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Sacré-Cœur, Paris

The Basilica of Sacré Coeur de Montmartre (Sacred Heart of Montmartre), commonly known as Sacré-Cœur Basilica and often simply Sacré-Cœur (Sacré-Cœur de Montmartre, pronounced ), is a Roman Catholic church and minor basilica in Paris dedicated to the Sacred Heart of Jesus. It was formally approved as a national historic monument by the National Commission of Patrimony and Architecture on December 8, 2022.

Sacré-Cœur Basilica is located at the summit of the butte of Montmartre. From its dome two hundred meters above the Seine, the basilica overlooks the entire city of Paris and its suburbs. It is the second most popular tourist destination in the capital after the Eiffel Tower.

The basilica was first proposed by Felix Fournier, the Bishop of Nantes, in 1870 after the defeat of France and the capture of Napoleon III at the Battle of Sedan in the Franco-Prussian War. He attributed the defeat of France to the moral decline of the country since the French Revolution, and proposed a new Parisian church dedicated to the Sacred Heart of Jesus.

The basilica was designed by Paul Abadie, whose Neo-Byzantine-Romanesque plan was selected from among seventy-seven proposals. Construction began in 1875 and continued for forty years under five different architects. Completed in 1914, the basilica was formally consecrated in 1919 after World War I.

Sacré-Cœur Basilica has maintained a perpetual adoration of the Holy Eucharist since 1885. The site is traditionally associated with the martrydom of Saint Denis, the patron saint of Paris.

Proposal
The plan to build a new Parisian church dedicated to the Sacred Heart of Jesus was first proposed on September 4, 1870, by Felix Fournier, the Bishop of Nantes, following the defeat of France and the capture of Emperor Napoleon III by the Prussians at the Battle of Sedan in the Franco-Prussian War. Until his death in 1877, Fournier was an active builder who completed the long-delayed restoration of Nantes Cathedral. He wrote that the defeat of France in 1870 was a divine punishment for the moral decline of the country since the French Revolution.

In January 1871, Bishop Fournier was joined by the philanthropist Alexandre Legentil, who was a follower of Frederic Ozanam, the founder of the Society of Saint Vincent de Paul. Legentil declared that France had been justly punished for its sins by the defeat of the French Army at Sedan and the imprisonment of the Pope in Italy by Italian nationalists. He wrote, We recognize that we were guilty and justly punished. To make honourable amends for our sins, and to obtain the infinite mercy of the Sacred Heart of our Lord Jesus Christ and the pardon of our sins, as well as extraordinary aid which alone can delivery our sovereign Pontiff from captivity and reverse the misfortune of France, we promise to contribute to the erection in Paris of a sanctuary dedicated to the Sacred Heart of Jesus. The influence of Legentil led to a successful fundraising campaign based entirely on private contributions.

Site
Montmartre was selected as the site of the new basilica due to its prominent height and visibility from many parts of the city. Since the location included land belonging to the local government as well as private owners, the French parliament assisted in securing the site by declaring that the construction of the basilica was in the national interest. In July 1873, the proposal was finally brought forward and approved in the National Assembly with the official statement that "it was necessary to efface by this work of expiation the crimes which have crowned our sorrows." The groundbreaking for the new church finally took place in 1875.

Apart from its physical attributes, Montmartre or the "Hill of the Martyrs" was also chosen for its association with the early Christian church. According to tradition, it was the place where the patron saint of Paris, Saint Denis of Paris, was beheaded by the Romans. His tomb became the site of the Basilica of Saint Denis, the traditional resting place for the kings of France until the French Revolution.

In addition, Montmartre was the birthplace of the Society of Jesus, one of the largest and most influential religious orders in the history of the Catholic Church. In 1534, Ignatius of Loyola and a few of his followers made their vows in Saint-Pierre de Montmartre, one of the oldest churches in Paris. The church survived the Revolution although the Montmartre Abbey to which it belonged was destroyed.

Construction
A competition was held for the design of the basilica and attracted seventy-seven proposals. Architect Paul Abadie was selected, and the cornerstone finally laid on June 16, 1875.

The early construction was delayed and complicated by unstable foundations. Eighty-three wells, each thirty meters deep, had to be dug under the site and filled with rock and concrete to serve as subterranean pillars supporting the basilica. Construction costs, estimated at 7 million francs drawn entirely from private donors, were expended before any above-ground structure became visible. A provisional chapel was consecrated on March 3, 1876, and pilgrimage quickly brought in additional funding.

Not long after the foundation was completed in 1884, Abadie died and was succeeded by five other architects who made extensive modifications: Honoré Daumet (1884–1886), Jean-Charles Laisné (1886–1891), Henri-Pierre-Marie Rauline (1891–1904), Lucien Magne (1904–1916), and Jean-Louis Hulot (1916–1924).

During construction, opponents of the basilica were relentless in their effort to hinder its progress. In 1882, the walls of the church were barely above its foundations when the left-wing coalition led by Georges Clemenceau won the parliamentary election. Clemenceau immediately proposed halting the work, and the parliament blocked all further funding for the project. However, faced with enormous liabilities of twelve million francs from project cancellation, the government had to allow the construction to proceed.

In 1891, the interior of the basilica was completed, dedicated and opened for public worship. Still, in 1897, Clemenceau made another attempt to block its completion in the parliament, but his motion was overwhelmingly defeated since the cancellation of the project would require repaying thirty million francs to eight million people who had contributed to its construction.

The dome of the church was completed in 1899, and the bell tower finished in 1912. The basilica was completed in 1914 and formally dedicated in 1919 after World War I.

Controversy over the church
Criticism of the church by leftist journalists and politicians for its alleged connection with the destruction of the Paris Commune continued from the late 19th century into the 20th and 21st centuries, even though the church had been proposed before the Paris Commune took place. In 1898, Emile Zola wrote sarcastically, France is guilty. It must do penitence. Penitence for what? For the Revolution, for a century of free speech and science, and emancipated reason... for that they built this gigantic landmark that Paris can see from all of its streets, and cannot be seen without feeling misunderstood and injured. Shortly after the completed Statue of Liberty was transported from France to the United States, opponents of Sacré-Cœur came up with a new strategy. They proposed installing a full-size copy of the Statue of Liberty on top of Montmartre, directly in front of the basilica, which would entirely block the view of the church. This idea was eventually dropped as expensive and impractical.

A bomb was exploded inside the church in 1976.

To make their feelings about the church clear, the socialist mayor of Paris Bertrand Delanoë and the mayor of the 18th arrondissement Daniel Vaillant, also member of the Socialist Party, renamed the square in front of and below the church in 2004 in honor of Louise Michel, the prominent anarchist and participant in the Paris Commune.

Lionel Jospin, socialist Prime Minister between 1997 and 2002 also expressed his wish that the basilica be demolished as a symbol of "obscurantism, bad taste and reactionism."

In 2021, to avoid celebrating the church's history in the same year as the 150th anniversary of the Paris Commune, leftist members of the French parliament blocked a measure to declare the church a national historic monument and postponed it until 2022.

The church was finally named as a national historic monument by a unanimous vote of the National Commission of Patrimony and Architecture on December 8, 2022.This decision was immediately attacked by the leftist politician Jean-Luc Mélenchon, who called it "a glorification of the assassination of 32,000 Paris Communards shot in just 8 days".

Description
The church is 85 meters long and thirty-five meters wide. It is composed of a large central rotunda, around which are placed a small nave, two transepts, and an advance-choir, which form a cross. The porch of the church has three bays, and is modelled after the porch of Périgueux Cathedral. The dominant feature is the immense elongated ovoid cupola, 83.33 meters high, surrounded by four smaller cupolas. At the north end is the campanile, or bell tower, 84 meters high, containing the "Savoyarde", the largest bell in France.

The overall style of the structure is a free interpretation of Romano-Byzantine architecture. This was an unusual architectural style at the time, and was in part a reaction against the neo-Baroque of the Palais Garnier opera house by Charles Garnier, and other buildings of the Napoleon III style. The construction was eventually handed on to a series of new architects, including Garnier himself, who was a counsellor to the architect Henri-Pierre Rauline between 1891 and 1904,

Some elements of the design, particularly the elongated domes and the structural forms of the windows on the south façade, are Neo-classical, and were added by the later architects Henri-Pierre Rauline and Lucien Magne.

Exterior
The white stone of Sacré-Cœur is travertine limestone of a type called Chateau-Landon, quarried in Souppes-sur-Loing, in Seine-et-Marne, France. The particular quality of this stone is that it is extremely hard with a fine grain, and exudes calcite on contact with rainwater, making it exceptionally white.

Interior
The nave is dominated by the very high dome, which symbolises the celestial world, resting upon a rectangular space,symbolising the terrestrial world. The two are joined by massive columns, which represent the passage between the two worlds.

The plan of the interior is a Greek cross, with the altar in the center, modelled after Byzantine churches. More traditional Latin features, the choir and the disambulatory, were added around the altar. The light in interior of the church is unusually dim, due to the height of the windows above the altar, and this contributes to the mystical effect. Other Byzantine features in the interior include the designs of the tile floor and the glasswork.

The Triumph of the Sacred Heart of Jesus mosaic
The mosaic over the choir, entitled The Triumph of the Sacred Heart of Jesus, is the largest and most important work of art in the church. It was created by Luc-Olivier Merson, H. M. Magne and R. Martin, and was dedicated in 1923. The mosaic is composed of 25,000 enamelled and gilded pieces of ceramic, and covers 475 square meters, making it one of the largest mosaics in the world.

The central figure is Jesus Christ, dressed in white, with open arms offering his heart, decorated with gold. He is joined by his mother, the Virgin Mary, and by the Archangel Michael, the protector of the church and of France. At his feet, kneeling, is Saint Joan of Arc offering him a crown. A figure of Pope Leo XIII offers a globe to Christ, symbolising the world.

