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After gathering lost seeds during the summer, a kind woman tends and instructs them throughout the fall and winter before sending them out in the spring to find roots of their own.

[...]he isn't.) Of the 16th-century sea captain's hijacking of Spanish gold, Greene has a character in one of novels observe: \"A little honest thieving harms no one.\"

Greenley the apple tree tells how he grew from a seed inside an apple his mother dropped on the ground into a big tree making apples of his own.

This research paper examines how speculative fiction engages with food as a mnemonic device, historiographical archive, and cultural repository to encode diasporic histories in the face of ecological catastrophe and social upheaval. Through a close reading of Margaret Atwood's The Year of the Flood (2009), Octavia E. Butler's Parable of the Sower (1993), and Ursula K. Le Guin's Always Coming Home (1985), the paper discusses the idea of the \"speculative palate\" where recipes, foraging, seeds, and rituals encode memory, resistance, and futurity against the forgetting of capitalist amnesia. Engaging with gastronomy studies, memory studies, diaspora studies, and speculative estrangement, the paper proposes a culinary historiography as a form of counter-archive of embodied continuity. Atwood's Gods Gardeners engage in biopolitical resistance through seed-saving and posthuman care; Butler's Afrofuturist seeds reflect trauma even as they produce Earthseed ethics; Le Guin's Kesh feasts mirror utopian abundance through ethnographic ritual. Speculative food fictions serve social imaginaries, modelling sustainability, interdependence, and hope for displaced futures. Those edible stories do not facilitate the cultural forgetting, but they give expression to the ethics of care and sustainability. In conclusion, the theorized research will reveal how speculative food narratives serve to not only feed bodies, but social imaginaries in order to create futures in remembrance, continuity and hope.

A stranger carrying a bag of seeds comes to town and, with help from fairies, grows a tree that bears such \"fruit\" as toys and musical instruments for the townspeople.

The mech was like an extension of her body, never tiring, wrapping around her like a seed pod protecting its cargo. \" \"How did it get here?\" Her father told her that seeds travel by wind and water, in the hard shells of nuts and blankets of fruit, carried on the coats of animals or mashed within their digestive tracts, pulled underground by insects, buried by squirrels, scattered by the dual forces of pressure and gravity. Before she left Earth, her father had folded the stone into her hands, his faded green hat tipped back, his hands smelling of cinnamon from baking.

A young boy plants a seed that, with water, sunlight, care, and patience, grows into a strong, tall tree.

In this article, I offer a reading of Wanuri Kahiu’s short film Pumzi (2009), which depicts the aftermath of a devastating water crisis that forced human communities in East Africa underground in order to survive. Following scholars such as Ritch Calvin, Kirk Bryan Sides, or Mich Nyawalo, who have dissected the film in the context of its treatment of environmental issues and its Africanfuturist leanings, I aim to foreground the function of the body in the film, identifying the peculiar nature of Maitu community’s displacement (vertical rather than lateral, confining them to a space which cuts them off from the environment) as the reason for the rise of new forms of bodily exploitation. In my reading of the film, I want to argue that the corporeal hierarchies established within the community facilitate the emergence of what I term “fuelling bodies”, forcibly turned by the authoritarian governing body into sources of energy as the last existing natural resource to be exploited. Drawing on the theory of science fiction, Hagar Kotef’s writing on movement, and postcolonial theory, I close-read the film to explore the relationship it establishes between displacement and the bodily hierarchies that exist in the community. In turn, I argue that the nature of the Maitu community’s displacement gives rise to hindered freedom of movement, bodily oppression, and loss of communal ties and consequently prevents the community from addressing the legacy of the climate crisis, which has arrested them in stasis, leaving them unable to dream of better futures. As I demonstrate, it is only once Asha rejects and actively rebels against the imposed inhibitions of movement and leaves the spaces of containment that make up the Maitu community that she can realise the utopian post-apocalyptic process of renewal and rejuvenation, both for the natural environment and the human communities.  Dans cet article, je propose une analyse du court métrage Pumzi (2009) de Wanuri Kahiu, qui dépeint les conséquences d’une crise hydrique dévastatrice qui a contraint les communautés humaines d’Afrique de l’Est à vivre sous terre pour survivre. À la suite de chercheurs tels que Ritch Calvin, Kirk Bryan Sides ou Mich Nyawalo, qui ont analysé le film dans le contexte de son traitement des questions environnementales et de ses tendances afrofuturistes, je souhaite mettre en avant la fonction du corps dans le film, en identifiant la nature particulière du déplacement de la communauté Maitu (vertical plutôt que latéral, les confinant dans un espace qui les coupe de leur environnement) comme la raison de l’émergence de nouvelles formes d’exploitation corporelle. Dans mon analyse, je souhaite démontrer que les hiérarchies corporelles établies au sein de la communauté facilitent l’émergence de ce que j’appelle des « corps carburants », transformés de force par le pouvoir autoritaire en sources d’énergie, dernière ressource naturelle existante à exploiter. En m’appuyant sur la théorie de la science-fiction, les écrits de Hagar Kotef sur le mouvement et la théorie postcoloniale, j’ai analysé le film en détail afin d’explorer la relation qu’il établit entre le déplacement et les hiérarchies corporelles qui existent dans la communauté. À mon tour, je soutiens que la nature du déplacement de la communauté Maitu entraîne une restriction de la liberté de mouvement, une oppression corporelle et une perte des liens communautaires, empêchant ainsi la communauté de faire face à l’héritage de la crise climatique, qui l’a figée dans une situation de stagnation, la laissant incapable de rêver d’un avenir meilleur. Comme je le démontre, ce n’est qu’une fois qu’Asha rejette et se rebelle activement contre les inhibitions imposées au mouvement et quitte les espaces de confinement qui composent la communauté Maitu qu’elle peut réaliser le processus utopique post-apocalyptique de renouveau et de rajeunissement, tant pour l’environnement naturel que pour les communautés humaines.

\"Two seeds cant wait to be pears, but growing takes time and patience\"-- Provided by publisher.

The nutritive value of 26 agro-industrial by-products was assessed from their chemical composition, in vitro digestibility and rumen fermentation kinetics. By-products from sugar beet, grape, olive tree, almond, broccoli, lettuce, asparagus, green bean, artichoke, peas, broad beans, tomato, pepper, apple pomace and citrus were evaluated. Chemical composition, in vitro digestibility and fermentation kinetics varied largely across the by-products. Data were subjected to multivariate and principal component analyses (PCA). According to a multivariate cluster analysis chart, samples formed four distinctive groups (A–D). Less degradable by-products were olive tree leaves, pepper skins and grape seeds (group A); whereas the more degradable ones were sugar beet, orange, lemon and clementine pulps (group D). In the PCA plot, component 1 segregated samples of groups A and B from those of groups C and D. Considering the large variability among by-products, most of them can be regarded as potential ingredients in ruminant rations. Depending on the characteristic nutritive value of each by-product, these feedstuffs can provide alternative sources of energy (e.g., citrus pulps), protein (e.g., asparagus rinds), soluble fibre (e.g., sugar beet pulp) or less digestible roughage (e.g., grape seeds or pepper skin).