed. It’s not a happy ending, but you understand how human beings are connected through the natural world, and have to think about this connection in a radically new way.

      Every single character came alive. The book is just a miracle. It’s a great work of art. Immediately, reading it, I thought, this is something I want to work on.

      Q: How did you start turning that into an operatic composition?

      A: I got in touch with Powers soon after that. Richard knew my music and answered immediately, saying, “I’d love to have you do an opera on this, and let’s figure out how.” I started working on it just before the pandemic. Around that time he came to Harvard to give a lecture, so he came here to my office in the Media Lab, and we got to chat.

      Generally novels leave more room for you to decide how to make music out of them; they’re a lot less scripted than a movie or a play, and the many inner thoughts and asides leave room for music to fill in. I asked Richard, “Would you be interested in writing the text for this?” And right away he said, “Look, I’d like to be involved in the process, but I don’t feel equipped to write a libretto.” So, I went to Simon Robson, who worked on “Schoenberg in Hollywood” [another Machover opera], and we started working and checked in with Richard from time to time.

      Just about that time the ensemble Sejong Soloists, who are based in New York and Seoul, offered to have their string orchestra collaborate on a project with a theatrical aspect, which was new for them. I explained I was working on an opera based on “The Overstory,” and I felt we could explore its themes. I could imagine the string instruments being like trees and the orchestra being the forest.

      The next thing I did was contact my favorite singer, Joyce DiDonato. She’s such a beautiful, powerful singer. I did an opera in 1999 for Houston called “Resurrection,” which was based on Tolstoy’s last novel, and we were casting the main female character. We did auditions in New York, Los Angeles, and Europe, couldn’t find the main character, and finally the head of the Houston Grand Opera said, “You know, there’s this young singer in our apprentice program who’s pretty special, and you should hear her.”

      And sure enough, that was Joyce. It was her first major role. We hadn’t done another project together although we remained close over the years, but I called her and said “Joyce, I know how busy you are, but I’ve got this idea, and I’ll send you the book. It’s great and I’d love to focus on this one character, would you consider doing it?” And she said she’d love to, partly because sustainability and the environment is something she really cares about.

      Q: Okay, but how do you get started writing music for a piece when it’s based on a book about trees?

      A: I began with two things. Musically I started with the idea of creating this language for tree communication. I was inspired by this idea that one of the reasons we don’t know about it is it’s underground, it’s low, it’s spreading out. I’m a cellist, and I’ve always loved music that grows from the bottom. When you play the cello, in a lot of the great literature, you’re playing the low part of a quartet or quintet or orchestra, and often people don’t quite hear it as the most prominent thing.

      The second thing I did was start making this text. Which was hard, because it’s a big novel. It’s a 35-minute piece where Joyce is at the center. When she starts, she just talks, for a minute, and then little by little it turns into song. It’s her sharing with everybody what she learned, she brings you into the world of the forest. In time, there’s a crisis, they’re destroying the forest, and as she says, they’re tearing out the lungs — tearing out the mind — of the world. The last part of the piece is a vision of how the trees need us but we need them even more.

      Q: I don’t want to push too hard on this, but the composition sounds parallel with its subject matter. Trees are connected; an orchestra is connected. And then this story is about people building a connection to nature, while you want the audience to feel a connection to the piece. How much did you think about it that way?

      A: I was thinking about that pretty consciously, and I really tried to make something that feels very still and simple, but where there’s a lot going on. It feels like it’s living and moving. The piece starts out with solo instruments, so at first everybody’s doing their bit, then they all join in. The strings make a rich ensemble sound, but in the last section every single instrument has its own part — I wrote an individual part for all these string players so they’re kind of weaving in and out. Musically it’s very much constructed to lead people through a forest that is both diverse but connected together.

      I also enjoy using electronics to add another dimension. In this piece I’ve tried to create an electronic world that doesn’t necessarily remind you of electronics, except for one part where machines comes in ripping the forest apart. But mostly the electronics are blended with the orchestra in a way you might not always notice. The sound and feel, hopefully, will appear more natural than nature.

      Q: You also seem to have clearly identified a story with real operatic drama here, unusual as it may be.

      A: The emotional transition that happens is the awareness of what the forest means, and in your gut what it means to protects it, and what it would mean to lose it, and then a glimpse of what it might feel like to live in a different way. I think the contribution someone like myself might be able to make is to change attitudes, to think about our limits as a species and as individuals. Technical solutions alone aren’t going to solve things; people’s behavior somehow has to change. A piece like this is a way of having the experience of crisis, and a vision of what could be different.

