科幻小說(shuō)新流派：氣候變化小說(shuō)

氣候變化小說(shuō)是科幻小說(shuō)的分支之一，它不同于傳統(tǒng)科幻小說(shuō)虛構(gòu)一些天馬行空的技術(shù)或外太空，這類小說(shuō)通常是反烏托邦的，聚焦人類面臨的災(zāi)難。氣候變化是人類面臨的現(xiàn)實(shí)問(wèn)題。有人認(rèn)為氣候變化小說(shuō)可以改變?nèi)藗兊挠^念，讓這些看上去高大上的問(wèn)題更接地氣，也可喚醒大眾對(duì)該問(wèn)題的關(guān)注。不過(guò)，也有人不認(rèn)同小說(shuō)能喚醒大眾對(duì)氣候變化問(wèn)題的關(guān)注。信者恒信，不信者恒不信，科幻故事只能加強(qiáng)人們?cè)械男叛觥?/p>

A new genre of fiction has emerged out of rising sea levels. Climate fiction， or “cli-fi”， is a sub-genre of science fiction. It imagines an often dystopian future where man struggles against the extremes of a changing environment.

全球變暖導(dǎo)致海平面上升，伴隨而來(lái)的還有一種新的小說(shuō)流派。氣候變化小說(shuō)，是科幻小說(shuō)的一種。這種小說(shuō)常常虛構(gòu)一種黯淡悲觀的未來(lái)情境，在那里人類努力與極端變化的環(huán)境做斗爭(zhēng)。

Although it is still an unexplored territory in the Chinese literary circle， cli-fi in the English-speaking world has gained so much popularity that climate change literature is now a regular course in universities as geographically diverse as the US， the UK and India， according to a Reuters report. A brief amazon.com search of “climate fiction” returns more than 1，800 results， reflecting a growing demand for books that focus on environmental issues.

雖然氣候變化小說(shuō)在中國(guó)文學(xué)圈還是一塊尚未勘探的領(lǐng)域，但它在英語(yǔ)世界國(guó)家已經(jīng)大受歡迎。路透社報(bào)道說(shuō)，在有些國(guó)家如美國(guó)、英國(guó)和印度，氣候變化文學(xué)已經(jīng)成為大學(xué)的一門常規(guī)課程。在亞馬遜網(wǎng)站上稍微搜索一下“氣候變化小說(shuō)”就會(huì)出現(xiàn)1800多個(gè)搜索結(jié)果，這反映了環(huán)境題材作品的需求量在不斷上升。

According to The Atlantic， cli-fi stories seldom talk about “imaginary technologies or faraway planets”， unlike traditional sci-fi. Cli-fi is a lot more down to earth. It examines the impacts of pollution， rising sea levels and global warming on human civilization. According to the article， the genres “ability to bridge science with the humanities and activism” makes environmental issues “more accessible to young readers， proving literature to be a surprisingly valuable tool in collective efforts to address global warming”.

據(jù)美國(guó)《大西洋月刊》所說(shuō)，氣候變化小說(shuō)不像傳統(tǒng)科幻小說(shuō)那樣講的都是一些“虛構(gòu)的科技或遙遠(yuǎn)的星球”。氣候變化小說(shuō)要接地氣得多。它剖析的是污染、海平面上升和全球變暖對(duì)人類文明的影響。按照該文章的說(shuō)法，這類小說(shuō)“架起科學(xué)與人文和行動(dòng)主義之間的一座橋梁的能力”，讓環(huán)境問(wèn)題“更容易為年輕讀者所接受，證明文學(xué)是呼吁集體行動(dòng)來(lái)應(yīng)對(duì)全球變暖的令人驚訝的寶貴工具”。

Although it is regarded as a new literary category， cli-fi has “roots in themes explored in fiction for decades”， says a Huffington Post article. French writer Jules Verne “explored climate change and sudden atmospheric temperature drops at the end of the 19th century in The Purchase of the North Pole”. British sci-fi master

