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Books on the topic 'Working-class writers'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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1

Men at work: Rediscovering Depression-era stories from the Federal Writers' Project. Salt Lake City: University of Utah Press, 2012.

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2

Transforming American realism: Working-class women writers of the twentieth century. Lanham, MD: University Press of America, Inc., 2007.

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3

Richardson, Sarah. Writing on the line: 20th century working-class women writers : an annotated list. London: Working Press, 1996.

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4

Stephen, Roberts, ed. The Victorian working-class writer. London: Cassell, 1999.

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5

Smith, Jane. Margaret Powell: A study of a working class writer. Canterbury: University of Kent at Canterbury, 1987.

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6

Allen, Grant. The type-writer girl. Peterborough, Ont: Broadview Press, 2004.

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7

Böhnke, Dietmar. Kelman writes back: Literary politics in the work of a Scottish writer. Glienicke, Berlin: Galda + Wilch, 1999.

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8

Worker-writer in America: Jack Conroy and the tradition of midwestern literary radicalism, 1898-1990. Urbana: University of Illinois Press, 1994.

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9

Smith, Billy Ben. The literary career of proletarian novelist and New Yorker short story writer Edward Newhouse. Lewiston: Edwin Mellen Press, 2001.

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10

Cherry, Merylyn. Towards Recognition of Working-Class Women Writers. Working Press, 1994.

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11

Springsteen, Bruce. Writing Work: Writers on Working-Class Writing (Working Lives Series). Bottom Dog Press, 1999.

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12

Wilson, Nicola. Working-Class Fictions. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198749394.003.0006.

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This chapter explores why working-class fictions flourished in the period from the late 1950s through to the early 1970s and the distinctive contributions that they made to the post-war British and Irish novel. These writers of working-class fiction were celebrated for their bold, socially realistic, and often candid depictions of the lives and desires of ordinary working people. Their works were seen to herald a new and exciting wave of gritty social realism. The narrative focus on the individual signalled a shift in the history of working-class writing away from the plot staples of strikes and the industrial community, striking a chord with a post-war reading public keen to see ordinary lives represented in books in a complex and realistic manner. The cultural significance of such novels was enhanced as they were adapted in quick succession for a mass cinema audience by a group of radical film-makers.
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13

Orr, Lisa. Transforming American Realism: Working-Class Women Writers of the Twentieth Century. University Press of America, 2006.

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14

The Chair That's Under Me: An introductory essay on working-class writing, part one. Protean Publications, 2013.

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15

1956-, López Lorraine, ed. An angle of vision: Women writers on their poor and working-class roots. Ann Arbor: University of Michigan Press, 2010.

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16

An angle of vision: Women writers on their poor and working-class roots. Ann Arbor: University of Michigan Press, 2009.

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17

1956-, López Lorraine, ed. An angle of vision: Women writers on their poor and working-class roots. Ann Arbor: University of Michigan Press, 2009.

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18

Tales Of A Lifer: The Writings of Jim Phelan. Birmingham,England: Protean, 2011.

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19

Marie, Robertson Eleanor, and Nora Ru Roberts. Ideology and Discourse in Contemporary Working-Class Culture : Five Contemporary American Writers and Filmakers (Garland Reference Library of the Humanities). Routledge, 2000.

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20

Blair, Kirstie. Working Verse in Victorian Scotland. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198843795.001.0001.

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This monograph reassesses working-class poetry and poetics in Victorian Britain, using Scotland as a focus and with particular attention to the role of the popular press in fostering and disseminating working-class verse cultures. It studies a very wide variety of writers who are unknown to scholarship, and assesses the political, social and cultural work which their poetry performed. During the Victorian period, Scotland underwent unprecedented changes in terms of industrialization, the rise of the city, migration and emigration. This study shows how poets who defined themselves as part of a specifically Scottish tradition responded to these changes. It substantially revises our understanding of Scottish literature in this period, while contributing to wider investigations of the role of popular verse in national and international cultures.
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21

Sutcliffe-Braithwaite, Florence. Mass Observers’ Attitudes to Class, 1990. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198812579.003.0006.

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This chapter uses responses to Mass Observation’s 1990 directive on ‘social divisions’ to examine what the Mass Observers thought about class. It concludes that earlier accounts have overstated these (largely middle-class) writers’ comfortableness with technical, sociological class language. Rather, many were hostile to or ambivalent about using such terms, and drew on popular culture, especially humour, when talking about class. A rejection of ‘class’ and snobbishness, and an emphasis on ordinariness and authenticity, were again central to many Mass Observers’ writings about class. In their testimonies, we can also see that new ethnic diversity and new, more diverse norms of gender in post-war Britain had disrupted the old class categories. Upwardly mobile people were particularly over-represented among the Mass Observers and their writing shows that upward social mobility—which expanded in the post-war decades—could lead to a cultural ‘homelessness’ and critiques of both traditional working-class and traditional middle-class cultures.
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22

Regev, Ronny. Working in Hollywood. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469636504.001.0001.

