Academic literature on the topic 'Working-class writers'

In his early twenties Marek Hłasko (1934–69), an ‘angry young man’ and a rare ‘authentic’ working-class voice, became the great literary hope of the Polish Communist Party. In the space of a few months, and at a crucial moment in post-war Polish history, he made his literary debut, published two books, received the Polish State Literary Prize and instantly became a popular youth-hero and celebrity rebel. But just as rapidly he became an exile, an outcast and a pariah. In the West he found ‘freedom’ as difficult to negotiate as life under communism, and while he continued to write, after 11 nomadic years he died of an overdose. His life and his writing are of one piece: his career trajectory illustrates how the Party could operate to promote writers it favoured, but to block and isolate those who opposed it.

This article re-examines the resistance to literary modernism in interwar Britain from the angle of popular literary theory and practice. Drawing on the papers of some of the notable working-class writers of this period, it disputes Jonathan Rose's claim that a rejection of modernist ‘obscurantism’ was a response distinctive to working-class autodidacts. Moreover, many middle-class readers responded to modernism in the same terms that Rose takes to be peculiar to a working-class intelligentsia. Negative reactions to modernism are better explained as a response conditioned by a literary discourse in which plebeian autodidacts as well as middle-class readers participated. The article approaches this discourse via the aspiring authors who joined writing clubs in the interwar period. Because these people were at once fairly typical readers and writers, their ideas and practices disclose more about popular understandings of literature than debates in the national press or literary reviews do. Their ideas about what constituted good writing and their hostility to modernism were underpinned by a popular conception of literature that derived from English romanticism.

This essay explores how working-class lives are represented in the poetry of three American women poets, Jan Beatty, Sandra Cisneros, and Wanda Coleman. It discusses how the poets’ working-class backgrounds affect their poetics and their perceptions of poetic craft. Through analysis, I show how their poetry shares a sense of defiant resistance, communicated through imagery of violence, labor, and sexual pleasure, responding to societal and institutional limitations placed on working-class women and working-class women writers.

In Towards the Abolition of Whiteness David Roediger tells the story of Covington Hall, the editor of a newsletter published by the Brotherhood of Timber Workers in Louisiana in 1913 and 1914. Roediger deftly analyzes efforts by Hall and other white writers in the brotherhood to construct cross-racial unity within an otherwise racially torn working class. He shows how Hall redrew the lines of solidarity: On one side were the degraded, of any race.On the other were enlightened workers who eschewed racial divisions, racist language, and stereotypes. “There are white men, Negro men, and Mexican men in this union, but no niggers, greasers or white trash,” proclaimed Ed Lehman, a soapbox speaker for the Brotherhood. A headline in the newsletter similarly asked readers to choose, “SLAVES OR MEN, WHICH?” Still more graphically, a cartoon commanded, “Let all white MEN and Negro MEN get on the same side of this rotten log.”

When Joseph Freeman celebrated the standard 1930s' version of heroic worker-writers at the American Writers' Congress, he didn't seem to notice that the Works Progress Administration (WPA) was a conflicted category. His vision assumed that the WPA empowered writers by aligning them with laborers, folding them into the celebration of physical labor promoted by the New Deal, an assumption that reverberated widely both at that political moment and in more recent discussions (Figure 1). This essay argues that bringing together the categories of worker and writer under New Deal sponsorship was a much less seamless, less heroic, and less masculinist operation than is generally asserted. It reconstructs the experiences of WPA writers with a local specificity heretofore missing from the discussion: in this case, the assortment of employees – the white-collar destitute, widows, impoverished gentility – on the New Bedford District Office of the Massachusetts Writers' Project. From this perspective, the experience of WPA employment was more in tension than in solidarity with working-class practices. The dynamics of government bureaucracy most often left project employees stranded between the categories of worker and writer, attempting (with limited success) to negotiate a resolution in both their social and their narrative positions.

There is a large and complex literature regarding the part played by working-class Nonconformity in the industrial revolution and the emergence of the English labour movement. For all its nuances, this writing can be separated into two main strands. The first, broadly Marxist, perspective sees working-class Nonconformity primarily as a form of capitalist control, inculcating bourgeois norms of hard work, thrift, respectability and political moderation into the working class. However, even labour historians who subscribe to this view cannot help but be struck by the ubiquitous accounts of lay preachers at the forefront of Victorian labour movement campaigns, especially in the coalfields. Thus, the second view stresses the part played by working-class Nonconformists in leading their class towards political and industrial emancipation. To a considerable extent, the stance taken, particularly on Methodism, depends on whether writers draw their evidence from national, usually middle-class, denominational hierarchies, or from local accounts of working-class religiosity.

