David Cameron outside No.10 Downing Street on the day parliament was dissolved for the election. Photograph: Getty Images.
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Labour denounce Cameron's plan to "cling to power" even if he lacks a majority

The opposition seek to stop the PM surviving if it becomes clear he could not command the confidence of the Commons.

In recent days the Conservatives have made it clear that if they are the single largest party after the election, David Cameron will seek to survive as prime minister - even if it is clear that he lacks the Commons support needed to govern. The aim is to delegitimise a Labour minority government at birth by declaring victory and framing Cameron as the only acceptable PM. (Though some Tories hope they could persuade enough Labour MPs to abstain in any vote.)

A Conservative cabinet minister told the Sunday Times: "It’s a race to be the largest party. We will say: 'We’re legitimate, we’re the largest party, we should carry on.' If necessary, dare the others to vote down a Conservative government. We’ll bring forward a vote of confidence on our Queen’s Speech so they do the deed in plain sight, rather than meekly saying, 'I suppose your numbers add up, goodbye'."

In response, Labour have denounced Cameron for planning to "cling to power" even if it becomes clear he will be defeated in the Commons. An aide told the New Statesman: "All the noise coming out of the mouths of David Cameron and Nick Clegg is about how they can cling on to power even if their coalition loses its majority. Clegg has shown his true colours – he personally wants to get back into bed with Cameron even at the price of betraying the Lib Dems’ fundamental principle of protecting our future in Europe. "

The aide added: "David Cameron is showing he is in an incredibly weak position. He won’t talk about the big questions in this election, how to create an economy which works for working families, how to sustain our NHS, how to get a better future for young people. Instead, he is trying to focus all attention in these final days on the process question of what happens after the election rather the decision people have to make in this election.

"Just like he did on the morning of 19 September – where Cameron had the opportunity to speak for the whole country after the Scottish referendum – he is instead showing he is driven by internal weakness and external electoral pressure to act only on behalf of the Tory party."

The political attractions of the Tories' gameplan are obvious but it would ride roughshod over constitutional convention. The relevant passage from the Cabinet Manual (Paragraph 2.12) states:

Paragraph 2.12  Parliaments with no overall majority in the House of Commons

Where an election does not result in an overall majority for a single party, the incumbent government remains in office unless and until the Prime minister tenders his or her resignation and the Government’s resignation to the Sovereign.  An incumbent government is entitled to wait until the new Parliament has met to see if it can command the confidence of the House of Commons, but is expected to resign if it becomes clear that it is unlikely to be able to command that confidence and there is a clear alternative.

The key line is that an incumbent government is "expected to resign if it becomes clear that it is unlikely to be able to command" the confidence of the House. Therefore, if Labour, the SNP (who have pledged to vote down the Conservatives) and other anti-Tory parties have a majority of seats, Cameron should resign rather than invite inevitable defeat in the Commons.

The Cabinet Manual also makes it clear that the person most likely to be able to command the confidence of the House (in this case, Ed Miliband) then becomes prime minister - even if it is not certain they would be able to do so. Paragraph 2.8 states: "Prime Ministers hold office unless and until they resign. If the Prime Minister resigns on behalf of the Government, the Sovereign will invite the person who appears most likely to be able to command the confidence of the House to serve as Prime Minister and to form a government."

By convention, then, Miliband would become PM without the need for any formal deal with the SNP - on whom Labour's majority would likely depend.

George Eaton is 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.