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Laurie Penny: Why I despise the World Cup

Who cares about a bunch of misogynist jocks tossing a ball around? Football is commodified nationalism that excludes more than half the population.

Much as I hate to disagree with Gary Younge, I can't get on board with his utopian vision of the upcoming World Cup evoking a "collective sense of latent English identity . . . infused with positive energy".

I despise the World Cup. I will not be supporting England, nor any other team.

I refuse to get excited about some wealthy, misogynist jocks tossing a ball around in the name of patriotism and product endorsement. Mistrust of team sports as a fulcrum of social organisation comes naturally to me. I'm a proud, card-carrying member of the sensitive, wheezy, malcoordinated phalanx of the population for whom the word "football" still evokes painful memories of organised sadism and unspecified locker-room peril.

I'm a humourless, paranoid, liberal, feminist pansy who would prefer to spend the summer sitting in a dark room, contemplating the future of the British left and smoking myself into an early grave.

The fact remains, however, that there are more pressing things to worry about over the soccer season than the state of Frank Lampard's admittedly shapely calves. This country is in crisis. Young people are in crisis, poor people are in crisis, unemployment stands at 2.5 million, the labour movement is still leaderless and directionless, and there's a brutal train of Tory public-service cuts coming over the hill.

In short, the left has more important things to do than draw up worthy charts determining which Fifa team is worth supporting on the basis of global development indicators.The British left has an uneasy relationship with international sport.

Liberal alarm bells can't help but start ringing when a bunch of overpaid PE teachers get together to orchestrate a month of corporate-sponsored quasi-xenophobia; however, as soon as World Cup fever rolls around, members of the otherwise uninterested bourgeois left feel obliged to muster at least a sniffle of enthusiasm, sensing that not to do so is somehow elitist.

This is a misplaced notion: football is no longer the people's sport. Just look at the brutal contempt that the police reserve for fans, or count the number of working-class Britons who can afford to attend home matches, much less the festivities in South Africa. Then there's the uncomfortable fact that the World Cup is only and always about men.

Younge is right to celebrate that race is no longer an impediment to his young niece's and nephew's vision of football as a world "in which they have a reasonable chance of succeeding" -- but unfortunately, his niece can forget about it. Even if she were to make it to the big leagues, she would be forbidden to play in the World Cup: the women's league, held separately next year, garners barely a fraction of the media coverage devoted to proper football, where the only significant female figures are footballers' wives.

In South Africa itself, female players are lucky if they are merely dismissed -- barely two years ago, Eudy Simelane, star of the South African women's team, was raped and murdered for the crime of being a lesbian.

There is something suspect about a people's sport that violently excludes more than half the people, and boozy, borderline misogynist pseudo-nationalism is the last thing Britain needs to help foster a badly needed sense of community. George Orwell observed in 1941 that "in England all the boasting and flag-wagging, the 'Rule Britannia' stuff, is done by small minorities . . . The patriotism of the common people is not vocal or even conscious."

Britain itself is a shuffling, gloriously dissipated nation that also includes many people from Scotland, Ireland and Wales. By contrast, the kitsch, horn-honking vision of English identity associated with World Cup-EnglandTM is too easily co-opted by big business in an effort to get us to spend money on booze, branded sportswear and chocolate bars emblazoned with the England flag. B&Q, which expects to make a loss over the season, has even released a range of garden gnomes wearing the England strip, which rather sums up the twee consumer desperation of World Cup season.

Marketing strategists clearly envision the people of England drinking and shopping the summer away, safe in the knowledge that national pride is being guarded by a regiment of xenophobic pottery goblins. This cheery commoditised nationalism runs unnervingly close to the uglier face of engineered "English pride".

Of course, not everyone who displays an England flag is a fascist, but a few of the flags in circulation will undoubtedly be reused at the upcoming EDL rally in east London, which plans to process through the same streets where Oswald Mosley's Blackshirts marched in 1936.

As football season begins, England flags are once more emerging like a welter of giant sticking plasters where social injury is keenest, in areas where the coming cuts will be deepest.

Meanwhile, the left still has no coherent response to Britain's bricolage of troubles. The problem with footie as commodified nationalism is that it leaves the left wing entirely undefended.

The tacky, tribalistic, red-and-white bandage of cheesy national sentiment is already stifling the healing power of political expediency. And as the people gear up to root for EnglandTM, the left's best chance to reorganise and re-energise is deflating like a football, smashed against a wall by idiot children.

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Laurie Penny is a contributing editor to the New Statesman. She is the author of five books, most recently Unspeakable Things.

