Why have we allowed this unmitigated football gluttony?

The lesson of the "they've paid 62 quid a ticket" linesman: there will be no dissent in sport's plutocratic playground.

After witnessing Arsenal once again succumb to one of the Premier League's many sporting mafias, this time Man City - whose trademark is a uniquely tacky blend of conspicuous consumption with the sprinkling of a Middle Eastern business despot's Midas touch, and whose team resembles a crudely assembled professional footballer human centipede, stuck together with molten bullion and the harvested tears extracted from the children of less financially well endowed clubs, clubs unable to compete within a financial nuclear arms race that seeks to accumulate the best footballer human capital on the planet…but I digress - a symbolic media event occurred.

A post match video soon emerged of a blasphemous linesman, John Brooks, angering the plutocratic gatekeepers of football's money cult. His crime? Merely bearing witness to an empirical reality: that away fans had paid 62 quid for the privilege of the ball-centred spectacle, and that players would be better off spending time celebrating with them than with himself, a humble linesman.

This is hard to deny. A 2011 study by Dave Boyle for the High Pay Centre found that the cheapest ticket to watch Manchester United in 1989 cost £3.50 – with a Liverpool ticket costing £4 and Arsenal £5. Adjusted for inflation, those tickets would still have been under £10 in 2011. Instead they went up between 700 per cent and 1,025 per cent, or as one senior Premier League club executive morally pronounced, "we maximise every seat for the highest amount we can get". So there! Yet as soon as the media latched on to the linesman video, the evident implication even as they silently relayed the footage without commentary was clear; the linesman's words were an underhanded attack on money in football. The response to this "transgression" by football's financial demigods was depressingly predictable.

After seeing the video I tweeted:

"This linesman is a hero, although I can't help but think he might take a figurative bullet for this comment..."

And sure enough, the next day or so, with horrible inevitability, the Sun's headline read:

"62 pound lino axed - The Professional Game Match Officials Limited removed the assistant from the third round clash at the Hawthorns and replaced him..."

So first of all praise be to Funnell, I am Nostradamus reincarnate. But secondly, how marvellous that the lino John Brooks, a man actually employed to uphold fairness and competition in the game, is effectively sacked for merely alluding to a commonly recognised injustice - obscene ticket prices - within the un-mucked-out zoo that football has become. In the aftermath to the incident it was widely reported by Sky Sports, the Sun and the Guardian that John Brook had been stood down for his next fixture as “punishment” for his remarks. Yet in the days that followed the organisation Professional Game Match Officials (PGMO) claimed it wasn’t a “punishment” but was to remove him from the limelight because he's young. This excuse is dubious at best. Why is it necessary to remove a linesman from the limelight who has expressed a popular sentiment? Fear of abusive praise from cash strapped fans? Does a linesman who possesses a disinclination for high ticket prices pose a threat to impartiality in his adjudicating? More over, if this linesman can’t handle the limelight, then why is he employed by the Premier League to work in some of most toxic pressure cooker situations on the planet?

So naturally, who were the finders of this biggest scoop since the Pentagon Papers and Watergate? Of course, none other than Sky Sports, who dutifully picked up on the story in their vintage shit stirrer style, jabbing their cameras and microphones in to the private post match formalities like an unauthorised colonoscopy and discovering the offending utterances. After all, this is Sky's self-ordained role in football. They've funded the games inglorious decline in to financial obscenity, pumping it full of coinage like a foie gras goose with all the predictable undesirable consequences: arsehole egomaniacal footballers, terrible ostentatious hair styles, diving and of course, most fundamentally, the cleansing of historically working class communities which originally gave football a soul and sense of meaning. Such folk are now priced out of stadiums, or bankrupted for the pleasure, due to a combination of the Premiers League's documented End Game: to open football to the middle classes, coupled with exponential rises in players wages that demand increased ticket revenues. This trend was set in motion by the authorisation of unrelenting competition in the player market (no wage caps) and endless increases in TV rights payments, which allows players to plead "please sir, I want some more" year after year. The Premier League has essentially, insidiously, presided over football shape shifting in to an unregulated wild west to fill the troths of the rich and, as is custom, human solidarity and general decency are the first victims to fall. After all, the premier league themselves have stated that they are "an association of interests" (financial) who have allegiance to "shareholders". So thanks SKY and the Premier League - two thumbs up.

