"Jobs must be our number one focus"

Barack Obama's words ring true in the UK, too, as 2,250 fresh job losses are announced.

Employment -- or, more accurately, the lack of it -- was at the forefront of the international news agenda today when Barack Obama focused on joblessness in his first State of the Union address. As he said:

People are out of work. They are hurting. They need our help. And I want a jobs bill on my desk without delay. Jobs must be our number one focus in 2010.

The words ring true on this side of the Atlantic, too. Perhaps less widely reported than the Obama speech were two bleak pieces of news for British workers.

Shop Direct, a home shopping group, said that it is to close three call centres in Sunderland, Burnley and Newtown in Powys, at a cost of 1,500 jobs. Toyota also announced that it will axe up to 750 jobs from its main UK factory, the Burnaston plant near Derby. These are large-scale losses in communities where jobs were already in scarce supply.

And the picture for those communities particularly hard hit by the recession looks set to darken further. A recent report by the Institute for Public Policy Research explains:

It appears that those areas where there has been the largest increase in unemployment have above-average reliance on employment in manufacturing, in particular in those low value-added manufacturing industries that are most vulnerable to competition from low-cost companies in emerging economies elsewhere in the world. Unemployment was already high in these areas because companies were closing and cutting costs as a result of this competition. The recession has accelerated the process.

Other analysis shows that housing-led regeneration efforts in northern city-regions have been adversely affected by the recession and that some city-regions are likely to be badly hit when the government starts to cut public spending. For deprived communities in the northern city-regions, this could, therefore, represent a "triple whammy".

Figures earlier this week showed that the economy has returned to growth (just), and last week that unemployment did not rise as much as predicted (largely because more people are working part-time).

Amid these tentative signs of recovery, today's announcements were further evidence that the reverberations of the recession will continue to be felt for many months to come. Short-term help for these communities is vital, but even more important is long-term regeneration to fill the gaping hole left by the decline of UK manufacturing.

Both of the main political parties would do well to follow Obama's lead and place jobs at the centre of the agenda.


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Samira Shackle is a freelance journalist, who tweets @samirashackle. She was formerly a staff writer for the New Statesman.

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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.