The Books Interview: Matthew Collins

The author of "Hate: My Life in the British Far Right" explains what drives people towards extremist groups like the BNP and the National Front.

You joined the National Front as a teenager in the late 1980s, but became disillusioned after taking part in a BNP attack on an anti-racist meeting in south London. Was that a moment of revelation, or part of a more gradual process?

I wasn't a stranger to violence. But that was the moment when I realised that actually, I wasn't fighting Red Action [anti-fascist militants] at a tube station, I was kicking little old ladies' heads in. With very young brains, it takes things a long while to sink in, but that was my starting point, the first time ever I just thought 'this is what it looks like'.


By that point your whole social life was structured around the NF...

From the age of about 15 I was a social pariah. I remember girls who I used to go to school with who were in love with Wham!. They had Wham!, George Michael, Take That - whatever - to talk about. And I had the National Front.


Had you found it hard to make friends at school?

No, I had no problem making friends. Good friends, nice people. But I thought they didn't understand me and I wanted to shock them. Also I was racist, beyond belief.


You suggest in your memoir that you picked up racist attitudes from your father, who left the family home when you were a young child.

He was an Irish immigrant who [himself] suffered discrimination and I just felt why should my dad suffer that. And why should I suffer that? Was I the first person in this country to say I'm white and I'm working class and I'm getting a raw deal because of it? Actually I'm not.


You grew up on a council estate in south London. Did your family they feel at all like you were sticking up for them – working-class whites – in any way?

No, there was no racism at home. My dad wasn't at home, you understand. My family were like, isn't life just hard enough without this? But the left never came knocking on my door, offering me an alternative.


Do you feel you were let down by the left?

My school was mixed, and middle-class teachers lectured us about anti-racism, but no-one ever affirmed it was ok to be where we were from. They were all going on about diversity, let's celebrate your neighbour who is different to you. Well, why not celebrate class? We're all going home to dads on the dole tomorrow.


Did you come to share the anti-Semitism of committed far-right activists?

Oh yeah. All that anger you're feeling, all that disappointment – that's the Jews doing that to you. Thank god! Thank god it's someone. It wasn't my hormones that were making me horny nine hours a day, it was the Jews doing it! Thank god for that.


Why were the BNP able to win votes in the 2000s?

New Labour thought that this country would work on the strength of faith communities. How do we connect with the Asians in Bradford? Through their mosques. How do we connect with the Sikh Asian community? Through the gurdwara. This country used to have an Asian youth movement, of all faiths, that were opposed to fascism, but the only way to get ahead under New Labour was to go to your temple or your church or whatever. White working-class people don't go to church. If you want to talk to the white working class who do you talk to? Paul Gascoine? Ebay? Who? No-one.

That's where [BNP leader] Nick Griffin came in: identity politics. He exploited the lack of leadership among the white working class.


Labour's current enthusiasm for “Englishness” seems like a roundabout way of addressing this oversight.

It's shit. You can print that. Listen, sexual equality in parliament, excellent. BME representation, fantastic. Quite rightly so. But all of these things would have been covered by actually having class equality in parliament. How about getting some working-class people in there?


You fled Britain for several years after exposing the neo-Nazi group Combat 18 in a 1993 TV documentary. Since your return, you've been an anti-fascist campaigner. Did you feel obliged to do that?

Not obliged, I wanted to do it. I hated them – the BNP, National Front, C18, EDL. Every time I hear their rubbish, I hate them.


And then you began writing a memoir. Had you kept a diary?

Well, because I was a mole [passing on information to the anti-fascist magazine Searchlight], there were notes. But it was a nightmare to write. I couldn't write, I didn't know how. It was just a jumbled mess. And it was really painful – some things I left out were unbearable.


The book has to tread a fine line between making people understand your motivations and chasing sympathy.

I've been as honest as I could ever be. I wouldn't do it again. For an autobiography you need two things, I was told by a colleague: you need two dead parents.

My mum's read the book, she's never commented on it. She just said: “well done”.


Hate: My Life in the British Far Right” is published in a new edition by Biteback (£8.99) on 12 July

Matthew Collins now works for Hope not Hate. Follow him on Twitter at @matthopenothate

Matthew Collins (centre) during his days as a member of the National Front. Photograph: Matthew Collins.

Daniel Trilling is the Editor of New Humanist magazine. He was formerly an Assistant Editor at 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.