PARIS, France, October 23, 2008 (ENS) - Underground aquifers contain 100 times the volume of fresh water found on the Earth’s surface but they have been neglected under international law despite their environmental, social, economic and strategic importance.
On Monday, that will change as the UN General Assembly receives the draft of a new international treaty to safeguard these enormous pools of underground water shared by more than one country.

The draft Convention on Transboundary Aquifers applies to 96 percent of the planet’s freshwater resources - those that are to be found in underground aquifers, most of which straddle national boundaries.

Many shared aquifers are under environmental threats caused by climate change, growing population pressure, over-exploitation, and human induced water pollution.

Blue Eye Spring in southern Albania is fed by the Vjosa / Pogoni Aquifer shared by Albania and Greece.

The draft treaty requires that aquifer states not harm existing aquifers and cooperate to prevent and control their pollution. Prepared over the past six years by the UN International Law Commission with the assistance of experts from UNESCO’s International Hydrological Programme, the treaty is intended to fill a gap in the law.

To accompany the draft treaty, UNESCO is publishing the first-ever world map of shared aquifers. It shows the aquifer locations and provides information about the quality of their water and rate of replenishment by rainfall.

So far, the inventory includes 273 shared aquifers - 68 are in the Americas, 38 in Africa, 65 in eastern Europe, 90 in western Europe and 12 in Asia.

The growth in the demand for water since 1950 has been met by the increased use of underground resources. Globally, 65 percent of this water is devoted to irrigation, 25 percent to the supply of drinking water and 10 percent to industry.

Underground aquifers account for more than 70 percent of the water used in the European Union, and are often the only source of supply in arid and semi-arid zones.

Aquifers supply 100 percent of the water used in Saudi Arabia and Malta, 95 percent in Tunisia and 75 percent in Morocco.

Irrigation systems in many countries depend very largely on groundwater resources - 90 percent in the Libya, 89 percent in India, 84 percent in South Africa and 80 percent in Spain.

One of the largest aquifers in the world is the Guarani Aquifer, extending over 1.2 million square kilometers, shared by Brazil, Argentina, Paraguay and Uruguay.

Although aquifer systems exist in all continents, not all of them are fed on a regular basis by rainfall. Those in north Africa and the Arabian peninsula were formed more than 10,000 years ago when the climate was more humid and are no longer replenished.

This well in Africa’s Sahara desert taps into an underground aquifer. (Photo by J.R. Virtue)

In some regions, even if the aquifers are renewable, they may be endangered by over-exploitation or pollution. In the small islands and coastal zones of the Mediterranean, people often use groundwater more rapidly than it is replenished.

The aquifers in Africa, which are some of the biggest in the world, are still under-exploited, the UN agency says, adding, “They have considerable potential, provided that their resources are managed on a sustainable basis.”

Since they generally extend across several national boundaries, the sustainable use of African aquifers depends on agreed management mechanisms that will help prevent pollution or over-exploitation.

Mechanisms of this kind have begun to emerge. In the 1990s Chad, Egypt, Libya and Sudan established a joint authority to manage the Nubian aquifer system.

In their project concerning the Iullemeden aquifer that extends over 500 000 square kilometers in the semi-arid tropical savanna ecoregion of West Africa, Niger, Nigeria and Mali have approved in principle a consultative mechanism for administering the aquifer system. UNESCO says such mechanisms still are rare but the new treaty may encourage their formation.

FROM:
http://www.ens-newswire.com/ens/oct2008/2008-10-23-01.asp

As Barcelona runs out of water, Spain has been forced to consider importing water from France by boat. It is the latest example of the growing struggle for water around the world – the “water wars”.

Barcelona and the surrounding region are suffering the worst drought in decades. There are several possible solutions, including diverting a river, and desalinating water. But the city looks like it will ship water from the French port of Marseilles.

