Labour tuts at the Tories' "public school-boy games" over Europe

The afternoon's Europe debate is purposely designed to discomfit Labour. But Miliband's high-minded opposition is a risky strategy.

Parliament will this afternoon debate Britain’s relations with the European Union. The argument, it is safe to say, will not be terribly focused. The motion is that "this House has considered the matter of Europe." Doubtless, by the end of the day, after a fashion, it will have.

Of course the real purpose of the session – called by the government – is to allow Tory MPs to flaunt their newfound unity and to jeer at Labour discomfort. Now that the Prime Minister has promised a referendum on the UK’s membership (which is very popular with his backbenchers) and Ed Miliband has resisted doing the same (which makes many on his side uneasy) the Conservatives feel they are finally on the front foot on European issues and intend to plant their other foot into the opposition as hard as they can.

There are people on the Labour and the Lib Dem side who despairingly agree with the No. 10 analysis. One senior Labour figure calls his party’s position "ridiculous" on the grounds that "we can’t go into an election in opposition to the people." A Lib Dem strategist comments wryly that Cameron’s manoeuvre means effectively that "he has adopted pretty much the position that we had at the last election." (Clegg is the only major party leader with a pedigree of promising in/out EU plebiscites.)

There is residual confidence in the Miliband and Clegg camps that Cameron’s European position will unravel when it bumps into practical obstacles to delivering a deal in Brussels that Tory MPs can stomach. (As a sign of trouble on the horizon, Germany’s foreign minister has fired a clear warning shot at Downing Street.) Besides, Tory MPs are never satisfied with Cameron for long; some new grievance comes along soon enough.

But since the Prime Minister’s speech last week had a noticeably tonic effect on the party it is easy to see why Downing Street has decided to pour out another dose of the same heady brew. Labour’s approach to all this is, I gather, to play it long and high-minded. Miliband knows that Cameron’s position is designed exclusively by the short-term demands of party management and fear of Ukip. That, the Labour leader calculates, is a weak position whichever way you look at it. Under such circumstances, when the government is caught up in desperate short-term tactics, the opposition should be in the business of looking far-sighted and responsible – a sensible government-in-waiting.

Miliband’s aides are keen to point out that the very existence of today’s debate is a sign of panicky tactical machination in Downing Street. Why, they ask, should parliament spend its time kicking around the idea of a referendum that currently only exists in the hypothetical realm of a Tory majority government in 2017. Are there no more pressing foreign policy issues around? (Clue: Cameron himself is in Algeria this afternoon.)

It is all rather reminiscent of George Osborne’s decision to confect a separate Welfare Benefits Uprating Bill, carved out of the many announcements in last December’s Autumn Statement. The underlying policy – a real terms cut to the rate at which social security payments annually rise – did not require its own triumphal procession through parliament. The Bill was devised entirely to discomfit Labour and generate as much heat as possible around the question of the opposition’s addiction to welfare profligacy. (As it turned out, the public mood was more nuanced, with some evidence of a backlash against the Chancellor appearing to relish the prospect of picking poor families’ pockets.)

The view from Team Miliband is that this afternoon’s Europe debate is just another example of Cameron and Osborne playing, in the words of a senior aide, "snarky little public school-boy games" when they should be thinking of ways to fix the economy and look after the nation’s long-term strategic interests. It is a fair point. But, whether Miliband likes it or not, much of what goes on in the Palace of Westminster resembles games of varying degrees of shabbiness and cynical subterfuge. Voters don’t particularly respect that aspect of our politics – most of the time they don’t even notice. But tutting in disapproval from the sidelines in the hope of looking statesmanlike is a risky strategy in any competition.

Labour leader Ed Miliband addresses workers at Islington Town Hall. Photograph: Getty Images.

Rafael Behr is political columnist at the Guardian and former 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.