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The term "cli-fi" is generally credited to freelance news reporter and climate activist Dan Bloom, who coined it in either 2007 or 2008. References to "climate fiction" appear to have begun in the 2010s, although the term has also been retroactively applied to a number of works. Pioneering 20th century authors of climate fiction include J. G. Ballard and Octavia E. Butler, while dystopian fiction from Margaret Atwood is often cited as an immediate precursor to the genre's emergence. Since 2010, prominent cli-fi authors include Kim Stanley Robinson, Richard Powers, Paolo Bacigalupi, and Barbara Kingsolver. The publication of Robinson's The Ministry for the Future in 2020 helped cement the genre's emergence; the work generated presidential and United Nations mentions and an invitation for Robinson to meet planners at the Pentagon.
University courses on literature and environmental issues may include climate change fiction in their Syllabus. This body of literature has been discussed by a variety of publications, including The New York Times, The Guardian, and Dissent magazine, among other international media outlets. Lists of climate fiction have been compiled by organizations including Grist, Outside Magazine, and the New York Public Library. Academics and critics study the potential impact of fiction on the broader field of climate change communication.
Laurence Manning's 1933 serialized novel The Man Who Awoke has been described as an exemplary work of ecological science fiction from the golden age. (2014). 9780819574275, Wesleyan University Press. ISBN 9780819574275 It tells the story a man who awakes from suspended animation in various future eras and learns about the destruction to the Earth's climate, caused by overuse of fossil fuels, global warming, and deforestation. People of the future refer to 20th century humans as "the wasters". They have abandoned over-industrialization and consumerism to live in small self-sufficient villages based around genetically engineered trees that provide all their necessities. Isaac Asimov credited The Man Who Awoke for bringing the "energy crisis" to his attention 40 years before it became common knowledge in the 1970s.
Several well-known works by British author J. G. Ballard deal with climate-related natural disasters. In The Wind from Nowhere (1961), civilization is devastated by persistent hurricane-force winds, and The Drowned World (1962) describes a future of melted ice-caps and rising sea-levels caused by Solar irradiance. In The Burning World (1964, later retitled The Drought) his climate catastrophe is human-made, a drought due to disruption of the precipitation cycle by Pollution.
Frank Herbert's 1965 science fiction novel Dune, set on a Arrakis, has been proposed as a pioneer of climate fiction for its themes of ecology and environmentalism.
Octavia E. Butler's Parable of the Sower (1993) imagines a near-future for the United States where climate change, wealth inequality, and corporate greed cause apocalyptic chaos. Here, and in sequel Parable of the Talents (1998), Butler dissects how instability and political demagoguery exacerbate society's underlying cruelty (especially with regards to racism and sexism) and also explores themes of survival and resilience. Butler wrote the novel "thinking about the future, thinking about the things that we're doing now and the kind of future we're buying for ourselves, if we're not careful."
As scientific knowledge of the effects of fossil fuel consumption and resulting increase in atmospheric concentrations entered the public and political arena as "global warming", human-caused climate change entered works of fiction. Susan M. Gaines's Carbon Dreams (2000) was an early example of a literary novel that "tells a story about the devastatingly serious issue of human-induced climate change", set in the 1980s and published before the term "cli-fi" was coined. Michael Crichton's State of Fear (2004), a techno-thriller, was a bestseller upon its release but was criticised by scientists for portraying climate change as "a vast pseudo-scientific hoax" and rejecting the scientific consensus on climate change. Sigbjørn Skåden's novel Fugl (2019) is a Sámi novel written in Norwegian that weaves together environmental collapse with an allegory of colonialism.
Margaret Atwood explored the subject in her dystopian trilogy Oryx and Crake (2003), The Year of the Flood (2009) and MaddAddam (2013). In Oryx and Crake, Atwood presents a world where "social inequality, genetic technology and catastrophic climate change, has finally culminated in some apocalyptic event". The novel's protagonist, Jimmy, lives in a "world split between corporate compounds", gated communities that have grown into and pleeblands, which are "unsafe, populous and polluted" urban areas where the working classes live.
In 2016, Indian writer Amitav Ghosh expressed concern that climate change had "a much smaller presence in contemporary literary fiction than it does even in public discussion". In , Ghosh said "if certain literary forms are unable to negotiate these waters, then they will have failed – and their failures will have to be counted as an aspect of the broader imaginative and cultural failure that lies at the heart of the climate crisis." In The Anthropocene Unconscious: Climate Catastrophe Culture, critic Mark Bould suggests the opposite when he argues that the "art and literature of our time is pregnant with catastrophe, with weather and water, wildness and weirdness."
