Obama wins the Nobel Peace Prize. Is this a joke?

I am still rubbing my eyes in disbelief - UPDATED

So what are the odds? The week I write a cover story for the New Statesman, arguing that President Obama has turned into "Barack W Bush" and is emulating his predecessor's policies on human rights, civil liberties, Afghanistan and a host of other issues, the bloody Norwegians go and give him a Nobel Peace Prize. You couldn't make it up.

Over the past couple of years, the cult of Obama has elevated him to a godlike, saint-like, superhuman position in the global political landscape. He is a celebrity, he is an icon, he is a political phenomenon. And just when you thought his international sheen was rubbing off, with his failure to win the 2016 Olympics for his adopted city of Chicago, he goes and wins the world's most prestigious civil liberties award. Obamaniacs, rejoice!

So why has he got the prize? Here is the flaw in the Norwegians' groupthink, as reported by the BBC:

Asked why the prize had been awarded to Mr Obama less than a year after he took office, Nobel committee head Thorbjørn Jagland said: "It was because we would like to support what he is trying to achieve".

"It is a clear signal that we want to advocate the same as he has done," he said.

So the Nobel guys are giving him an award for peace before he has actually achieved peace -- specifically, they say, in the field of global nuclear disarmament and the Obama resolution at the UN last month -- which, of course, they have a bad track record of doing. Remember when they awarded the Nobel Peace Prize to Yasser Arafat, Yitzhak Rabin and Shimon Peres in 1994? Perhaps the news hasn't reached Oslo yet but, 15 years on, the Holy Land remains mired in bloodshed, hatred and conflict, with no Palestinian state in sight.

And then, of course, there's Henry Kissinger. His receipt of the prize in 1973, in the wake of his war crimes against Vietnam, Laos and Cambodia, prompted Tom Lehrer to remark: "Political satire became obsolete when Henry Kissinger was awarded the Nobel Prize."

I'm not sure what the satirists will say this time round, but I eagerly await Jon Stewart's take on The Daily Show on More 4 next week . . .

UPDATE I (10 December): So Obama has accepted his prize this afternoon, in Oslo. Since I last blogged on Barack and the Nobel [above], the US president has decided to heed the advice of his generals and send 30,000 extra troops to fight and die in the valleys and mountains of the Hindu Kush. The Times headline says it all: "Barack Obama accepts Nobel Peace Prize with stern defence of war". How absurd. And depressing. The 2009 Nobel Peace Prize winner had to start his speech by acknowledging the controversy over the choice of a wartime president for the prize. When Henry Kissinger was awarded the prize in 1973, Tom Lehrer remarked: "It was at that moment that satire died...There was nothing more to say after that." Touché.

UPDATE II (10 December): Simon Reid-Henry has blogged from Oslo for the NS here.

Mehdi Hasan is a contributing writer for the New Statesman and the co-author of Ed: The Milibands and the Making of a Labour Leader. He was the New Statesman's senior editor (politics) from 2009-12.

Show Hide image

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.