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How “cli-fi” novels humanise the science of climate change

The paradox is that the harder climate-fiction novels try, the less effective they are.

When the Paris UN Climate Change Conference begins at the end of November, the world’s leaders will review the climate framework agreed in Rio in 1992. For well over 20 years, the world has not just been thinking and talking about climate change, it has also been writing and reading about it, in blogs, newspapers, magazines – and in novels.

Climate change fiction is now a recognisable literary phenomenon replete with its own nickname: “cli-fi”. The term was coined in 2007 by Taiwan-based blogger Dan Bloom. Since then, its use has spread: it was even tweeted by Margaret Atwood in 2013:

It is not a genre in the accepted scholarly sense, since it lacks the plot formulas or stylistic conventions that tend to define genres (such as science fiction or the western). However, it does name a remarkable recent literary and publishing trend.

A 21st-century phenomenon?

Putting a number to this phenomenon depends, partly, on how one defines cli-fi. How much of a novel has to be devoted to climate change before it is considered cli-fi? Should we restrict the term to novels about man-made global warming? (If we don’t, we should remember that narratives about global climatic change are as old as The Epic of Gilgamesh and the Biblical story of the flood.) If we define cli-fi as fictional treatments of climate change caused by human activity in terms of setting, theme or plot – and accept there will be grey areas in the extent of this treatment – a conservative estimate would put the all-time number of cli-fi novels at 150 and growing. This is the figure put forward by Adam Trexler, who has worked with me to survey the development of cli-fi.

This definition also gives us a start date for cli-fi’s history. While planetary climatic change occurs in much 20th-century science fiction, it is only after growing scientific awareness of specifically man-made, carbon-induced climate change in the 1960s and 1970s that novels on this subject emerged. The first is Arthur Herzog’s Heat in 1976, followed by George Turner’s The Sun and the Summer (published in the US as Drowning Towers) in 1987.

At the turn of this century, Maggie Gee and TC Boyle were among the first mainstream authors to publish climate change novels. In this century, we can count Atwood, Michael Crichton, Barbara Kingsolver, Ian McEwan, Kim Stanley Robinson, Ilija Trojanow and Jeanette Winterson as major authors who have written about climate change. The past five years have given us notable examples of cli-fi by emerging authors, such as Steven Amsterdam, Edan Lepucki, Jane Rawson, Nathaniel Rich and Antti Tuomainen.

Creative challenges

Cli-fi is all the more noteworthy considering the creative challenge posed by climate change. First, there is the problem of scale – spatial and temporal. Climate change affects the entire planet and all its species – and concerns the end of this planet as we know it. Novels, by contrast, conventionally concern the actions of individual protagonists and/or, sometimes, small communities.

Added to this is the networked nature of climate change: in physical terms, the climate is a large, complex system whose effects are difficult to model. In socio-cultural terms, solutions require intergovernmental agreement – just what COP21 intends – and various top-down and bottom-up transformations. Finally, there exists the difficulty of translating scientific information, with all its predictive uncertainty, into something both accurate and interesting to the average reader.

Still, cli-fi writers have adopted a range of strategies to engage their readers. Many cli-fi novels could be classified as dystopian, post-apocalyptic or, indeed, both – depicting nightmarish societies triggered by sometimes catastrophic climate events. A future world is one effective way of narrating the planetary condition of climate change.

Some novelists are also careful to underpin their scenarios with rigorous climatic predictions and, in this way, translate science fact into a fictional setting. Kingsolver, who trained as an ecologist, is the best example of this – and Atwood and Robinson are also known for their attempts at making their speculations scientifically plausible. Also, cli-fi novels, particularly those set in the present day or very near future rather than in a dystopian future, tend to show the political or psychological dimensions of living with climate change. Readers can identify with protagonists. To some extent, the global community is represented in fictional everymen or everywomen. Or, often, it is through such characters that science is humanised and its role in combating climate change better understood.

Can cli-fi lead to change?

Could cli-fi affect how we think and act on climate change? The paradox is that the harder cli-fi tries, the less effective it is. Many writers want to inspire change, not insist on it: the line between literature and propaganda is one that most novelists respect. Literature invites us to inhabit other worlds and live other lives. Cli-fi at its best lets us travel to climate-changed worlds, to strive there alongside others and then to return armed with that experience.

In Paris, the UN will seek a global agreement on climate action for the first time in more than 20 years. There is plenty of climate change fiction out there to help provide the mental and psychological space to consider that action.

The Conversation

Adeline Johns-Putra, Reader in English Literature, University of Surrey

This article was originally published on The Conversation. Read the original article.