The water services authority in Marseille say that no contracts have been signed, and would not say how much the water would cost, although it is unlikely to cost any more than it costs the inhabitants of Marseilles. And the amounts of water than have been discussed are small – 25,000 cubic metres, less than what’s needed to grow an acre of wheat, and not enough to keep 30 Spaniards going for a year, based on their average consumption.

But the proposal is interesting because it turns a local drought into an international situation.

Water conflict

Climatologists predict that certain regions, the Mediterranean basin among them, will increasingly suffer from water shortages as global temperatures are pushed up by greenhouse gas emissions.

Combined with reports that water scarcity can escalate conflicts, the forecasts have raised fears that climate change could bring about water wars.

“People will not go to war over water,” says Mark Zeitoun, from the London School of Economics’ Centre for Environmental Policy and Governance in the UK. “But that’s not to say water shortages will not contributing to existing tensions.”

This is already happening. Zeitoun advises the Palestinian authorities in their water negotiations with Israel. The latter controls 90% of the two territories’ shared water resources. “The fact that the Palestinians are deprived of their water doesn’t help the situation,” Zeitoun says.

Like Spain, the Palestinian authorities are considering their options, and like Spain one of them is to import water – in this case from Turkey, a country which is already involved in its own water disputes with Syria and Iraq.

The Tigris and Euphrates rivers start in Turkey and supply Syria and Iraq. The Turkish government is building dams on those rivers, reducing the flow downstream and stoking long-standing tensions with its neighbours. “Iraq desperately needs that water,” says Zeitoun.

Water for arms

Turkey already exports water to Cyprus and in 2004 signed a “water for arms” deal with none other than Israel, an agreement which sees Turkey deliver converted oil tankers full of water to Israel in exchange for tanks and air force technology.

Israel’s situation is typical of a state that is severely mismanaging its water resources, says Zeitoun. Climate change models predict that while water will become scarcer in some regions, it will be more abundant elsewhere, suggesting efficient water management is key.

“If Spain is drawing a lot of water to grow oranges for the UK, the city of Barcelona doesn’t benefit. The only people profiting are a few large farmers,” he says.

So while the water wars may not spark conflict between states, Zeitoun’s colleague Elena Lopez-Gunn says we could well see water riots. “Whether the political systems can cope with that, we don’t know,” she says.

FROM:
http://environment.newscientist.com/channel/earth/dn13655-is-this-the-beginning-of-water-wars.html

Did a bit of a tour for BLOOD OIL, which I’ve told you about I’m sure. Did a gig at Inverloch library to a lovely (and surprisingly large, and not just because my step dad was there – he looks a bit like Peter Jackson you see, circa LOTR filming) crowd. Anyway, hello Inverloch people! I judged a short story comp for which I’ll be attending an awards ceremony next weekend, and I don’t have much to say about the entries other than kids can write and most adults can’t. Caught up with John Birmingham and some of his blog buddies – Burgers to those in the know. Birmo has a new novel out, WITHOUT WARNING, which is kinda like every novel I’ve written wrapped between two covers – it’s huge, and it’s good. I’ll read it in the new year when I can dedicate that kinda time and headspace. Been having a Radiohead revival lately, lately my iPod seems to play nothing but, and IN RAINBOWS is particularly good. Cleaned my office, put all my papers in neat piles which I might go through one day but doubt it, got some big fruit trees for my balcony (two pear, two orange), watched a few DVD’s but nothing stand-out, re-reading (nice and slow) TO KILL A MOCKINGBIRD. Each year I auction off a couple character’s names in Fox books, for charity, and this year both are going to the Cancer Foundation. One sold a couple weeks ago, the other auction/charity event is this weekend, and I’ll do a blog post later in the year with these character’s names and their roles in the books (basically, the more they pay at the charity auction, the longer their character lives). Doing a launch at Scotch College this Friday, which I guess I’ll shave for – did I mention I’ve grown a beard? I’ve had not much else to do lately, so I’ve been learning piano and growing a beard, both activities that I can do at home with minimal fuss. Later this month I am talking at the Balwyn Library, and Box Hill TAFE, the latter with my mate Andrew Hutchinson who’ll be crashing here so I really should sort out the spare room (it’s something of a music, papers, and yoga-ball room at the mo and has not benefited from my cleaning mood). Oh, and a week or so ago I gave a six-hour class to a group of young teenagers at the Queensland Writer’s Centre – it was brilliant, the kids were far smarter than most adults I’ve met and the day flashed by at warp speed, certainly faster than Virgin took off from the airport on the way home (I mean really, did we need to turn around and go back just because the weather computer was out? Look out the window. And really, can’t a fifty million dollar jet fly through any and all Australian clouds???). Anyway, hello Queensland kids if you’re reading this – you are all stars.