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A history of the Hollywood film industry as a modern system of labor, this book reveals an important untold story of an influential twentieth-century workplace. Ronny Regev argues that the Hollywood studio system institutionalized creative labor by systemizing and standardizing the work of actors, directors, writers, and cinematographers, meshing artistic sensibilities with the efficiency-minded rationale of industrial capitalism. The employees of the studios emerged as a new class: they were wage laborers with enormous salaries, artists subjected to budgets and supervision, stars bound by contracts. As such, these workers—people like Clark Gable, Katharine Hepburn, and Anita Loos—were the outliers in the American workforce, an extraordinary working class. Through extensive use of oral histories, personal correspondence, studio archives, and the papers of leading Hollywood luminaries as well as their less-known contemporaries, Regev demonstrates that, as part of their contribution to popular culture, Hollywood studios such as Paramount, Warner Bros., and MGM cultivated a new form of labor, one that made work seem like fantasy.
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23

The Great writers: Their lives, works and inspiration. Marshall Cavendish, 1987.

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24

Smith, Larry. The Thick of Thin: Memoirs of a Working-Class Writer. Bottom Dog Press, 2017.

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25

Bégin, Camille. A “Well-Filled Melting Pot”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040252.003.0006.

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This chapter provides an ethnographic reading of New Deal food writing to understand the centrality of ethnic taste in 1930s sensory economies. Federal Writers' Project workers described ethnic food using well-known keywords such as “the melting pot” or “cosmopolitanism”—given the topic at hand and the pressing need to produce material, these were tempting tropes. Still, New Deal food writing coming from midwestern and western rural and industrial areas updated the paradigmatic metaphors and described a sensory cosmopolitanism where culinary encounters and working-class solidarities combined to create a cultural pluralist version of the melting pot. The chapter focuses on nodes of sensory trade such as workplaces, grocery stores, and ethnic restaurants, from foreign-themed nightclubs to working-class establishments and multiethnic diners.
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26

Parr, Connal. Ron Hutchinson, Graham Reid, and the Hard Eighties. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198791591.003.0006.

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The political and theatrical climate of the 1980s are charted through Graham Reid and Ron Hutchinson, two dramatists who produced their key works in the decade. An apparent (and sentimentalized) ‘golden age’ for Irish and Ulster drama simultaneously accompanied the hardships of deindustrialization. Both writers explored Protestant identity via their exiled trajectories as writers based outside Northern Ireland, reaching large audiences through television drama. Hutchinson—following his Play for Today experiments—would go on to success in America, while Reid’s Billy plays (1982–4) earned plaudits for their depiction of universal working-class life. Through their performed and unproduced projects both Reid and Hutchinson also confront the Reverend Ian Paisley, whose controversial legacy is assessed and contested by other Ulster Protestants, itself a reflection of political diversity within Ulster Protestantism.
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27

Parr, Connal. The Strange Radicalism of Thomas Carnduff and St John Ervine. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198791591.003.0003.

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St John Ervine and Thomas Carnduff were born in working-class Protestant parts of Belfast in the 1880s, though Ervine would escape to an eventually prosperous existence in England. Orangeism, the politics of early twentieth-century Ireland, the militancy of the age—and the involvement of these writers in it—along with Ervine’s journey from ardent Fabian to reactionary Unionist, via his pivotal experiences managing the Abbey Theatre and losing a leg in the First World War, are all discussed. Carnduff’s own tumultuous life is reflected through his complicated Orange affiliation, gut class-consciousness, poetry, unpublished work, contempt for the local (and gentrified) Ulster artistic scene, and veneration of socially conscious United Irishman James Hope. It concludes with an assessment of their respective legacies and continuing import.
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28

Parr, Connal. Words as Weapons. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198791591.003.0002.

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‘Culture wars’ in Northern Ireland are literary and rest upon the misperception—and political claim—that Ulster Protestants lack a culture aside from Orangeism. Unionist politicians and Republican writers have accordingly cultivated the myth that Ulster Protestants lack literary heritage and have never been involved in the theatre. The community has internalized a post-conflict ‘defeatism’ and a conviction that it has produced little or nothing of artistic merit. This has been fortified by the individualist, splintered nature of the Protestant community as opposed to the more cohesive and communally robust Catholic equivalent. The Republican movement and its associated writers mainly view literature as an arm of the struggle, which is shown to be important in bringing about an end to conflict, but has led to a derogation of working-class Protestants. The chapter also considers Ulster Loyalist engagement with poetry and drama.
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29

Osborn, Katie. Dibdin and Robert Bloomfield. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198812425.003.0004.

