Leaving a home for a home

When Simon Parkin's grandfather moved into a nursing home, his grandmother was left alone in her cold house. Who has it worse, he wonders?


Every summer holiday I’d lay awake on the narrow bed and listen to the only other piece of furniture in the room – the hulking wardrobe, as the beetles dined. This was the nightly ritual at my grandparents’ cottage, where the insects would feast en masse during the dark, tapping their mandibles loud against the wood till they finally stilled, replete at dawn. It was the closest I came not to adolescent rage but to adolescent madness: whipping from my bed, torching the light and poring, murderously over the bedroom furniture for something, anything to obliterate under thumb.

Nowadays the diners are gone, dispossessed by decay perhaps, as the wardrobe’s grain grumbled past its sell-by years ago. The house is all decline, its ceilings fissure-scrawl maps, its walls threaded by varicose veins of damp. It’s been this way since I can remember – close to three decades - but it never really seemed to matter very much before. The house was held together by warmth and love.

The beetles aren’t the only evictees. My grandfather departed shortly before Christmas, siren-wailed into a local hospital’s waiting bed where the staff mended what they could before making the grim pronouncement: he could not return home. His care was too much for my wearied grandmother to provide; he would need to find a new place to live.

The benefit of terminal illness – and it’s a grim benefit, but a benefit nonetheless – is the schedule it brings. Sure, the sentence is elastic: they might give you two months and you cling on for twelve, or two weeks and you’re wilted and gone in a day; but terminal illness and its prognosis sets the pace of one’s decay.

Mere old age - the sort of old age my grandparents are suffering - has none of that. It’s all unwelcome surprise, slo-mo shock horror. Death grows in us like a baby, its presence felt more each year, its strengthening kicks acting as reminders of our inexorable decline. But death’s final birth remains, for many, unannounced. It arrives to crown old age when we’re least expecting.

This is the problem for the elderly couple separated by unsynchronised degeneration. One remains in The Home, healthy but lonely, clinging to the household debris of memories. The other is sent to A Home, cared for but lonely, sitting in some medicinal chair facing a window on to a road that winds back to the old house and its memories.

Who is worse off in the arrangement? The left-behind, with her uneasy freedom and schedules that swivel around the visiting hour appointment, or the intrepid handicapped, deafened with drugs and the aggressive scent of industrial-scale linen-washing? He too awaits the visiting hour, but with a sapless tongue, his time now measured by the rising yellowy-tide in the catheter bag and the unwavering TV schedule.

“I’m not going yet,” my grandmother says, defiantly, all weekend as I stay with her. “There’s too much to do around this place anyway. And I’m certainly staying put till I’ve drunk all of the homemade wine.” We both laugh, long and eagerly – more than the joke deserves, but less than we need to.

Over our weekend together this becomes our battle cry of united defiance whenever a reason for moving out reveals itself. “Not yet!” she says. “Not yet!” I echo.

But she is preparing. She’s been preparing for years now, asking my brother and me to point out the household objects we’d like to inherit when the day comes. She would stick Post-It notes to these items’ bases with the relevant sibling’s initial drawn on in marker pen. I always saw this as a morbid request, and felt greedy and uncomfortable in answering her. But she was just preparing, trying to take care of things; being a good grandmother.

“I’m worried that he’s not eating enough,” she says, later. “Maybe I should move in to ensure he’s getting enough food?”

I point out that she is paying an extortionate amount for her husband to stay in The Home’s care and that it's the staff’s responsibility to ensure he is putting enough away. “Yes,” she says. “Yes you’re right. I’ll get your father to have a word with the staff.”

“That’s the spirit!” I say.

“Not yet!” She smiles, ruefully.

The government has been trying to improve the lot of our ageing population of late, or at least trying to appear to try to improve their lot. For many, the final years of life consume everything that was built up beforehand, at least in financial and material terms.  Last month the coalition committed to fund any care that an individual might require over £75,000 (a full £40,000 more than economist Andrew Dilnot recommended in his review). That, of course, doesn’t go towards the cost of care in a new home, only treatment. Regardless, a financial solution can only ever be a partial solution. There are deeper, wider factors for any couple facing a care home, ones that grow yet wider if the couple in question cannot move together – factors to do with guilt, loyalty and the incomprehensible pain of a separation that was not asked for.

I have my own cause for worry too. The house (fissured, varicosed) is also close to freezing. My grandparents were born pre-war and, like many farmers of their generation, live as if rationing was still in angry effect. Heat is doled out from the electric fire in momentary burps, before the ‘off’ switch is thriftily flicked and yet another woollen cardigan slipped into.

“You eat too quickly,” she admonishes, often.

To be this cold inside a home is unsettling for the contemporary human, who reasonably expects walls and rugs to offer adequate shelter from the cruel elements. I take two hot water bottles to bed and watch as steam rises, not just from my breath, but also the ambient heat of my fingers. She’s not ready to move out yet, psychologically but also physically. And yet, this is no place for an elderly lady to decline, drawn smaller by the temperature, diminished by the absence of warmth and love.

Sleep is death’s brother. But in this sort of cold, they’re twins. There’s no longer even the insect’s tap to act as a heartbeat indication of life any more, the questing micro-jaws whose nibbles and scrapes can keep a man warm through mere irritation. All that’s left is the air of cold immobility that precedes decay. And the questions - those unanswerable questions.

My grandmother wakes me first thing with a rap at the door. She’s still wearing the headscarf she slept in, tightly wrapped and tied beneath her chin. She’s eager for me to hit the road, grateful for my company and the various errands I helped her with, but ready for me to be on my way now. The new day has brought with it fresh challenges and to-dos which I am not to be a part of and, moreover, she’s worried she’s keeping me from my own familial responsibilities. This is the curse of the kindly matriarch left behind: managing everybody else. “Come on,” she says. “Time for you to get home.”

We lock eyes and I smile.

“Not yet!” I say. “Not yet.”


A cottage. Flickr/markhillary, used under a Creative Commons licence.
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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.