And with kids in mind, my new book ALONE has been read by a few pro-readers and the response has been better than expected. Two of them said it’s the best book I’ve written, which is a bit worrisome as it took me 16 days to write compared to 3 months to write BLOOD OIL but then it is a very different book: it’s aimed at teenage readers but these two adults (Tony and Em, if you must know) enjoyed it as much as they’ve enjoyed pretty much any book, and they read more books than most people I know (funny, typing that then I was thinking about how Harper’s Scout speaks – it’s been great to go back into that world, those summer’s making fun with Jem). Anyway, I’m still waiting to hear from a select few teenage readers, then I’ll make any changes in a month or so and get it in to the publishers as a good, solid first book in a series. Meantime, I’m tapping away at Fox 4, and I’m very happy to tell you all that my writing has really moved along since writing this kids book (yes mum, you were right). Watch out for more info coming here soon…

Oh, and for readers in Sydney who saw a Sun Herald profile on me a couple weeks back, the journo got quite a lot wrong, which is not unusual with any profile piece – I might make a perpetual list here one day of all the wrong stuff they’ve written about me over the years. Anyway, it happens to us all and the stuff-ups are only getting bigger and worse as journalists are getting lazier and more time-poor - I’ll leave you with a little snippet from Ricky Gervais’ blog:

During an interview in America recently the subject came up about me ad libbing in all my film roles and what it’s like for me not being in charge as usually I write and direct myself.

I explained that I’m usually taken on with that remit and I said that directors usually hire me knowing that I will bring something to the role. I said, “If they wanted someone to stand where they’re told and just say the lines as they’re written in the script then they should chose any other actor to do that.”

Obviously that was taken out of context by an english news site. i wont embarrass them as they are going to right the wrong, but this is the headline they went with. “Gervais admits he is the worst actor in Hollywood” Gervais admits he is the worst actor in Hollywood Brilliant. The thing that annoys me is this. They know exactly what they are doing. It’s not a mistake. It’s deliberate. The world would be a different place if things had always been like this.

Martin Luther King - “I have a dream.”
TheDailyShit.com - “Lazy black man always sleeping”

Jesus Christ - “Let he who is without sin cast the first stone.”
WeeklyRumour.co.uk - “Scruffy Jew starts riot”

Elizabeth I - “I know I have the body of a weak and feeble woman, but I have the heart and stomach of a king.”
InternetCuntWhoCan’tGetArealJob.Net - “Scrawny cannibal lezzer eats own father”

Can’t wait for tomorrow’s headlines… Gervais says he’s as misunderstood as Dr. King. Virgin Queen and Son Of God.

