A-level results day will be a much less joyous affair if Gove gets his way

The Education Secretary's plan to abolish AS-levels will stifle the ambitions of students from the poorest backgrounds.

All over the country today, nerve-filled teenagers have been receiving their A-level exam results, pressing a button or opening an envelope to reveal a pathway to their future. A few letters on a piece of paper will either have caused abundant joy, nonchalant satisfaction, or gut-wrenching despair, in most cases, one hopes, the first two. Young people do not need their dreams dampened at the age of 17 or 18. As Owen Jones reminded us this morning, our austerity society has plenty of that in store for them. Instead, we need them to believe they can fulfil greatness.

How else will we confront the challenge of economic stagnation? If we dampen the hopes of young people so early then we dampen their enthusiasm to innovate, to attack the deficiencies of the status-quo and to ultimately improve our society. We need bright, pioneering individuals who are able to reform an economy with grave structural problems.

And yet this could be one of the last year groups where joy will be the overriding emotion across the nation. Indeed, I am sure that Michael Gove will not privately toast all those who have seen their ambitions fulfilled but will lift his glass with pride at the fact that the number of A* and A grades fell for the second year in a row.

From 2015, the Education Secretary intends to implement his master plan, a plan which will see these top grades drop even further. A-levels and AS-levels will be separated, meaning that A-level exams will be sat at the end of two years, with limited resits, establishing an unforgiving system more akin to Gove’s childhood experiences. As was aptly pointed out by shadow education secretary Stephen Twigg earlier this week, without the boost of AS-levels, students from the poorest backgrounds could be restricted from applying to elite universities. Furthermore, for a generation who have grown up seeing brothers, sisters and friends attain the highest grades, Gove’s barriers will simply act as obstructions to ambition. When pupils realise that they need to put in far more work than their elder peers to achieve high grades, their desire to put in the hard yards risks being constrained. Ultimately, this acts in the interests of more privileged pupils, who often have greater support systems both at school and at home to assist their efforts.

It is undeniable that our education system must reward pupils fairly, striking a balance between allowing pupils to achieve the highest grades and not flooding the system with AAA students. But the overriding story of Gove’s reforms will not be academic rigour and creating an aspiration nation. It will be of pupils stifled by an unrewarding education system, one which will discourage their ambition and dampen their dreams.

So, A-level leavers, as you sit down tonight, before partying the night away with the help of Jagermeister or some other putrid, liver-destroying drink, feel a tinge of sympathy for future generations and how they will not be quite as lucky as you.

Sam Bright is editor of the political website Backbench

Education Secretary Michael Gove leaves 10 Downing Street on November 21, 2012. Photograph: Getty Images.

Sam Bright is editor of the political website Backbench

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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.