US markets close as Frankenstein's Monstorm heads to NYC

Hurricane Sandy marks first full trading-day lost to weather in over 25 years.

Hurricane Sandy, which is expected to hit in New York City in just under 15 hours, is likely to throw everything we expected about the upcoming week off-course.

For readers of this blog, the biggest immediate effect is that all equity trading is cancelled for today, and likely for tomorrow as well. The shutdown, announced by the Securities and Exchange Commission (SEC), follows the NYSE's decision, announced yesterday, to close floor trading for the storm.

The NYSE had hoped to leave digital markets open, but the SEC's decision trumps that and also brings down a further dozen exchanges, including the other major NYC exchange, NASDAQ, but also ones based further afield, all the way to BATS in Kansas.

While the NYSE decision was based largely on the physical safety of traders on the floor, the SEC's mandate seems more built around a desire for fairness and stability. Given the storm will likely shut down most of the east coast for at least part of today, large numbers of traders would be unable to log-on wherever they are. The COO of NYSE confirmed to Bloomberg that:

Operating the market that way didn’t seem to serve the public interest. Why do this? To prove we can? That didn’t seem to make a lot of sense.”

The last time the NYSE closed for a full day due to weather was because of Hurricane Gloria in 1985, which says a lot about how bad Sandy is expected to be.

The Atlantic's Alexis Madrigal has written about Why Sandy Has Meteorologists Scared in 4 Images (including one animated GIF, obviously); this is Frankenstein's Monstorm, with a massive confluence of adverse factors. Firstly, and most importantly, it's really, really big. The winds are faster, the affected area is larger, and it will likely stick around for a lot longer once it makes landfall.

Beyond that, though, there's the fact that the eye of the storm will be on central New Jersey, meaning that New York City – the most densely populated area in the US – will be getting full-strength hurricane winds; the fact that the same cold winds that will cause it to "pinwheel" on to land will also strengthen it just before it does, hitting coastal areas even harder; and the problem that the "sheltered" New York City coastline will instead funnel the storm surge directly towards populated areas, meaning that for the coast between Queens and the Bronx especially, there is more chance than not that the surge will be greater than six feet.

The effect of the storm is expected to be worse than last summer's Hurricane Irene, which, despite being thought of as a damp squib (pun not intended), still caused nearly $16bn of damage, mostly from flooding. But the comparatively underwhelming nature of Irene has meant that a number of people aren't taking Sandy as seriously as they perhaps ought to, with evacuations (Mayor Bloomberg ordered the evacuation of around 375,000 people in the worst-hit parts of the city) reportedly being largely ignored.

As well as the physical and economic damage of the storm, there is one other big effect that Sandy could have: it may mess up the US presidential election. No matter how well-run the response is, there are likely to be some areas still lacking power by the 6th. Contingency plans will be in effect, but if there is any uniformity to the areas affect – if, say, rural counties are more likely to be cut-off than urban – then there is the chance that some swings could be down to the storm.

The chance of it affecting the outcome is slim but the possibility is there. Who knows how the parties, and the public, would take it?

Hurricane Sandy making landfall. Image: WeatherBELL

Alex Hern is a technology reporter for the Guardian. He was formerly staff writer at the New Statesman. You should follow Alex on Twitter.

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.