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This interlude situates Dibdin in a milieu that may surprise us today, but that was a key comparison to many contemporaries: that is, alongside rural labouring-class poets, with particular emphasis on Robert Bloomfield. Rather than revisit Raymond Williams (who spares only two pages for Bloomfield in The Country and the City and ignores Dibdin), it interrogates the intersection of metropolis and countryside by locating these two writers’ texts within their working lives, networks, and practices, their music, and their engagement with particular London audiences. These active, commercial, humorous performers are contrasted to the antiquarian idealism of Percy and others, offering a reading of the rustic and the citizen that is knowing, even-handed, and modern.
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30

Publishing, Ela. F*uck This Sh*it Show a Gratitude Journal for the Working Class Writer: Gratitude Journal to Encourage Positive Attitude Daily / Llama / Alpaca / Llama Ya / Llama Me / Alpaca Llama / Working Class / Gag Gift / Llama Drama. Independently Published, 2019.

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31

Newey, Vincent. Bunyan and the Victorians. Edited by Michael Davies and W. R. Owens. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780199581306.013.37.

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This chapter considers the reception, influence, and adaptation of Bunyan in the Victorian period, especially The Pilgrim’s Progress (1678; 1684) and Grace Abounding to the Chief of Sinners (1666). Though Bunyan’s allegory remained for many a doctrinal work, it developed varied significance and appeal within an increasingly secular culture. Attention is paid to responses in non-fictional prose and to such relevant contexts as the rise of working-class radicalism, but the focus rests on novels by Charles Dickens, George Eliot, William Hale White (‘Mark Rutherford’), and Thomas Hardy, which have a direct connection with Bunyan as well as using the motif of the pilgrimage or soul journey. Paradoxically, Bunyan played an important role in the imagination and techniques of writers who lost their faith or turned predominantly to humanist beliefs. For these, as for others, he endured as a major presence, a compelling point of attraction, and a source of creative stimulus.
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32

David, Deirdre. Writing With Every Nerve. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198729617.003.0004.

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In the late 1940s, Pamela became an astute reader and critic of Snow’s work in progress. She learned of his working-class background in Leicester, his grammar school education and his academic success at Cambridge. As she became close emotionally to Snow, she felt increasingly estranged from Neil and began to spend less time with her husband and more time with Snow and his London literary friends, all of whom shared her belief that sterile Modernism was destroying the traditions of the English novel: social and psychological realism. Neil returned from the war unsettled and resentful of the intrusive presence of Pamela’s mother in their marriage. Despite domestic unhappiness, Pamela continued to write short stories, novels, and a well-received play, Corinth House.
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33

Steinlauf, Michael C., and Antony Polonsky, eds. Polin: Studies in Polish Jewry Volume 16. Liverpool University Press, 2003. http://dx.doi.org/10.3828/liverpool/9781874774730.001.0001.

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Scholarship on the civilization of Polish Jews has tended to focus on elite culture and canonical literature. This volume focuses on the less explored theme of Jewish popular culture and shows how it blossomed into a complex expression of Jewish life. In addition to a range of articles on the period before the Second World War, there are studies of the traces of this culture in the contemporary world. The volume aims to develop a fresh understanding of Polish Jewish civilization in all its richness and variety. Subjects discussed in depth include klezmorim and Jewish recorded music; the development of Jewish theatre in Poland, theatrical parody, and the popular poet and performer Mordechai Gebirtig; Jewish postcards in Poland and Germany; the early Yiddish popular press in Galicia and cartoons in the Yiddish press; working-class libraries in inter-war Poland; the impact of the photographs of Roman Vishniac; contemporary Polish wooden figures of Jews; and the Kraków Jewish culture festival. In addition, a Polish Jewish popular song is traced to Sachsenhausen, the badkhn (wedding jester) is rediscovered in present-day Jerusalem, and Yiddish cabaret turns up in blues, rock ‘n’ roll, and reggae. There are also translations from the work of two writers previously unavailable in English. Space is given to new research into a variety of topics in Polish Jewish studies. The review section includes an important discussion of what should be done about the paintings in Sandomierz cathedral which represent an alleged ritual murder in the seventeenth century, and an examination of the ‘anti-Zionist’ campaign of 1968.
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34

David, Deirdre. The Rise. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198729617.003.0002.

