In the era of climate change and an ever-expanding neoliberalism now overwritten by xenophobic populisms that do not, in any practical sense, recommend a curb to economic globalization, the role of literary art in transformative social change can seem miniscule. This is less a reflection upon the inadequacies of literary forms or of literary and cultural studies as scholarly practice than on the difficulty of imagining political agency in our current milieu. The Anthropocene concept seems to have gained traction in both academic circles and more mainstream media precisely because it abrogates political responsibility to geology, albeit a human-made geology which is now ruining the planet through climate crises. In his celebrated and criticized, provocative, erudite, and at times passionately conservative book The Great Derangement: Climate Change and the Unthinkable (2016), Amitav Ghosh presents climate change as primarily an imaginative problem, an argument borne out for Ghosh by the profound inadequacies of both genre fiction and so-called serious fiction to grasp the scale and tempo of this multisited crisis of planetary ecology that, as we see, happens both slowly

中文翻译：

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占领气候：文学、政治和艺术中的社会运动建设

在气候变化和不断扩大的新自由主义现在被仇外民粹主义所覆盖的时代，这些民粹主义在任何实际意义上都不建议遏制经济全球化，文学艺术在变革性社会变革中的作用似乎微乎其微。这与其说是对文学形式或作为学术实践的文学和文化研究的不足之处的反思，不如说是对在我们当前的环境中想象政治代理的困难的反思。人类世的概念似乎在学术界和更多主流媒体中都获得了关注，正是因为它取消了对地质学的政治责任，尽管人造地质学现在正在通过气候危机破坏地球。在他著名的、批评的、挑衅的、博学的、有时甚至是热情保守的著作《大混乱》中：