“The Invisible Big Kahuna”

Andrew Zak Williams discusses this week’s New Statesman article in which prominent atheists told him

Richard Dawkins, Steven Weinberg, Sam Harris, AC Grayling, Polly Toynbee ... I expect that most writers who have tried to interview an equivalent stellar cast have found that their phone calls went unanswered and their emails were assigned to the Trash Box. But there's something about the perceived irrationality of belief in God which brings many atheists out fighting.

The religious sometimes wonder why anyone would choose not to believe in God. But, as Sam Harris told me, it is they who must shoulder the burden of proving their case. After all, "every Christian can confidently judge the God of Zoroaster to be a creature of fiction, without first scouring the universe for evidence of his absence."

For Harris all that one needs to banish false knowledge is to recognise an absence of evidence. And there is one hymn sheet from which even atheists are willing to sing: that headed "Lack of Evidence". For instance Richard Dawkins told me that he doesn't believe in leprechauns, pixies, werewolves or a whole range of gods, and for the same reason in every case: "there is not the tiniest shred of evidence for any of them, and the burden of proof rests with those who wish to believe."

Particle physicist Victor Stenger added that the God of Jews, Christians and Muslims supposedly plays such an important role in the universe that there should be evidence that he exists. But instead, "there is nothing in the realm of human knowledge that requires anything supernatural, anything beyond matter, to describe our observations."

But it's not just an absence of evidence upon which several atheists relied. Rather, there was perceived to be clear evidence which suggests that God is no more real than an imaginary friend. The clearest pointer seems to have been suffering. No wonder that Polly Toynbee told me that the only time that she is ever tempted, momentarily, to believe in God "is when I shake an angry fist at him for some monstrous suffering inflicted on the world for no reason whatsoever."

Some believers - and Christian philosophers - respond that suffering on earth actually enriches our lives. But as psychologist Richard Wiseman told me, if that were so, it would paint a picture of heaven being a rather miserable place. For other believers, it may be that God has a very good reason for allowing suffering but we can't understand what it is because we lack his divine knowledge. Biologist Jerry Coyne gives this argument short shrift: "If there is a god, the evidence points to one who is apathetic - or even a bit malicious."

Publisher and author Michael Shermer gave me an intriguing overview to the question of God's existence:

"In the last 10,000 years there have been roughly 10,000 religions and 1,000 different gods; what are the chances that one group of people discovered the One True God while everyone else believed in 9,999 false gods?"

When it comes to the God Debate, one can't ignore the commodity to which the religious cling to sustain their beliefs: faith. Several months ago, I carried out an equivalent investigation when I asked many prominent Christians to give me their reasons for belief. Several of them admitted that it must ultimately come down to whether you take it on faith; once you do, you'll experience God's love and you won't worry about having the answer to every intellectual argument.

For many believers, faith is all that matters, shielding them from arguments and evidence which they would rather not have to consider. These are the ones who oppose the Critical Thinking of science and prefer the Critical of Thinking inherent in their faith.

But if you rely on blind faith, what are the chances that you're going to see the light?

For others, their religion satisfies them intellectually. Yet when they can't reason their way past specific problems (say, suffering or biblical inconsistencies), their faith comes riding to the rescue. But faith is hardly a white horse: more like a white elephant, trumpeting a refusal to engage in debate as though it were something about which to be proud.

The atheists that I spoke to are the products of what happens to many intelligent people who aren't prepared to take important decisions purely on faith, and who won't try to believe simply to avoid familial or societal pressures. And as philosopher Daniel C. Dennett put it: "Why try anyway? There is no obligation to try to believe in God."

I could hardly end this piece without mentioning PZ Myers who evidently managed to dig out a metaphorical old joke book from his vast collection of weighty tomes about the God Debate:

"Religious beliefs are lazy jokes with bad punchlines. Why do you have to chop off the skin at the end of your penis? Because god says so. Why should you abstain from pork, or shrimp, or mixing meat and dairy, or your science classes? Because they might taint your relationship with your god. Why do you have to revere a bit of dry biscuit? Because it magically turns into a god when a priest mutters over it. Why do I have to be good? Because if you aren't, a god will set you on fire for all eternity. These are ridiculous propositions. The whole business of religion is clownshoes freakin' moonshine, hallowed by nothing but unthinking tradition, fear and superstitious behavior, and an establishment of con artists who have dedicated their lives to propping up a sense of self-importance by claiming to talk to an invisible big kahuna."

Amen to that.

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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.