J. G. Ballard created climate dystopia with The Wind From Nowhere （1961）.

《赫芬頓郵報(bào)》的一篇文章指出，氣候變化小說(shuō)雖然被視為新的文學(xué)類型，但其實(shí)它“數(shù)十年來(lái)一直根植于探索科幻的小說(shuō)主題中”。法國(guó)作家儒勒·凡爾納“在19世紀(jì)末就在小說(shuō)《旋轉(zhuǎn)乾坤》中探討過(guò)氣候變化和氣溫突降問(wèn)題”。英國(guó)科幻小說(shuō)大師J. G. 巴德拉創(chuàng)作的《八面來(lái)風(fēng)》（1961）標(biāo)志著氣候反烏托邦流派的誕生。

But cli-fi has been made more appealing to younger generations thanks to its emergence in movies and TV shows. The Hollywood blockbuster Interstellar in 2014 has elements of cli-fi in its depictions of a future world gradually destroyed by sandstorms. In the 2013 movie Snowpiercer， a failed attempt to stop global warming creates a new ice age. Environmental themes also run through the Madd Addam trilogy， a series of best-sellers written by the prestigious Canadian novelist Margaret Atwood. The books are currently being adapted into a TV series for HBO.

但是由于在電影和電視劇中出現(xiàn)，氣候變化小說(shuō)在年輕一代中更受歡迎。2014年的好萊塢大片《星際穿越》中描述未來(lái)世界被沙塵暴逐漸摧毀的情節(jié)就帶有氣候變化小說(shuō)的元素。在2013年的電影《雪國(guó)列車》中，人類試圖阻止全球變暖卻未能成功，反而創(chuàng)造了全新的冰河時(shí)代。加拿大著名小說(shuō)家瑪格麗特·阿特伍德的系列暢銷小說(shuō)《馬德亞當(dāng)》三部曲中也貫穿了環(huán)境主題。這套叢書最近正被美國(guó)HBO電視網(wǎng)改編為電視劇。

The term “cli-fi” was created by US writer and climate activist Dan Bloom. In an interview with The Atlantic， Bloom said he hoped the “catchy buzzword” would help “raise awareness about global warming”. The strategy seems to be working. In an article for The Guardian， UK cli-fi writer Sarah Holding wrote that the genre “reconnects young readers with their environment， helping them to value it more， especially when today， a large amount of their time is spent in the virtual world”.

“氣候變化小說(shuō)”的概念由美國(guó)作家兼氣候變化社會(huì)活動(dòng)家丹·布隆提出。在接受《大西洋月刊》采訪時(shí)，布隆說(shuō)希望這個(gè)“朗朗上口的流行語(yǔ)”能幫助“引起大眾對(duì)全球變暖的關(guān)注”。這種策略似乎正在起作用。在為英國(guó)《衛(wèi)報(bào)》撰寫的一篇文章中，英國(guó)氣候變化小說(shuō)作家薩拉·霍爾丁寫道，這一流派“把年輕讀者和環(huán)境重新聯(lián)系起來(lái)，幫助他們更加重視環(huán)境，特別是現(xiàn)今，他們大量的時(shí)間都花在了虛擬世界。”

But not everyone is convinced of cli-fis potential. In an article for The New York Times， George Marshall， founder of UK-based Climate Outreach Information Network， expressed concern that cli-fi would reinforce what people already believe rather than change anyones minds. “The unconvinced will see these stories as proof that this issue is a fiction， exaggerated for dramatic effect，” he said. “The already convinced will be engaged， but overblown apocalyptic story lines may distance them from the issue of climate change or even objectify the problem.”

不過(guò)不是每個(gè)人都看好氣候變化小說(shuō)的潛能。總部在英國(guó)的氣候服務(wù)信息網(wǎng)創(chuàng)始人喬治·馬歇爾在為《紐約時(shí)報(bào)》撰寫的一篇文章中就表達(dá)了自己的擔(dān)憂，他表示氣候變化小說(shuō)能強(qiáng)化人們的固有觀念而非扭轉(zhuǎn)它們。“不相信的人會(huì)把這些小說(shuō)當(dāng)成氣候變化不存在的證據(jù)，氣候變化是為了戲劇效果而被夸大的，”他說(shuō)。“而相信氣候變化的人則會(huì)繼續(xù)關(guān)注該問(wèn)題，但這些夸張的世界末日的故事情節(jié)可能會(huì)讓他們疏離氣候變化的主題或者甚至讓該問(wèn)題客觀化。”