We need to change the very language we use to talk about immigrants

An immigrant can no more be "illegal" than a teacher or a politician. To pretend otherwise dehumanises them, writes Chitra Nagarajan.

Immigration has rarely been far from newspaper pages in recent times.  A report, released last week by the Migration Observatory at the University of Oxford, looked at the 43 million words that made up the content dealing with migrants and migration in all 20 of Britain’s main national daily and Sunday newspapers between 2010 and 2012.  It found that the most common word used to describe "immigrants" across broadsheet, mid-market and tabloid newspapers was "illegal". This far outnumbered any other word. Water based metaphors such as "flood",  "influx" and "wave" were frequently used to describe "immigrants" and "migrants".  

These results fit our current political discourse. We are living in times of severe hostility towards immigrants. The language used shows just how normalised these views have become. I grew up hearing "go home Paki" and seeing those signs everywhere in Oldham in the early 90s when I first arrived in England. I never would have thought it would be the government, not far right racist groups, who would be telling people to "go home" twenty years later.  

The language used by newspapers reflects but also shapes these narratives. Standard headline in the past few weeks have been The Independent’s “Home Office may have broken the law in 'racist' hunt for illegal immigrants – and may have questioned domestic violence victims”, The Mirror’s “Exposed: Illegal immigrants in police and NHS jobs...and there was even one in the treasury” and The Daily Mail’s “How Russia deals with illegal immigrants”. It is telling that The Independent puts racist within brackets to describe government action disproportionately targeting black people but not the word illegal to describe people.

That illegal is most commonly used to describe immigrants is hardly surprising, but it is deeply problematic. Using "illegal immigrant" frames the debate from the perspective of the politicians – and those who are the most virulently anti-immigration at that – rather than the viewpoint of the populace, let alone the ones of immigrant backgrounds. As with the use of "bogus" before "asylum seeker", the qualifier ends up dominating the noun so that the idea of "illegal" and "immigrant" become synonymous. From the news coverage alone, we would never know that the numbers of immigrants with legal status are far greater than those without it. 

It also places the migrant populations of the UK outside the debate. Most of the public discourse on migration lacks the voices of those of immigrant backgrounds. It is not surprising that coverage of immigration is largely profoundly negative in tone as a result, dominated by the thought of hordes of "illegal immigrants" amassing at the shores. If anything positive is written, it is usually from the standpoint of the positive contributions migration makes to British society, seen as starting from a monocultural base, rather than looking at the experiences of immigrants themselves or acknowledging the long history of immigration to these islands. 

In the USA, where intense debate about immigration is also a recurring theme in politics, this is slowly changing. As a result of mobilisation and organising, many news organisations have changed their style guides.  The use of "illegal alien", "illegal immigrant", "illegal worker" or "illegal migrant", which made up 82 per cent of the language used in 1996, dropped to a combined 57 per cent in 2013. 

The way that all immigrants are seen and treated needs to change. One small step would be to change the language used, and reflect that it is the act that may be illegal, not the person. The phrase "illegal immigrant" has come to be normalised, used as a matter of course without anyone thinking about what it implies. I cannot think of the word being used to describe a whole category of people in any other instance. When was the last time you heard, talked or wrote about "illegal politicians" or "illegal teachers" when referring to politicians who take bribes or teachers who have sex with their students? They are called corrupt or sex offenders, words that describe the situation factually rather than criminalising a complete class of people. Here the facts are that some people have not been or are no longer authorised by the state to be in the country, not that they are "illegal".

That people talk about immigrants differently is an indication that our society does not believe immigrants have the right to exist. It is a symptom of the contempt towards immigrants that is filtering into everyday consciousness. It serves to decontextualise, takes away nuance and means that questions that seek out the truth of what is actually happening are not asked. The rhetoric of "illegal immigrant" becomes internalised rather than the realities of the lives of those without status in the country examined. Moreover, it means that news coverage, meant to be objective, takes a position on immigration, sometimes subconsciously in ways that journalists themselves did not intend to take.  Calling people "illegal" takes away their humanity and says much about a society at ease with doing so.

The "go home" van. Photograph:

Chitra Nagarajan has worked to promote and protect the human rights of women in China, the United Kingdom, the United States and west Africa. She is an active member of Go Feminist and Black Feminists, and tweets as @chitranagarajan.

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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.