This paper re-examines the debate about the class rationality of the working-class demand for a family wage and argues that this issue cannot be resolved without considering the feasibility of alternative strategies. Existing accounts are criticized for their unrealistic treatment of these alternatives and the constraints upon them and particularly for their neglect of the influence of the policies of employers and the state upon working-class strategies. The argument is supported by discussion of the economic and political context of the family wage demand in Britain up to the First World War and concludes that the strategy was more rational than many writers have suggested.

“The city,” Theodore Dreiser explains at the beginning of Sister Carrie, “has its cunning wiles, no less than the infinitely smaller and more human tempter. There are larger forces which allure with all the soulfulness of expression possible in the most cultured human. The gleam of a thousand lights is often as effective as the pervasive light in a wooing and fascinating eye” (1). Dreiser's description here echoes many early 20th-century writers' anxieties about the rise of the modern city — from social reformers like Jane Addams and Jacob Riis to journalists and novelists as varied as Stephen Crane and Jean Toomer. But it is Dreiser's depiction of the city as a seducer, as an irresistible wooer, which finally arrives at the heart of the controversy. In the age that saw an increase in the most socially diverse wage seekers — newly arrived immigrants, Southern blacks who migrated North, and single, young women from the country — the city promises, only in the heat of passion, economic and social possibilities, a chance to live out the full contract of American democracy. And the city finds no better stage for its wooing of these new generations of Americans than that of the vaudeville theater.

For years, basic writers have been identified and labeled as remedial. Several alternative approaches have had limited success in terms of developing basic writers' skills. My study explores the potential of in-class tutoring to serve as an educational alternative to working with basic writers. Once Ball State's in-class tutoring was in place, I was faced with evaluating and justifying in-class tutoring in terms of department pedagogies, Writing Center goals, and effect on basic writers. However, in order to understand the Writing Center's role in basic writing programs, I had to design a study which would incorporate the most important factors of evaluation: assessment data and observation. My study identified key factors of in-class tutoring, to justify the continued existence and development of in-class tutoring at Ball State and possibly beyond. By breaking my analysis down into two areas, assessment data and observation, I isolated the individual aspects which affected the program. Although this data does not offer conclusive evidence about the program itself, the assessment data offers some interesting patterns of growth, and the observational data proved to be useful in terms of evaluating the program from an administrative perspective. My analysis of the issues and data lead me to conclude that in-class tutoring is worth evaluating and researching.
Department of English

This short story collection includes five original works of fiction, three of which make up a trilogy titled "The World Drops Beneath You," which follows the life of James McClellan from 1969 in Texas until roughly 2009, when he is struggling to care for his wife, who suffers from Alzheimer's disease. One of the two remaining stories, "She Loved Him When He Looked Like Elvis," prominently features James McClellan's parents and is set approximately eight years before the start of the trilogy. Each of the stories is concerned with blue-collar families trying to make their way in postindustrial America and the forces that buffet them, including some brought on by the choices they make.

