The EU referendum leaflet that embarrassed Clegg

Lib Dem leader struggles to explain away election leaflet that called for a "real referendum" on EU membership.

Nick Clegg had a rough ride on the Today programme this morning after presenter Justin Webb reminded him of a Liberal Democrat election leaflet calling for an in/out referendum on the EU. Clegg is now oppposed to a vote on EU membership but not long ago he was calling for a "real referendum" and attacking Labour and the Tories for not doing the same.

The leaflet in question declared:

It's been over thirty years since the British people last had a vote on Britain's membership of the European Union.

That's why the Liberal Democrats want a real referendum on Europe. Only a real referendum on Britain's membership of the EU will let the people decide our country's future.

But Labour don't want the people to have their say.

The Conservatives only support a limited referendum on the Lisbon Treaty. Why won't they give the people a say in a real referendum?

Asked why he no longer supported an early referendum, a tetchy Clegg pointed out that his party's election manifesto stated that an in/out referendum should only be held "the next time a British government signs up for fundamental change in the relationship between the UK and the EU."

But as you'll have seen, the leaflet was less specific, simply calling for a "real referendum" and not tying this pledge to a treaty change. Indeed, it criticised the Tories for only supporting "a limited referendum on the Lisbon Treaty."

As in the case of tuition fees, it's another example of a populist campaign promise that Clegg couldn't live up to. Whether eurosceptic or europhile, British voters are likely to agree on one thing: you can't trust the Lib Dems.

The leaflet row aside, most of the interview was devoted to Clegg denouncing those who argue that Britain should seek to repatriate powers from the EU. "I don't agree with the premise that we can on our own, unilaterally, simply rewrite the terms of the membership of this European club," he said. He went on to warn that the uncertainty created by a referendum pledge could have a "chilling effect on growth and jobs". Rather than vowing to bring back powers from Brussels, Clegg suggested that the government should wait to see whether a new treaty emerges and whether it impacts on Britain (something that would trigger a public vote under the coalition's "referendum lock").

Intriguingly, however, he suggested that the distance between himself and David Cameron was smaller than thought because Cameron's plan to renegotiate British membership was linked to a future treaty change. Thus, if there is no treaty change (as may well prove to be the case), there will be no renegotiation and no repatriation of powers. This is a point that Tory MPs will want reassurance on when Cameron delivers his speech on Friday.

Nick Clegg at the EU headquarters in Brussels. Photograph: Getty Images.

George Eaton is political editor of the New Statesman.

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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.