IDS is in trouble over his strivers’ tax – and he knows it

Unable to justify the government's decision to cut support for families, the Work and Pensions Secretary has resorted to myths.

You can tell ministers are in trouble when they start peddling distortions on the scale we've seen from Iain Duncan Smith this week. IDS is in trouble. And he knows it.

Next week, the beleaguered Work and Pensions Secretary comes to the Commons to defend the indefensible. The comprehensive failure of George Osborne's budgets has forced the independent Office for Budget Responsibility (OBR) to revise up its forecasts for the claimant count by a third of a million. That's pushed up welfare spending by an eye-watering £13bn. To pay that bill, IDS has been asked to push through a strivers' tax - more than 60 per cent of which will come from working families -  on top of the £14bn already removed from tax credits, while Britain's richest citizens get a £3bn a year tax break.

It’s unjustifiable. And IDS knows it. So this week, we've had a very muddled attempt to make up some kind of case.

First, we had a made-up story that tax credit fraud had jumped by 58 per cent. This claim lasted about as long as it took Channel 4's FactCheck to gently point out, that IDS couldn't actually add up and the sums were wrong. Then we had a new line of attack. Benefits are rising faster than earnings. Except they're not. In the last ten years wages have risen faster than Jobseeker's Allowance, and the OBR tells us wages will power ahead of inflation in the next four years.

Then Nick Clegg tried to claim Labour was being inconsistent to low paid public service workers. We back a 1 per cent pay freeze, so why not a 1 per cent benefits cap? Because we've always said that 1 per cent should be an average with a tougher squeeze for the best paid public servants to fund higher pay rises for the lowest paid.

It's all fairly desperate stuff from a government that's trying at all costs to avoid admitting that the lion's share of the savings will come from working families' tax credits. So the real question in next week's debate is this: how can the government justify cutting working families' tax credits to pay for their failure to get Britain back to work - when millionaires are being given a tax cut? Right now working people are being hit with a double whammy. Wages are stagnant and tax credits are being slashed whilst at the same time the cost of living goes through the roof as anyone who boarded a train today will tell you.

The basic truth that IDS won't confront is simple. The best way to get welfare spending down is to get Britain back to work. But his much vaunted welfare revolution is in tatters. The Work Programme is literally worse than doing nothing. Universal Credit is beset with IT problems and has already been raided to pay for rising dole bills. Now the benefit cap is being pushed to the back end of the year because it’s a mess. Next week's Welfare Uprating Bill does nothing to address any of this. It does nothing to create a single new job.

More than half of the people currently out of work have been so for more than six months but the government isn’t lifting a finger to help. The Youth Contract is nowhere to be seen and the all too predictable result is youth unemployment still hovering around a million. That's why this government should be looking at far more concerted action to get Britain back to work with ideas like Labour's proposed tax on bankers' bonuses to create a fund big enough to get over 100,000 young people back into jobs.

There will plenty more smoke and mirrors from the government over the coming months but they can't disguise the reality of this Bill. It is a strivers’ tax which hammers hardworking families. The vast majority of the households hit are in work. Those are the people this government wants to cover the cost of their failure whilst 8,000 millionaires receive a tax cut worth an average of £107,500. If this government wants a battle over fairness whilst they are taking from hardworking families to fund a tax cut for the wealthiest, Labour is ready to take it on.

Work and Pensions Secretary Iain Duncan Smith outside Number 10 Downing Street. Photograph: Getty Images.

Liam Byrne is Labour MP for Birmingham Hodge Hill, cofounder of the UK-China Young Leaders Roundtable and author of Turning to Face the East: How Britain Prospers in the Asian Century.

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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.