Highlights from what I’ve been reading…

James Frey’s BRIGHT SHINY MORNING. He’s described it as a love letter to LA, only the kind of letter you’d write to a lover you’ve been with for ten years. It’s that and more. I caught up with Frey when he was in Melbourne and he mentioned that he’s very much carrying the torch of Norman Mailer which was nice to hear because that’s exactly how I think of Frey’s writing: he works in prose but he’s essentially, like Mailer, an essayist and chronicler of the self and the times around him. His best subject has been himself, much like Mailer, a man I never met Mailer and it’s a regret because I sense that he, the artist, the observer, was the most interesting part of his fictional creation. Mailer never really had the big novel that I’m sure he’d hoped for, certainly not as big as his precursor Hemingway. Much of his best work are now period pieces, which is not a bad thing in itself and they were important and current and immediate reads at the time I’m sure (AN AMERICAN DREAM, and WHY ARE WE IN VIETNAM?). In this regard he was closer to Orwell, who was an essayist better than a prose writer and his books lacked any real future importance. Frey mentioned that in a discussion he had when dear old Mailer was still alive, that the man said to him and I may paraphrase: “You’re it now. It was Hemingway and then me and now it’s you.” I think that anxiety of influence crippled whatever real originality Mailer might have developed, as it did to Hemingway with his artistic competition to Tolstoy. Hemingway’s greatness was his short stories, which rival any other master of that form, Joyce, Chekhov, Babel, and he’s certainly the best short story writer we’ve seen since Joyce’s DUBLINERS (although my readers will know I have an affinity for Proulx and Winton as modern virtuosos of the sublime). Hemingway was the master of ellipses and his longer works, particularly THE OLD MAN AND THE SEA, misses this virtue of aesthetic economy. William Faulkner praised this book as Hemingway’s best but then his taste was a little off some of the time. It’s at once a Christian parable and a work of sentimentality and it’s far too much for the novel to bear. To Frey’s credit he has none of that. I’d not say Frey’s strongest point of writing is his brevity for he details his prose as a painter might paint a canvas and apply stroke after stroke to built a picture that’s as rich as it is intriguing but what he achieved as a writer of literature is develop a parataxis that is at the forefront of achievement of 21C writers. I have no doubt that one day in the not too distant future, should Frey tackle an issue that strikes a chord with a time or generation, such as Mailer did with his VIETNAM etc, then he will receive the recognition that he deserves and strives for. He will be studied at universities, they will no doubt incorrectly read his work, but he will be appreciated as a poet observer beyond the limited view we have of Mailer, because he’s capable of better writing. Frey has written about his writing process that he approaches the page and task much like a method actor, to really get into the mindset that the given scene requires. I’ve tried that with some of my works but have found it to be too self-destructive and dangerous to everything around me. I do hope, and I trust, that Frey will get to write a canonical novel beyond the immediate that will last the ages and place him in his country’s best writers, to make them, as he says, insignificant. The danger, if he does not achieve this, as I believe that Hemingway realized he had not produced a novel to beat Tolstoy (THE SUN ALSO RISES came closest, but even it was beaten by Hemingway’s own short work, seen in much of the FIRST FORTY-NINE STORIES). In a letter to his publisher Charles Scribner, Hemingway wrote: “Am a man without any ambition, except to be champion of the world, I wouldn’t fight Dr. Tolstoy in a 20 round bout because I know he would knock my ears off. … If I can live to 60 I can beat him. (MAYBE).” Hemingway’s suicide at 61 had its reasons beyond anything hereditary and more than any sickness, like we saw only a few years ago in Dr Gonzo, another genius journalist-writer. Sadly, that door in the psyche is still an option for too many talented, ambitious artists, particularly and usually young men, which I might discuss in detail another day.
If we look at 20C American literature Nathaniel West’s MISS LONELYHEARTS rates right up there. Pynchon couldn’t touch him, only Faulkner holds the higher title. Of living writers, McCarthy’s BLOOD MERIDIAN ranks, as does DeLillo’s UNDERWORLD. Steinbeck was crippled by the shadow of Hemingway, as I believe Mailer was crippled to produce a work of sublime aesthetic achievement by Mailer himself, a Mailer constantly sparring with both himself and Hemingway. I mention these writers because of this: Faulkner’s AS I LAY DYING, West’s MISS LONELYHEARTS, Pynchon’s GRAVITY’S RAINBOW, and BLOOD MERIDIAN, UNDERWORLD, etc, go on through time to prove to us what literature can do, and these works go on harming and teaching and killing us with every read.
I don’t think that such a canonical work is beyond his reach of Frey and it’s certainly within the scope of his ambition. He has the ambition to be heavyweight champion of the literature world, to obliterate the others - if there are any remaining with similar ambitions - into obscurity, and I love him for it. The best I can hope to muster would be to muscle up and fight these guys, as Hemingway did against Stevens - which I’ve written about here before - and I like to think I’d be able to rank pretty high in those stakes. Sure, it’s been tempting to me as it is for so many young writers to write something of such worth and greatest that it will be remembered through all time as something of the finest aesthetic beauty, and maybe one day I’ll dedicate the time to do that but maybe I’ll just keep at my thing, whatever that is. At any rate, Frey’s proved with his third novel that he has reach beyond himself, and produced something that isn’t too restricted to time and place, which is a reach greater than Mailer could ever muster as he placed himself too near events time and time again. Frey’s A MILLION LITTLE PIECES is Mailer’s ADVERTISEMENTS FOR MYSELF and BRIGHT SHINY MORNING could well be THE EXECUTIONER’S SONG. Mailer was his own best fiction complete with every nuance New Journalism brought along. Frey was there and now he’s broken the mould and stretched his wings. Mailer wrote in ADVERTISEMENTS: “…I pointed to the farthest fence and said within ten years I would try to hit the longest ball ever to go up into the accelerated hurricane air of our American letters. For if I have one ambition above all others, it is to write a novel which Dostoyevsky and Marx; Joyce and Freud; Stendhal, Tolstoy, Proust and Spengler; Faulkner ad even old moldering Hemingway might have come to read, for it would carry what they had to tell another part of the way.” Hemingway characterized ADVERTISEMENTS FOR MYSELF, in a letter to George Plimpton, “as a sort of ragtag assembly of his rewrites, second thoughts and ramblings shot through with occasional brilliance.” It’s easy to read Frey and say that he might share much with Mailer, much more than we may ever realize. Mailer as described by Richard Poirier: “…insists on living at the divide, living on the divide, between the world of recorded reality and the world of omens, spirits, and powers, only that his presence may blur the distinction. He seals and obliterates the gap that he finds, like a sacrificial warrior or, as he would probably prefer, like a Christ who brings not peace but a sword, not forgiveness for past sins but an example of the pains necessary to secure a future.”
Over the coming years I’m excited to watch just how far the reach of James Frey can go, and I look forward to him carrying the torch another leg of this great relay, to hit the ball out of the park and show the world what literature can still achieve.