To the right of Christ is a scene titled "The Homage of France to the Sacred Heart;" a group of popes and cardinals present a model of the basilica to Christ. On his left is "The Homage of the Catholic Church to the Sacred Heart": where people in the costumes of the five continents pay their homage to the Sacred Heart. At the base of the mosaic is a Latin inscription, stating that the basilica is a gift from France. "To the Sacred Heart of Jesus, France fervent, penitent and grateful." The word "grateful" was added after World War I.

At the top of the mosaic is another procession, called "the Saints of France and Saints of the Universal Church". In all of the mosaic, the artists adapted elements of Byzantine art in the organization of the figures, the altered perspective, and the use of polychrome colors enhanced with silver and gold.

The basilica complex also includes a garden for meditation, with a fountain. The top of the dome is open to tourists and affords a spectacular panoramic view of the city of Paris, which spreads out to the south of the basilica.

The use of cameras and video recorders is forbidden inside the basilica.

Chapels
The interior of the basilica is surrounded by a series of chapels, mostly offered by professional groups or religious orders. The chapels are decreed with sculpture, relief sculpture, and tapestries, often relating to the professions of the donors. For example, the Chapel of the Order of Notre Dame of the Sea is decorated with tapestries illustrating Christ walking on the water and the Miraculous Catch of fish. Beginning to the right of the main entrance, they are:
 * The Chapel of the Archangel Michael, or Chapel of the Armies
 * The Chapel of Saint Louis (Louis IX) or the Attorneys
 * The Tribune of Commerce and Industry (end of the East transept)
 * The Chapel of Marguerite-Marie Alacoque
 * the Chapel of Notre Dame of the Sea

The apse itself is ringed by an additional seven chapels.
 * The Chapel of Saint Francis of Assisi
 * The Chapel of Saint John the Baptist, offered by Canada and the Knights of Malta
 * The Chapel of Saint Joseph
 * The Chapel of the Virgin Mary
 * The Chapel of Saint Luke the Evangelist, Comé and Damien, or the Doctors
 * The Chapel of Ignace de Loyola
 * Th Chapel of Saint Ursula of Cologne
 * The Chapel of Saint Vincent de Paul
 * The Tribune of Agriculture (at the end of the west transept)
 * The chapel of the Queens of France

Crypt
The crypt below Sacré-Cœur is different from traditional crypts, which are usually underground. At Sacré-Cœur, the crypt has stained glass windows, thanks to a "saut-de-loup", a trench about four meters wide around it, which allows light to enter through windows and oculi of the crypt wall. In the centre of the crypt is the chapel of the Pieta, whose central element is a monument statue of the Virgin Mary at the foot of the cross, at the altar. The statue was made by Jules Coutain in 1895. A series of seven chapels is placed on the east side and seven on the west side of crypt, corresponding to the chapels on the level above. The crypt contains the tombs of important figures in the creation of the basilica, including Cardinals Guibert and Richard.

Art and decoration
Decoration covers the walls, the floor, and the architecture. Much of the decoration is in a distinctly neo-Byzantine style, with intricate patterns, and abundant color.

Grand organ
The basilica contains a large and very fine pipe organ built by Aristide Cavaillé-Coll, the most celebrated organ builder in Paris in the 19th century. His other organs included those of Saint-Denis Basilica (1841), Sainte-Clotilde Basilica (1859), Saint-Sulpice church and Notre Dame de Paris (1868). The organ is composed of 109 ranks and 78 speaking stops spread across four 61-note manuals and the 32-note pedalboard (unusual before the start of the 20th century; the standard of the day was 56 and 30), and has three expressive divisions (also unusual for the time, even in large organs).

The organ was originally built in 1898 for the Biarritz chateau of the Baron Albert de L'Espée. It was the last instrument built by Cavaillé-Coll. The organ was ahead of its time, containing multiple expressive divisions and giving the performer considerable advantages over other even larger instruments of the day. It was almost identical (tonal characteristics, layout, and casework) to the instrument in Sheffield's Albert Hall, which was destroyed by fire in 1937. However, when installed in Paris in 1905 by Cavaillé-Coll's successor and son-in-law, Charles Mutin, a much plainer case was substituted for the original ornate case.

The organ was recognised as a national landmark in 1981. It has undergone several restorations. The most recent, begun in 1985, replaced only the most severely damaged pneumatic parts, but others have deteriorated and some are no longer usable. The pipes are now covered with a thick layer of dust which impacts the pitch and timbre. Both the organ and the church itself have been recognized as national landmarks.

Bells
The belfry of the Basilica of the Sacred Heart of Montmartre houses five bells. The four small bells named from largest to smallest are Félicité, Louise, Nicole and Elisabeth, which were the original bells of the church of Saint-Roch and moved to the basilica in 1969.

Below the four bells is a huge bourdon called "The Savoyarde", the biggest bell in France. The full name of the bourdon is “Françoise Marguerite of the Sacred Heart of Jesus". It was cast on May 13, 1891, by the Paccard foundry (Dynasty of Georges, Hippolyte-Francisque and Victor or "G & F") in Annecy-le-Vieux.

The Savoyarde itself only rings for major religious holidays, especially on the occasion of Easter, Pentecost, Ascension, Christmas, Assumption and All Saints. One exception was on the night of August 24, 1944 when La Nueve – 9th Company, Régiment de marche du Tchad of the French 2nd Armored Division – broke into Paris and arrived at the Hôtel de Ville during the Liberation of Paris from Nazi German occupation, becoming the first French Army troops to return to the city since 1940. The bell then rang when Pierre Schaeffer broadcast the news on a Radiodiffusion Nationale broadcast and then, after a playing of "La Marsellaise", asked any priests who were listening to ring their churches' bells. The Savoyarde can be heard from 10 km away.

This bell is the fifth largest in Europe, ranking behind the Petersglocke of Cologne (Germany), the Olympic Bell of London, Maria Dolens of Rovereto (Italy), and the Pummerin of Vienna (Austria). It weighs 18,835 kg, measures 3,03 m of diameter for 9.60 m of outer circumference, with a base thickness of 22 cm and a leaf of 850 kg. With its accessories, its official weight reaches 19,685 kg. It was offered by the four dioceses of Savoy. It was transported to the basilica on October 16, 1895, pulled by a team of 28 horses. In the late 1990s, a crack was noticed in the bell.

Role in Catholicism
The church is dedicated to the Sacred Heart of Jesus, which was an increasingly popular devotion after the visions of Saint Margaret Mary Alacoque (1647–1690) in Paray-le-Monial. In response to requests from French bishops, Pope Pius IX promulgated the feast of the Sacred Heart in 1856. The basilica itself was consecrated on 16 October 1919.

Since 1885 (before construction had been completed) the Blessed Sacrament (Christ's body, consecrated during the Mass) has been continually on display in a monstrance above the high altar. Perpetual adoration of the Blessed Sacrament has continued uninterrupted in the basilica since 1885.

Christian de Chergé, one of the killed monks of Tibherine, was chaplain at the basilica in the years 1964-1969.

Tourists and others are asked to dress appropriately when visiting the basilica and to observe silence as much as possible, so as not to disturb persons who have come from around the world to pray in this place of pilgrimage, especially since the Blessed Sacrament is displayed. Photos are not allowed to be taken in the basilica.

Access
The basilica is accessible by bus or metro line 2 at Anvers station. Sacré-Cœur is open from 06:00 to 22:30 every day. The dome is accessible from 09:00 to 19:00 in the summer and to 18:00 in the winter.

Copy in Martinique
A much smaller version of the basilica, Sacré-Cœur de la Balata, is located north of Fort-de-France, Martinique, on N3, the main inland road. Built for the refugees driven from their homes by the eruption of Mount Pelée, it was dedicated in 1915.

Bibliography (in French)

 * Benoist, Pere Jacques, "Le Sacré-Cœur de Montmartre de 1870 à nos jours ", Les éditions ouvrières (1992), ISBN 978-2-7082-2978-5
 * Dumoulin, Aline; Ardisson, Alexandra; Maingard, Jérôme; Antonello, Murielle; Églises de Paris (2010), Éditions Massin, Issy-Les-Moulineaux, ISBN 978-2-7072-0683-1
 * "Dictionnaire Historique de Paris", Le livre de Poche, (2013), ISBN 978-2-253-13140-3
 * Hillairet, Jacques; Connaissance du Vieux Paris; (2017); Éditions Payot-Rivages, Paris; (in French). ISBN 978-2-2289-1911-1

title: Sacré-Cœur, Paris


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Talk:Kim Stanley Robinson

Bibliography.
Is there anyone watching this page? Do you think it would be worth attempting a bibliography, specifically to include short stories (which are much harder to find)? Jon Dowland
 * I think the format of the bibliography now there leaves something to be desired. I don't know if it is worth hunting down short stories unless there are more short story collections not already listed, or short stories in other authors' collections. --ssd 05:04, 21 Mar 2005 (UTC)

 * Biblio info: and . — Jeandré, 2005-03-22t11:51z

 * Thank you :) I mainly think that there would be use in listing together which aren't in collections already. But, I am very new to all this. Currently focussing on the (less developed) Greg Egan entry. Jon Dowland

 * I've expanded on this entry quite extensively now, does anyone have an addition in mind that isn't there? Alex

The short story bibliography is nice and extensive, but might benefit from a rethink and a reorganization. How useful is it to list all the stories collected in "The Martians"? How many of these were published independently, which is usually what we think of when we think of short stories? And perhaps organizing them by year of original publication - with a citation for that publication - would be more useful than having them in alphabetical order. If any one has a list of citations, I would be happy to put them in order and format them appropriately...Zerodeconduite (talk) 09:05, 16 March 2010 (UTC)

10:01, 9 May 2005 203.213.143.122
Sorry for the rv. I understand why you did your edit but I felt it was heavy-handed, there was some factual basis that was worth preserving. I hope my attempt is NPOV enough. Jon Dowland 20:58, 9 May 2005 (UTC)

Important works
I think the ratio of published to 'important' works is weighted too heavily on the important side. I plan to remove at least The Martians, which compared with TYORAS or the mars trilogy is hardly important (IT could be considered part of the mars trilogy). I also have reservations over Antarctica. Remember that when book 2 or 3 of the capital code trilogy are published that will almost certainly considered important.
 * I have not examined critical or commercial aspects of the collection, though it seems to be of lesser importance and is probably best treated as an addendum to the trilogy. So I've moved The Martians under the trilogy but still under its own (rather prominent) header.  A-giau 01:06, 5 May 2006 (UTC)

POV
Did the President of his Fan Club write the current revision of this article? It practically gushes with praise and subjectivity rather than the more useful objective and factual form of an encyclopaedia article. 12.June.2005

 * Any suggestions for improvements? It has been toned down a lot. -- Jon Dowland 12:07, 12 Jun 2005 (UTC)

 * I realise the above comments are rather old, but I must agree with the original poster - the article still appear very subjective to me.

