We need to volunteer, but we need to do it right

There's no room for knee-jerk reactions, writes NGO boss Mark Topley.

Yesterday was International Volunteers Day. The news got kind of lost in all the comment on the Autumn budget, but in these times of austerity perhaps we should reflect on the importance of volunteering. An organisation like mine, for example, simply could not exist without its voluntary help.

We operate in rural Tanzania (and are piloting projects in Rwanda) where we train up local health workers in basic dentistry skills; skills which can make a huge difference to the quality of life of rural communities. Three-quarters of the world’s population has no access to a dentist. Where dentists do exist they tend to be based in cities, often far away from most of the population. Therefore millions of people are suffering (often in agony) on a daily basis from pain that could be simply treated. Often they wait years for a tooth extraction or turn to traditional medicine – sometimes with horrifying or even lethal results. 

As well as everyone giving up their time to support us back home in the UK, we’ve had dentists, nurses, hygienists and therapists queuing up to deliver this training for free, often in the most basic of circumstances. Most of these volunteers have entered dentistry to help others. Of course, occasionally such altruism can be wasted.

During the first few years I was here, we heard of a visiting group of North American dental practitioners. This group had plenty of enthusiasm but very little understanding or respect for the local culture, government structures or issues that existed on the ground. They simply brought all of their complex dental equipment, set up a mobile clinic in the middle of a field and began doing all manner of treatments under generator power. They did not register with the local authorities or seek their involvement. Undoubtedly there was a benefit for some members of the community. Unfortunately, though, when they left there was a huge vacuum which the local dental and medical practitioners could not fill. They in turn became demoralised and many had to move away, as patients would no longer visit them.

So whilst volunteering is important, we must avoid knee-jerk reactions. In our case, we created the Bridge2Aid dental volunteer programme, or DVP. It’s a training programme which uses voluntary trainers in short bursts to train local health workers in simple, emergency dentistry and with full government support. By training local health workers in the way that we have done – thanks to our volunteers – not only are we removing often-crippling dental pain, but hopefully creating a lasting legacy long after the volunteers have left. Everyone wins.


So this week we celebrate volunteers and volunteering across the world. But for us this is not just a celebration of 'free help' as a token contribution: it is to celebrate those who give up their time as true partners, fellow family members working together to bring lasting change to people who are in pain.

Mark Topley is chief executive of Bridge2Aid, a British-run dental health charity operating in east Africa.


A nurse prepares an injection in a Mauritanian hospital. Photograph: Getty Images

Mark Topley is chief executive of Bridge2Aid, a British-run dental health charity operating in east Africa.

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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.