I remember hot tar on the crepe soles of sandals
On a walking day in Lancashire.
But this is different, when gas from deep tar
Rattles the dishes and burns up the air.
I remember the radiation scares and Strontium 90
Falling on fields and nearby houses,
Windscale, Three Mile Island, Chernobyl.
But this is different, as human error and rising seas
Capture and contaminate whole oceans at Fukushima and Sizewell.
I remember deluges in Peconic, Jos and Bourriège.
Electric storms, forks and flashes, rattling iron sheets.
But this is different, when rain combines with tidal surges
And takes away soil and crops, animals and homes, friends and family.
I remember black nostrils and blacker snot.
A small face, part hidden by a striped school scarf,
Left with a blackened lone ranger eye-mask of soot.
But this is different, when bodies now contain
What humans have created from fossil fuels and ingenuity.
I remember Manhattan from afar,
Crushed dark smog under daylong temperature inversions.
But this is different, when the smoke is continental
And big trees burn for the first time.
I remember frozen seas in Long Island Sound and Helsinki harbour,
Blizzards on the Auvergne high roads,
Midsummer snow in Pyrenean mountain towns.
But this is different: kangaroos bouncing in snow.
I remember TV weather forecasts that flashed on screen
For five whole days – HOT 100, HUMID 100.
But now, in Celsius, this is different.
Thirty-five, forty, forty-five degrees
Too far past the gentle rhythmic heat wave or canicule.
I remember long lines of flame across the savannah,
See the charred hillsides of Catalonia.
Northern fields once smoked for months from slag fires below.
But this is different. The polar and equatorial regions burn.
The tundra burns. Asian islands burn. Oxygen burns away.
I remember following a giraffe along the road,
All around, elephants, wildebeest and zebra.
Sometimes hunted; sometimes poached.
But this is different. Carcasses of beast, starving or dismembered,
Litter a continent.
I remember a neighbour, a joiner, keeping bees.
We ate the honey and enjoyed loud buzzing.
But this is different. No more insect-covered windscreens,
No loudness in the glade, fewer birds and bees to tell of.
I remember blackouts, cascading across cities in the tri-state area,
Three-day weeks. Generators kicked in, Tilly lamps and candles.
But this is different. Switches trip and don’t recover.
I remember sand in the air that stopped all flying
By birds and heavier-than-air machines.
Desert dust from further south, or ash from far away eruptions,
Took its time before an all clear.
But this is different. No clear view ahead
And no return to what was clear before.
I remember talk of nuclear winter,
Of ozone holes and ultra-violet dangers:
Stirring of a thought that something must be done.
But this is different. There has been no stop to the wasting and the spoiling;
No remedy to carelessness and greed,
Exploitation and grasping.
Now, this is different, and, while we still remember,
The future no longer issues from the past.
Now we must prepare to live or die,
In calm or chaos,
With dignity or despair.
For this is different.
What can publishers do in the time of climate emergency?
Climate breakdown and mass species extinction now pose a threat to human life on earth. All human culture is affected, including publishing. What can publishers – often slow in reacting to change – do in the race to salvage what will remain of human agency in the coming decades of impending climate chaos?
Here are three ways publishing can react. Firstly publishing can reduce the environmental damage done by its core activity. Secondly – like many businesses or activities – publishing can change the way it does business and reduce the damage done. Thirdly, paradigmatic shifts that publishing can make may involve significant change to the nature of publishing, but they may result in a positive impact on the global climate.
The small operational changes that publishing can make now and larger changes that it can make within a few years may have some impact on carbon emissions and biodiversity loss. But it is now time for companies and organisation to imagine a much broader range of possible best and worst cases in the light of current knowledge about the changes happening in the world’s climate, and to begin changing the publishing industry with a new vision for years 2030, 2040 and 2050. It’s time to start now. No delays. No excuses. This is a matter of life and death.
Changing publishing policies and paradigms
Let’s get the easy stuff out of the way first. Over recent years there’s been some serious engagement by publishers in the environmental effects of their activities, and this has mostly focussed on efforts to use paper and printing processes that reduce the environmental damage done by the industry. The emphasis on sustainability, certification schemes and voluntary codes of practice has almost certainly had some effect on reducing the centuries-old environmental damage done by the practices of the paper, ink and printing industries, but we need to see much more action in these areas, and aim for an overall result of eliminating rather than reducing environmental damage.
All organisations need to change their policies in relation to climate change, as is now being done with transport, where arguments are now going beyond comparing petrol, diesel and electric vehicles to a reframing of the more fundamental changes needed to challenge the private/public transport split, local/distant travel needs, and the levelling of the transport needs of the rich/poor and the rural/urban populations of the world.