 * As an example (there are plenty more) take the following snippet from the introduction: "[he] is considered by many to be one of the finest living writers of science fiction or of any genre." We require references for such statements.

 * Mind you, I also think highly of KSR, but this is an encylopedia, not an author fan site. - Kaare 16:29, 21 April 2006 (UTC)

 * Just playing the devil's advocate here--to what degree are such statements acceptable? I mean, if an author is in fact widely acclaimed and considered one of the top living figures in his genre, why shouldn't the article say so?  Why shouldn't famous and influential artists be acknowledged as such in their articles?  Isn't that information about them as valid as any other?  As for references, how do you reference "wide acclaim" or opinions held by "many"?  The article on The Beatles begins with this sentence:  "The Beatles were a pop and rock music group from Liverpool, England, who continue to be held in the very highest regard for their artistic achievements, their huge commercial success, and their groundbreaking role in the history of popular music. Made up of John Lennon (1940-1980), Paul McCartney (born 1942), George Harrison (1943-2001) and Ringo Starr (born 1940), the group's innovative music, films, and style helped define the 1960s."  Now, I don't think that's referenced, but I don't think anyone expects it to be.  Where is the line between common knowledge of an artist's status and "POV" that has to be referenced?  The Beatles are the first example that came to mind but I bet there are many examples of famous figures whose articles acknowledge their status.  It almost seems to me as if the people trying to keep such statements out of some articles and accusing them of being "POV" are perhaps people who disagree with the statements (even if they are in the minority in doing so) and are exerting their own POV in a different way by campaigning to keeps such acknowledgements out.  For something as famous as The Beatles it's not as easy to get away with, but for a more modest level of fame like one of the foremost writers of science fiction it's an easier target for detractors to come in and keep out statements they don't like, calling it POV as if to suggest that a minority of fans is exaggerating the subject's status.  Just a theory.  Any thoughts?  thoreaubred 04:27, 26 April 2006 (UTC)

 * While the Beatles comments are probably officially against wikipedia policy, I think they get away with it because it is an opinion that is almost universally held. See the entries on Isaac Asimov and Arthur C Clarke for articles about 'greats' of SF. At the end of the day I think there is controversy because the status of KSR's work is disputed. Some think he's great, others think he just okay, other think he's a lefty-propogandist. Because of this, I think, we are obliged to insist on sources when providing evaluation so as too avoid constant editing.
 * Rather than saying 'he's one of the best writers', if we just say 'he won 2 Hugos, 3 Xs & 3 Ys', 'has sold x thousand copies' & 'and Analog magazine says he's the greatest SF author in 20 years' the anti-KSR editors have nothing to complain about. Ashmoo 04:58, 26 April 2006 (UTC)
 * But is there really controversy, or is there a vocal minority that simply wishes there were controversy? It's not about whether "some think he's great, others think he's just okay"--that's a question of people's personal opinions or the quality of his work, which something entirely different than whether someone is willing to objectively acknowledge the status of his work (I've met several people who don't like The Beatles, but does that mean there is controversy about whether The Beatles' status is really what most people think it is?  Inndividuals can dislike The Beatles while their status remains what it is.)  And that's pretty much my point:  it often seems to me in cases like this that the "controversy" is being contrived by a vocal minority who wish to impose their personal opinions upon the larger status of an artist, attempting to suppress any acknowledgement of that status simply because they don't like it.  As for the "lefty propagandist" thing, I think that's an even smaller and more vocal minority, and again it seems to me like propaganda itself.  No serious person with even a casual understanding of the history of literature would look at a body of work like Robinson's and make the claim, with a straight face, that his work is merely leftist propaganda.  There's a difference between propaganda veiled as literature and serious work that happens to have been written by a person with a leftist perspective.  And in the history of literature there have been artists who were much more overtly leftist than Robinson is who have retained their status without any susbtantial number of serious individuals willing to make the claim that their work is merely leftist propaganda.  It's notions like that that lead me to suspect that this is all about reverse propaganda to begin with.  And I'm addressing Jon Downland's comment below as well.  I'm not saying that anyone who advocates for a neutral article is automatically anti-KSR.  What I do suspect is that it's easier for a small minority of people who wish that KSR's status was more in line with their personal opinion of him to attempt to exploit the idea of neutrality in order to suppress any mention of his status than it is for such a minority to do so in cases of artists who are even more famous.  But if you look at the articles of Clarke and Asimov, as Ashmoo suggested we do, they both acknowledge their subjects' status, calling them things like "by consensus a master of the science fiction genre" and "one of the Big Three of science fiction."  How do you source "consensus"?  You don't; you just just expect reasonable people to agree upon it.  It's kind of like global warming:  you can find people who deny it, but none of them are scientists.  Well, you can find people who deny Robinson's status, but are they experts or enthusiasts of science fiction or literature, or are they just individual readers who don't like his writing or don't like his politics and wish to impose the opinion of the minotiry by suppressing the opinion of the majority, citing the technicality of "POV"?  thoreaubred 03:55, 27 April 2006 (UTC)
 * You don't have to be "anti-KSR" to desire a neutral treatment for this article. -- Jon Dowland 13:34, 26 April 2006 (UTC)
 * Yes, sorry, I was just providing a worst-case-scenario. I personally like KSR myself, but do think this article needs to be more NPOV. Ashmoo 00:13, 27 April 2006 (UTC)

 * At the end of the day, thoreaubred, the fact that you are having this discussion with a number of editors shows that his status is not agreed upon. If we insist on Verifiability, we don't need to have these long discussions. Ashmoo 04:10, 27 April 2006 (UTC)
 * I don't think this discussion taking place proves that there is "controversy" about his status. It only means that at least one person questioned whether his status should be acknowledged and at least one person responded.  If someone wanted to remove the so-called POV from The Beatles article, I would respond the same way, and a discussion would surely ensue, but would that suddenly mean that there is controversy over the status of The Beatles?  I think your point, while well-meaning, is fallacious.  And I repeat that there is no way to verify consensus.  And I also repeat that I bet if I went and looked at the talk pages of Clarke, Asimov, or any of thousands of other significant figures in the history of various arts and genres, many of those talk pages would not contain complaints about POV just because the articles acknowledge their subject's significance.  Finally, I would fully cooperate with revising the language used to try to get more to the precise nature of Robinson's significance and away from words like "finest".  I'm only arguing that some level of status acknowledgement should be acceptable.  And if there is an official Wikipedia policy stating otherwise, I disagree with that policy, and as the entire concept of Wikipedia appears to be pretty democratic in the first place, I wouldn't shy away from challenging "official" policies.  thoreaubred 04:38, 27 April 2006 (UTC)

 * Not to get sidetracked, but I only care about verifiability. Please see WP:Verifiability. Your final comments confuse me. I'm afraid you are going to have to abide by wikipedia policy if you want to use it. Please don't 'challenge' wikipedia policy in your edits to this page. Ashmoo 05:16, 27 April 2006 (UTC)
 * Policies_and_guidelines is vague and contradictory. It says "Our policies keep changing, and their interpretation as well" and suggests that policies are determined by consensus (i.e. they can be challenged and debated--how else is consensus reached?  How else do the policies "keep changing" and remain open to interpretation?)  Yet it goes on to say "a user who acts against the spirit of our written policies may be reprimanded, even if no rule has technically been violated."  Therefore it appears to me that not only are the policies vague and open to interpretation, but so is the policy on policies itself.  When I say that a policy should be challeneged, I'm referring to a careful combination of debate on the talk page and implementation of multiple interpretations of the policy on the article itself.  After all, the current language in the article that you seem to think is in violation of the policy has yet remained in the article.  Why hasn't it been removed and the person who put it there "reprimanded"?  Isn't it a challenge to that policy every time someone puts statements like the ones in question here into an article, whether that person is well-meaning and not even aware that they are violating a policy, is confused by the vagueness and contradictions in the policy, or is aware of the policy but disagrees and believes that the consensus may be changing?  After all, if Clarke, Asimov, and The Beatles--all three examples that I've looked at and talked about in this discussion--all contain language that is supposedly in violation of the policy, is it not possible that the policy itself is out of date and that actual consensus as widely practiced by editors is that such language makes sense and should be acceptable?  It's not clear to me how consensus is supposed to be reached and determined, and when I talk about challenging the policy I'm not talking about anything dramatic or disruptive, I'm talking about people doing what they think makes sense and letting the consensus emerge (as it seems to have emerged that pretty much every article about a significant artistic figure currently acknowledges that figure's significance.) thoreaubred 06:30, 27 April 2006 (UTC)
 * A couple more comments and then I'm done for the day.
 * One is that this discussion has caused me to read more deeply into Wikipedia's pages about policies, and how and why they are to be debated or changed. It seems to me that the policies are not as strict as you make them out to be, but are closer to my conception of being eternally up for debate and challenge, and I see that opinions similar to mine have been expressed on some of these pages (though the specifics in question here have not been addressed as far as I can see at this time.)  When I get time I hope to bring up the precise question of how to handle references to an artist's status on Village_pump_%28policy%29.
 * My second comment is more of a question for you, as to how you think matters of consensus about an artist's status should be verified. For example, should specific literary critics be used as sources?  Obviously one couldn't use just one critic as a published source to verify consensus, or "wide acclaim" or anything like that.  Then, should ten critics be used?  If ten critics have expressed the opinion that Robinson is one of the leading figures in science fiction, should there be ten sources for that, adding up to "consensus" or "wide acclaim"?  What about two critics?  Or are twenty required?  Or are critics not valid sources at all?  Does a source have to be more academic?  Can I use Kim Stanley Robinson's doctoral thesis about Philip K. Dick as a source to make references to PKD's contributions to science fiction in the PKD article?  Do I then have to wait for someone to write a doctoral thesis on Robinson before we can acknowledge Robinson's contributions?  I really just don't understand how something like this is supposed to be verified, and I'm sincerely curious about your opinion of how this should be handled.  Or, if this specific problem has been addressed already somewhere on Wikipedia that I have overlooked (it seems like a problem that would have come up a long time ago, and discussed at some point if it is indeed in conflict with an official policy) could you direct me to that page so that I can see what discussion has already taken place about this problem? thoreaubred 07:02, 27 April 2006 (UTC)

