by Clare Pettitt, Professor of Nineteenth Century Literature and Culture, Department of English
“The first action of the battle of Manchester is over”, wrote Major Dyneley of the 15th Hussars, “& has, I am happy to say ended in the complete discomfiture of the Enemy.” At 4 pm on August 16, 1819, Dyneley was already back in the Hulme Barracks with his regiment. The “Enemy” was the 60,000 to 80,000 people, most of them textile workers, who had assembled that morning in St Peter’s Field on the outskirts of Manchester city centre, to hold a peaceful demonstration to protest against the Corn Laws, and to call for parliamentary reform. The Enemy was the people. And discomfited they had surely been.
Henry Hunt, the orator who had addressed the meeting briefly before being arrested and beaten up, said that the Manchester Yeomanry, volunteers who made the first incursion into the crowd, before the Hussars, had “charged amongst the people, sabring right and left, in all directions. Sparing neither age,sex, nor rank”. It all happened very quickly. Ten minutes after the first charge, William Joliffe remembered that “the ground was quite covered with hats, shoes, musical instruments and other things”. Another eyewitness recounted that, “[s]everal mounds of human beings still remained where they had fallen, crushed down and smothered.
Continue reading Cottonopolis cut down: An English atrocity and its far-reaching consequences
The Shakespeare Academy has been running at King’s for the past three years as a Widening Participation project. In 2017-18 we reached over 350 students, continuing to develop close partnerships with teachers and pupils at eight London state-funded secondary schools, from Key Stage 3 to GCSE. We run workshops with the students that investigate Shakespeare’s plays through seminar-style sessions, readings, and creative writing activities. Read more about the Shakespeare Academy here.
Below you can read some examples of creative writing by Years 9 and 10 students from our summer 2018 workshops. We asked them to imagine what Lady Macbeth might have written if she had left a suicide note. As you can see, the pieces are inspired by the imagery and language of the play, but re-imagined for a modern audience.
I was particularly encouraged by the ways in which students engaged with the gender politics of Macbeth. Their writings express the limitations of Lady Macbeth’s agency within early modern patriarchy with a subtlety that I found truly impressive. The entrants showcased below were chosen for their originality, insight and imaginative engagement with Shakespeare’s text. They express the individual poetic and creative voices of the students, while maintaining close adherence to the characterisation, imagery and tone of the play.
– Dr Gemma Miller, English Department and Globe Education Continue reading ‘Yours Truly, Lady Macbeth’
by Rabia Kapoor, 2nd year English Literature and Language BA. Featured image via craftybua instagram.
I keep thinking about the soap dish. In Shoreditch, London, during this design festival that my mum took our entire parade to: people I’d met maybe twice in my life coming together for my week-long farewell non-party.
My parents had come to London with me to help me settle in before university started. It was a group of three that kept getting bigger as my parents pulled in all their friends in the vicinity to be a part of the goodbyes. Maybe it was a weird coping mechanism, I don’t know, I didn’t overthink it then. Continue reading The soap dish homesick syndrome
by Hailey Bachrach, PhD candidate researching gender in early modern history plays in collaboration with Shakespeare’s Globe Theatre, @hbachrach.
If you’ve heard of director Phyllida Lloyd’s Shakespeare Trilogy, which debuted at the Donmar Warehouse from 2012 to 2016 and was released in full on BBC iPlayer on 17 June, you’ve probably heard of its premise: it is performed by a company made up entirely of women, and framed as plays put on by a group of female prisoners. The three plays—Julius Caesar, Henry IV (the two parts combined into one), and The Tempest—are all intimately concerned with questions of masculinity and male relationships—fathers, brothers, sons—and are all notoriously light on female characters.
The prison framing device means, however, that they are not devoid of a female presence. There is no attempt at prosthetics or illusion in the production’s costumes. The actors wear prison-issue grey sweatpants and t-shirts, with accessories to designate changes of character. When Henry IV opened in 2014, Harriet Walter, who stars in all three productions, wrote that ‘our neuter prison garb … helps the audience put aside any questions of “Are they men playing women or women playing men?”… I would argue that when the cast are all women, we can look beyond gender to our common humanity’.
Continue reading Figuring Gender Difference in Phyllida Lloyd’s Shakespeare Trilogy
by Julia Pascal, Research Fellow, Department of English, King’s College London
It’s a century after some British women were allowed to vote, and a statue of the suffragist Millicent Fawcett has been unveiled in Parliament Square, so why is women’s presence on the English stage still unequal to men’s?
