A superb novel about climate activism (and much more) was released earlier this year. It is by Rosemary Randall, a retired psychoanalyst who has written a great deal (of extremely useful) work on the psychodynamics of meetings, and on climate change. You can read a 2013 interview I conducted with her for Manchester Climate Monthly.
A review of Transgression (ordering details at the foot of this interview) will appear soon (I would gush too much about it, so I have asked Dr Sarah Irving to read and review it).
1. “Transgression” is your first novel – can you say a bit about how it came about, what you hope readers will take away?
The genesis of the novel was strange. The plot and characters appeared, pretty much fully formed, in my mind when I came round from a major operation three years ago. It was as if the anaesthetic or perhaps the morphine had released something from the unconscious. More generally however, the novel deals with political events and experiences that had a big impact on me personally. Although these events – the political agitation in the run-up to Copenhagen and the devastating failure of the negotiations – are only ten years ago I’ve been struck by how much of that period has been forgotten in the grim grind of austerity. Most of the people I meet in XR for example are completely unaware of their predecessors, of the size of the climate movement of that time and of its successes (the near-closure of the UK coal industry, the rejection of a third runway at Heathrow for example) as well as the failures. The (in my view misguided) idea of some in XR that everything that went before was useless probably has something to do with this. But many of those involved at that time were angry, clever, inventive and innovative and many of the techniques used by XR were honed and developed by those who were involved in the earlier period. It was also a time when the whole movement was much broader and more connected I think, with more overlap between people engaged in different aspects or approaches. My aim in writing the novel was primarily to tell a story however and I hope that what readers will take away is the satisfaction that comes when you read a novel that speaks to you in some way.
2. It’s obvious where you got the knowledge for the psychoanalysis scenes, but the activist scenes read pretty well too – for instance you’re particularly strong on the emotions around big actions and meetings, both “positive” and negative” – how did you do the research for them?
Over the years I’ve talked a lot with my son and his partner and some of their friends about their involvement in the kind of climate activism that features in the novel, so that was the primary source, along with my own involvement with more community based action where there was a lot of overlap between people taking part in direct action and people doing more conventional stuff. Something which provided additional background was a piece of research I did which explored the quite different emotional experiences of climate activists and climate scientists. The characters however are the products of my imagination. When you write fiction you become a thief – you steal stuff from everyone you know – an incident that your transform, a personality trait that finds its way into a character for instance – but most of this happens unconsciously. Once a character has formed in your mind, that character writes themselves. The actual incidents – climate camp, the ambush of the train, the occupation of the open-cast mine for example – are a mash-up of events that actually happened but transposed in place and time. If you were there you will probably identify what I’ve drawn on and be either pleased or irritated at what I’ve done with it.
3. There are some characters (no spoilers) who are particularly caught up in their own views of the world, who don’t seem to be able see things from anyone else’s point of view, and thus do quite a lot of damage to those they purport to love and serve. They are also the most prominent (but by no means only!) male characters – was that a conscious (!) decision?
Thomas (the transgressive psychotherapist) is perhaps an amalgam of all the bad men I’ve ever known, all the male arrogance, all the sense of entitlement, all the blindness to reality. I did want him to seem real however and I hope that the reader gets glimpses of another side to him. Similarly with Jake, I wanted the reader to see how powerful self-deception and self-duplicity can be as well as how destructive. I hoped that some of the other male characters – Felix for instance with his wounded sensitivity, or Stefan with his skilled good sense – would provide another side to the portrayal of masculinity.
4. We’re ten years on now from the events in the book – either side of the Copenhagen conference and the revelation that the UK environment movement was riddled with police spies. Any plans to revisit the same characters, or to write another novel in light of the deteriorating situation?
A number of people have asked me what happens to the characters in the novel and how I would write a sequel but at present I don’t have any plans to follow them up. I suspect that their later lives might be much less interesting than the events of ‘Transgression’. Felix and Clara in particular are at a turning point in life, they have all the hope of youth and face all the disappointment of a bitter political reality. I’m not sure I could write the sequel to that at present.
The current deteriorating climate situation is of course so inflected by the Covid-19 crisis that it feels much too early to be able to put anything intelligent into words of any kind, let alone fiction – but who knows. At the moment I’m working on another novel which is set during the cold war and maybe by the time I’ve discovered whether that one will work and whether I can finish it I will find it in myself to write more fiction about the climate crisis.
5. Anything else you’d like to say?
There’s been a lot of fiction written about the kind of future we might face as a result of climate change, most of it understandably dystopian and I’ve often wished that there was more fiction about what this issue feels like now, what it feels like to live it. Although ‘Transgression’ is set a little bit in the past my hope is that it gives imaginative space to what it feels like to be involved politically in this most desperate of issues. So much of what people talk to me about at present is the same as what people felt ten and fifteen years ago – the anger, the distress, the anxiety, the sense of your world being reshaped, the need to throw over your existing life and commit yourself, the fear that we will not succeed in stopping this. There was perhaps a little more hope then but the devastation that came with Copenhagen and the imposition of austerity was immense, greater than anything I’ve seen since. So perhaps my hope is that as well as creating a good story I’ve given space for some of the feelings and experiences of the climate movement to be validated imaginatively.
'Transgression' is now available, £2.50 Kindle, £6.99 paperback. https://www.amazon.co.uk/s?k=Rosemary+Randall+Transgression&i=stripbooks&ref=nb_sb_noss Also available direct via www.rorandall.org