I believe in trade unions but the Unite machine alienated me

I joined the union as a fresh-faced student idealist but the camaraderie which I expected never materialised.

As the fallout over Falkirk continues and Labour calls in the police to investigate its biggest financial backer, some sections of the media can barely contain their glee at Unite’s troubles. The reactions of ordinary union members have, as usual, been excluded from the discussion. They cannot be heard over the cacophony of middle class media pundits and Oxbridge observers who lack a grassroots understanding of the problem.

As a former Unite member, news of the alleged scandal was accompanied by a familiar sinking feeling. I left the union earlier this year under a burden of disappointment and anger.

I’d joined Unite at the start of 2012 as a fresh-faced student idealist, one of the first to join under their pioneering community membership scheme, which embraces students, the unemployed, the disabled and others outside the traditional workplace.

Before I hear you groan, I was not - and am not - a fair-weather student revolutionary. I was raised in a working class, trade unionist family. My father was a night sorter for the Royal Mail. As a child I watched my parents struggle under the financial burden of regular strikes, ensuring that my brother and I had dinner while they discreetly went without.

We were brought up to believe in the justness of trade unions and the necessity of sacrificing short-term income for a greater collective good. When my brother was diagnosed with autism and his care requirements became clear, it was our father’s union which helped him negotiate family-friendly hours. It was in this context that I joined Unite, with a childlike belief that unions could do no wrong. I was quickly disabused of this idea.

Soon after joining I began to involve myself in Unite’s activities. I attended a training weekend and later stood for election on a committee of young members. I planned to attend a conference and, in the time-honoured tradition of democracy, give a speech about my suitability for the role. When illness prevented me from attending at the last minute, I tried in vain to contact the appropriate union official to pass on a speech to be read in my absence. When nobody replied in time, I was angry that I had been denied the right to stand for the committee position.

My anger turned to confusion when, weeks later, I received a letter congratulating me on winning my committee place and inviting me to the first meeting. How on earth, I wondered, did I win an election in which I was not present and had no speech? I now held some executive power over the youth policies of Unite’s London and Eastern branch, without attending a single Unite conference. A little discomfited, I didn’t attend the committee meetings. The invitations kept coming, and nobody contacted me regarding my absence. Looking back now, it seems extraordinary.

There were murmurings of unease among other young members I encountered. Even the most strident  muttered about the indifference they encountered from higher-ups regarding queries and problems. Such criticisms tended to be couched in the more gentle language of "communication difficulties" and the need to "update infrastructure", but their meaning was clear. These observations would be briefly acknowledged and quickly glossed over without progress being made. Unity was our watchword and we were all comrades in the good fight, but there was an unspoken understanding that being too direct about the union's problems would make you appear disloyal. Members quietly assumed that individual thoughts and opinions should automatically play second fiddle to a wider purpose. To criticise was to mark you out as an individual in an organisation deeply focused on the collective. Everyone, myself included, yearned for a place within this good and noble collective. To be an individual was, fundamentally, to be selfish.

There were other moments of unease. One training day took an awkward turn when a young member dared ask why we were given an equalities monitoring form where everyone was lumped into either "white" or "BME" (Black and Minority Ethnic). The workshop leader simply ignored her and changed the topic. The girl who’d rasied the question was visibly disgusted.

Greater disappointment was to follow. When Unite advertised an admin apprenticeship within their offices, I was keen to apply. Unfortunately the link to the application form was broken, so I notified the union. I did receive a reply, assuring me it was being looked into. As the days ticked by and the application deadline loomed, I emailed again and again urging them for answers before time ran out.

There was no further reply, and the deadline passed me by. My point of contact never got in touch to explain her silence or apologise for the missed opportunity. I began to regard Unite as a vast and ponderous machine, rumbling on, regardless of its members’ needs, in aid of some more obscure purpose. The camaraderie with which I expected my union to enfold me never materialised. With deep sadness, I cancelled my membership.

After witnessing firsthand Unite’s relaxed attitude to democracy, the accusation that it manipulated the selection contest in Falkirk is sadly not a surprise. I hope for the sake of the trade union movement that Unite is innocent of the accusation. Trade unions still have a crucial place in the modern world in helping people fight back against unscrupulous employers, low wages and poor conditions. If you believe that all employers will simply be saintly without checks and balances, then you are a far bigger idealist than me.

All the same, it isn’t hard to understand why unions might feel compelled to opt for underhand methods. Look at their relationship with the media: there isn’t one. In a recent conversation with a friend who had worked for a national broadsheet, she complained that in her experience, unions had failed to reach out to journalists and put their side across. They were aloof and surly towards outsiders.

As a result, a generation has grown up with a mainstream press that promotes ambivalence or hostility towards unions. Myths have sprung up: unions are bad for business, they are troublemakers and, that old chestnut, they promote "health and safety gone mad". We live in a country where many have never encountered a pro-union opinion in their lives and think of unions as a sinister cabal.

The truth is that they have failed to do the legwork to secure support the proper way - by building relationships with the media and communicating with the ordinary people they claim to represent. It’s no wonder that people are mistrustful.

In perhaps the greatest irony of all, Unite continue to send me ballot papers for their referenda and leadership elections. It is a good thing, then, that I throw these away and do not choose to exercise the undue influence of which they stand accused.

Demonstrators take part in a TUC march in protest against the government's spending cuts on October 20, 2012 in London. Photograph: Getty Images.
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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.