 * I'll respond in length tomorrow, but until then could I just ask you to try to limit the length of your posts? Looking through your last few, it is hard to tell which questions are aimed at me and other editors, which questions are just retorical and which parts of your post are just stream-of-conciousness wonderings. Pls don't think I'm taking a jibe, it's just that I've having trouble working out what you are asking or saying in a lot of cases.
 * Regarding WP policies and guidelines. My impression is that while policies can be changed, the existing policies must be obeyed. for example, you can be banned from editing for violating the 3 Revert Rule. Guidelines on the other hand are just that. Will talk more about it soon (although this talk page isn't the place for it). Ashmoo 07:19, 27 April 2006 (UTC)

 * Thoreaubred, your replies are quite overwhelming, so I have to ask this: Do you agree that this article must follow e.g. the WP:NPOV and WP:VERIFY policies?  If "no", I think you should take that discussion up elsewhere. - Kaare 16:06, 27 April 2006 (UTC)

Themes - one to add?
It may or may not be worth mentioning that at least two of the novels (Icehenge and the Mars trilogy) explore the impact of greatly extended human life and, the part I find interesting, the implications of limited memory where people only know the past X years of their own life and can only discover it by researching what they have done in the past. Near the end of Icehenge there is a very nice summary of the ideas.

Perhaps someone can add to the list of themes, impact on humans of greatly extended life. However as it's only discussed much in two of the novels that I'm aware of, and briefly in The Martians, it's a judgement call I will leave to others--and I'll leave the actual writing to others, since I would be embarassed to see my own prose in an article about KSR ;)

Astrophil 07:58, 6 November 2005 (UTC)

Yes--I agree. Human longevity appears in many of KSR's works including the Mars trilogy and in his most recent work Aurora. I will look for proper citations and if so will add it. Jaldous1 (talk) 17:08, 7 September 2015 (UTC)

Criticism
I recently removed a sentence from the criticism section that was subsequently reverted. I re-reverted it. Here's my reasoning: Like most 'criticism' sections in wikipedia, once someone has written in some criticism, supporters come along and add multiple sentences of 'counter' to the criticism. This one is no different, there is 1 sentence of criticism and 5 sentences of counter-criticism. Also, the 'Christian Republicans in Space' comment, while amusing, is, I think, as bit to snarky for an encyc article (especially as it is attributed to 'some critics' rather than an actual person). Finally, the sentence I removed doesn't really add any new information, but is really just an opinion that the reader could form themselves upon reading the criticism. Let's keep the Criticism section about actual criticism, not apologetics. Ashmoo 23:31, 8 November 2005 (UTC)

Whould someone find a more reliable source for the critisim than "some amazon readers" as that is a very vague sentence.

 * I agree. As I mentioned elsewhere on this page, the entire criticism section currently sounds to me like someone's own POV being represented as the opinion of some vague, unnamed contingent of the general public.  Amazon readers doesn't cut it.  Someone could get their own POV in by posting a review on Amazon and then referring to their own review as criticism by "Amazon readers".  I don't want to have to read every reader review on Amazon to see if the phrase "Marxist and Green propaganda" shows up even once, let alone more than once, in order to get to the bottom of this.  It may seem rash, but for now I'm gonna go ahead and remove the entire Criticism section from the current article until someone can come up with something more serious.  By all means, if there is serious criticism out there (and I'm sure it can be found) then a serious article should include it.  I would suggest looking into the way society looks down upon utopian literature as a starting point for a section on criticism of Robinson's themes or methods (Robinson has responded to such attitudes in interviews, so let's find the attitudes he's responding to.)  "Marxist and Green propaganda" just doesn't sound like something a serious person would say and it's about time for it to go.  thoreaubred 03:25, 4 March 2006 (UTC)

Planned Edits
Hey, everyone. I'm a big fan of this author and know quite a bit about him and have been meaning to do some major work on this article for some time. I just haven't gotten around to it because of the sheer amount of it that I would like to do. I'm hoping to start doing some of it soon, so I just want to give advance warning before I go on an editing spree.

Some of the smaller things I want to do:
 * Change book covers to American editions because the author is American.
 * Remove unsourced "criticism" that, until sourced, seems suspiciously like the POV of whoever added it in the first place. For example, "Marxist and Green propaganda" is in quotation marks but is not sourced, and sounds amateurish.
 * General tweaks to biography and increased detail, including parallels between his life and his work (for example, living in a planned community similar to the one depicted in Pacific Edge, and the story of how he thought of the Three Californias project while driving through Camp Pendleton.)
 * External Links: There are a few interviews included among the links. I have compiled a list of over 30 online interviews of the author and would like to add a separate list, below the External Links list, of interviews (either all 30+ or just the longest ones with the most content.)
 * Others that I'm not thinking of at the moment.

Some of the larger things I would like to do will follow... thoreaubred 00:12, 30 January 2006 (UTC)

 * Hi... I know these comments are a little old, but I just thought I'd respond to the phrase 'American editions'... if you mean the first published editions (which were presumably American given the KSR nationality, and probably closest to his own vision) then thats cool and should be in the article; however replacing perfectly decent covers of current editions simply as they just happen to be European rather than American seems to me to be a little, well, imperialist.
 * Of course if KSR is on record as saying he prefers one set of covers to another then thats also a great reson to have images of that set. --Neo 14:36, 26 April 2006 (UTC)
 * The other issues are more important than covers. So long as they are real covers of English editions, that's good enough for me.A-giau 03:42, 4 May 2006 (UTC)

I'm not sure which if any of these edits happened--but I am currently going through the entire article piece by piece to add citations. 21:22, 5 September 2015 (UTC) — Preceding unsigned comment added by Jaldous1 (talk • contribs)

Mars: Trilogy or Novel?
The three volume work, Red Mars/Green Mars/Blue Mars, is widely known as a "trilogy". However, in multiple interviews the author has saiud that he considers it one novel in three volumes, and had casually referred to it as "the Mars novel". I plan on finding sources online and changing references to the "Mars trilogy" to something like "the three-volume Mars novel". Another tricky aspect of this, which I'm not entirely sure what to do about because I'm not an expert on every aspect of Wikipedia, is how to go about changing the separate article on the "Mars trilogy" (http://en.wikipedia.org/wiki/Mars_trilogy) to an article about the "Mars novel." In both cases, I will include something like, "While the author considers Mars to be one novel in three volumes, most people know it as a trilogy and it is popularly referred to as "the Mars trilogy". thoreaubred 00:12, 30 January 2006 (UTC)

 * My advice is to say that he views it as an extended novel, but not try to tell people they're in error if they call it a trilogy. It is sold as three books, after all, and I think it's fair to say that *most* trilogies make sense when viewed as one long novel.  JM2C.

Mark Foskey 05:03, 24 February 2006 (UTC)

Three Californias: Trilogy or Triptych?
Mr. Robinson has also said in multiple interviews that the Three Californias series is not a trilogy but is something more like a "triptych". I will find these sources and change the word to triptych in the article. thoreaubred 00:12, 30 January 2006 (UTC)

I would have to advise against changing the 'trilogy' terminology. Many trilogies started out as a single book and were split into three. Additionally, the term 'trilogy' as it is commonly understood adequately covers what Robinson has done in the Mars/California series. I think he is just making the distinction to illustrate a point and changing the wording in these articles would just confuse things.

I think the best thing to do is just add a line quoting how he doesn't consider it a trilogy. Ashmoo 00:26, 30 January 2006 (UTC)

 * But why should the word "trilogy" be retained when it's not officially considered a trilogy? The books themselves don't say "Three Californias Trilogy" on them, they just say "Three Californias".  The only official source as to what they should be called is Robinson himself who calls them a triptych.  A possible compromise would be to add the line about how he calls it a triptych but also remove the word "trilogy" from the heading, so the heading simply says "Three Californias".  thoreaubred 00:37, 30 January 2006 (UTC)

 * Well to be honest, I'm not that familiar with the California books, my comments were more for the Mars books. My concern is the use of idiosyncratic terms when a more standard term will convey the meaning. I think calling it a 'series' may be better. 'Triptych' is a term only used by Robinson. By analogy, Spike Lee would often called his movies 'joints' (including on the ad material), but we wouldn't expect the wiki article to refer to consistently refer to them as such. Ashmoo 02:17, 30 January 2006 (UTC)

 * However, "joint" is far more idiosyncractic than "triptych" or "three-volume novel", as Spike Lee is probably the only person to call any kind of artistic work a joint. A triptych (http://en.wikipedia.org/wiki/Triptych) is a type of visual art that Robinson is transferring over to literature (it wouldn't be the first time that terms originally describing visul art were used to describe written art).  Robinson wouldn't make the disction that it's a trypich vs. a trilogy in the first place if he didn't believe that the word trilogy isn't an accurate description of the structure of Three Californias, and that triptych does a better job describing the work.  There is a first time for everything, and just because Robinson may be the first to use the word triptych to describe a written work doesn't make it idiosyncratic in the way that "joint" is.  In the case of the Mars novel, the three-volume novel is an actual form, though it was far more common in previous centuries than it is today.  Again, Robinson makes the distinction because he feels that the word trilogy is wrong for the work, as he wrote it as one novel and thinks of it as one novel.  Perhaps I'll track down his own words about this stuff and post them here on the talk page so that you can see for yourself his reasons for making the distinctions. thoreaubred 03:25, 30 January 2006 (UTC)

