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Laurie Penny: The use of "curvy" models is hardly progress

This does not make it one jot easier for troubled young women to live in our own skin.

This fall, the fashion press is celebrating 'the return of curves'. With London Fashion Week in full swing, designers and photographers are congratulating themselves on what has been dubbed a 'catwalk revolution', amounting to a handful of models weighing up to 170 pounds featuring on a handful of runways, the feting of designers like Erdem Moralioglu who occasionally make dresses in a size 16, and the paparazzi mobbing poor, expansively-bosomed Christina Hendricks every time she gets out of a taxi.

'Curves', it appears, are back in style. This means that women whose skeletons are less than entirely visible through their skin will now be permitted to doff our sackloths of shame and go to parties with fashion people. Well, roll up the banners, ladies, and put away the placards: it's the greatest achievement for feminism since equal pay.

It is rather a sad indictment of the scope and ambition of the modern women's movement that the limited return of 'curves' to the fashion zeitgeist is being treated as serious progress. In case anyone hadn't noticed, meaningful social revolutions do not tend to happen on the catwalk. The last style 'revolution' was the re-introduction of jodhpurs to the fashion-forward female's aspirational wardrobe in the terrible autumn of 2008, and we all know how that ended. Feminism has come so far, it seems, that we're now supposed to be grateful that fashion editors have graciously allowed a few models to appear in public with one or even two obscene spare inches of subcutaneous fat.

This particular runway revolution has an element of the freak show about it. Roll up, the press seems to be hollering, roll up and see the amazing meal-eating women! Besides previewing the socks, skirts and unlikely headdresses that are going to be in style in 2011, the circus of Fashion Week also showcases what type of woman will be in vogue next season, and oddly enough, this year's on-trend female looks surprisingly similar to the identikit models who crowded the runways at Fashion Week last year: she is young, white, slender, pretty, fragile, obedient and silent.

Used by fashion editors and PRs, the word 'curves' smacks offensively of euphemistic posturing. In today's post-watershed world, where you can stream five channels of hardcore coprophilia over your cornflakes at breakfast, why is female flesh still so horrifying that we still have to have a polite euphemism for it? 'Curves', in fact, have always existed - as, for that matter, have love handles, cellulite, scars, dimples, fat thighs, chunky calves, bad hair, broad shoulders, big boobs, round arses and turkey necks. Shocking though it might sound, women with these ghastly personal attributes have just as much right to self-esteem and social status as young, beautiful catwalk models.

In this context, getting excited about the 'return' of curves is just one more way of obsessively scrutinising women's bodies, fetishising female flesh and particularly female fat as somehow shocking, abnormal, edgy. Female fat is not edgy. It's not an unusual fashion trend. It's everyday reality for over three billion human beings on this planet. I'm sitting in nine and a half stone of it right now, and let me tell you, it's gloriously mundane.

It wasn't always like this. Not so long ago I was easily as scrawny as a catwalk model, because I happened to be in the grip of a life-threatening eating disorder that stole five years of my youth and caused my family and friends no small amount of unnecessary heartbreak. As a recovered anorexic, I'm supposed to be particularly pleased that 'curves' are back in style, given that everyone knows little girls only get eating disorders because their brains overheat from looking at too many fashion magazines, and not because of any sort of unrelenting social pressure on women of all ages to work harder, look prettier and take up as little space as possible.

Take it from me: noticing a few extra inches of fat on the relentless images of silent, costly feminine perfection that bombard us every day does not make it one jot easier for troubled young women to live in our own skin. The things that make a difference are things that cannot be sold, or advertised, or crammed into a gushing press release. They are simple things, like time and patience, love and security, tolerance and respect; vital things, like understanding that adult sexuality isn't just about submission and servility, like believing that what we do and who we are might be more important than what we look like. That type of personal and political revolution is something that the fashion industry, with its inability to imagine women who are not silent commodities or faceless consumers, will never be able to deliver.

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

This article first appeared in the 27 September 2010 issue of the New Statesman, The 50 people who matter

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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.