      Q: Here’s something a lot of us want to know: What’s it like working with Joyce DiDonato?

      A: She’s one of those rare people. She’s completely direct and honest and lives life to the fullest. Joyce, I mean, thank God she has the best voice you’ll ever hear and she’s at the top of her game, but she also thinks about the world and ideas, and she did a whole project a few years ago performing a repertoire around the world about war and peace, to jolt people into a new understanding. Every project she’s involved with, she cares about the characters and she’s in it all the way.

      For this piece we did a bunch of Zoom sessions and tried things out. And she’s fantastic at saying, “To make that phrase the best you can for my voice at this point in the piece, would you consider changing that one note?” She has incredibly precise ideas about that. So, we worked musically on every detail and on the whole shape. What a pleasure! She also came here to MIT. She hadn’t been to the Media Lab, so she spent two days here at the beginning of August with her partner. She was so open to all the students and all the ideas and inventions and machines and software, just in the most gracious and truly excited way. You couldn’t have had a better visitor.

      Q: Any last thoughts about this piece you want to share?

      A: In my music in general, I’m pretty voracious at combining different things. I think in this project where it involves the natural world and the language of trees, and the language of melodies and instruments and electronic music, there may be more elements I’ve pulled together than ever. The emotional and even musical world here is larger. That’s my story here: These elements require and invite new thinking. And remember: This is just the first part of a larger project. I hope that you can hear the full “Overstory” opera — perhaps with trees growing in a major opera house — in the not-so-distant future! More

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      in Environment

      Q&A: Bettina Stoetzer on envisioning a livable future

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      In an ongoing series, MIT faculty, students, and alumni in the humanistic fields share perspectives that are significant for solving the economic, political, ethical, and cultural dimensions of climate change, as well as mitigating its myriad social and ecological impacts. Bettina Stoetzer is the Class of 1948 Career Development Associate Professor of Anthropology at MIT; her research combines perspectives on ecology and environmental change with an analysis of migration, race, and social justice. In this conversation with SHASS Communications, she shares insights from anthropology and from her forthcoming book, “Ruderal City: Ecologies of Migration and Urban Life in Berlin” (Duke University Press, 2022).Q: You research “ruderal” ecologies — those rising up like weeds in inhospitable locales such as industrial zones. What does your work reveal about the relationship between humans and the environment, particularly as climate change presents ever more challenges to human habitation?A: The term ruderal originates from the Latin word “rudus,” meaning “rubble.” In urban ecology it refers to organisms that spontaneously inhabit inhospitable environments such as rubble spaces, the cracks in sidewalks, or spaces alongside train tracks and roads. As an anthropologist, I find the ruderal to be a useful lens for examining this historical moment when environmental degradation, war, forced migration, economic inequality, and rising nationalism render much of the world inhospitable to so many beings.

