Smoke rises over the city of Manchester in William Wyld’s painting Manchester from Kersal Moor. (1852). Wikimedia commons
There is a strange and troubled kind of intimacy between our own moment of climate change and 19th century Britain. It was there that a global, fossil fuel economy first took shape, through its coal-powered factories, railways, and steamships, which drove the emergence of modern consumer capitalism.
What might we now find if we look again at the literature of the 19th century? Although Victorian writers lacked our understanding of a warming planet, we can learn from their deep awareness of the rapid and far-reaching ways that their society was changing. In their hands, the novel became a powerful tool for thinking about the interconnections between individuals, society, economics, and the natural world.
North and South
One place to start thinking about such things might be Elizabeth Gaskell’s North and South (1855), a classic example of the “industrial novel” genre that flourished in the middle decades of that century.
Most of the novel’s events take place in the industrial town of Milton-Northern (Manchester), the epicentre of Victorian coal-fired industrial production. Our protagonist, Margaret Hale, is forced to relocate there due to family circumstances, and her first numb impressions are that the environment, the economy, and the city’s urban geography have all been transformed by fossil fuel consumption:
For several miles before they reached Milton, they saw a deep lead-coloured cloud hanging over the horizon in the direction in which it lay … Nearer to the town, the air had a faint taste and smell of smoke; perhaps, after all more a loss of the fragrance of grass and herbage than any positive taste or smell. Quick they were whirled over long, straight, hopeless streets of regularly-built houses, all small and of brick.
Gaskell brings her refined but impoverished heroine into contact with a forceful cotton-mill owner, John Thornton — imagine if Pride and Prejudice were set in a factory. Their love plot offers a symbolic means of restoring harmony to a nation disrupted by the new economy, as Margaret softens the edges of Thornton’s laissez faire practices and brings about improved relations with his workers. As he admits to one of his acquaintances, near the end of the novel,
My only wish is to have the opportunity of cultivating some intercourse with the hands beyond the mere ‘cash nexus’.
Thinking about this resolution in light of the fossil fuel economy, however, what comes into focus is how vulnerable this harmonious social vision is to wider social and environmental forces. By the novel’s conclusion, the global market — the source of raw materials, investors, and customers — proves to be so powerful and destabilising that the harmony of Thornton’s factory can provide only temporary solace at best, and he is bankrupted:
Meanwhile, at Milton the chimneys smoked, the ceaseless roar and mighty beat, and dizzying whirl of machinery, struggled and strove perpetually… . Few came to buy, and those who did were looked at suspiciously by the sellers; for credit was insecure… . [F]rom the immense speculations that had come to light in making a bad end in America, and yet nearer home, it was known that some Milton houses of business must suffer[.]
Looking back at North and South now, we can see how interconnected its vision of a fossil-fuelled society and the economy is, and how artificial the borders of the nation prove to be when faced with the instabilities that it causes.
The Time Machine
Australian author James Bradley suggests that writers today, grappling with how to represent climate change, have found genres such as science fiction more suited to the task than classic realism.
“In a way this is unsurprising,” he comments, because of those genres’ interest in “estrangement” from everyday circumstances, and their fascination with “experiences that exceed human scales of being.”
The last decades of the Victorian era were, like now, a stunning time of generic innovation, and prominent amongst those late-century innovations were the “scientific romances” of H. G. Wells.
In The Time Machine (1895) Wells found a narrative device that would allow him to think about social and environmental change over enormous spans of history. Near the end of the novel, the inventor of the machine undertakes a voyage to the very end of the planet’s history:
I looked about me to see if any traces of animal life remained… . I saw nothing moving, in earth or sky or sea. The green slime on the rocks alone testified that life was not extinct… . From the edge of the sea came a ripple and a whisper. Beyond these lifeless sounds the world was silent. Silent? It would be hard to convey the stillness of it. All the sounds of man, the stir that makes the background of our lives — all that was over.
