Was Adam Afriyie stitched up as a warning to other would-be Tory rebels?

Tory MPs are in no hurry to dismiss the possibility that Downing Street leaked the story to expose a small rebel cell early in its development.

There is no chance of Adam Afriyie, the Conservative MP for Windsor, leading his party this side of a general election. There wasn’t much chance of him ever leading it before yesterday’s papers reported a nascent plot to line him up as David Cameron’s successor/usurper. Now that the plot’s bolt is prematurely shot that chance has shrunk to somewhere in the region of zilch.

So what is going on? As I wrote in my column last week, there is no shortage of resentment against Cameron in the Tory party. The underlying causes of that seething unrest have not gone away despite a burst of loyal exuberance following the promise of a referendum on Britain’s European Union membership.

There is a small and noisy cohort of Conservative MPs – I call them The Implacables – who are effectively in opposition already. They seem to want to accelerate the party’s defeat in the next election in order to provoke a crisis that would engulf the whole Cameroon “modernising” enterprise. They might then seize control and steer the Tories towards what they see as a more authentic Conservative agenda. In this respect, The Tory Implacables are to the right what Bennite ultras once were to Labour and the left – chasing ideological purity over electability and hating moderates on their own side with more vigour and passion than they hate the party opposite. They seem to relish the purgative potential of a leadership meltdown.

Even so, it seems unlikely any subscriber to that tendency would be so inept as to brief a couple of Sunday newspapers about their plans to unseat the Prime Minister and replace him with an MP of whom no-one outside Westminster (or his own constituency) has heard. If there was any kind of movement behind Adam Afriyie, I very much doubt it wanted its manoeuvres splashed all over the Mail on Sunday; still less at the end of a week when the Tory party was trying to make a big show of loyalty and was revelling in the perceived triumph of Cameron’s Big Europe Speech ™.

The net effect of the publicity was to make the plotters look like a small, ridiculous fanatical sect and to invite opprobrium from the overwhelming majority of Tories, which was I suspect the purpose of placing those stories in the papers. The source was, in other words, not Afriyie’s "friends" but quite the opposite. It was a device to expose a small rebel cell early on in its development and at a time when the Prime Minister is strong in order to stifle it and flush out any sympathisers. Perhaps that sounds like an over-elaborate conspiracy theory. Cock-up and ineptitude are usually the safest explanation for any rash-looking action in politics. Still, Tories I have spoken to today are in no hurry to dismiss the possibility that Afriyie’s head has, metaphorically speaking, been stuck on a spike outside Downing Street as a warning to others.

Update: I notice Peter Oborne is picking up much the same vibe.

Adam Afriyie, the Conservative MP for Windsor, was reported to be plotting to succeed David Cameron if the Conservatives are defeated in 2015. 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.