In the course of my degree studies it became apparent that there was little historical evidence of British working-class women writers. This led me to the question whether such women actually wrote or whether it was the case that their writing was not deemed good enough for publication. (Merelyn Cherry 75) In her essay entitled Towards a Recognition of Working-Class Women Writers, Cherry discusses the omission of these writers in literary studies. She concludes that their (supposed) underrepresentation is not a matter of publication, but is due to the fact that these authors are largely ignored by Western academics (cf. 115-118). In fact, there is sufficient evidence of women writing about the working classes. Relevant examinations of the British working-class novel that include female authors are Mary Ashraf’s Introduction To Working-Class Literature in Great Britain (1978), Gustav Klaus’ The Socialist Novel in Britain (1982), Pamela Fox’s Class Fictions (1994), Merylyn Cherry’s Towards a Recognition of Working-Class Women Writers (1994) and some excerpts from Ian Haywood’s From Chartism to Trainspotting (1998). Merylyn Cherry lists some of the writers whose works will be discussed in my thesis; however, she does not specify what is to be understood by “British working-class women writers”. Various questions arise at this point. What are the distinctive features of a contemporary working-class novel written by a woman author? Which narrative strategies are employed to create the literary working-class world of female characters? What type of work is performed by such characters? The difficulty in finding answers to these questions lies in the attempt to determine a typology of such novels. The text corpus of working-class fiction is clearly male-dominated, both in terms of male authorship and the depiction of working-men characters and their living environments in the novels. Women authors, who frequently produce(d) female counterparts to the working-men characters, have fallen into oblivion even within working-class studies. Ian Haywood, for instance, ignores three significant Welsh women writers of this category, even though his anthology entitled Working-Class Fiction, From Chartism to Trainspotting (1998) focuses on British writers. Uncovering these female writers and demonstrating the development of their fiction will be part of this thesis. Each traceable narrative of the kind shall be mentioned in chronological order. This is the first step to grasp the essence of these texts. It will become clear that a contemporary woman’s working-class novel emerged out of a “patchwork” of various writing traditions; and that the typology which I endeavor to establish does not cover the matter of common characterisations in this text corpus. None of the characters in my anthology can be labelled a “prototype”, since the characterisations vary greatly across the novels. In a second step, I will analyse twelve novels written between 1974 and 2008, which I will approach thematically. This way, I can converge a typology more closely. The three main topics which frequently appear across the novels are women’s class-consciousness, the mother-daughter relationship, and trauma caused by battering and sexual abuse. Hereby, I raise no claim to completeness. I have chosen twelve texts which I consider to be representative; and I will precede like the literary critic Gustav Klaus, who argued in his anthology entitled The Socialist Novel in Britain: “I have chosen to introduce many writers, limiting myself, however, to the discussion of one work each. This approach can best disclose the breadth and variety of fictional devices” (Klaus 1). I have chosen 1974 as a starting point of my analyses, since this is the publication year of Buchi Emecheta’s vanguard novel Second-Class Citizen. Being the first post-colonial woman author to write a novel about domestic violence against a Black and female working-class character, she may be considered a pioneer writer. Particularly against the background that the text was written during the years of second-wave feminism, which was “spearheaded by white middle-class women” (Louis Weis 246), the novel is a groundbreaking piece of working-class aesthetics. With this introduction of post-colonial women’s writings to the British literary scene in the early 1970s, representations of women’s lower-class life became enriched by a different writing tradition. New narrative forms and voices and various culturally determined characterisations were introduced to the literary scene. Out of this body of writing emerged a considerable phenomenon. In addition to the fact that they are also (like the “White” British texts) written from a “perspective of poverty”, a principle of postcolonial theory manifests itself in these texts: Frantz Fanon’s concept of the “schizophrenia of identity”. This “schizophrenia”, enacted via the powerful imposition of the dominant culture’s values onto the colonised subject, can also be detected as an underlying theme in the British working-class novels under discussion. The three main common topics which appear across the twelve novels to be analysed illustrate that this “schizophrenia” –a form of division– is a central textual element in most narratives under discussion. The female working-class character becomes a split subject at various levels. This division is, for instance, also caused by the male gaze and the violation of the female body, the character’s upward mobility and the consequent clash of working-class background and the “newly acquired” middle-class identity. It shall also be illustrated how this mechanism of splitting apart influences not only the themes, but also the stylistic devices employed in this body of writing. The idea of a division within female working-class characters has –tentatively– been raised by the literary critic Pamela Fox. In her book entitled Class Fictions she demonstrates how the white women characters are torn between the shame about their working-class background and the resistance to adjust to the cultural codes of the middle and upper classes. I will elucidate the concept of “division” and illustrate why it functions as an effective reading strategy to analyse the fictional texts. By deepening the idea of the split female subject against the background of gender, class and ethnicity, I endeavour to develop a contemporary approach to understanding these texts and to hereby draw closest to a typology of the novels. With the assistance of postcolonial critics and feminists such as Gayatri Spivak, bell hooks, Homi Bhabha and Frantz Fanon, I will repeatedly demonstrate how “class” intersects with the concepts of gender and ethnicity. Also, it shall be discussed if and how the idea of schizophrenia can perhaps be understood as a continuation of the most essential division in the context of working-class life: the division of labour. Works Cited Cherry, Merylyn. “Towards a Recognition of Working-Class Women Writers.” Writing on The Line. 20th Century Working-Class Writers. Eds. Sarah Richardson et al. London: Working Press, 1996. 75-119. Klaus, Gustav. The Socialist Novel in Britain: Towards the Recovery of a Tradition. Brighton: Harvester Press; New York: St. Martin’s Press, 1982. Weis, Lois et al. “I’ve Slept in Clothes Long Enough. Excavating the Sounds of Domestic Violence among Women in the White Working-Class.” Domestic Violence at the Margins. Readings on Gender, Class and Culture. Eds. Sokoloff, Natalie & Christina Pratt. New Jersey: Rutgers University Press, 2005. 227-248.

The learning trajectories of working class writers reveals the importance of informal opportunities to write in workshops within a spirit of solidarity and equality. Many aspects of working class life supported writing. Workshops provided a vital means of stimulating and supporting the aspiring writer, including domestic life, sympathetic individuals as well as participation in labour movement struggles. Writers started to read critically and share their work with a view to making significant improvements. Some writers received structured support from cultural organisations and went on to achieve considerable success. Personal changes could be both gradual and climactic although the obstacles, both internal and external, were ever-present.

