This is an extract from Australian author James Bradley’s December 30 2015 post on his blog http://cityoftongues.com/
It should be read with his earlier piece, Strange Weather: Writing the Anthropocene, that first appeared The Weekend Australian on the 24th January 2015.
[T]his diversity suggests why thinking of these books in terms of genres or categories is to miss the wood for the trees. Because these books aren’t a genre, they’re expressions of the deeper and more pervasive transformation of the world and ourselves we have taken to calling the Anthropocene in exactly the same way novels like Mrs Dalloway and Ulysses reflected and embodied the transformative effects of modernity upon our culture and our selves. As Mckenzie Wark quipped on Facebook earlier this year, all fiction is anthropocene fiction, some of it just doesn’t realise it yet.
To my mind the benefits of thinking about the question in this way are considerable. Not only does it allow us to step away from fruitless arguments about generic definition, but it allows us to see climate change as simply one (if still a very considerable) part of a larger process of transformation, one that embraces, amongst other things, genetic engineering, virtuality, over-population, species loss, habitat destruction and the broader disruption of natural and social systems by environmental change and capitalism.
And, perhaps more deeply, it recognises that we inhabit a world in which we ourselves are being altered, not just by technology and social transformation, but by the shifting terms of our engagement with what we would once have called the natural world. If one wanted to define when this change became apparent perhaps you might point to the floods and fires that tore through Australia over the summer of 2010/11, or the devastation wrought by Hurricane Sandy in 2012, or the droughts in the Middle East in 2008, or any one of the flooding events or hurricanes or droughts or heatwaves that have struck countries around the world in recent years, but perhaps the really significant moment was earlier this year, when average CO2 levels in the Earth’s atmosphere passed 400ppm for the first time since the Pliocene. As Virginia Woolf might have put it, on or about March 2015, human character changed.
What we call the literary expressions of this condition is an open question. The obvious choice is Anthropocene fiction, although I’m resistant to that term, both because like cli fi it suggests a set of generic boundaries, instead of emphasising the degree to which this transformation leaches into everything, and because it emphasises human agency when, to my mind at least, what many of the books and stories we wish to discuss are attempting to find ways to talk about the non-human in fictional terms (I also think it’s worth making the point that while the idea of the Anthropocene is usually assumed to embrace the effect upon the natural world by human activity, but it also – and importantly – embraces a different and more interstitial kind of ecological awareness, one that recognises the presence of wildness and the natural world within the fabric of the human world).
Yet still, given that this idea of the transformation of the natural world, and of the end of a particular idea of nature is central, I wonder whether it mightn’t be simplest to begin to speak of the post-natural, or post-naturalism, and to begin to think of it not as a fad or a fashion or a genre, but as a tangible condition, something shaped and defined by the transformation of the natural world by human agency that is going on around us, and which helps determine the nature of the way we see the world, the questions we ask, and perhaps most importantly, the stories we tell.
James Bradley was born in Adelaide in 1967. He has twice been named as one of the Sydney Morning Herald’s Best Young Australian Novelists and has won the Fellowship of Australian Writers Literature Award, the Kathleen Mitchell Literary Award and has been shortlisted for the Miles Franklin Literary Award. He is the author of a collection of poetry called Paper Nautilus and the novels Wrack, The Deep Field, The Resurrectionist and Clade. James lives in Sydney.