Why the left and the right are getting it wrong on poverty

Demos's new research shows that poverty can be both an economic and social phenomenon.

When the government announced that it was again reviewing how it measured child poverty, some on the left decried the move as "moving the goalposts". Iain Duncan Smith didn’t help matters by launching the consultation with a speech which seemed to suggest he had already made up his mind. The focus on family breakdown, in particular, raised hackles – in essence, poverty would be measured by how long a child had been raised in a two-parent family. While single parenthood can mean a lower income, to suggest a child should be deemed in poverty on this basis alone betrays a particular ideological outlook.

This is a shame, because it has meant that many have dismissed the consultation out of hand, as yet another cynical attempt by government to move the focus of the poverty strategy away from tackling deprivation and towards stigmatising single parents and troubled families. But the fact is, a more holistic measure of poverty – which takes causal factors and symptoms into account – will give us a better understanding of poverty, and help politicians tackle it more effectively.

Both the government and the opposition risk falling down an ideological rabbit-hole now that the definition of poverty is back on the agenda. On the right, the Victorian tendency to explain poverty as a social problem, experienced by troubled families, and brought on by their own failings and weaknesses, will no doubt lead to a critically limited range of policy responses. But this will be no more limited than the response from the left, whose fixed position that low income is the central feature of poverty has in the past led to a one-dimensional, technocratic approach – memorably described as "poverty plus a pound", where poverty is "solved" by redistributing until enough people are over the invisible poverty line.

Our research published today seeks to take the politics out of poverty and use evidence to point to the best policy response. By applying 20 separate indicators associated with poverty to the population below the poverty line, we keep income central to our understanding – but also recognise that the lived experience of poverty is never just about one’s bank balance, but a complex interaction of social issues, spanning one’s social networks, health, education, and housing.

The result is 15 distinct types of poverty across three cohorts – households with children, those without, and pensioners. Each type of poverty is made up of a unique combination of the different indicators, creating a sense of the "lived experience" of each type.

What was clear was that while some of the poverty types were experiencing the kind of poverty the government has set out to solve – unemployment, debt, single parenthood and poor health – many were not. The most prevalent type of child poverty (applying to about a third of families) was defined by long work histories in poorly paid jobs or recent redundancy from well paid jobs, a strong work ethic, home ownership and good education.

Our research disproves the assumptions held by those on both ends of the political spectrum – and concludes that poverty can be both an economic and social phenomenon, depending on the household in question. Perhaps this smacks of sitting on the fence – an excuse to do nothing. But this is far from the case. In fact, the findings represent a highly inconvenient truth. The truth is that there is no magic bullet to ending poverty – neither a crusade against troubled families, nor a predistribution and living wage strategy will be effective in isolation.

An effective poverty strategy will not, in fact, serve either party’s particular ideological standpoint. Indeed, our findings suggest there is no such thing as an effective poverty strategy, but that each type requires its own strategy, each one relying on a coordinated response from different combinations of agencies – good, old-fashioned joined-up government.

Those on the front-line working with poor families might be wondering what’s new here. They already know that a poorly skilled young mother struggling to put food on the table needs different help to a recently redundant, middle aged divorcee coping with a vastly reduced income.

But the Demos work has, for the first time, articulated and quantified this difference – and in so doing, shows exactly where existing narrower approaches are falling short. With the government’s consultation, we have an unprecedented opportunity to harness the evidence to guide our policy response – but politicians on both sides must first learn that a sincere attempt to tackle poverty is an issue beyond politics.

Claudia Wood is deputy director of Demos

Two young boys play football in a run down street in the Govan area of Glasgow. Photograph: Getty Images.

Claudia Wood is deputy director of Demos.

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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.