 * Well 'joint' is a term often used by African-American artists for their work, so it would actually be less idiosyncratic. I've read the Mars books and they seem as much a trilogy as many other 'trilogies' I've read. For instance, how is Mars any less of a trilogy than Lord Of The Rings? Even amazon sells them as 'The Mars Trilogy'. Ashmoo 04:00, 30 January 2006 (UTC)

 * Actually, Lord Of The Rings was written as one novel and was divided into three volumes by the publisher. So indeed, whether to call Lord Of The Rings a trilogy is also up for debate.  The difference between LOTR and Mars is that while Tolkien wrote the entire novel before giving it to the publisher, Robinson anticipated that publishers would never publish a 2,000-page work as one novel, knew he was going have to make it three volumes, and went ahead and published the earlier volumes as he was still writing the later volumes.  The other difference is that, according to http://en.wikipedia.org/wiki/Lord_of_the_rings, Tolkien sometimes referred to LOTR as a trilogy and other times rejected the word, whereas Robinson has more consistently rejected the word in favor of the word novel.  thoreaubred 04:17, 30 January 2006 (UTC)

 * I say that things are what they are, whatever the author chooses to call them. The 3 Californias books are not a typical trilogy precisely because they *are* 3 different novels, happening in 3 different futures starting from the same "present" (ca 1982).  I think that's why he calls them a triptych.  But you can't just go calling them a triptych as if that's the term for that sort of thing, since it's a usage that he made up. Mark Foskey 05:12, 24 February 2006 (UTC)

Science Fiction
There has long been controversy over how to describe Robinson's work, as many people have felt that its quality stands out from other science fiction in various ways. People have called it things such as "literary science fiction" while Robinson himself has rejected such labels and defended plain old "science fiction". I previously addressed this in a minor edit, but I would like to also add a small section in the article that outlines Robinson's philosophy of science fiction and perhaps of literature in general, using quotes from interviews, from his doctoral thesis on Philip K. Dick, and from other things he's written about science fiction and literature in general. This section would address the reasons so many people want to call his work something other than science fiction, and then would answer those reasons with quotes from the author himself. This section would also propose "utopian fiction" or "utopian science fiction" as another legitimate label that the author would arguably not have a problem with, as it describes the leaning of his work without implying a superiority to other science fiction. thoreaubred 00:12, 30 January 2006 (UTC)

 * I think this idea is sound, apart from the "utopian fiction" idea, which would be speculative, OR and also doesn't accurately describe all of KSR's work at all, just the well-known ones. -- Jon Dowland 13:24, 8 January 2007 (UTC)

I was rather surprised by the categorical designation as "hard science fiction". Surely much fo Robinson's work combines hard and soft science fiction? Susume 20:55, 6 January 2007 (UTC)

 * Since nobody really agrees on what a definition of Hard SF is, it's not worth really worrying about. -- Jon Dowland 13:24, 8 January 2007 (UTC)

Major Works?
Someone previously pointed out that too many of Robinson's works were included as "major works". That person proposed removing The Martians, which I agree with, though it should be mentioned briefly at the end of the Mars section. I would also propose removing The Years of Rice and Salt. What qualifies a work as a major work? Perhaps the "major works" section should be removed completely, and replaced with a "multi-volume works" section, which would contain Mars, Three Californias, and the current trilogy (sometimes called the Capital Code series, sometimes called the Science In The Capital series; neither has been verified. thoreaubred 00:12, 30 January 2006 (UTC)

Complete Bibliography
I don't like the way that instead of having a list of novels in bibliography format, there is the Major Works section and then the Other Novels section. I would like to keep the Major Works section but remove the Other Novels section and replace it with a complete bibliography. thoreaubred 00:12, 30 January 2006 (UTC)
 * From the perspective of someone porting elements of this article to another Wikipedia language (zh-min-nan:), I too favor a complete bibliography, at least of significant works. The "major themes" section could also come earlier rather than trailing a lengthy bibliography.  A-giau 03:50, 4 May 2006 (UTC)

Userbox
Wikipedians who enjoy Kim Stanley Robinson's work should consider deploying this userbox on their user page to be included in Category:Wikipedians who read Kim Stanley Robinson. This userbox and category were started to create a wikicommunity that will strive to keep articles about KSR and his work up-to-date and up to Wikipedia standards. -- Erielhonan 23:00, 3 November 2006 (UTC)

Major themes: Communism?
Does anyone have any references supporting the idea that KSR's visions are communist? There's a clear utopian thread throughout his works, but as far as I can tell the word communist is never used in the writings to describe these ideas. It's a loaded word that conjures up images of Leninism or Stalinism, but even the most fully-formed utopian works by KSR are nothing like historical communism. In Pacific Edge, probably his most well-developed utopian work, the economic system seems to involve a minimum income for everyone regardless of work, a maximum wage, and the division of capital across communities for the social good. Capital accumulation above the limit for any individual cannot be kept for individual use, but can be directed to social purposes according to the wishes of each individual (or "hundred") in that position. There are also aspects of communal family living. The political system is multi-party.

The text below the heading "communism" is a good summary of these ideas found in "Pacific Edge" and elsewhere. Perhaps the heading could be changed to "Anti-capitalism," "Democratic economics" or something similar. Even "Socialism" would be better in my view. But whatever term is used should have some foundation in KSR's works or related interviews. I'd be OK with "communism" if that was the term KSR used himself, but I'm unaware that he uses the term and strongly doubt it. It smells like POV to me, either by someone disdainful of his ideas who wants to associate them with something else that is widely discredited, or else an attempt by someone to redefine communism more positively by associating it with a quite different utopian vision. Llachglin 19:28, 2 January 2007 (UTC)
 * Someone changed the title of that section a couple of weeks ago. Eco-socialism would certainly be a lot closer to the mark than communism, but I've changed it back to what it was. PC78 00:23, 10 January 2007 (UTC)

 * The ideal solution would be to get quotes from KSR or notable literary critics who have identified his major themes. This would solve both NPOV and OR issues. As it is, this section is verging close to OR. Ashmoo 00:44, 10 January 2007 (UTC)
 * Would the title 'Eco-economics' (from the Mars series) be appropriate? Not sure if it would fit for other books but the concept is in the right area and would be of some internal relevance. --Nate1481 11:41, 10 January 2007 (UTC)

The man espouses communistic ideals. It frankly doesn't matter what his wording is, the fact is his utopias are distcively communist. —Preceding unsigned comment added by 70.41.197.176 (talk • contribs)
 * I just do not see it that way. This is like saying that we should also forget any sort of possible scenario of good for all, through whichever economic or political approach. Flushes Sideways 23:06, 28 May 2007 (UTC)

"Communism" simply does not mean anything anymore. Originally it meant voluntarily sharing things in common, then it was hijacked by dictators as cover for oppressing their people, then hijacked again by corrupt politicians who wanted to smear reforms (such as Martin Luther King's campaigns for equality) by implying non-existent links to the dictators. The original meaning is gone, the dictators are gone, and only an idiot would try to blame a current movement on a defunct dictatorship. It's a dead word; stop using it. CharlesTheBold 00:55, 9 June 2007 (UTC)
 * Robinson repeatedly states flat-out in his Mars trilogy that Marx was correct in his social/political thinking. That, combined with has harsh anti-capitalist rhetoric, fairly creates an all but undeniable association as a "Marxist." As well, Robinson is cited by self-described as a Marxist by Marxists, and specifically as an important conttributor to modern Marxist literary interpretation by the Marxis Literary Group.  The inability of his fawning fans to accept his openly Marxist ideology is odd. If he isn't Marxist, then remove "Marxist" from the lexicon, because it does not exist. 67.168.201.40 (talk) 03:07, 31 December 2012 (UTC)

 * Do you have a WP:RS to support this? I don't recall anything like that in the series.  a13ean (talk) 04:56, 31 December 2012 (UTC)

 * I believe it is a bit more complicated than saying that being "anti-capitalism" by default means being Marxist, and while there are moments that discuss and promote Marxist ideals in the Mars Trilogy, these are always written from the perspective of a particular character, so they don't necessarily reflect the author's personal views. That being said, KSR is certainly sympathetic to certain aspects of Marxism.
 * Here are a few interviews where KSR explicitly discusses Marxism:
 * http://www.newsreview.com/chico/content?oid=46182
 * http://overland.org.au/previous-issues/issue-188/feature-rjurik-davidson/
 * http://web.archive.org/web/20071011053927/http://jaybabcock.com/kim.html
 * http://web.archive.org/web/20080705185857/http://www.albedo1.com/html/kim_s_robinson.html
 * http://www.theedge.abelgratis.co.uk/robinsoniview.htm
 * AlbinoFlea (talk) 04:02, 22 January 2013 (UTC)

 * In the first source cited above, the author says "No, I don’t identify myself as a Marxist."202.179.19.18 (talk) 07:40, 3 February 2013 (UTC)

Fair use rationale for Image:Sciinthecap.jpg
Image:Sciinthecap.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

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Science in the Capital series
Shouldn`t the passage about the paleolithic activities in Fifty Degrees Below be moved to the article about the book? I don`t think that it fits in here! --Meile (talk) 17:39, 25 December 2007 (UTC)

I moved the passage to Fifty Degrees Below. --Meile (talk) 14:43, 31 December 2007 (UTC)

Fair use rationale for Image:Rgbmars.jpg
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Fair use rationale for Image:Thcalifs.jpg
Image:Thcalifs.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

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BetacommandBot (talk) 02:14, 12 February 2008 (UTC)

Images
I have uploaded two images of Mr. Robinson that are copyleft. --AllyUnion (talk) 08:56, 18 May 2008 (UTC)

Short stories
Do we really need the middle of the article to be an enormous list of short stories? I would prefer to have these in their own article or radically trimmed back. Euchrid (talk) 03:38, 10 April 2013 (UTC)

Broken links
The links in references three and five are broken. Posted by anonymous coward, not a wiki-editor, just someone who came across this page. 1:51, 9 November 2014 (UTC) — Preceding unsigned comment added by 87.211.115.30 (talk)

 * Updated links. AlbinoFlea (talk) 20:06, 19 June 2015 (UTC)

Career
I'm not sure that the mountaineering comment is relevant to the career section. Considering deletion. Although I have seen that KSR is an avid backpacker and that has influenced his works. Jaldous1 (talk) 03:36, 6 September 2015 (UTC)

External links modified
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Time in Antarctica – error?
Hi,

The sentence in this article: "In the 1980s Robinson also spent time with a National Science Foundation team at a research base in Antarctica.[7]" is not supported by the attached reference [7] where it is clear KSR is simply relaying a story without any reference to himself having had any part in that story. However, I have found other references mentioning that he was in Antarctica in 1995 (and again in 2016/2017?), e.g.: http://www.sactownmag.com/February-March-2017/The-Man-Who-Fell-for-Earth/ http://clarkesworldmagazine.com/robinson_interview/ http://www.kimstanleyrobinson.info/node/344

I suggest to either remove the sentence and source I have quoted or have someone who is more familiar with the matter correct it.

