What we can learn from Norway’s feminist success

Why professional mothers can have it all.

When the speeding fine for 6,500 kroner (£650) dropped on to the doormat last Thursday, I did not immediately reflect on Stavanger's enviable record on road safety.

But as I discussed the fine with Norwegian friends and the explosion of incredulity I had expected at the harshness of the punishment never materialised, I took pause to reflect on the question they were all asking instead: "Why on earth do you imagine it was OK to break the speed limit in the first place?"

That conundrum is at the root of Norway's ability to achieve socially desirable outcomes, and its determination to pursue social-democratic goals – not least, gender equality.

Norwegians are proud of their country and its reputation. Most would agree that it is desirable to have a gender balance in business and politics; the idea of losing vast numbers of talented women from the workforce just because they become pregnant is anathema. But that social cohesion is underpinned by the government's willingness to legislate robustly against those who do not instinctively share the majority's goals.

The result is that the country has just topped Save the Children's Mother's Index for the second year in a row. The UK failed to beat Norway on any one of the 11 criteria that comprise the index. But it is the factors that make up female economic, and political, status which prove particularly instructive about why it is so much easier to be a professional and a mother in Norway.

Quotable quotas

Tellingly, Norway's women earn, on average, 77 per cent as much as men (the highest ratio in the world), and represent 40 per cent of the legislature. In both cases, the government, or individual political parties, have intervened with quotas to help guarantee these figures.

Britain has toyed with the idea of imposing quotas for women in business and parliament – most recently in February, when Mervyn Davies, in his report for the government, rejected boardroom quotas in favour of voluntary targets. A similar approach was attempted in Norway at the end of the 20th century. But, by 2003, when it had become clear that listed firms were failing to promote enough women, the government legislated instead.

The quota is 40 per cent. Boardrooms are now 42 per cent female. Mimi Berdal, a self-confessed beneficiary of the legislation, and perhaps Norway's most prominent female businesswoman, with a CV boasting 90 board directorships, believes that within five years the quota will have become unnecessary. It is a classic example of top-down policy shaping social mores.

The latest example is a tweaking of the maternity and paternity laws which will increase entitlement, while also forcing fathers to take on more of the childrearing obligations. At the moment, the government covers 100 per cent of salary for 46 weeks, or 80 per cent for 56 weeks. Of that time, nine weeks are reserved for mothers and ten weeks for the father, with the rest of the time transferable between partners.

Carrot? Or stick?

The idea, says Kirsti Bergstø, the 31-year-old deputy minister for children, equality and social inclusion is to ensure that fathers have the option of contributing more to childrearing. As of 1 July, the government will intervene again to ensure they do: an extra week will be made available to parents. But the non-transferable paternity element will increase from ten to 12 weeks.

"They either use it or lose it," says Bergstø.

It is legitimate to argue that it is easier to effect such carrot-and-stick politics in an ethnically homogeneous country of just five million people than it would be in a complex polity more than ten times the size.

Yet Bergstø argues that other countries could learn from Norway's preparedness to legislate in pursuit of social democratic goals. Even a challenge as difficult as integrating asylum-seekers and encouraging female refugees into the Norwegian labour market is easily tackled with Norwegian-style compassionate-but-tough legislation, she says.

It starts with the obligations for new entrants to the country to take language classes. "Learning Norwegian is important for the women for integration," says Bergstø. "If they are going to join the labour market it is essential."

The corollary is that their children get free access to one of Norway's first-class state nurseries. Norwegian parents also have access to these nurseries, so professional mothers can avoid the expense of UK-style childcare.

And while those from Stavanger drive their children there in the morning, they might also reflect that there has been not a single death in an accident on the roads since 2008.

Mark Lewis is a freelance journalist based in Norway.

Show Hide image

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.