In a similar way, publishing must reassess how it operates at all levels. We need to look at how publishing activities affect the local, national and global cultural and economic space, and see how owners and employees can develop better world citizenship as we struggle together to ensure our survival.
The objective must be to build an industry that will both serve and benefit from an honest understanding of how the world might survive; how publishing will look in the very different world that is coming as climate change accelerates; and how publishing can contribute to the way the world’s human, animal and plant populations can try to adapt to the new circumstances of life on earth.
Changing the business models
If the first steps are relatively easy – making sure that all publishing conforms to the standards in current industry recommendations on paper, ink, printing and packaging – the second is much harder. It will require courage, honesty and much more creativity and daring. As resources become scarcer, publishers must look to publish less, to publish less wastefully, to eliminate overproduction and overconsumption, to produce for the coming times of scarcity as if they were already here. This will require building new relationships and alliances with contractors and customers, adopting new business and economic models that will radically reform what publishing is all about.
It will not just be about ‘save’, ‘reuse’, ‘repurpose’ or ‘recycle’, but is likely to involve stopping some production altogether – reducing consumption while increasing access and usage, perhaps shifting closer to the ‘commons’ model of publishing, encouraging sharing rather than ownership, liberating the power of private and personal libraries, localising publishing to a street or village level, building business activity around human activity, not around corporate sales and profit.
Digital is not always the answer
For too long publishing has seen the digital as its get-out clause – clean, democratic and liberating – without recognising the environmental cost of digital publishing. The energy cost of digital is high and networks are vulnerable to climate breakdown. Data processing, storage and transmission technologies used to prepare text, still and moving images, sounds and artificial intelligence, are energy intensive operations using rare resources often obtained by violent and exploitative means; and energy use is at the heart of greenhouse gas emissions and global heating. Publishing must immediately start to reduce its energy usage in the digital sphere.
In this as in all areas, it’s important not to replace one carbon use with another – power for data farms still pollutes and warms the planet, and offshoring production to other countries, exporting your carbon emissions to other pats of the globe, doesn’t work either.
All carbon costs entailed in the whole publishing process – from creator to reader – need to be audited, questions asked and answered. Publishers pride themselves on their creative thinking, so let’s see more of this as we address the urgent issues raised by the climate emergency.
As we go further and examine some of the fundamentals. Here are a few questions the industry might ask.
Can publishing rid itself of its own equivalent of the ever-increasing GDP myth and start to reduce title output, see reducing turnover and market share as markers of success? How can publishers plan for successful de-growth?
Can publishers reassert their central role in deciding what to publish, reducing the number of titles published and eliminating publications that are built on a publishing economic model of ever-greater title production? Can publishers be leaders in the move to value quality over quantity?
Can publishers lead the development of a new literacy, one that encourages a new generation of writers and creators who aren’t governed by the (often false) lure of profit from mass consumption, develops audiences based on genuine need (as we have long taught in marketing classes!), and fosters individual creativity and idiosyncrasy rather than creating/making stuff for mass consumption. How does publishing reassert its faith in the individual?
Can publishing encourage more sharing of publications, committing to reinvigorate ‘library’ systems for the coming era of scarce resources? At its core, publishing is about sharing ideas, so how can this role be proudly re-articulated?
Can publishing be a leader in developing ways of personal interaction that do not involve thousands of people using vast resources travelling to events like the Frankfurt Book Fair?
If publishers must occupy offices and warehouses, can they reduce this need as much as possible and adapt these premises to eliminate wasteful heating or air conditioning, equip all buildings with solar panels, wind turbines, insulation and other technologies possible, to create cleaner and more productive workplaces that don’t add to the problems of the climate emergency? Should publishers move their operations to what are – at least for the moment – more temperate climates?
Is more localisation a fruitful direction of travel for a global publishing industry that has lost contact with many users and readers? How can publishing organisations (even those large corporations that often appear to have no home in the physical world) interact more fruitfully with their local communities, working to improve the resilience of their transport, housing, energy and communications systems, all of which will come under threat as climate change accelerates?
How can publishing improve its credentials as a good citizen and good employer? Employees are people who want the world to survive, who want their children and grandchildren to be able to breathe, eat and drink clean air, food and water. Let’s see a massive move away from the car culture, eliminate personal company cars, provide bikes and buses for employees, work with local councils and communities, and turn car parks into pleasure parks.
The climate emergency is not going away
Many more questions will need to be asked, but publishers have the intelligence and imagination to address them. Publishers must recognise and communicate the ways in which times are changing and encourage each other to look the changes in the face and start producing responses to the climate emergency, because the climate emergency is not going away.
We have a little over a decade to make radical changes if we hope to avoid the loss of the ecosystem on which life on earth depends. There is no way that publishing and the people who work in it can avoid the effects of climate breakdown, so no moment is too soon for the industry to wake up to the need for serious and significant changes in the ways it does business.
