Why the odds have shifted against electoral reform

Four reasons why the No campaign is now likely to win next year’s referendum.

Vernon Bogdanor, a frequent contributor to the NS, delivers a paean of praise to the Alternative Vote in today's Financial Times. AV, he writes, "opens the door to a new political world in which coalitions become the norm, and single-party majority government a distant memory".

One should qualify Bogdanor's excitement by noting that, in some circumstances, AV can produce even more distorted outcomes than first-past-the-post. For instance, the Jenkins commission found that if the 1997 election had been held under AV, Labour's majority would have ballooned from 179 to 245, with the Tories reduced to a rump of 96 seats. So introducing AV would by no means consign single-party government to the dustbin of history.

As things stand, however, it looks like we won't get a chance to find out. The odds have shifted significantly against electoral reform in recent weeks. Here are four reasons why.

1. Public support for AV has plummeted

Three months ago, a ComRes poll showed that AV enjoyed a healthy, 27-point lead over first-past-the-post, but the most recent YouGov poll suggests this has shrivelled to just 5 points. The referendum may not be until May (or September, if the Tory rebels and Labour succeed in delaying it), but this is not encouraging for the Yes campaign.

In addition, the psephologist Rob Hayward recently told the FT's Jim Pickard that currently half of Conservative voters polled by YouGov are in favour of AV. That is likely to change once leading Tory politicians swing behind FPTP.

2. Labour's decision to oppose the Electoral Reform Bill

Labour's decision to oppose the Electoral Reform Bill over the coalition's proposed boundary changes caught the Lib Dems off guard. The bill is still likely to squeak through, but the row over Cameron's alleged gerrymandering has, as David Miliband put it recently, "poisoned" the debate.

If Labour does campaign in favour of AV (and some in the shadow cabinet are agnostic on the question) it is likely to be only half-heartedly. As well as those in the party who have never supported electoral reform (the Prescott tendency), a significant number of MPs would now like to see AV rejected, in the hope that the coalition will fall.

3. Voters are disillusioned with coalition government

Today's Independent/ComRes poll found that only 36 per cent agree with the statement "Britain is better off with a coalition government than it would have been if either the Conservatives or Labour had won the election outright", compared to 45 per cent two months ago.

As I've explained above, AV doesn't always lead to coalition governments but, based on current voting intentions and second preferences, it would. We can expect this to be a key weapon in the No camp's arsenal.

4. The No campaign is better organised and better funded

The No campaign already has an experienced team in place, including the Australian pollster Lynton Crosby (who masterminded Boris Johnson's election), two Tory MPs, Bernard Jenkin and George Eustice, as well as James Frayne, former campaign director of the Taxpayers' Alliance, who led the successful referendum campaign against a north-east regional assembly.

As today's Financial Times notes, the No camp can also count on backing from wealthy City donors fearful that AV would lead to a succession of hung parliaments. The Yes camp has neither the organisational nor the financial might to compete with this.

George Eaton is political editor of 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.