What I’ve been writing…
My newest novel, titled ALONE.
I’ve read a heap of “Young Adult” fiction because I’ve just written my first, a little break in-between writing Fox novels. I read like 50 or so, from Enid Blyton and Roald Dahl (a couple of my childhood favs) to Robert Muchamore and Matthew Reilly. The older books still hold up, even Marsden’s TOMORROW Series reads well, so does OSC’s ENDERS GAME. I flinch at a lot of Blyton, as I’ve done with other period pieces of fiction that I’ve re-read as an adult like LORD OF THE FLIES and KING SOLOMON’S MINES, and while there’s still something to like in them they never live up to the memories of the first read when I was full of youthful ignorance and ready to be carried away. Contemporary YA fiction, with the exception of perhaps Jasper Fforde (if you’d call his stuff YA) is so utterly boring. It’s action and thrills but it’s hollow and doesn’t say much about anything. Golding’s first novel in LORD OF THE FLIES is relevant today but only if you are a teenage private school boy, likely an English one at that, who identifies with those weak characters; that’s all those characters were, private English school boys, and that’s all they ever will be, products of an author who had been through that system and continued a similar one by serving in the Navy and further residing in that system in teaching. I just now re-read Huck Finn, and yes, again I flinch at the language that we now know to be very non-PC, but Huck has so much more depth than any of Golding’s characters. Huck has irony, not seen in Ralph et al, and Golding’s “creations” are no more than humourless names with embarrassingly small views and ridiculously limited minds. There’s nothing universal about LORD OF THE FLIES, it certainly is not an allegory of moral depravity, it’s nothing more than a story of a few cardboard private school boys continuing their existence in a situation that a mature writer would have explored and mined for richness beyond the literal and expected, making names on a page resonate through the ages.