      My book, “Ruderal City: Ecologies of Migration and Urban Life in Berlin,” is inspired by the insights of botany, ecology, as well as by social justice struggles. During my fieldwork in Berlin, I engaged with diverse communities — botanists, environmentalists, public officials, and other Berlin residents, such as white German nature enthusiasts, Turkish migrants who cultivate city gardens, and East African refugees who live in the forested edges of the city.The botanists I spoke with researched so-called “ruderal flora” that flourished in the city’s bombed landscapes after the end of World War II. Berlin’s rubble vegetation was abundant with plants that usually grow in much warmer climate zones, and the botanists realized that many of these plants’ seeds had arrived in the city by chance — hitching a ride via imported materials and vehicles, or the boots of refugees. At the same time, the initial appearance of these plants illustrated that Berlin had become hotter, which shed light on the early signs of climate change. But that is only part of the story. Listening to migrants, refugees, and other Berlin residents during my fieldwork, I also learned that it is important to consider the ways in which people who are often not recognized as experts relate to urban lands. White European environmental discourse often frames migrants and communities of color as having an inappropriate relation to “nature” in the city, and racializes them on that basis. For example, Turkish migrants who barbecue in Berlin’s parks are often portrayed as polluting the “green lungs” of Berlin.Yet from working with these communities, as well as with other Berliners who cultivated urban vegetable gardens, built makeshift shelters in abandoned lots, produced informal food economies in Berlin’s parks, or told stories about their experience in the forest edges of the city, I learned that people, while grappling with experiences of racism, actually carved out alternative ways of relating to urban lands that challenged white European and capitalist traditions.Engaging with these practices, I utilize the concept of the ruderal and expand it as an analytic for tracking seemingly disparate worlds — and for attending to the heterogeneous ways in which people build lives out of the ruins of European nationalism and capitalism. My goal in the book is not to equate people with plants, but rather to ask how people, plants, animals, and other living beings are intertwined in projects of capitalist extraction and in nation-making — and how they challenge and rework these projects.Q: In what ways do you think the tools and insights from anthropology can advance efforts to address climate change and its impacts?A: When tackling complex environmental challenges, climate change included, the focus is often on “the social consequences of” climate change and technological solutions to address it. What is exciting about anthropology is that it gives us tools to interrogate environmental challenges through a broader lens.Anthropologists use in-depth fieldwork to examine how people make sense of and relate to the world. Ethnographic fieldwork can help us examine how climate change affects people in their everyday lives, and it can reveal how different stakeholders approach environmental challenges. By providing a deeper understanding of the ways in which people relate to the material world, to land, and to other beings, anthropological analyses also shed light on the root causes of climate change and expand our imagination of how to live otherwise.Through these close-up analyses, ethnography can also illuminate large-scale political phenomena. For instance, by making visible the relation between climate change denial and the erosion of democratic social structures in people’s everyday lives, it can provide insights into the rise of nationalist and authoritarian movements. This is a question I explore in my new research project. (One case study in the new research focuses on the ways in which pigs, people, and viruses have co-evolved during urbanization, industrial agriculture, and the climate crisis, e.g.: the so-called African Swine Fever virus among wild boar — which proliferate in the ruins of industrial agriculture and climate changes — trigger political responses across Europe, including new border fences.)

      Through several case studies, I examine how the changing mobility patterns of wildlife (due to climate change, habitat loss, and urbanization) pose challenges for tackling the climate crisis across national borders and for developing new forms of care for nonhuman lives.Q: You teach MIT’s class 21A.407 (Gender, Race, and Environmental Justice). Broadly speaking, what are goals of this class? What lessons do you hope students will carry with them into the future?A: The key premise of this class is that the environmental challenges facing the world today cannot be adequately addressed without a deeper understanding of racial, gender, and class inequalities, as well as the legacies of colonialism. Our discussion begins with the lands on which we, at MIT, stand. We read about the colonization of New England and how it radically transformed local economies and landscapes, rearranged gender and racial relations, and led to the genocide and dispossession of Indigenous communities and their way of life.From this foundation, the goal is to expand our ideas of what it means to talk about ecology, the “environment,” and justice. There is not one way in which humans relate to land and to nonhuman beings, or one way of (re-)producing the conditions of our livelihoods (capitalism). These relations are all shaped by history, culture, and power.We read anthropological scholarship that explores how climate change, environmental pollution, and habitat destruction are also the consequences of modes of inhabiting the earth inherited from colonial relations to land that construct human and nonhuman beings as extractable “resources.” Considering these perspectives, it becomes clear that pressing environmental challenges can only be solved by also tackling racism and the legacies of colonialism.Throughout the semester, we read about environmental justice struggles that seek to stop the destruction of land, undo the harm of toxic exposures, and mitigate the effects of climate change. I hope that one of the takeaways students gain from this course is that Black, Indigenous, people-of-color, and feminist activists and scholars have been leading the way in shaping more livable futures.

      Q: In confronting an issue as formidable as global climate change, what gives you hope?A: I am really inspired by youth climate justice activists, especially from the Global South, who insist on new solutions to the climate emergency that counter market-driven perspectives, address global economic inequalities, and raise awareness about climate-driven displacement. Confronting climate change will require building more democratic structures and climate justice activists are at the forefront of this.Here at MIT, I also see a growing enthusiasm among our students to develop solutions to the climate crisis and to social injustices. I am particularly excited about Living Climate Futures, an initiative in Anthropology, History, and the Program on Science, Technology, and Society. We will be hosting a symposium at the end of April featuring environmental and climate justice leaders and youth activists from across the country. It will be a unique opportunity to explore how community leaders and research institutions such as MIT can collaborate more closely to tackle the challenges of climate change.

      Interview prepared by MIT SHASS CommunicationsSenior writer: Kathryn O’NeillSeries editor, designer: Emily Hiestand, communications director More