In imagining this bleak beach, Wells is taking up contemporary predictions that the law of entropy meant the inevitable “heat death” of the universe. Global cooling rather than global warming, then, but one thing that resonates now is how the novel views humanity as a species — and a finite one, at that — rather than from a more limited individual or even national perspective.
The Victorians were the first to stare into the abyss of geological deep time, and to confront the idea of natural history as a succession of mass extinctions.
As a result, Wells raises the idea of a future where even technology cannot overcome calamitous natural processes, and dares to imagine a planet without a human presence.
Tess of the D'Urbervilles
The novelist Amitav Ghosh has recently described a “broader imaginative and cultural failure that lies at the heart of the climate crisis,” arguing that the characteristics of the realist novel have made it resistant to representing those environmental and social complexities. Does the realist novel really have nothing to offer and nothing to say in an era of climate change?
One place to look for an answer is another famously bleak Victorian text, Thomas Hardy’s Tess of the D’Urbervilles (1891). The plot is set in motion with Tess’s father’s discovery that his family name, Durbeyfield, is a corruption of D’Urberville, and they are in fact descended from an ancient family that once dominated the area. When they are ultimately thrown out of their home, the Durbeyfields end up seeking refuge at a church, amongst the graves of their ancestors:
They were canopied, altar-shaped, and plain; their carvings being defaced and broken; their brasses torn from the matrices, the rivet-holes remaining like marten-holes in a sand-cliff. Of all the reminders that she had ever received that her people were socially extinct there was none so forcible as this spoliation.
A bit like our own era of increasingly constrained resources, Tess inhabits an exhausted present, and she moves amidst the ruins left by previous generations who have consumed the material wealth that once made life abundant.
Hardy is also deeply attuned to the ecological damage produced by increasingly industrialised forms of agriculture. Late in the novel, when Tess is abandoned by her lover, Angel Clare, she is forced to accept work on the vast and stony fields of Flintcomb-Ash farm.
She labours through a brutal winter, and endures the relentless demands imposed by a steam-powered threshing machine — “a portable repository of force” — that reduces the workers to automatons. Around the same time, Angel abandons England for Brazil, only to find that English bodies do not translate to tropical ecosystems:
He would see mothers from English farms trudging along with their infants in their arms, when the child would be stricken with fever and would die; the mother would pause to dig a hole in the loose earth with her bare hands, would bury the babe therein with the same natural grave-tools, shed one tear, and again trudge on.
Both Tess and Angel — and the anonymous, sundered colonial families — seem to be climate refugees of a kind, caught between hostile climates and the environmental wreckage wrought by agribusiness.
What little Tess of the D’Urbervilles offers in the face of all this bleakness also centres on Tess. For one thing, she doesn’t just think of herself as an isolated individual, but sees herself as part of larger social and ecological collectives — her family, her fellow milkmaids, even the rural landscape.
She persists in her determination to care for those around her — including, most challengingly, the son she gives birth to after her rape — despite the weight of the moral and economic systems that bear down upon her. After her father refuses to let the parson visit, Tess chooses to baptise her dying son herself — naming him Sorrow — and then secures him a Christian burial:
In spite of the untoward surroundings … Tess bravely made a little cross of two laths and a piece of string, and having bound it with flowers, she stuck it up at the head of the grave one evening … putting at the foot also a bunch of the same flowers in a little jar of water to keep them alive.
Tess refuses to abandon her project of care despite its futility, persisting with her fidelity in the midst of catastrophe.
Literature in itself isn’t going to save us from global warming — if salvation is even possible, at this point — but then neither, on their own, will economics or science. But if Amitav Ghosh is right, and climate change has revealed an imaginative paralysis in western culture, one thing that the Victorian novel offers us is a means of thinking and feeling about our own moment anew.
The Sydney Writers Festival will host a session on the rise and rise of Cli-Fi featuring James Bradley, Sally Abbott, Hannah Donnelly and Ashley Hay on Friday May 26.