Copies of the Leveson report. Photo: Getty Images
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Laurie Penny on phone hacking: the British press must not be allowed to be unchanged by the hacking scandal

In the aftermath of the Leveson report, journalism has changed forever - but it's not because of the inquiry.

The British press is about to change for ever but that’s no thanks to the Leveson report. After another round of back-room, minute-less meetings between ministers and managing editors, it has become clear that the bland tome of equivocation and suggestion that was the ultimate result of a media and parliamentary corruption scandal that nearly brought down the UK government is going to make almost no difference. An alternative draft bill has been published by Hacked Off, a pressure group representing “victims of press abuse”. The term describes a group distinct from the vast majority of us who have to live in a country where “shirker” has become a political cLaurieategory.

Hacked Off’s report is hardly a radical document. It merely suggests that the recommendations of the Leveson inquiry be implemented in full, rather than politely ignored. In 2013, the Murdoch media empire continues to profit from the muckraking, misogyny and celebrity-gossip dross that it uses to buy and sell electoral influence to the highest bidder; Jeremy Hunt is still in the cabinet and David Cameron remains Prime Minister. Meanwhile, Jonnie Marbles went to jail for throwing a plate of shaving foam at an aged media baron and I’m beginning to suspect that he might have had the right idea all along. This was our Watergate and the political establishment has been allowed to wipe its hands on its trousers and walk away.

Revolving door

That’s how privilege works in Britain – privilege in the true sense of the word, meaning “private law”. The poor get exemplary sentences and riot police smash their skulls in Parliament Square for daring to question austerity; the rich get inquiries and polite suggestions that need not be heeded. One law for them, another for the rest of us. The Leveson report focuses its attention on the failures of the press but the problem was never that the press had too much power. The problem was that it had the wrong sort of power, concentrated in too few hands.

The problem wasn’t just phone-hacking, nor simply a plague of shark-eyed, underfed tabloid hacks going through celebrities’ bins for gossip and half-eaten sandwiches. Phonehacking simply provided a focus for challen - ging a media corporatocracy that has forgotten that the first rule of news journalism is to speak truth to power, not to offer power a free pony ride and a weekend in the country.

The problem was and remains a political class that sees itself as the patron and occasional confidant of a media industry whose services can be bought with cash and favours; the problem was and remains the revolving door of access and privilege between the press, the police and the upper echelons of government. Corruption, in other words. Corruption in plain sight, circumventing the mechanisms of democracy, of law and order and of journalism and thereby making a mockery of all three. The political class has decided to solve this problem by allowing the Prime Minister – a man whose integrity and career are at the centre of the scandal – to decide unilaterally what changes to the law should be made, if any. If anyone else sees a problem with this, please shout now.

Cameron has said that he won’t implement any part of Lord Justice Leveson’s recommendations that he deems “bonkers”. He has explicitly rejected a suggestion that the report deems “essential”: that of writing press regulation into law, or “statutory underpinning”. It is bonkers, of course – you’d have to be a fruit loop or a government shill to believe that placing more restrictions on the press will do anything to cure a political culture already poisoned by overfamiliarity between the media and the mechanisms of state. It’s bonkers, but Cameron – Rebekah Brooks’s riding partner and Andy Coulson’s former boss – is the last person who should get to say so.

Good journalism is as necessary as ever. In the current crises of capitalism and civil society, we need more press freedom, not less. We need journalists, both professionals and citizen amateurs, to inform, to analyse and to explain; to investigate corruption and to articulate political trends. The newspaper industry is losing the capacity or volition to provide this service, as celebrity fluff and cheap comment fill the dwindling space in between the advertising, revenue from which is predicted to drop by 9 per cent in 2013 alone. Fortunately, the end of newspapers does not mean the end of news. The Leveson inquiry may have devoted only a few lines to dismissing digital journalism but the unfolding history of cultural production already tells a different story.

The future is now

In a recent report published by the Tow Centre, Post-Industrial Journalism, C W Anderson, Clay Shirky and Emily Bell explain that the model of advertiser-subsidised print newspapers creating and delivering autho - ritative political information is defunct. Attempting to legislate on it – and on a halfhearted, parochial scale, at that – is rather like trying to legislate on the proper wheel size for horse-drawn carriages six months before the opening of the Ford factory.

The only good thing about the Leveson report is that it has had almost no impact on how the many committed, ethical journalists I know do their jobs. More and more are reaching beyond the mainstream, building networks that destroy the old hierarchies and opening new doors for publication, investigation and dialogue with what Anderson, Bell and Shirky call “the people formerly known as the audience”. The delicate ecosystem of the British press has become contaminated by corruption, poisoned by privilege and sterilised by a failure to adapt. Now, all the many-eyed mutant things that have grown up breathing this foul air are crawling out of the shallows – and they are hungry.

The failure of the Leveson report exposes the true irrelevance of the old mainstream media in speaking truth to power, but the future of journalism is already here. In the words of William Gibson, it’s just not evenly distributed yet.


Laurie Penny is a contributing editor to the New Statesman. She is the author of five books, most recently Unspeakable Things.

This article first appeared in the 14 January 2013 issue of the New Statesman, Dinosaurs vs modernisers

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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.