The Lewisham protests were just the beginning

The violent scenes in south-east London last night could become the norm as the cuts begin to bite.


Credit: Jess Edwards and Socialist Worker.

Lewisham Town Hall is not often the scene of violent uprisings, but last night the usually sleepy municipal centre was stormed by a crowd of placard-waving protesters intent on preventing the Labour council from passing millions of pounds worth of cuts. Police moved quickly to cordon off the area and a dozen police vans were soon on the scene; so were mounted officers. Scuffles broke out as the crowd forced their way into the building and at one point a flare was even let off from within.

And yet, after the police finally managed to regain control, the cuts were voted through, with both the local Conservative and the Liberal Democrat groups refusing to support them. For two parties so apparently committed to the austerity agenda, it was a fantastic piece of political opportunism, but one that will no doubt be repeated in town halls of all colours right across the country.

By giving local authorities new powers over spending but far less money to spend, the government hopes to localise the pain while decentralising the blame. So, in the same way as Cameron and the Conservatives have used Nick Clegg and the Liberal Democrats as a human riot shield, so, too, local authorities will feel the brunt of public outrage still to come.

But if the violent scenes outside Lewisham Town Hall are repeated up and down the country, can David Cameron really hope to deflect that public anger for long? So far his strategy appears to be working, with many still willing to blame the Labour government, the banks and global recession for the cuts. Labour is also struggling to benefit from public anger, with its opponents quick to point out that Labour, too, would have implemented vast cuts to public spending had it been re-elected.

These conflicts can be seen most clearly in London, where Ken Livingstone and Boris Johnson are competing to be seen as the foremost defender of the capital's budget. Boris has posed as an outspoken critic of government action while claiming to have won a far better deal for London than was due. In reality, City Hall's budget settlement was broadly in line with the rest of the country, with the mayor's development agency and a wide range of his other flagship programmes now facing the axe.

Ken Livingstone has also sought to capitalise on the cuts, though even he could face difficulties.

After the cordon was lifted last night, I wandered up to the police line outside Lewisham Town Hall. Right next to the pile of discarded placards was a noticeboard listing candidates in a recent by-election.

The election was closely fought between Labour and the Green Party, Livingstone stepping in to walk the streets for Labour's candidate. In the event, Labour won handily and last night went on to implement the very cuts that Livingstone had previously pledged to fight so strongly against. It is these kinds of conflicts that look set to shape the direction of British politics in years to come, all sides desperately trying to load a bigger share of the blame on to their opponents than their opponents manage to load on to them.

It remains to be seen who will succeed, but if the protests we saw in Lewisham last night become the norm, then it could take more than political gamesmanship for all sides to shield themselves from public anger.

Adam Bienkov is a blogger and journalist covering London politics and the mayoralty.

Adam Bienkov is a blogger and journalist covering London politics and the Mayoralty. He blogs mostly at

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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.