Now that books are marketed to kids like never before we need some bright shiny voices and stories available that are beyond the ordinary. We need the KIM and HUCK of today. So, I’ve created Jesse, in my first YA novel, ALONE. It’s McCarthy’s THE ROAD but set during the apocalyptic event rather than years after, with four teenagers at the centre as seen through Jesse’s eyes and without the overt writerly influences that hampers McCarthy’s effort. ALONE is a product of today and written for today’s readers and like THE ROAD, LIFE OF PI, THE BOOK THEIF, THE ALCHEMIST, ENDERS GAME, THE HOBBIT, THE LITTLE PRINCE, and SIDDHARTHA, I can see it will be read by adults as well as teenagers as well as advanced kids, and I hope they all identify with the archetypal qualities in the story. We follow four teenagers for three weeks and we see how they cope and survive in a city that has been attacked, and through it Jesse struggles with his identity and ego and self as much as his friends’. It holds no punches. It’s raw and it’s real and it will be interesting to see what publishers think of it. Clearly I’m biased - but I’ve admitted on many occasions to not liking my previous work when I’m working gone the next project - and this has not happened with ALONE. I’m writing FOX 4 and 5 back-to-back, as the storyline and through-arcs carry through them both and I figure it’s smart to mine this creative zone that I’m in while it lasts. But when I think back about those four lonely characters in ALONE, I still love them and I love their story and it was a great month of writing. I’ve looked back and felt that way about anything I’ve ever written. Usually I’m glad the writing ordeal is over and the world I’d created and lived in for months on end is behind me.

What I’ve been watching…
A few DVD’s.
GONG BABY GONE. Enjoyed it about as much as the book. The twists still worked, even though I expected what was coming. Ben Affleck did a great job of directing. The only thing I had issues with was the small jump cuts in the scene where they were in the house of the mother - they worked fine, but it seemed out of place as a device and the first couple jarred until I was used to it. Still, it’s a little thing, like the little things I pointed out with Tony Gilroy’s first effort in MICHAEL CLAYTON. Make no mistake, both these guys can direct better than most, it’s just my super-critical eye because I expected so much. What pleased me the most with both their efforts is that they have such a minimal, old-school approach that is not reliant on any visual gimmickry.

STREET KINGS. I like David Ayer and I expected so much from this film and it didn’t deliver. TRAINING DAY was a deceptively good script and well acted and executed. In fact, I didn’t love it that much on the first run through but after reading the script and re-watching I got so much more from it, but perhaps that’s either me not being in the mood in the first instance to take it all in, or they filmmakers didn’t do a good enough job putting the script to screen. I suspect a bit of both. HARSH TIMES remains my favourite Ayer film and it’s small-budget genius. Chris Bale and Freddy Rodriguez were perfect; Bale’s character was utterly riveting and frightening and most importantly incredibly empathetic, which cemented Bale in my mind as one of the best actors around. Anyway, STREET KINGS could have been the story that I wanted to write, and when I’d read early news about it I was disappointed that I’d never get to write a similar novel that I’ve been kicking around in my head for a while, the third of a cop trilogy. But, I will write that novel one day soon, about a cop who’s hard and tough as can be because of the two novels before it (both storylines of which came to me in separate dreams with the same cop characters – go figure), because STREET KINGS and its ridiculous cast did not deliver.

