The Greens are technically now a larger party than Ukip is. Photo: Getty
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The Green Party's UK-wide membership has overtaken Ukip's

2,000-strong overnight surge.

What's a small party gotta do these days to get on the telly?

The poor Greens – denied participation in the sorry saga that the leaders' TV debates have become by Ofcom ruling they don't have "major party status"  have seen a huge surge in membership, which still doesn't seem to be helping their case.

Yesterday, George reported that the Green Party was on track to overtaking Ukip's number of party members. After a 2,000-strong overnight surge, it looks like the Greens have done just that. Their UK-wide membership is now at 43,829, compared with Ukip's 41,966.

The Green Party has an advantage over Ukip, in terms of membership figures, because it is really made up of three parties (the Green Party of England and Wales, the Scottish Green Party, and the Green Party in Northern Ireland). If you add the number of members of each of these wings of the party together, then the Greens have a greater number of members than Ukip. Here's how it breaks down:

The Green Party of England and Wales: 35,481 members

The Scottish Green Party: 8,026 members

The Green Party in Northern Ireland: 322 members

So far, the Greens have had a great deal of support, and justifiably so, for their bid to be included in the television debates. This support even extends to the sincere benevolence and indignant sense of justice of the Prime Minister. However, it hasn't yet been enough to sway the broadcasters' decision not to invite the Green leader Natalie Bennett to take part. Perhaps now the Greens' argument that they are technically a larger party than Ukip will boost their chances of eventually being included in at least one televised debate.

And here is Bennett's letter sent yesterday to the Labour, Lib Dem and Ukip leaders, calling on them to back her inclusion in the debates:

Dear Ed, Nick and Nigel,

The proposals put forward by the broadcasters for the 2015 election debates have yet to win the acceptance of all the party leaders, and this puts the whole process at risk. In particular, Prime Minister David Cameron has now stated categorically and repeatedly that he will not participate if the Green Party is excluded.

Staging the debates without the Prime Minister might score a point but would not serve the public, who rightly expect the political parties and the broadcasters to find a format that is acceptable to all concerned. As a substantial majority of the British public would like to see the Green Party included in the debates, an alternative way forward would be for you to agree to this. This is the way forward which serves both democracy and the electorate best.

In our discussion with ITV, they made it clear that they have not made a final decision on which parties to invite and would be prepared to change their current position in the light of fresh developments. If you indicated that you were open to the inclusion of the Greens, then I feel sure that ITV would respond. Having set out his objection to the current format, it would be hard for the Prime Minister to raise any new concerns, and this therefore gives the best chance of ensuring that the proposed Leaders' Debates can go ahead.

I hope you will agree that the presence of the Greens in one of the three debates will also enrich the process by drawing on a wider range of views about the future of our country, and also appeal to a wider audience – particularly amongst young people.

Yours sincerely,

Natalie Bennett

Leader, Green Party of England and Wales

Anoosh Chakelian is deputy web editor at 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.