By the 2010s, climate fiction had attracted greater prominence and media attention. Cultural critic Josephine Livingston at The New Republic wrote in 2020 that "the last decade has seen such a steep rise in sophisticated 'cli-fi' that some literary publications now devote whole verticals to it. With such various and fertile imaginations at work on the same topic, whether in fiction or nonfiction, the challenge facing the environmental writer now is standing out from the crowd (not to mention the headlines)." She highlighted Jeff VanderMeer's Annihilation to Nathaniel Rich's Odds Against Tomorrow as examples.
In African literature, climate informed novels and short stories have been recently receiving attention as a field of contemporary African literature. Books such as Eclipse our sins, by Tlotlo Tsamaase; It Doesn’t Have to Be This Way, by Alistair Mackay and Noor, by Nnedi Okorafor, have been highlighted as remarkable publications in the genre.
British author J. G. Ballard used the setting of apocalyptic climate change in his early science fiction novels. In The Wind from Nowhere (1961), civilisation is reduced by persistent hurricane-force winds. The Drowned World (1962) describes a future of melted ice-caps and rising sea-levels, caused by solar radiation, creating a landscape mirroring the collective unconscious desires of the main characters. In The Burning World (1964) a surrealistic psychological landscape is formed by drought due to industrial pollution disrupting the precipitation cycle.
Similarly, The Road (2006) by Cormac McCarthy is set after an unspecified apocalypse or environmental catastrophe. It won the Pulitzer Prize for Fiction in 2007. Although it does not explicitly mention climate change, it has been listed by The Guardian as one of the best climate change novels, and environmentalist George Monbiot has described it as "the most important environmental book ever written" for depicting a world without a biosphere.
The novel State of Fear by Michael Crichton, published in December 2004, describes a conspiracy by scientists and others to create public panic about global warming. First Edition Crichton had publicly advocated "skepticism" of global warming. Speech at the National Press Club, Washington, D.C. (restored from archived copy) Testimony before the Committee on Environment and Public Works, Washington, D.C. His novel describes a group of Eco-terrorism attempting to create to convince the public of the dangers of global warming. It is based upon the idea that there is a deliberately alarmist conspiracy behind Climate movement. The book is critical of the scientific consensus on climate change. A critique in the BBC News pointed out that "Crichton's trade is to bring pleasurable terror to millions by spinning tales of science gone amok" and "To make sure you get his point, Crichton adds a 32-page footnote documenting his own conviction that global warming is an unscientific scare."
Ian McEwan's Solar (2010) follows the story of a physicist who discovers a way to fight climate change after managing to derive power from artificial photosynthesis. The Stone Gods (2007) by Jeanette Winterson is set on the fictional planet Orbus, a world very like Earth, running out of resources and suffering from the severe effects of climate change. Inhabitants of Orbus hope to take advantage of possibilities offered by a newly discovered planet, Planet Blue, which appears perfect for human life.
Other authors who have used this subject matter include:
Octavia E. Butler's Parable of the Sower (1993) imagines a near-future for the United States where climate change, wealth inequality, and corporate greed cause apocalyptic chaos. Here, and in sequel Parable of the Talents (1998), Butler dissects how instability and political demagoguery exacerbate society's underlying cruelty (especially with regards to racism and sexism) and also explores themes of survival and resilience. Butler wrote the novel "thinking about the future, thinking about the things that we're doing now and the kind of future we're buying for ourselves, if we're not careful."
Margaret Atwood explored the subject in her dystopian trilogy Oryx and Crake (2003), The Year of the Flood (2009) and MaddAddam (2013). In Oryx and Crake, Atwood presents a world where "social inequality, genetic technology and catastrophic climate change, has finally culminated in some apocalyptic event".
A controlled experiment found that reading climate fiction short stories "had small but significant positive effects on several important beliefs and attitudes about global warming – observed immediately after participants read the stories", though "these effects diminished to statistical nonsignificance after a one-month interval". However, the authors note that "the effects of a single exposure in an artificial setting may represent a lower bound of the real-world effects. Reading climate fiction in the real world often involves multiple exposures and longer narratives", such as novels, "which may result in larger and longer-lasting impacts".
A survey of readers found that readers of climate fiction "are younger, more liberal, and more concerned about climate change than nonreaders", and that climate fiction "reminds concerned readers of the severity of climate change while impelling them to imagine environmental futures and consider the impact of climate change on human and nonhuman life. However, the actions that resulted from readers' heightened consciousness reveal that awareness is only as valuable as the cultural messages about possible actions to take that are in circulation. Moreover, the responses of some readers suggest that works of climate fiction might lead some people to associate climate change with intensely negative emotions, which could prove counterproductive to efforts at environmental engagement or persuasion."
Finally, an empirical study focused on the popular novel The Water Knife found that cautionary climate fiction set in a dystopic future can be effective at educating readers about climate injustice and leading readers to empathize with the victims of climate change, including environmental migrants. However, its results suggest that dystopic climate narratives might lead to support for Ecofascism. Based on this result, it cautioned that "not all climate fiction is progressive", despite the hopes of many authors, critics, and readers.
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