Is Alan Johnson the right man for the job of shadow chancellor?

The coalition, and the cuts consensus, have to be challenged, not indulged.

I was on Radio 4's World Tonight and BBC2's Newsnight yesterday discussing the appointment of the former home secretary Alan Johnson as the new shadow chancellor. I don't think any of us saw that coming -- in fact, I don't think Alan Johnson saw it coming! When I spoke to him at the Labour party conference in Manchester, he seemed keen to shadow the Deputy Prime Minister, Nick Clegg, and hold the coalition government's constitutional and electoral reform agenda to account. He has never served in the Treasury before and is not an expert on the economy.

Nick Robinson tells the following anecdote on his blog:

I once told Alan Johnson that some in the cabinet were arguing that he should replace Alastair Darling as chancellor. His communication skills, wry good humour and common sense were regarded by many as making him the perfect foil to Gordon Brown and more likely to cheer up the nation up than Darling himself.

I well recall his reaction – he looked like he'd swallowed a wasp. Unlike the other obvious candidate back then – Ed Balls – he had no economic training and was not desperate to do the job.

Regular readers of this blog will know that I was hoping Ed Balls would be made shadow chancellor. I believe he was the best-qualified person for the job – and he deserved it, too, having delivered a scathing critique of Osbornomics at Bloomberg in August, and having harried and humiliated Michael Gove at the despatch box again and again over the summer. I also think it is odd that the two most formidable economists on the Labour front bench should be confined to home affairs (Balls) and foreign affairs (Yvette Cooper), where their impressive grasp of macroconomics will not be needed and where Cooper, in particular, might be wasted.

But what do I know? I'm just a hack. Ed Miliband is the leader and I'm guessing he has a plan. Plus, Johnson is an experienced and able politician, a great communicator with a fantastic sense of humour, as well as a fascinating backstory that contrasts with George Osborne's privileged upbringing.

Now, there has been much debate over the past 24 hours as to whether the Johnson appointment and the decision to deny Balls the post he so craved is a sign of strength or weakness on the part of Miliband. I was on BBC Radio Wales with the former Blair adviser John McTernan this morning: McTernan thinks the new Labour leader showed "strength" in giving Balls the home affairs, rather than the Treasury, brief. Indeed, the narrative emerging from the Blairites is "Ed Mili faced down Ed Balls".

But there is another view that says that Miliband the Younger capitulated to the Blairites and the right-wing press, who like to refer to him as "Red Ed" and to Ed Balls as a "deficit denier", by going with the safe option of Alan Johnson, a supporter of the candidate (Mili-D) who was backed by more Labour MPs than Mili-E was. Kevin Maguire, for example, says:

Ed Miliband's fluffed his first big call. Appointing Alan Johnson as Labour shadow chancellor is to stick with the Alistair Darling line on halving the deficit when Labour lost the election. The bold move was to put Ed Balls or Yvette Cooper in the job and shift the Labour position to slower cuts to keep the economy recovering.

I'm not sure where I stand on this. Perhaps, as I noted in a CIF piece yesterday, the personnel issue is irrelevant and we should all wait to see what Labour's policy response is to George Osborne's Spending Review on 20 October.

Ed Miliband has repeatedly referred to the Alistair Darling plan for deficit reduction (that is to say, halving the deficit over four years) as a "starting point" and told Channel 4 News the day after his conference speech that he'd like to do more with taxation, and less with spending cuts, than Darling had allowed for. Johnson's appointment might be part of a deliberate strategy by Miliband to take charge of the party's economic and, specifically, fiscal policy rather than outsource it to the shadow chancellor/chancellor (as Tony Blair did in the Nineties and Noughties).

It is worth remembering that Miliband taught economics at Harvard during his sabbatical in 2003-2004 and chaired the Treasury's Council of Economic Advisers between 2004 and 2005. Unlike Blair, and perhaps Johnson, he understands economics.

Meanwhile, the coalition's fiscal and welfare policies are in disarray – at the Conservative conference, a cut in child benefit for higher-rate taxpayers to save £1bn was followed by a transferable tax allowance for married couples which will cost £500m! In today's Daily Telegraph, Chris Huhne, the Lib Dem Energy Secretary, says that the proposed spending cuts are not "lashed to the mast" and that it "may be appropriate" to alter the plans in the event of a serious economic downturn. Like Ken Clarke, the Tory Justice Secretary, Huhne also admits that a double-dip recession is a possibility.

So now is not the time for Ed Miliband to go wobbly on deficit reduction. The opposition has to make clear that deep and immediate cuts will make the deficit get bigger, not smaller. And Alan Johnson needs to understand the Keynesian argument, and the "moral" argument – as his preferred leadership candidate, David Miliband, put it during the Compass hustings in June – for running deficits in downturns.

Here are some people Johnson should perhaps try to speak to for advice this week, ahead of the SR on 20 October:

* Paul Krugman

* David Blanchflower

* Anne Pettifor

* Martin Wolf

* Ed Balls :-)

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.

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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.