Thanks ☺

P.S. I am new here so apologies if this wasn't the correct place to post this and feel free to move/delete as preferred. — Preceding unsigned comment added by Xenoturbella (talk • contribs) 20:30, 13 March 2019 (UTC)

Implied Bias
The very first sentence of this bio currently reads "Kim Stanley Robinson (born March 23, 1952) is an American socialist writer of science fiction." While his political perspective is certainly within the scope of this article, labeling him with it like this seems to imply bias and political agenda in the article. No one would introduce a biography of Robert A. Heinlein by saying he "was an American libertarian writer of science fiction" unless they were explicitly writing from either a pro- or anti-libertarian perspective. 2601:602:8C80:6A80:9901:B6E3:6B8E:9F39 (talk) 03:26, 20 June 2020 (UTC)

Marriage
A chemist? MaynardClark (talk) 00:33, 23 November 2021 (UTC)
 * I cannot make sense of that question. :-) Robby.is.on (talk) 09:01, 23 November 2021 (UTC)

Pathetically bad section
The section titled Career is pathetically bad.

It completely fails to cover Robinson's career, and instead includes several irrelevant anecdotes.

I hope someone knowledgeable about this subject can fix this. 2601:200:C082:2EA0:851C:7AE8:1182:1566 (talk) 17:29, 4 March 2023 (UTC)

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Talk:Kim Stanley Robinson


text:
Owen Wilson

Owen Cunningham Wilson (born November 18, 1968) is an American actor. He has frequently worked with filmmaker Wes Anderson, with whom he has shared writing and acting credits on the films Bottle Rocket (1996), Rushmore (1998), and The Royal Tenenbaums (2001)—the latter received a nomination for the Academy Award and BAFTA Award for Best Screenplay. He has also appeared in Anderson's The Life Aquatic with Steve Zissou (2004), The Darjeeling Limited (2007), Fantastic Mr. Fox (2009), The Grand Budapest Hotel (2014), and The French Dispatch (2021). Wilson also starred in the Woody Allen romantic comedy Midnight in Paris (2011) as unsatisfied screenwriter Gil Pender, a role which received a Golden Globe Award nomination. In 2014, he appeared in Paul Thomas Anderson's Inherent Vice and Peter Bogdanovich's She's Funny That Way.

Wilson is also known as part of the Frat Pack since the 1990s, with whom he has starred in comedic films Shanghai Noon (2000), Zoolander (2001), Starsky & Hutch (2004), Wedding Crashers (2005), You, Me and Dupree (2006), How Do You Know (2010), The Big Year (2011), and The Internship (2013). He is also known for the family films Marley and Me (2008), and the Night at the Museum film series (2006–2014). He voices Lightning McQueen in the Cars media franchise (2006–present), and voiced the titular character in Marmaduke (2010) and Reggie in Free Birds (2013). He stars as Mobius M. Mobius in the Marvel Cinematic Universe series Loki (2021–2023) on Disney+.

Wilson's accolades include an Oscar and BAFTA nomination for Best Original Screenplay (for The Royal Tenenbaums), a Golden Globe and two SAG acting nominations (for Midnight in Paris and The Grand Budapest Hotel) and an Independent Spirit Award (for Inherent Vice).

Early life
Wilson was born in Dallas, the middle child of three sons of photographer Laura Cunningham Wilson (born 1939) and Robert Andrew Wilson (1941–2017), an advertising executive and operator of a public television station. His brothers Andrew and Luke are also actors. Wilson's parents are of Irish descent. After getting expelled for cheating in geometry, he attended New Mexico Military Institute. He later attended the University of Texas at Austin, where he pursued a Bachelor of Arts degree in English, but did not graduate. While in college, he met and was roommates with director and frequent collaborator Wes Anderson.

1994–1999: Early films and breakthrough
Wilson made his film debut acting in the Wes Anderson short film Bottle Rocket (1994) which was later expanded into the feature-length film Bottle Rocket (1996) which Wilson co-wrote with Anderson. Wilson also acted opposite his brother Luke Wilson. David Hunter of The Hollywood Reporter praised the film describing it as, "A marvelous debut film for its director, writer and lead actors, Bottle Rocket is propelled by a fresh approach to the caper genre". That same year, he had a supporting role in the Ben Stiller directed black comedy The Cable Guy (1996) starring Jim Carrey and directed by Ben Stiller, an early admirer of Bottle Rocket. Wilson played Leslie Mann's date in the film. In 1997, he had a role in the adventure thriller Anaconda and executive produced the James L. Brooks comedy As Good as It Gets.

In 1998, Wilson had roles in the science fiction disaster film Armageddon and the independent drama film Permanent Midnight. He also reunited with Anderson co-writing the script for Anderson's next two directorial films, Rushmore and The Royal Tenenbaums, for which they garnered an Oscar nomination for Best Original Screenplay. While Wilson did not act in Rushmore, he appears briefly in a photograph in the film. After appearing in supporting roles in 1999, he acted in horror film The Haunting, The Minus Man, in which his future girlfriend, singer Sheryl Crow, was a co-star.

2000–2006: Film stardom
Wilson starred in the 2000 comedy action film Shanghai Noon alongside Jackie Chan. The film grossed nearly $100 million worldwide. His fame continued to rise after starring alongside Ben Stiller and Will Ferrell in the 2001 film Zoolander. Gene Hackman reportedly took notice of Wilson's performance in Shanghai Noon and recommended the actor to co-star in the 2001 action film Behind Enemy Lines. Also in 2001, Wilson and Anderson collaborated on their third film, The Royal Tenenbaums, a financial and critical success. The film earned the writing team an Academy Award nomination for Best Original Screenplay.

Wilson returned to the buddy-comedy genre in 2002 with the action comedy I Spy, co-starring Eddie Murphy. The big-screen remake of the same-named television series did not perform well at the box office. He made a cameo appearance in the Girl Skateboards video Yeah Right! in 2003. He then reunited with Chan to make Shanghai Knights (2003), and co-starred in the film remake of the 1970s television series Starsky & Hutch (2004). Due to his busy schedule as an actor and an ongoing sinus condition, Wilson was unavailable to collaborate on the script for Wes Anderson's fourth feature film, The Life Aquatic with Steve Zissou. The 2004 film was ultimately co-written by filmmaker Noah Baumbach. However, Wilson did star in the film as Bill Murray's would-be son, Ned Plimpton; it was a role written specifically for him. In 2004, he and his brother Luke played the Wright brothers in the 2004 film Around the World in 80 Days. Wilson is said to be attached to a sequel to Shanghai Knights, marking his third collaboration with Jackie Chan.

Wilson partnered with Vince Vaughn in the 2005 comedy film Wedding Crashers, which grossed over $200 million in the US alone. Also in 2005, Owen collaborated with his brothers in The Wendell Baker Story, written by Luke and directed by Luke and Andrew. In 2006, Wilson voiced Lightning McQueen in the Disney/Pixar film Cars, starred in You, Me and Dupree with Kate Hudson, and appeared with Stiller in Night at the Museum as cowboy Jedediah.

During this time, Wilson gained a reputation for frequently exclaiming "Wow!" in movies and shows, becoming something of a meme, as well as his trademark.

2007–2015: Established career
Wilson appeared in another Wes Anderson film, The Darjeeling Limited, which screened at the 45th annual New York Film Festival, the Venice Film Festival, and opened September 30, 2007. It co-stars Jason Schwartzman and Adrien Brody. The Darjeeling Limited was selected for a DVD and Blu-ray release by The Criterion Collection in October 2010. Wilson next starred in the Judd Apatow comedy, Drillbit Taylor which was released in March 2008. He appeared in a film adaptation of John Grogan's best-selling memoir, Marley & Me (2008), co-starring Jennifer Aniston. He provided the voice for the Whackbat Coach Skip in Wes Anderson's stop motion animated film Fantastic Mr. Fox (2009). Wilson is a member of the comedic acting brotherhood colloquially known as the Frat Pack. Wilson made a guest appearance on the NBC comedy Community with fellow Frat Pack member Jack Black.

In 2011, Wilson starred as a nostalgia-seized writer in the romantic comedy Midnight in Paris, written and directed by Woody Allen. The film premiered at the 64th Cannes Film Festival to critical acclaim. The film became Allen's highest grossing thus far, and was also well received by critics. Roger Ebert wrote of Wilson's performance, "[He] is a key to the movie's appeal". Peter Debruge of Variety also praised Wilson, writing "Wilson makes the role endearingly his own". For his performance, Wilson earned a nomination for the Golden Globe Award for Best Actor – Motion Picture Musical or Comedy.

That same year, he starred in the film The Big Year (2011) an adaptation of Mark Obmascik's book The Big Year: A Tale of Man, Nature and Fowl Obsession. The film was released in October 2011 by 20th Century Fox, and co-starred Jack Black, JoBeth Williams, Steve Martin and Rashida Jones. The same year, Wilson returned to voice McQueen in Cars 2. In March 2012, Wilson was signed to star in the John Erick Dowdle thriller The Coup, later renamed "No Escape", in which he played the role of the father of an American family that moves to Southeast Asia, only to find itself swept up in a wave of rebel violence that is overwhelming the city. The film was not released until 2015, and was Wilson's return to the action genre for the first time since Behind Enemy Lines in 2001. He also voiced turkey Reggie in Reel FX's first animated film, Free Birds.

