Unemployment is down, but so are real wages

Mixed news in the ONS release.

Unemployment is down to 7.8 per cent from 7.9 per cent three months ago, according to the ONS:

Unemployment rate (aged 16+), seasonally adjusted

  • The employment rate for those aged from 16 to 64 for October to December 2012 was 71.5%, up 0.3 percentage points from July to September 2012. There were 29.73 million people in employment aged 16 and over, up 154,000 from July to September 2012.
  • The unemployment rate for October to December 2012 was 7.8% of the economically active population, down 0.1 percentage points from July to September 2012. There were 2.50 million unemployed people, down 14,000 from July to September 2012.
  • The inactivity rate for those aged from 16 to 64 for October to December 2012 was 22.3%, down 0.2 percentage points from July to September 2012. There were 8.98 million economically inactive people aged from 16 to 64, down 94,000 from July to September 2012.
  • Between October to December 2011 and October to December 2012, total pay (including bonuses) rose by 1.4% and regular pay (excluding bonuses) rose by 1.3%.

The rise in total employment takes it to a new record high, for the 140th time. It shouldn't be taken too seriously, because most of the increase is simple population growth, but you can be certain that that is a statistic which will be rolled out again soon.

Similarly, the release shows a further 65,000 private sector jobs in June 2012, meaning that you will continue to hear the soundbite "one million private sector jobs since the election". That too is not strictly true; as George points out, that million includes 196,000 jobs "reclassified" from the public sector. Take those out, and we still aren't at a million new jobs, even with the latest increase.

The earnings rise, of 1.4 per cent between October and December 2011 and the same period in 2012, is lower than it had been year-on-year last month, and remains stubbornly below inflation. The ONS confirms that "prices therefore increased by more than earnings", as they have done consistently since the recession. The gap is growing, too, as inflation looks likely to stay around 3 per cent despite falling wages.

One unambiguously good datapoint is that the trend to underemployment seems to be reversing. With 167,000 new full time jobs, the number of people working part time who don't want to be is falling, although the number of people working temporarily who don't want to rose by another percentage point on the quarter.

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

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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.