Why you won’t hear about violence against women in this week’s debate

Half of women experience violence or stalking in their lifetime. But our leaders still won't debate

Women are more likely to be sexually assaulted than get breast cancer, but you can bet that Brown, Clegg and Cameron won't talk about violence against women (VAW) in the final leaders' debate this Thursday.

Staggeringly, half of women in England and Wales experience sexual assault, domestic violence or stalking in their lifetime. Based on government figures, it is estimated to cost over £40 billion a year (including the cost to public services, women's lost economic output and the human cost). Think of most policy areas and there will be a link - health, poverty, inequality, crime, the economy and so it goes on. Despite this, the issue wasn't deemed worthy of discussion in either of the first two leadership debates.

Whilst televised debates encourage soundbites, the manifestos have space to flesh out policies in more detail. So it is astonishing that the Lib Dem manifesto makes no reference to the issue, such as the funding crisis facing rape crisis centres or the need to challenge attitudes that condone violence. Clegg's star may be rising but this is a shocking omission from the party that claims to embody "change".

In their manifesto, the Conservatives promise funding for new and existing Rape Crisis Centres and to include the issue of consent in sex education. But despite having published their own strategy calling for a cross-government approach, their manifesto shows little evidence of this. For instance, how will their Big Society idea of shifting power from the centre to local areas end patchy service provision (as we have charted in our joint Map of Gaps campaign with the Equality and Human Rights Commission? What impact will tougher immigration policies have on ethnic minority women experiencing violence? Clearly, women who leave abusive husbands were not high on the agenda when the marriage tax giveaway was dreamt up.

In its manifesto Labour's recognition of the need to tackle the causes of VAW and raise awareness, not just improve the criminal justice response, is welcome. However it is disappointing that VAW is not reflected across different policy areas or linked to equality and human rights. This is despite the recent publication of a cross-government strategy, after years of campaigning by the End Violence Against Women coalition. There is no reference to the plight of women trafficked into the UK for sexual exploitation, and whilst there is a commitment to women-only provision there is no plan to end the funding crisis facing women's services.

Both Labour and Conservative manifestos give a nod to restricting sexualised products marketed at children. Indeed, during the furore surrounding Primark's glittery padded bikini bras for seven year old girls, both Cameron and Brown spoke out in support of Mumsnet's Let Girls Be Girls campaign (although, as the New Statesman has pointed out, Cameron has been strangely silent about Next selling padded bras for girls, noting that its chief executive is a major Tory backer). In the Nationalists and smaller party manifestos, only Plaid Cymru and the Greens support violence against women strategies.

Dubbed the 'Mumsnet election', the parties are keenly aware that women's votes are critical - indeed, the Lib Dems' current surge in the polls is mostly down to women. And yet the absence of women (aside from the leaders' wives) in the campaign has been widely commented on. The lack of debate about women's equality is even starker. When prompted at women's sector events women politicians have fleshed out their policies. All well and good but with three white male leaders slugging it out in tv debates hosted by three white men will violence against women get the airing it deserves? Don't hold your breath.


Holly Dustin is manager of the End Violence Against Women coalition.

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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.