Mehdi Hasan: Dan Hodges. The Truth. And me.

I am tired of the online conspiracy theories and false accusations. This is my last comment on the subject.

I like a good conspiracy theory as much as the next man (did man really land on the moon? I mean, really?) but I'm sorry to have to tell you that Dan Hodges wasn't "axed", "pushed" or "forced out" from the New Statesman. By me -- or anyone else.

I'm repeatedly asked if I had him "sacked". I didn't even know he'd "quit". I'm bemused by the number of people who have bought into this nonsense. I mean, come on: this is Dan Hodges we're talking about here. This is the guy who gleefully admitted to being the brains behind an anti-AV poster that suggested electoral reform might lead to the deaths of newborn babies; who hubristically announced, four days ahead of the result of the Labour leadership election, that "David Miliband has won"; who grandly declared that "the next general secretary of the Labour Party is set to be Chris Lennie" less than a month before Lennie lost.

Lest we forget, here is a man who describes himself as a "neo-Blairite" and as the "Blairite cuckoo in the Miliband nest" but who has also written:

As no one in the Labour Party appears willing to admit their part in the plot to bring down Tony Blair, I'll cough. I was up to my neck in it.

I briefed and span. Placed stories. Sowed seeds of confusion and dissent.

(He "briefed and span" [sic] and "sowed seeds of confusion and dissent". Hmm, little has changed, I see...)

Let me deal with some of the conspiratorial claims that have been made, starting with the David Ray Griffin of "Hodgesgate", Guido Fawkes. His ludicrous blog post, published on 10 October and based on a briefing from (who else?) Dan himself, and written without the aid of New-Yorker-style fact checkers, claimed:

In the Thursday edition published during party conference Dan Hodges' article about the booing of Blair was spiked and didn't appear in the magazine

But Dan didn't have an article scheduled to run in the post-Labour-conference issue of the NS. Why? Because Dan was a guest blogger.

Guido continued:

Hodges was told he would be rested from the magazine for a few months

Um, er, how can I put this delicately for the conspiratorially-minded? Dan Hodges did not write for the magazine. He was a freelance, guest blogger -- one of several -- who contributed a sum total of four freelance articles to the magazine over the course of his 11-month-relationship with the NS. How do you "rest" someone from something they didn't do?

Other (non-Tory) allies of Dan included (surprise surprise!) disgruntled ex-employees of the NS such as Nick Cohen and Martin Bright. You couldn't make this stuff up.

But back to Dan Hodges. A few weeks ago, a shadow cabinet minister who has known him for several years turned to me and said:

When the time is right, Dan will screw you over. He is using you.

Who says the current Labour shadow cabinet doesn't contain visionaries? The anonymous (see what I did there, Dan?) shadow minister's prophesy turned out to be true.

Hodges, having published four blog posts in a row slamming Ed Miliband (and in the headlines, too!), decided to "flounce" off from the NS earlier this month. Asked by the New Statesman's deputy editor to perhaps consider writing the occasional blog post on an issue other than his monomaniacal obsession with the Labour leader -- a rather common and reasonable request made by commissioning editors across the land to their reporters, columnists and bloggers -- he claimed censorship, invented a conspiracy theory involving Ed Miliband himself (woo-hoo!) and migrated to that bastion of free speech, the Telegraph blogs, where he will now perform the role of the right's useful idiot and join Damian "Indulgence of Islam is harming society" Thompson.

Just to conclude, it is worth noting that Dan himself has backtracked on his original Guido-aided spin: asked by Paul Waugh on Twitter whether he was "really being axed by the @NewStatesman", he replied:

Is so

Yet, in his colour-filled blog post for the Telegraph, he wrote:

Unless he heard from me, he should take it I'd resigned.

And resign I did.

Yes, he resigned. Of his own volition. Without being pushed by Ed Miliband. Or Jon Bernstein. Or me.

It's boring, I know. But it's also true.

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.