He is not, as children’s book writers are often supposed, an everyman’s grandpapa. His hatreds are fierce and grand, as if produced by Cecil B. DeMille. He hates his uncle (who made a cruel comment about him when he was a boy); he hates anything to do with God or religion, and Judaism in particular (“We were the ‘chosen people,’ chosen to be killed?”); he hates Salman Rushdie (for writing an excoriating review of one of his books); he hates syrupy animation, which is why he is thrilled with Mr. Jonze’s coming film of his book “Where the Wild Things Are,” despite rumors of studio discontent.

“I hate people,” he said at one point, extolling the superior company of dogs, like his sweet-tempered German shepherd, Herman (after Melville).

He is, at heart, a curmudgeon, but a delightful one, with a vast range of knowledge, a wicked sense of humor and a talent for storytelling and mimicry.

When Mr. Sendak received the 1996 National Medal of Arts, President Bill Clinton told him about one of his own childhood fantasies that involved wearing a long coat with brass buttons when he grew up.

“But Mr. President, you’re only going to be president for a year more,” Mr. Sendak said, “you still have time to be a doorman.”

From: http://www.nytimes.com/2008/09/10/arts/design/10sendak.html?_r=2&pagewanted=1&oref=slogin

18 Sept, INVERLOCH.
7:30 pm @ the Inverloch Community Centre
Author talk and Q&A
Gold coin donation, refreshments supplied.
(note: limited amount of books for sale on the night)

20 Sept, WONTHAGGI
11am - noon @ Wonthaggi Big W
Book signing
Free event

22 Oct, BALWYN
7.30pm @ Balwyn Library
Author talk and Q&A
Readings Books proving books for sale on the night.
Free event, bookings advised via the library.

Brisbane:
Dymocks Brisbane
Borders Brisbane
Dymocks Indooroopilly
Mary Ryan Milton
Dymocks Chermside
Riverbend
Mary Ryans Bulimba

Sydney:
Newslink store, Qantas Domestic
Angus & Robertson, Bankstown
Borders, Rouse Hill
Dymocks, Rouse Hill
Dymocks, Penrith
Dymocks, Parramatta
Dymocks, Castle Hill
Dymocks, Sydney
Pages & Pages, Mosman
Next Chapter, Warriewood

Melbourne:
Borders Camberwell (Where I had a big signing afternoon - they have heaps of signed books.)
Dymocks Melbourne at Australia on Collins
Borders Melbourne Central
Dymocks Camberwell

Chances are that your local store in Brisbane, Sydney, or Melbourne now has signed books - while stocks last!

I have been on a whirlwind book tour of the east coast capital cities and have signed copies of the just-released BLOOD OIL, as well as some of the paperback editions of FOX HUNT and PATRIOT ACT. Along the way I’ve met dozens (perhaps hundreds!) of wonderful bookstore owners and staff, which as I publish more and more books they are feeling more and more like my extended publishing family.

Early this coming week I will post a list of the stores that I visited, as well as my upcoming public appearances.

Thanks for your continued support in buying my books, and I do hope that you enjoy this latest Lachlan Fox story. I’m very pleased (and as usual, somewhat surprised!) that the feedback so far from early readers, bookstore staff, and media, has been brilliant.

Cheers,
JP.

Irena Salina’s award-winning documentary investigation into what experts label the most important political and environmental issue of the 21st Century - The World Water Crisis. Salina builds a case against the growing privatization of the world!s dwindling fresh water supply with an unflinching focus on politics, pollution, human rights, and the emergence of a domineering world water cartel. Interviews with scientists and activists intelligently reveal the rapidly building crisis, at both the global and human scale, and the film introduces many of the governmental and corporate culprits behind the water grab, while begging the question “CAN ANYONE REALLY OWN WATER?! Beyond identifying the problem, FLOW also gives viewers a look at the people and institutions providing practical solutions to the water crisis and those developing new technologies, which are fast becoming blueprints for a successful global and economic turnaround.

http://www.apple.com/trailers/independent/flow/

http://www.youtube.com/watch?v=LGd9D4J0lag