In 2014, Wilson appeared in Wes Anderson's acclaimed ensemble comedy The Grand Budapest Hotel and in Paul Thomas Anderson's book adaptation of Inherent Vice. In 2015, he starred with Jennifer Aniston in Peter Bogdanovich's film She's Funny That Way, and in the action thriller film No Escape alongside Lake Bell and Pierce Brosnan. Wilson's films have grossed more than US$2.25 billion domestically (United States and Canada), with an average of US$75M per film.

2017–present
In 2017, Wilson again voiced Lightning McQueen in Cars 3, played a suburban father in the drama Wonder, and co-starred with Ed Helms in the comedy Father Figures. In November 2017, Wilson became the face of a new £20 million advertising campaign for the UK sofa retailer Sofology. He returned to work with Sofology in 2019 for a second advertising campaign.

In 2021, Wilson starred in the comedy film Bliss, directed by Mike Cahill opposite Salma Hayek for Amazon Studios. In 2021, Wilson also reunited with Wes Anderson for The French Dispatch, which premiered at the 2021 Cannes Film Festival. and Marry Me alongside Jennifer Lopez and directed by Kat Coiro for Universal Pictures.

Wilson is currently starring in the Marvel Cinematic Universe series Loki opposite Tom Hiddleston on Disney+ as Mobius M. Mobius. He also signed on to star in a new film adaptation of The Haunted Mansion.

Personal life
In August 2007, Wilson attempted suicide and was subsequently treated for depression at St. John's Health Center and Cedars-Sinai Medical Center in Los Angeles. A few days after his hospitalization, Wilson withdrew from his role in Tropic Thunder. The incident resulted in much unwanted publicity for Wilson, and he became wary of doing interviews. In a 2021 interview with Esquire, Wilson briefly opened up about his suicide attempt, describing how his brothers supported him during his recovery.

In January 2011, Wilson and his then-girlfriend Jade Duell had a son. Wilson and Duell ended their relationship later that year. In January 2014, he had a son with Caroline Lindqvist. He had a third child, a daughter, in October 2018 with ex-girlfriend Varunie Vongsvirates.

title: Owen Wilson


text:
Robert Sawyer

Robert Sawyer may refer to:

 * People
 * Sir Robert Sawyer (Attorney General) (1633–1692), Attorney General for England and Wales and Speaker of the English House of Commons
 * Robert J. Sawyer (born 1960), Canadian science fiction writer
 * Robert William Sawyer (1880–1959), Oregon politician and conservationist
 * Robert Sawyer (murderer) (died 1993), murderer executed in Louisiana
 * Robert Earl Sawyer (1923–1994), African-American playwright, director and actor
 * Robert Sawyer (American football) (born 1962), American football punter
 * R. Tom Sawyer (1901–1986), inventor of the gas turbine locomotive
 * Bob Sawyer, Iron Maiden band member

 * Fictional characters
 * Chop Top, real name "Robert Sawyer", a villain from The Texas Chainsaw Massacre franchise

title: Robert Sawyer


text:
Carignan

Carignan (also known as Mazuelo, Bovale Grande, Cariñena, Carinyena, Samsó, Carignane, and Carignano) is a red grape variety of Spanish origin that is more commonly found in French wine but is widely planted throughout the western Mediterranean and around the globe. Along with Aramon, it was considered one of the main grapes responsible for France's wine lake and was a substantial producer in jug wine production in California's Central Valley but in recent years, it has been reborn as a flagship wine for many cellars in the south of France as well as in Catalonia.

Ampelographers believe that the grape likely originated in Cariñena, Aragon and was later transplanted to Sardinia, elsewhere in Italy, France, Algeria, and much of the New World. The variety was historically a component of Rioja's red wine blend. The grape's prominence in France hit a high point in 1988 when it accounted for 167,000 ha and was France's most widely planted grape variety. That year, in a drive to increase the overall quality of European wine and to reduce the growing wine lake phenomenon, the European Union started an aggressive vine pull scheme where vineyard owners were offered cash subsidies in exchange for pulling up their vines. Out of all the French wine varieties, Carignan was the most widely affected dropping by 2000 to 95,700 ha (236,000 acres) and being surpassed by Merlot as the most widely planted grape.

The popularity of Carignan was largely tied to its ability to produce very large yields in the range of 200 hl/ha (11 tons/acre). The vine does face significant viticultural hazards with significant sensitivity to several viticultural hazards including rot, powdery mildew, downy mildew, and grape worms. Carignan is a late budding and ripening grape which requires a warm climate in order to achieve full physiological ripeness. The vine also develops very thick stalk around the grape clusters which makes mechanical harvesting difficult. It has an upright growth habit and can be grown without a trellis.

A white grape mutation known as Carignan blanc and a pink-berried Carignan gris also exists in Roussillon in small plantings of around 411 ha and 1 ha, respectively, reported in 2008.

History
Early Italian wine writers speculated that Carignan, known as Carignano in several parts of Italy, was a Phoenician wine grape variety that was brought to the island of Sardinia by the Phoenicians in the 9th century BC. From there the grape is believed to have spread to other Phoenician colonies, including the settlement at Sulcis, eventually being brought to the Italian mainland and carried around the western Mediterranean basin by the ancient Romans. Today, ampelographers largely discount this theory due to the lack of historical documentation or evidence from DNA analysis suggesting a Phoenician or Italian origin. Instead, the evidence points more strongly to a Spanish origin of the grape.

Ampelographers do believe that Carignan is likely a very old variety due to its widespread plantings and the proliferation of numerous different synonyms that give testament to the grape's long history in different wine regions. The grape likely originated in the Aragon region of northwest Spain where it possibly named after the town of Cariñena in the province of Zaragoza. However, in Zaragoza and other parts of Catalonia, the grape is sometimes called Samsó which is also used as a synonym for the French wine grape Cinsault, adding to confusion over Carignan's history in the region. Another Spanish synonym, Mazuelo, which is used in the Rioja wine region, is believed by ampelographers and wine historians to come from the commune of Mazuela in the province of Burgos in the Castile and León region of northwest Spain.

In 2006, DNA profiling suggested a parent-offspring relationship between Carignan and the Rioja wine grape Graciano though it was not yet clear which variety is the parent and which is the offspring. However, some grape geneticist and ampelographers such as José Vouillamoz dispute the 2006 findings and believe that the DNA profiles of both grapes are too distinct to have a close parent-offspring relationship at all. It is more likely, Vouillamoz and others suggest, that Carignan and Graciano were the result of two separate spontaneous crossings of unknown Vitis vinifera parents that occurred somewhere in northeast Spain.

Carignan was likely introduced to Sardinia sometime between 1323 and 1720 when the island was under the Spanish influence of the Crown of Aragon. Here the grape developed in isolation to form distinct clones under the synonyms Bovale di Spagna and Bovale Grande. At some point the grape reached Algeria where it became a high yielding "workhorse" variety that was widely exported to France to add color and weight to French wine blends. After the phylloxera epidemic devastated French vineyards in the mid to late 19th century, plantings of Carignan grew in popularity on the French mainland. Plantings increased even more when Algeria gained independence in 1962. The grape's prominence in France hit a high point in 1988 when it accounted for 167,000 hectares (410,000 acres) and was France's most widely planted grape variety. However, as France's wine lake problem became more of a concern, authorities within the French government and European Union started an aggressive vine pull scheme where vineyard owners were offered cash subsidies in exchange for pulling up their vines.

Viticulture
Carignan is a late budding and late ripening variety that is often one of the last grapes to be harvested during a vintage. The vine is very vigorous and high yielding, able to easily produce 200 hectoliters/hectare (approximately 10.4 tons/acres), if not kept in check by winter pruning or green harvesting during the growing season. The late ripening nature of the grape means that it rarely achieves full ripeness unless planted in vineyard soils in very warm climates such as the Mediterranean climates where the grape originated in or the hot Central Valley of California.

Carignan's tendency to produce short shoots with clusters that grow closely to the trunk of the vine means that it is a difficult variety to harvest mechanically. However, the economy of scale for blending varieties or grapes destined for lower priced box and jug wines often do not work well with the expense and labor cost of hand-harvesting. Among the viticultural hazards that Carignan is susceptible to include powdery mildew and infestation of the vine from grape worms and the European Grapevine Moth. The vine has some slight resistance to the fungal disease of botrytis bunch rot, downy mildew, and phomopsis.

Relationship and confusion with other grapes
In 2003, DNA evidence confirmed that Carignan/Cariñena was the same variety as the Mazuelo (or Mazuela) grape of Rioja. This was followed by the discovery in 2007 that the Bovale di Spagna and Bovale Grande grapes of Sardinia were also identical to Carignan. DNA profiling was also able to distinguish Carignan as a distinct variety from other varieties known as Bovale (including Graciano which is known on Sardinia as Bovale Sardo and Bovale Cagnulari) as well as the Valencia wine grape Bobal which is sometimes field blended in the Cariñena (DO) with Carignan.

Other varieties sometimes confused with Carignan but have been conclusively proven by DNA analysis to be distinct include the Sardinian wine grape Nieddera that is related to the Pascale di Cagliari grape which also grown on the island, Cinsault which shares the synonym Samsó in Catalonia with Carignan, the Italian wine grape Tintilia del Molise that is grown in the Lazio and Molise wine regions of central Italy and the Spanish wine grape Parraleta that is grown in the Somontano DO of Aragon.

Grapes that are also unrelated to Carignan but share synonyms include Carignan Boushet (a Petit Bouschet and Morrastel cross), Bobal (a Spanish wine grape that is also known as Carignan d'Espagne), Aubun (a French wine grape that is also known as Carignan de Bedoin, Carignan de Bedouin, and Carignan de Gigondas), Alicante Bouschet (French teinturier grape that is also known as Carignan jaune), and Grenache (which is also known as Carignan rouge, Carignane rosso, and Carignane rousse).