Yet this is completely consistent within our paradigm of "the market is inherently good" in which any squalid outcome, no matter how much it self evidently offends our better judgements as sentient beings, is not only correct, but holy and inevitable. The market has spoken, Allah, Rand, Thatcher, Reagan, Greenspan be praised! Now, as the grotesque spectacle unfolds in front of us all - with Harry Redknapp only this week describing football agents parasitic behaviour as reminiscent of "gang warfare" - Sky skip around gleefully like Willy Wonka directing his own big budget porno. Sky document the decadent carnage they've helped to unleash on a handheld camera, then audaciously sell a self created scandal involving a linesman acknowledging high ticket prices (therefore their enemy) like fish food to the dribbling (and once again paying) masses via their sister news outlets. Thus Sky is the ultimate self-sustaining profit shit machine and make no mistake, despite the economic apologists protestations, football is worse for it, just ask John Brooks.

My nostalgia for football's good old 'the grass was greener before Sky' aside, what does this case illustrate about sport and football today? For me it's simple; football's foundations are rotten from the saturation of the corrupting capital it's hooked to like a crack addict; it's incredibly undemocratic and its authorities are shockingly unaccountable and unrepresentative (The FA Council has only one female member for example). The whole purpose of the game now is unfettered subservience to profit making mechanisms and its self proclaimed right to endless growth by extracting from fans, one overpriced hotdog at a time. As such, dissent, even from an obscure linesman (who didn't strike me as a part time Socialist Worker seller) is unacceptable.  Yet his nonchalant ticket price reference was a symbolic affront to the financial monopolists and cronies that dictate and own the now ugly game. Too much is at stake for this kind of '62 quid a ticket' insubordination to stand and when real power structures in our society are challenged, however subtly  (in football or elsewhere) the consequences are swift and brutal. Because sympathetic sentiments lamenting the plundering of sports fans' wallets could feasibly lead to sustained protests, reform, revolution! Sparks have to be extinguished before they blow up the fireworks, and so the linesman got whacked JFK style; Sky's camera may as well have been a sniper rifle.

And yet none of this is at all surprising. A few weeks ago the respected American Sports hack, Dave Zirin, said on Democracy Now "sport is like a weather vane for the wider political and economic culture". He's right, and so sport serves as an early warning system for the rapid decay of our communities, who continue their unstoppable free fall in to the cold grasp of an unholy alliance between profiteers and their unaccountable apparatchiks they both breed and depend upon. We need to reclaim football and subject it to a little idea called 'direct democracy' (a little bit like the Germans) and stop privatised tyrannies holding the reigns to something that should belong to us all and rightly or not elicits so much emotion.

Even today as I finish this article I notice Britain's most radical revolutionary body, the UK Parliament, has released a document calling for measures in the spirit of what I’ve described. When parliament acknowledges there's a problem with something, you know it be must rotten and its reform probably should have occurred decades ago; the UK Parliament, the eternal sea anchor to any meaningful progressive change in anything.

But for allowing this unmitigated football gluttony we must look at ourselves. As an executive of Supporters Direct put it: "Clubs have continued to exploit this reservoir of goodwill, but we have to ask ourselves whether we're prepared to continue to allow that to happen." If we don't take ownership of our democracy in sport, the economy, or civil society, we tend to become owned by others. So we must ask ourselves, why do we collectively express false outrage at drug doping cheats, and yet wilfully turn a blind eye to the greatest sports enhancing drug of all, money? John Brooks speaks for us all and he should be defended as such.

Editor's note: this article originally included a quote from a former executive of Supporters Direct; it has been updated to include a more current perspective.

A young Manchester City supporter sits among the flags at The Etihad stadium in Manchester. Photograph: Getty Images
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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.