The case against being "anti-politics"

A system with fewer people voting is often in the interests of the politicians you’re supposed to ha

Politics is not a dirty word. But sometimes it feels like politicians are competing over who can spurn their vocation most. "We’re corrupt! Elite! Insular!" they shout. The concept of the “Westminster bubble” must be the most popular phrase in Portcullis. Anti-politics is the only platform we dare to stand on. We’ve all done it. But it’s too easy. And it sounds false coming from those who remain in the system precisely because they still believe in it. On polling day, we realise that pandering to disillusionment is in danger of justifying voter apathy. It’s time for a defence of politics.

Blanket attacks on the system are patronising. They let people get away with an abdication of responsibility. The underlying premise seems to be that politics is completely divorced from the actions of ordinary people, and that this problem is purely for politicians to fix. The voter, in essence, is a kind of consumer that is being let down by "Government Inc." If they could just provide a better service, everything would be okay. But the truth is that if politics isn’t working, people have a duty to intervene. Yes, our politicians have let us down, but so have those who don’t do anything about it. At the last election, some two thirds of people didn’t show up to vote. Without trying to change the system in other ways, that's complicity in wrongdoing. They’re free-riding on citizens that do bother. They deserve a bit less pity and a bit more anger.

None of this is to excuse politicians from keeping their side of the bargain. Anyone who knows my work knows I am fully capable of mounting my high horse when there’s a problem. Expenses, Murdoch, cash for influence: politicians have let us down. The voting system doesn’t answer our preferences or offer meaningful power between elections. The City rules. But people have a responsibility too. If you don’t like the way a party is going, join it and change it. If you don’t feel represented by anyone, stand independent or encourage someone else to. If you don’t like mainstream politics, try changing it in other ways. Yes there are obstacles here too, but how many people who criticise have actually tried?

“Politicians should challenge people to be better as well as themselves”, says Arnie Graf, co-director of the Industrial Areas Foundation which promotes community organising in the US, who has been working closely with Ed Miliband, “One of the reasons for the breakdown of politics is that people don’t do enough to make sure they’re given what they’re promised, and politicians don’t do enough to challenge citizens. We treat them like customers in focus groups rather than people to work with.”

I first fell in love with politics because it offered power and participation. It meant fighting a campaign in our school for healthier canteen meals and getting our photo in the local press. It meant collaring Ken Livingstone on the tube and asking him why we hadn’t got that skate park. It meant daring to explain why you ate Fairtrade chocolate. It meant arguments. It meant boring meetings. It meant influence. It wasn’t them; it was us, and we got more done because of it. Yes, some people are brought up with more political education than others, but at some point people have to take responsibility.

If my impression of politics is a little romantic, I’m glad I’ve managed to hold on to that. But more sceptical voters may be convinced by a more cynical argument. A system with fewer people voting is often in the interests of the politicians you’re supposed to hate. With such a small electoral base, parties can spot the swing voters and treat winning like a science. Elections become predictable, calculated and easier to stitch up. A large, unwieldy and active electorate is harder to control. So don’t think about skipping the polls today. If you keep your half of the bargain, politicians are more likely to keep theirs.

Rowenna Davis is Labour PPC for Southampton Itchen and a councillor for Peckham

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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.