Over the years Carignan has been crossed with several varieties to create new wine grapes including with Cabernet Sauvignon to give Ruby Cabernet and with the Portuguese wine grape Souzão to produce Argaman.

Carignan blanc and gris
Like Pinot noir and Grenache, Carignan has mutated to produce white-berried and pink-berried color mutations known as Carignan blanc and Carignan gris, respectively. Carignan blanc is a white mutation of the Carignan grape found primarily in the Roussillon region. First discovered in the early 20th century, there were 1652 ha of the grape planted in France in the 1960s but by 2009 that figure had dropped to 411 ha. In Spain, Carignan blanc (known as Cariñena blanca throughout most of the country, Samsó blanco in Catalonia, and Carinyena blanc in the Empordà (DO)) is even more rarely found with only 3 ha planted throughout the country in 2008. Here the grape is mostly used for blending with Macabeo, with a very few varietal examples produced.

Like Carignan noir, both Carignan blanc and Carignan gris are late budding and late ripening varieties that are highly susceptible to powdery mildew. According to Master of Wine Jancis Robinson, Carignan blanc tends to produce full-bodied white wines that can have high acid and alcohol levels with very little aromatics. While the wines tend to be "shy" in the nose, Robinson notes that the palate can be "luscious" with light, citrus notes.

Winemaking
In winemaking, the grape is often used as a deep coloring component in blends, rather than being made in a varietal form with some exceptions. Carignan can be a difficult variety for winemakers to work due to its naturally high acidity, tannins, and astringency which requires a lot of skill to produce a wine of finesse and elegance. Some winemakers have experimented with carbonic maceration and adding small amounts of Cinsault and Grenache with some positive results. Syrah and Grenache are considered its best blending partners being capable of yielding a softer wine with rustic fruit and perfume. In California, Ridge Vineyards has found some success with a varietal wine made from Carignan vines that were planted in the 1880s.

Wine regions
Carignan is found around the globe with the vast majority of plantings in France, followed by Spain and Italy where it is a permitted grape variety in several appellation d'origine contrôlée (AOC), denominación de origen (DO) and Denominazione di origine controllata (DOC) regions. Elsewhere in Europe and the Middle East, plantings of the grape can be found in Croatia, Cyprus, Malta, Turkey, and Israel. In Africa, plantings of Carignan are also found in the north African wine-producing countries of Morocco and Tunisia as well as in South Africa.

In the New World, Carignan is planted in several American Viticultural Areas (AVA)s of the United States, particularly in California and Washington State. Elsewhere in North America, plantings of the grape can be found in Mexico. In South America, Carignan is planted in Argentina, Chile, and Uruguay. In recent years, plantings of the grape have slowly increased in China as well as Australia.

France
Carignan is most widely found in southern France, particularly in the Languedoc wine regions of Aude, Gard, and Hérault where it is often made as Vin ordinaire and in some Vin de pays wines. In the late 1990s, there were over 60000 ha of the grape planted in the Aude and Hérault departments alone but by 2009 the total plantings of Carignan throughout France had dropped to 53155 ha. While plantings of the grape in France were more than 9 times higher than the next major Carignan producing country (Spain), this drop in plantings is indicative of the global trend of decline in "workhorse varieties" like Carignan in favor of what the European Union designates as "improving varieties" such as Grenache, Mourvedre, and Syrah.

Plantings of Carignan are mostly limited to the warm Mediterranean climates of southern France due to the grape's inability to sufficiently ripen much further north in the continental climate of central France or in the damp maritime climate of Southwest France. Other departments with significant plantings of Carignan include the Pyrénées-Orientales, Var, and Vaucluse.

Spain
In 2004, Spain had around 7,000 ha (17,300 acres) of Carignan planted. By 2008 that number has dropped to around 6130 ha, and to 5644 ha in 2015. The grape (traditionally called Cariñena, but now officially called Mazuelo, but also spelled Mazuela) has seen plantings sharply decline in its ancestral home of Aragon where it was once a secondary component of wine from the denominación de origen protegida (DOP) of Cariñena region after Grenache. In 2009, Aragon has just 926 ha dedicated to the grape.

The grape has found an increasing prominence in the Catalan wine region of Priorat, where it is the main variety in the schistous vineyard soils of the northern half of the appellation. Around the villages of Poboleda and Porrera in the province of Tarragona are bushvines of the grape that are more than 100 years old that are used to make varietal wines. The grape is also found in the DOPs of Costers del Segre, Montsant, Penedès, Tarragona, and Terra Alta. In Catalan the grape is called Samsó or Carinyena, though it is not related to Cinsault which is also known as Samsó in Catalonia.

Outside of Catalonia, Mazuelo is mostly a secondary blending variety used to add acidity to the Tempranillo-based wines of Rioja though a few producers, such as Marqués de Murrieta, do make varietal examples of the grape. In 2008, there were 1193 ha of the grape in Rioja. In 2009, there were 697 ha and 515 ha of Carignan planted in the nearby wine regions of Castile-La Mancha and Navarra respectively.

Other Old World regions
In 2012, more than 97% of Italy's 1748 ha of Carignan plantings were in Sardinia with a few scattered plantings throughout Lazio, particularly the Cerveteri DOC, where it is often used in rosé winemaking. The Carignano del Sulcis Denominazione di origine controllata (DOC) features a Carignan-based rosso from the Sardinian islands of Sant'Antioco and San Pietro. Here the grape is known as Bovale Grande and is also featured in the DOC wines of Campidano di Terralba and Mandrolisai.

The grape is still popular in North Africa in Algeria, Morocco and Tunisia. Carignan also played an important role in the early development of the Israeli wine industry. Though it is not as prominent today, it is still the country's third most widely planted red grape variety after Cabernet Sauvignon and Merlot with 800 ha in 2009. The first serious and consistent efforts to produce quality Carignan was at 2002 by Assaf Paz, the Bordeaux trained Enologist of Vitkin winery. His persistence to produce high quality old vine Carignan encourages other producers to follow and today Israel presents an impressive range of faire to excellent examples of this verity

Other Old World wine producing countries with significant Carignan plantings include Croatia with 210 ha in 2009, Cyprus with 366 ha, Malta with 10 ha and Turkey with 134 ha in 2010. Chinese winemakers have also experimented with growing Carignan in some of their warmer wine regions.

United States
At one point in California's wine history, Carignane (as it is known there) was the third most widely planted grape variety but has since dropped considerably in production. The majority of the vines were planted in the Central Valley and used to make inexpensive box and jug wines. In the 1970s and 1980s, Californian Carignane was one of the leading "home winemaking" grapes in production. In 2010, there were 1373 ha of the grape planted in the state with American Viticultural Areas in Contra Costa, Mendocino, and Sonoma counties seeing a slight increase in interest while plantings the Central Valley have declined.

Outside of California, plantings of the grape can be found in Washington State as well as in Missouri and Texas.

Other New World regions
In Mexico, plantings of Carignan are found in the states of Aguascalientes, Sonora, and Zacatecas. In Chile, old vines of plantings of Carignan are grown without irrigation in the Maule region which accounted for the majority of the country's 675 ha plantings of the grape in 2008. In Argentina there was just 30 ha of the grape while Uruguay had 486 ha planted in 2009.

In Australia the grape was often confused with the Bonvedro vine, which is similarly prone to diseases, but in recent years Australian winemakers have been able to identify true Carignan. Most Australian plantings of Carignan are found in South Australia where the grape is primarily used for blending. In South Africa, there were 80 ha of the grape planted in 2012 with the majority found on the shale vineyard soils of the Paardeberg region in Swartland.

Synonyms
The grape is known under a variety of synonyms through the world. In Spanish it is known as Cariñena (particularly in Aragon), with Cariñano (also in Aragon), Mazuelo, Tinto Mazuelo, Crujillon (in Aragon) and Samsó (in Catalonia) also being used in Spain. The recent use of Samsó has been controversial because this seems to be an error, as there is a different grape called Samsó, which is France's Cinsault but this change was implemented due to name Cariñena (in Catalan the grape is still generally called, 'Carinyena') being claimed by the DO body in Aragon.

In California it is spelled with an extra vowel on the end as Carignane. In Italy it is known as Gragnano while in Sardinia it is known as Bovale Grande and Carignano. In Portugal it is known as Pinot Evara even though it has no relation to the Pinot family of grapes. Other French synonyms include Carignan noir, Bois Dur, Catalan, Roussillonen, Monestel, and Plant de Lédenon.

Other recognized synonyms for Carignan include: Axina de Spagna, Babonenc, Babounenc, Blaue Shopatna, Blaue Sopatna, Blauer Carignan, Blauer Carignant, Boi Dur, Bois de Fer, Bois dure, Bovale Grande di Spagna, Bovale Mannu, Bove Duro, Bove Duro di Spagna, Cafalan Cagnolaro, Cagnolaro tinto, Calignan, Carignan Crni, Carignan Frances, Carignan Mouillan, Carignan noir, Carignane Mouilla, Carignane noir, Carignane noire, Carignane violette, Carignanne, Carignano, Carignano di Carmignano, Carignena, Carinena, Carinena Mazuela, Carinena negra, Cencibel, Crignane, Crinana, Crusillo, Girard, Girarde, Grenache du Bois, Grenache du Bois Dur, Karinjan, Karinyan, Kek Carignan, Legno Duro, Legno Duro di Portoferraio, Manuelo Tinto, Manzuela (in Rioja), Marocain, Mazuela, Mollard (in Rioja), Mounesteou, Pinot d'Evora, Plant d'Espagne, Plant de Ledenon, Pokovec, Pokovez, Samso, Samso Crusillo, Sanso, Soptna blau, Tinto Mazuela, and Uva di Spagna.

Synonyms for the white-berried mutation Carignan blanc include: Feher Carignan and Karinjan.

Synonyms for the pink-berried mutation Carignan gris include: Szuerke Carignan.

title: Carignan