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Deeply troubled by social injustice, Pamela became an active member of the Labour Party, writing newsletters and marching in protests against the Spanish Civil War and Franco. In 1935 she met an Australian journalist, Gordon Neil Stewart, whom she married in 1936; her mother, Amy, lived with them after the wedding. Neil and Pamela travelled together in France just before the war (where Neil had lived for a few years after leaving Australia) and she continued to write short stories and novels. Her most memorable fiction in these years is The Monument (1938), a political novel sympathetic to the working class and passionately critical of prejudice, particularly that directed against Jews, and the first novel in her ‘Helena’ trilogy, Too Dear for My Possessing (named for one of the central characters). It is set in Bruges, a city she dearly loved.
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35

Clark, Shannan. The Making of the American Creative Class. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199731626.001.0001.

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During most of the twentieth century, the production of America’s consumer culture was centralized in New York to an extent unparalleled in the history of the modern United States. Within a few square miles were the headquarters of broadcast networks like NBC and CBS, the editorial offices of book and magazine publishers, major newspapers, and advertising and design agencies. Every day tens of thousands of writers, editors, artists, performers, technicians, secretaries, and other white-collar workers made advertisements, produced media content, and enhanced the appearance of goods in order to boost sales. While this center of creativity has often been portrayed as a smoothly running machine, within these offices many white-collar workers challenged the managers and executives who directed their labor. This book examines these workers and New York’s culture industries throughout the twentieth century. As manufacturers and retailers competed to attract consumers’ attention, their advertising expenditures financed the growth of enterprises engaged in the production of culture. With the shock of the Great Depression, employees in these firms organized unions to improve their working conditions; launched alternative media and cultural endeavors supported by public, labor, or cooperative patronage; and fought in other ways to expand their creative autonomy. As blacklisting and attacks on unions undermined these efforts after the Second World War, workers in advertising, design, publishing, and broadcasting found themselves constrained in their ability to respond to economic dislocations and to combat discrimination on the basis of gender and race in these fields of cultural production.
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36

Coovadia, Imraan. Revolution and Non-Violence in Tolstoy, Gandhi, and Mandela. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198863694.001.0001.

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The dangers of political violence and the possibilities of non-violence were the central themes of three lives which changed the twentieth century—Leo Tolstoy, writer and aristocrat who turned against his class; Mohandas Gandhi, who corresponded with Tolstoy and considered him the most important person of the time; and Nelson Mandela, prisoner and statesman, who read War and Peace on Robben Island and who, despite having led a campaign of sabotage, saw himself as a successor to Gandhi. Tolstoy, Gandhi, and Mandela tried to create transformed societies to replace the dying forms of colony and empire. They found the inequalities of Russia, India, and South Africa intolerable, yet they questioned the wisdom of seizing the power of the state, creating new kinds of political organization and imagination to replace the old promises of revolution. Their views, along with their ways of leading others, are closely connected, from their insistence on working with their own hands and reforming their individual selves to their acceptance of death. On three continents, in a century of mass mobilization and conflict, they promoted strains of nationalism devoid of antagonism, prepared to take part in a general peace. Looking at Tolstoy, Gandhi, and Mandela in sequence, taking into account their letters and conversations, as well as the institutions they created or subverted, placing at the centre their treatment of the primal fantasy of political violence, reveals a vital radical tradition which stands outside the conventional categories of twentieth-century history and politics.
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37

Cooper, Brittney C. Prologue. University of Illinois Press, 2018. http://dx.doi.org/10.5406/illinois/9780252040993.003.0001.

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Beyond Respectability employs an Anna Julia Cooperian approach to reading and interrogating the theoretical work and lived experiences of Black women intellectuals. To understand this methodological approach, one needs to first become acquainted with two of Cooper’s cardinal commitments. They include: 1) a commitment to seeing the Black female body as a form of possibility and not a burden, and 2) a commitment to centering the Black female body as a means to cathect Black social thought. In Voice, Cooper places the Black female body and all that it knows squarely in the center of the text’s methodology. She fundamentally believed that we cannot divorce Black women’s bodies from the theory they produce. The author recognizes these forms as an embodied discourse, which predominates in Cooper’s work. Embodied discourse refers to a form of Black female textual activism wherein race women assertively demand the inclusion of their bodies and, in particular, working class bodies and Black female bodies by placing them in the texts they write and speak. By pointing to all the ways Black women’s bodies emerge in formal and informal autobiographical accounts, archival materials, and advocacy work, this work disrupts the smooth function of the culture of dissemblance and the politics of respectability as the paradigmatic frames through which to engage Black women’s ideas and their politics.
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