Extinction Rebellion (XR), an organisation that like Greta Thunberg and the school strike has done so much to bring climate breakdown into the public consciousness, operates on three central demands that may be useful here.
The first is Tell the Truth. Publishing needs to acknowledge the truth of the climate breakdown that is already coming and use its publishing skills to communicate this knowledge within its own industry and to customers, users and readers.
The second demand is Act Now to reduce greenhouse gas emissions to net zero by 2025. Publishing people and publishing organisations need to start acting without delay. Some methods are already obvious; some require a change of direction and a change of heart; others are as yet unknown and will only emerge as the result of a sustained and collaborative drive to accelerate innovation to make publishing a force in the coming struggle.
The third XR demand is for a Citizens Assembly to determine how climate and ecological justice can be part of the world’s response to the climate emergency. In publishing terms, the industry needs to refocus its constant appetite for seminars, workshops, conferences, book festivals and book fairs towards the development of democratic communications on what must be done about climate change in all parts of the book chain.
All creators and producers, readers and users of publications, institutions and individuals of all kinds, publishing in all its forms, can then make the adaptations that will be needed if publishing is to play its part in helping the world to avoid the worst effects of rapidly accelerating global heating.
For publishing and for publishing people, now is the time for change. Now is the time for telling the truth. Now is the time for action.
Fictional publishers often appear at international book fairs. The setting gives writers the chance to introduce new characters, engineer plot twists and inject the frisson of drunken conversations and illicit sex. The Frankfurt Kabuff, Blaire Squiscoll’s recent work, adds a new twist to this, functioning as a mesmerising deconstruction of what it means to be a publisher and what it means to hang out with publishers at such events. It combines many old publishing tropes, sometimes seeming to be more of a Wunderkammer than a Kabuff.
The central character, Beatrice Deft, is not a publisher but she is someone who loves books, believes in their power to change lives. She is old school: she smokes, she drinks, she eats meat (there is a flashback subplot of violence against an immigrant at a chicken shop in Australia – don’t ask), she flies. Deft enjoys sex (and Sekt) with Caspian, the hunky German cop, of whom we learn little except for his badge number (6969) and the way he wields his impressive baton.
After a violent intervention by the right-wingers surrounding a publishing firm called White Storm – put down with the help of Tante Fran and the knitting book club – the old left-wing publisher Kurt Weidenfeld steps down from his position at Linksphilosophie Verlag in favour of Adriana, Lotte Frankel takes over from the wannabe demagogue Kristoff Weil, and Beatrice begins a new career as an international publishing consultant, travelling the world to protect international books from future terrorist attacks. The publishing patriarchy is being overturned.
As Beatrice prepares to jet off on her new mission, the familiar figure of a strapping blond catches her attention. There will be further adventures, but they had better hurry, because this old world of international publishing will soon be brought to a juddering halt, not, as this story suggests, by the threat of right-wing terrorism, but by the surveillance state it has created, the security apparatus it spawned, and – in this time of climate breakdown – the impossibility of sustaining all that smoking, drinking, meat-eating and carbon-fuelled travel that are at the core of the international book fair circuit.
Blaire Squiscoll, The Frankfurt Kabuff, 2019
Sucking out water
Spray the aquifer on crops
Drought is coming soon
Conjuring and magic tricks
No thought of Black Death
Water to swim in
Tumbles from springs and snow melt
Leaving rocky peaks
Birds moving in trees
Ring doves flying together
No other thing stirs
Transhumance beasts move
Baaing and dull bells ringing
Up to fresh pasture
Stony mountain mist
No worry in beating rain
Dry later and hot
Raining for twelve hours
Owl hooting in the pauses
Sunny briefly cooler
Watch brown squirrel climb
Claws on bark like gnawing sound
Up in the pine tree
Rumbling grey sky
Thunder or high flying thing
Closer and louder
Three hill horizons
Cresting together in cloud
Changes will come soon
Full moon fathers’ day
First waxing and waning then
Waning and waxing
Bright sweet tomatoes
Soft hairs on yellow courgettes
Dirty garlic heads
Bark of the olive tree
Cracked like a river bed
Liquid under it
One hornet buzzing
Nearer then further away
Changes summer’s sound
Flies are bothersome
On the skin and in the air
Bringing more disease
Hands come together
Mountain top recedes in rain
Run for the shelter
Longest day dawning cool blue
Short night approaches
Here comes canicule
Red on maps and voices shrill
Can’t block burning sun
Repeating food names
Staving off hungry meaning
Fuller but still starved
Over expanding waters
Closing over life
More than two thousand pages into À la recherche du temps perdu there is a brief mention of a Paris publisher who is said to have attended Madame Verdurin’s salon.
