In such imaginaries of climate change, the fixed boundaries of natural and artificial worlds are negotiated, only to suggest a more complex relationship between landscapes and humans. Cli-fi, broadly speaking, crystallises around the ramifications of drastic climatological alterations, such as drought, acid rain, floods, and desertification. These predicaments inevitably find expression in contemporary British climate fiction (henceforth cli-fi). This development-centered on the study of climate change as a philosophical or existentialist problem-is sometimes termed climate change criticism or critical climate change.Įnvironmental disasters, and societal collapses are part of the unprecedented crises of the twenty-first century. In a separate development, there has been greater interest in the phenomenon of climate change in literary or critical theory (the branch of literary studies concerned with literary concepts and philosophies rather than with literary texts). The increasing number of ecocritical analyses of climate change literature, particularly novels, is helping to shape a canon of climate change fiction. This prevalence of climate change literature has brought about a greater engagement with climate change in literary studies, notably the environmentally oriented branch of literary studies called ecocriticism. There has been a growing trend, too, of climate change poetry, thanks to the rise of ecopoetry (poetry that exhibits ecological awareness and engages with the world's current state of environmental degradation) and the launch of some key climate change poetry initiatives in the media. In theater, the appearance of several big-name productions from 2009 to 2011 has inspired an increase in climate change plays. Its popularity in fiction has given rise to the term cli-fi, or climate change fiction, and speculation that this constitutes a distinctive literary genre. In the last 5years, climate change has emerged as a dominant theme in literature and, correspondingly, in literary studies.

The meadow by james galvin