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But these measures have costs. Schooling time is cut short, so students learn less. People do not travel to their jobs, so work is less productive. The heat kept some farmers inside and stunted harvests, so crop yields fell and global food prices increased. Social life is disrupted.

The geography of poor countries — many are close to the Equator — is not the only reason climate change is such a burden for them. Their poverty is another factor, leaving them with fewer resources to adapt.

“Climate change is one of the most profound inequities of the modern era,”

There is a paradox to the climate crisis. Because India never fully industrialized, it has not released as many greenhouse gases as the U.S., European nations and other rich countries. But because it has not industrialized, it also has fewer resources to adapt than the richer, polluting nations.

Fewer than 10 percent of Indians have air-conditioning at home.

The rush for clean energy technologies, like solar and wind power, is an effort to break that tension — to give countries a way to industrialize without the planet-warming pollution. With climate disasters already hitting much of the world, that effort is in a race against time to prevent more crises like India’s.

who got the future most right? For the truth is that dystopia is now, not in some future date.

Science fiction provides us with a large sample of imagined discontinuities that might not occur if we only looked backwards.

Fahrenheit 451 (published in 1953 but set in 1999) describes an illiberal America where books are banned and the job of firemen is to burn them. (Though the novel is sometimes interpreted as a critique of McCarthyism, Bradbury’s real message was that the preference of ordinary people for the vacuous entertainment of TV and the willingness of religious minorities to demand censorship together posed a creeping threat to the book as a form for serious content.)

In a remarkable letter written in October 1949, Aldous Huxley — who had been Orwell’s French teacher at Eton — warned him that he was capturing his own present rather than the likely future. ‘The philosophy of the ruling minority in Nineteen Eighty-Four,’ Huxley wrote, ‘is a sadism which has been carried to its logical conclusion… Whether in actual fact the policy of the boot-on-the-face can go on indefinitely seems doubtful. My own belief is that the ruling oligarchy will find less arduous and wasteful ways of governing and of satisfying its lust for power, and these ways will resemble those which I described in Brave New World’. Huxley’s Brave New World (1932) is a very different dystopia. Citizens submit to a caste system, conditioned to be content with physical pleasure. Self-medication (‘soma’), constant entertainment (the ‘feelies’), regular holidays and ubiquitous sexual titillation are the basis for mass compliance. Censorship and propaganda play a part, but overt coercion is rarely visible. The West today seems more Huxley than Orwell: a world more of corporate distraction than state brutality.

Yet none of these authors truly foresaw our networked world, which has combined the rising technological acceleration with a slackening of progress in other areas, such as nuclear energy, and a degeneration of governance. The real prophets are less known figures, like John Brunner, whose Stand on Zanzibar (1968) is set at a time — 2010 — when population pressure has caused social division and political extremism. Despite the threat of terrorism, US corporations are booming, thanks to a supercomputer. China is America’s new rival. Europe has united. Brunner envisaged affirmative action, genetic engineering, Viagra, Detroit’s collapse, satellite TV, in-flight video, gay marriage, laser printing, electric cars, the decriminalisation of marijuana and the decline of tobacco. There’s even a progressive president (albeit of the Africa state of Beninia, not America) named ‘Obomi’

With comparable prescience, William Gibson’s Neuromancer (1984) anticipates the world wide web and AI. Opening in the dystopian Japanese underworld of Chiba City, it imagines a global computer network in cyberspace called the ‘matrix’. Neal Stephenson’s Snow Crash (1992), which was especially popular among Facebook employees in the company’s early years, foresaw corporate overreach and virtual reality in an almost anarchic America. The state has withered away in California; everything has been privatised. Most people spend half their time in virtual reality, where their avatars have more fun than they themselves do in the real world. Meanwhile, flotillas of refugees approach via the Pacific. These cyberpunk Americas are much closer to the US in 2021 than the fascist dystopias of Lewis, Atwood or Roth.

Orwell and Huxley — have been outflanked when it comes to making sense of today’s totalitarian countries

Take China, which better resembles Yevgeny Zamyatin’s We: a book written in 1921, but suppressed by the Bolsheviks. It is set in a future ‘One State’ led by ‘the Benefactor’, where the ‘ciphers’ — who have numbers, not names, and wear standardised ‘unifs’ — are under constant surveillance. All apartments are made of glass, with curtains that can be drawn only when one is having state-licensed sex. Faced with insurrection, the omnipotent Benefactor orders the mass lobotomisation of ciphers, as the only way to preserve universal happiness is to abolish the imagination.

Chan Koonchung’s The Fat Years (2009) — which is banned in China. In this story, tap water is laced with drugs that render people docile, but at a cost. The month of February 2011 has been removed from public records and popular memory. This was when drastic emergency measures were introduced to stabilise the Chinese economy and assert China’s primacy in east Asia. Chan is one of a number of recent Chinese authors who have envisioned the decline of America, the corollary of China’s rise. The Fat Years is set in an imagined 2013, after a second western financial crisis makes China the world’s no. 1 economy.

Liu Cixin’s The Three-Body Problem (2006), a Chinese nanotechnology expert and a Beijing cop lead the global defence against an alien invasion that’s the fault of a misanthropic Chinese physicist.