Ben “The Thing” Grimm of the Fantastic Four is portrayed as a working-class “guy,” despite the vast amount of money at his disposal as a principal in Fantastic Four, Inc. However, his origins go back further than his first appearance in 1961, to the childhood of his co-creator and original artist, Jack Kirby. Kirby, a working-class Jew from the slums of Lower East Side New York City in the early part of the twentieth century, patterned Grimm after himself. Even after both Kirby and cocreator Stan Lee left Fantastic Four, successive writers and artists would include new pieces of background information about the character cementing the direct correlation between the fictional Thing and his real-world creator and alter ego, Jack Kirby.

Focussing upon one group of workers, Nicole Robertson deals with the Association for Women’s Clerks and Secretaries (AWCS), which emerged in 1912 from earlier roots to become an all-female trade union representing lower middle-class female clerks. Concentrating upon the First World War and the immediate post-war years she establishes that female clerkship was already well established before the Great War, that the AWCS fought against inequalities unemployment and the inequalities of pay but gradually became much more involved in the fight for equality and justice, and was part of a feminist movement which did not, as many writers have suggested, fall away during the Great War and afterwards. Above all, Robertson’s work challenges the view that there was a lack of collective identity and action amongst the lower middle classes in early twentieth-century Britain.

During the 1970s, working-class writers entered the cultural landscape in ever greater numbers. ‘Ordinary’ people formed writing and publishing workshops in which they explored ideas, histories and feelings. A great variety of people started writing, including school children, housewives, black and minority groups, unemployed people, retired workers as well as those still in work. Writers of all ages were examining personal experience with fresh eyes and renegotiating their place in the world. Over the coming decades, thousands of publications would be produced, with an estimated readership in the millions. Autobiography, poetry, short stories and drama were consumed avidly by those within the writer’s immediate vicinity as well as by more general readerships. In 1976, the working-class writing and publishing groups, which were proliferating across the country, established a national network, the Federation of Worker Writers and Community Publishers (FWWCP or ‘the Fed’), that would later add the strapline ‘to make writing and publishing accessible to all’....

The history of working class writing workshops provides a fascinating example of how changes in class and the emergence of new identities were handled in cultural terms. It challenges the view that a straightforward dichotomy arose between class and other forms of identity based upon race, gender, sexuality and disability. Workshops defended their devotion to working class writers and organisation and were were wary about the involvement of middle class people. But multiple versions of class were in play and this would be complemented by the development of women’s, black and lesbian and gay writing groups. Intense and, at times, acrimonious debates over the nature of class and identity took place. Some writers re-defined class in terms of a specific identity group. As a whole, the movement held together diverse streams of activity which challenged simplistic ideas that class no longer played a role in cultural life.

This essay explores Japanese working-class literature as it developed within the wider context of the so-called Proletarian Cultural Movement that was in operation for about ten years, peaking in the late 1920s. While tracing the origins of the initiative to create a “proletarian” literature in Japan to Marxist study circles at universities, it discusses the movement’s quest to foster “true” worker writers based on the factory floor. Next, the chapter highlights literary works by female writers who were encouraged at the time by international communism’s focus on the Japanese women issue due to their high inclusion in the industrial work force. Finally, the chapter discusses the legacy and continuing relevance of Kobayashi Takiji’s The Crab Cannery Ship, the flagship of working-class literature in Japan. Throughout, the essay endeavors to paint a vivid picture of writer activists within the movement.

The Co-operative Party was formed in 1917, though its obvious links with the Labour Party were not formalised until the 1920s. Whilst this development has often been seen by historians, such as G. D. H. Cole, as an immediate to conditions in the Great War and lacking in any real sense of class consciousness, Joan Allen sees it as a much more as a long-term product of the radicalisation of a membership which was gradually unwinding its links with Liberalism much along the lines suggested by Sidney Pollard. Examining the Co-operative branches in the north east of England, she argues that whilst there might have been some disagreement about establishing a political party for the co-operative movement, and difficulties with the local constitutions of co-operatives which were not geared to providing money for political activities, it is clear that was, for a long time, the direction that co-operative societies in the north east were drifting towards in a region where working-class solidarity always counted. There was not the diffidence towards political action and class consciousness in the co-operative movement which some writers have suggested.

“The Coach” is a web-based tool developed to guide students through the technical writing process. It provides instruction about form as well as critique of different aspects of the students’ writing. It goes beyond the Microsoft word spell check and grammar check. It gives feedback about writing complexity and appropriateness for different word choices in a technical document. It also gives background about the appropriate contents for technical writing in addition to example documents. The latter is extremely important for the novice writer who may not have much experience in working with technical reports. The initial document type in “The Coach” is a lab report. If the lab report can be developed into the web-based tool, other forms will be more easily implemented. In addition to developing the website, the development team is preparing a document and a video for a professor to use to instruct students on the use of “The Coach.” The instructional materials and “The Coach” were beta tested with a freshman engineering class. A baseline writing sample was collected before the introduction of “The Coach.” Students in some sections were instructed in use of “The Coach,” and other sections were controls. Additional beta testing is ongoing.