Un grand éditeur de Paris venu en visite, et qui avait pensé qu’on le retiendrait, s’en alla brutalement, avec rapidité, comprenant qu’il n’était pas assez élégant pour le petit clan. C’état un homme grand et fort, très brun, studieux, avec quelque chose de tranchant. Il avait l’air d’un couteau à papier en ébène.
This publisher had little in common with the tastes of the ‘fidèles’ and was not going to be constrained by their pretentious desire to dictate artistic taste. Now that’s what needed, cutting edge publishers with gravitas.
Twitter threads are a new sort of writing 1/10
They come in different forms 2/10
They may be used to cover a topic succinctly and in a strict logical order 3/10
Or they may be vague and rambling 4/10
Often they have many of the characteristics of listicles 5/10
If they are numbered you can see that all the tweets have been written before the first one is tweeted 6/10
If the numbering system goes awry it looks as if they are more spontaneous 7/10
A twitter thread can be turned into a blog post 8/10
It can even be printed out, published as a small pamphlet or as part of an anthology 9/10
If you want to preserve a twitter thread you can keep a screen print of the whole thread 10/10
On the eve of the EU Referendum I published a blog post, A European Life, that concluded: “My whole life has been lived in the context of this complex and sometimes conflicted continent and whatever the result of the referendum tomorrow, I am just one of very many British people who are not about to leave Europe. We are Europe.” Now, one year into the Article 50 period, one year from the deadline date of 29th March 2019, has anything changed?
In the time since the referendum people have left Britain, meaning many skilled and unskilled positions are now unfilled, damaging the NHS, other public services, agriculture and education. Businesses have planned to close or reduce UK operations, and EU agencies are moving out of the UK. Costs for consumers and businesses have risen. Many have take up the possibility of a second nationality.
There is much more damage to come, as UK citizens – young and old, rich and poor, leave and remain voters – now realise that they may soon be deprived of numerous everyday benefits of EU membership, such as EHIC health coverage, mobile phone roaming, easy car insurance, integrated air and rail travel, study exchange, and funding opportunities for education, culture and research. The freedom to work, study and make a life in all countries of the European Union is due to be restricted, affecting professionals, skilled workers, musicians, performers and other artists, students, and the retired.
But even greater damage is being done. It is now clear that Britain is no longer the country of ‘fair play’; no longer even pretending to be an open society; no longer a country governed by the mission to make common cause with other peoples. Britain, in spite of all the talk of becoming more ‘global’ and of forging ‘new partnerships’, is strangling itself in red, white and blue bunting, betrayed by a propagandist national broadcaster, and unable to counteract its own self-doubt and self-deception. The entrenched xenophobia, the lack of historical awareness, the almost feudal deference that pervades all aspects of British life from politics to humour show Britain as a country that has never taken the trouble to understand its cruel, militaristic, class-ridden past.
If the Brexit fiasco does nothing else – and even if those who look to stop or reverse it are successful – this must be the time when the country begins to question the things that have held Britain back from a mature involvement in the world. It must include education and awareness programmes similar to those conducted in countries that have suffered from repressive and unequal regimes. We need a full public debate on the unreconciled history of Empire; a critical examination of the role of monarchy and unelected legislators in Britain’s constitutional arrangements; a comprehensive public engagement to understand and counteract the effects of media bias and the extent of digital intrusions into private and personal lives.
If nothing else, Brexit must mark the end of the years of denial, must make us all accept that Britain is not so Great after all and we all need to do something to make this a better country, a country that looks for collaboration not conflict, equality not superiority. It will take a lot of work, but we can recover from the shame, disgrace and international ridicule that the Brexit period has heaped on this country, and we must begin now. We must all make sure that we play our part with good spirit and good will and we must prove our commitment with honesty and humility.
We are Europe and will remain so.
In Shillingworth-On-Thames Elizabeth Taylor is swept of her feet by John Wiley, the owner of a Ceylon tea plantation, and has amazing romantic adventures. Perhaps she would have been happier staying in the world of books, or perhaps things would have turned out differently if he had been another John Wiley.
Elephant Walk, 1954 – Director: William Dieterle
Muriel Spark’s fictional recollection of the London publishing world in A Far Cry from Kensington is a meandering tale that tells us something about the ways in which young ladies in the 1950s acquired “a job in publishing”, lost it, and found another.
There are several astute observations, including reference to “the common fallacy which assumes that if a person is a good, vivacious talker he is bound to be a good writer”. Her first, subsequently bankrupt and imprisoned employer, “had another, special illusion: he felt that men and women of upper-class background and education were bound to have advantages of talent over writers of more modest origins”.
The narrator adds: “In 1954 quite a few bright publishers secretly believed this”. In 2018, many still do.
Muriel Spark, A Far Cry from Kensington, 1988