Wikipedia wars: are there really novelists and 'women novelists'?

How many brilliant writers will be sorted away entirely, never making the cut as novelists because they're weighed down with the tag "woman"?

Bad news if you're an American, a novelist and a woman: Wikipedia has decided that you don't count as an American Novelist and have to go in your own sex specific sub-section called Women American Novelists. Well, not Wikipedia itself – Wikipedia is a platform, not a unified entity, and it makes no more sense to talk about it as the possessor of a single corporate mind than it does to imagine that your Facebook feed is the carefully curated output of one editor. Better to say instead that certain Wikipedians decided the best way to organise fiction was with women on the outside.

Since Amanda Filipacchi drew attention to this in the New York Times, there has been a lot of serious discussion on the the American Novelists talk page, as editors work out how to resolve such a highly scrutinised issue. A few have defended it as a neutral decision designed to reduce an untenably huge category, but to most involved, the sexism seems obvious: such a system of ordering makes men the default type of human, and women a subset. One contributor suggests creating the category American Men Novelists as a solution, only to be hit with the objection that this would leave the parent category populated solely by those who identify as neither male nor female — a curiously narrow group to represent the literature of a nation.

It's not just America which is to be sifted by sex. I took a look at Victorian Novelists, and there you can find a single subcategory: Victorian Women Novelists. While some women get to sit in the main section, many don't — including George Eliot. George Eliot, arguably both the finest novelist and the most Victorian of all Victorian novelists, tucked away in a feminine dependency of literary history. No such fears of perverse classification for Hardy or Dickens, of course: Victorian Male Novelists doesn't even exist as a category, because to be a man is to be neutral of gender in this system. It doesn't feel like we've shaken off all that much of the sexism which caused Mary Anne Evans to publish Middlemarch under a male pseudonym, does it?

The problem is, it's not just Wikipedia doing the classifying and it's not just novelists getting classified. We live in a world where everything is furiously sorted along gender lines. As a parent with feminist pretensions, I've been discretely appalled to see both my children (one boy, one girl) start sorting things by gender. For example: jumpers turned out to be a boy thing, cardigans a girl thing, and no amount of cajoling could persuade either child that they weren't committing gender treachery through knitwear. Of course, I felt somewhat shocked and then betrayed that my children had turned against my principles — until I'd had a moment to think about the example they had to work with.

I might not always love my place in the gender binary system, but I certainly don't want to be outside it. Through my clothes, through my make-up, through my manner, every day I do a hundred small things that announce my fealty to femininity. I sort myself — almost all of us do. And such sorting is not particularly malevolent in itself, except that it tends to spread and then become a kind of destiny. There's a hierarchy to it, too: I've heard my daughter describe a classmate derisively as a "girly girl, one who just likes girl-girl-girl-girl-girl stuff." Not putting on your gender properly is traumatic, but too much femininity is something to be scorned.

It's this same way of thinking — male as the mainstream, female as a diminished subset — that led to faint murmurings against Hilary Mantel's inclusion on the shortlist for the 2013 Women's prize for fiction. Having already won two Bookers, the murmuring goes, why should she get a run with the ladies as well? She's already proven herself as a novelist, no gender qualifier required. In success, she sheds her sex. Of course, if I object to Wikipedia categorising women novelists apart, perhaps I should object to prizes that do the same – and I do, or rather I object to the necessity for them.

The Booker has been won twice as often by men as by women, and I refuse to believe that's because men are twice as talented. Until there's parity there, the Women's prize does a sadly needful job of celebrating female authors. Its existence perhaps perpetuates the need for it to exist, and yet I can't think of a better answer to pervasive sexism than just pointing out that women are, and the culture we make matters. That culture should not matter only within gender bounds though, and if we sort and sort until we have sorted ourselves into separate spheres entirely, God knows how many brilliant writers will be sorted away entirely, never making the cut as novelists because they're weighed down with the tag "woman".

Hilary Mantel, after winning her first Booker prize. Photograph: Getty Images

Sarah Ditum is a journalist who writes regularly for the Guardian, New Statesman and others. Her website is here.

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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.