Alan White's Olympic diary: Ten reasons the Olympics have been absolutely awesome

The athletes! The facts! The medals! Ian Thorpe! The volunteers!

Conscious I’ve been moaning too much this week; so as not to give a false impression:

1. The opening ceremony

As Stephen Glover of the Daily Mail correctly surmised, this was a work of Marxist propaganda. Those of us familiar with Danny Boyle’s oeuvre have understood his political leanings ever since we heard about his famous homage to centralised work targets, 127 Hours. Mr Boyle’s ceremony was a classic piece of insidious leftism, from its flagrant celebration of the fact Britons receive free health care to its steadfast refusal to re-enact great moments in our foreign policy such as the Battle of Omdurman or the sinking of the Belgrano, both of which would have worked well set to something appropriate like Don’t Look Back In Anger.

Despite these failings on Mr Boyle’s part, he somehow produced a performance that was quirky, heartwarming, witty and exciting.

2. The lure of the obscure

It’s amazing how quickly one can move from a) Not knowing what sport it is, to b) Not understanding the rules, to c) Being really quite engrossed, to d) Swearing at the TV when the British contestant does something wrong.

During yesterday’s trap shooting the entire process took me something like three minutes and thirty-seven seconds, which puts me in Medal Contention (see point six).

3. The athletes are incredible

From the tortured vulnerability of Vicky Pendleton to the folksy, mutton-chopped charm of Wiggo, they’re all just so damn lovable. And to pick an example from yesterday:

What I consider adversity: The fact I had to catch a rail replacement bus service some of last month.

What Gemma Gibbons, silver medal winner in judo, considers adversity:  The death of her mother when she was 17. Her mother had brought Gemma up alone and had taken her, on public transport, to all her judo classes. Gemma later worked as a receptionist to pay the rent, all the while attempting to become a professional athlete.

She was, in terms of this tournament – a no one - ranked 42nd in the world at the start. That’s why I think the shot of her after the semi-final might well end up the defining one of the games, because she’d just laid the smack down on someone from France. Because she embodies the Olympic spirit. And that’s just our girl. Look at the story of the woman who beat her.

4. Politicians proving beyond all doubt they’re weird

Boris getting stuck up a zip wire like a great big toddler in a sling, the Romneyshambles, Aiden Burley’s ill-advised tweets, The Curse of Cameron...where does it end? Politicos have been queuing up to look like Normal People this week, and failing miserably. Jeremy Hunt today claims Locog tricked him into paying £2,400 for four tickets, but the telling suggests he didn’t understand his own organising committee’s website. It would be a big story, but given this is a man who nearly killed a woman with his bell end a few days ago, the take-up hasn’t been huge. Nothing will surprise us.

5. Meet the parents

Is there any sweeter a sight than the parental pride we’ve witnessed at these games? I know I’ve already linked to both these videos, but the parents of Aly Raisman and Chad le Clos deserve to become stars in their own right. I particularly enjoyed the commentators last night exclusively referring to the latter as “The son of Bert le Clos”. More of this please.

6. The languages

Two things, here. First, I love the feeling of being in a crowd and thereby surrounded by the world. At the Table Tennis, it was admittedly an annoying Australian woman who kept cheering on her competitor even though he being destroyed and the rest of the stand was watching a different game, but at the boxing I was near a whole group of excitable Kazakhstanis who were making a thoroughly rousing din, and it’s not often you can say that.

Then there’s the Olympic language of neologisms. “Podium” and “medal” as verbs are rather nasty, it must be said, but one BBC commentator saw a rider fall off a trotting horse and inadvertently claimed they’d “decanted”, which I love.

7. The games staff

We Brits really don’t do this stuff very well, normally. Ever tried engaging a Heathrow border guard in chit-chat? At best you’ll get a forced smile; at worst, or perhaps slightly better, you’re looking at a cavity search.

But the games volunteers I’ve met have been, to a man and woman – wonderful. Who are these 70,000 purple-jacketed lunatics? Why are they doing this? Because they want to? Read the words of this strange creature. Is this really Britain?

And never mind them – let’s talk about the army. Many of us don’t get to meet soldiers all that often, nor hear about them in anything other than a negative context. But the ones I’ve met have been every bit as cheery and charming as the volunteers. This despite spending their down-time in somewhat basic conditions. And the thing that really strikes me, and I expect will next time a sombre mood grips the House of Commons for 30 seconds before the Punch and Judy of PMQs kicks off: most of them seem so very, very young. I don’t care if that makes me sound like Max Hastings.

8. “Now, what I want is facts”

They never cease to amaze, if you’re boring, like me. Ten million litres of water in the Aquatic Centre. 30,000 elephants’ worth (official Locog measurement) of concrete to make the Olympic Park. 150,000 condoms given to the athletes (unsure how many elephants’ worth that is). 1,233km of fabric to make the volunteers’ uniforms. 25,000 loaves of bread for the Olympic Village. 10,000 toilets. I could go on, and if you ask me after I’ve been drinking, I will.

9. The presenters

Claire Balding has earned the plaudits she’s deserved for years. Intelligent, professional, geekishly well-informed yet never boring, partisan but not bombastic, she has been a wonder. Stitch that, AA Gill.

The Linekers, Johnsons and McEnroes are known quantities: like the best British teams we don’t have any stand-out stars, at least half our best performers have been imported from overseas and there’s a vague sense of a horrific calamity round the corner. We gave the world Colemanballs, remember.

The wild card in this mix is Ian Thorpe. Now I know opinion on this has been divided so I think it’s important to be clear where I stand: he’s a wonderful man with fantastic dress sense and he’s made me reconsider my sexuality. I’d like to see him become a regular on the BBC, starting on something like The One Show and eventually progressing to become Director General.

10. Medal rush

Where are we in the medals? Why aren’t we ahead of Kazakhstan yet? Why haven’t we won any medals? Ooh, there’s a medal! And there’s another medal! Oh no, we could have had a medal there too! Now where are we? Still behind South Korea? Want ALL the medals. Why? Don’t ask why! Medals! Must have the medals! What’s that? There’s still two weeks to go? We’re going to have you, China!

Odds and Ends is having a day off.


Team GB's Gemma Gibbons wins her judo semi-final. Photograph: Getty Images

Alan White's work has appeared in the Observer, Times, Private Eye, The National and the TLS. As John Heale, he is the author of One Blood: Inside Britain's Gang Culture.

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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.