In a recent survey, the Sphinx theatre found that just a fifth of English theatres were led by women, who between them control just 13% of the total Arts Council England (ACE) theatre budget.
The feminist campaigning organisation the Fawcett Society has called for quotas to get more women into key positions, after its Sex and Power Index revealed startling gender disparities in the public arena. The situation in theatre, where I have worked all my life, is a startling gauge of the marginalisation of women.
The Conference of Women Theatre Directors and Administrators began auditing the number of females on stage in the 1980s. That we are nowhere near equality, almost 40 years later, was only too evident at the Olivier awards this year, when the prizes for best director and best new play went to men. When women do not have equal representation in theatre, it is impossible for them to have an equal chance of winning prizes. The Equal Representation for Actresses campaign group is among those pushing for change, but the male ruling elite refuses to share power.
Continue reading Women are being excluded from the stage. It’s time for quotas.
by Caitríona O’Reilly, lecturer in Creative Writing and Cosmo Davenport-Hines poetry prize judge
The theme for this year’s Cosmo Davenport-Hines poetry prize was ‘Reconciliation’; a prompt which promised to be both relevant and timely. Nevertheless, among the 96 entries there were – perhaps surprisingly – few on the subject of politics. Or perhaps it is not so surprising that lyric writing should focus on the preoccupations of the self?
Most entries interpreted reconciliation in the light of personal relationships, whether with significant others, siblings, or parents. Other interpretations were more abstract: politics (yes, occasionally), but also the attempt to reconcile different parts of the personality; different cultures with their conflicting claims on the self; or present realities with the imperatives of memory.
My fellow judges and I had our own small work of reconciliation to carry out, of course: deciding which among these competing and widely differing voices would eventually emerge victorious. Thankfully – and I know judges of literary prizes almost always say this, but this time it happens to be true— a harmonious consensus was achieved with minimum discussion. Many of the poems on our personal shortlists overlapped, and the standout contenders declared themselves at an early stage in the judging. As in past years, we had the luxury of awarding not just a First Prize, but also a Second, Third, and three further Commendations, which kept all of us happy.
If the successful poems have anything in common, it is the qualities shared by all good poetry: an eye at an unexpected angle to reality; a strong sense of line; a way with metaphor; a convincing and consistent tone carrying through the poem from beginning to end; and most importantly, that quickening in language that is unmistakeable.
Continue reading The Cosmo Davenport-Hines Poetry Prize: 2018 winners
by Hailey Bachrach, PhD candidate researching gender in early modern history plays in collaboration with Shakespeare’s Globe Theatre, @hbachrach
The Globe Theatre’s opening two shows of the 2018 season (and opening shows of the tenure of new artistic director Michelle Terry) are ‘gender blind’. It’s a phrase that’s deployed freely now in discussions about casting, usually referring to women being cast in male roles, usually in plays by Shakespeare and other canonical writers. But it’s not used with much consistency: Terry and her company use it to describe their approach to casting, in which both men and women are cast in roles that do not match their own gender, but play them as written. It has also been used to describe casting women in male roles that are then played as women.
The attention paid to gender in all of these productions seems to undermine what the phrase ‘gender blind’ clearly suggests: that the actor’s gender will go unseen.
What’s less clear is whether this lack of sight is meant to apply to the artists or the audience. It’s worth noting this term has been critiqued as ableist, but as it remains a phrase used by the production and criticism industries, we should explore the implications of its suggestion that we do not simply ignore, but literally do not see gender in these productions. Continue reading ‘Gender blind’ casting, who and what goes unseen?
by Clare Birchall, Department of English
The words “Trump” and “transparency” don’t often appear together. Administrative transparency isn’t something Trump promised during his campaign, and it hasn’t been on the agenda in the last year. Yet the term has begun to turn up recently in communications from the Trump camp.
In July, referring to the Commission on Election Integrity, Trump claimed that the “voter fraud panel”, as he called it, would be a “very transparent process . . . very open for everybody to see.” The American Civil Liberties Union begs to differ. It has lodged a legal complaint stating that the commission has violated “the non-discretionary transparency and public access requirements” of the Federal Advisory Committee Act by holding “its first meeting without public notice; without making that meeting open to the public; and without timely notice in the Federal Register.” Trump also used the word “transparent” to describe his eldest son’s response to accusations that he had failed to disclose meetings with Russians during the presidential campaign.
On July 12, 2017, @RealDonaldTrump tweeted: “My son Donald did a good job last night. He was open, transparent and innocent. This is the greatest Witch Hunt in political history. Sad!”
These examples suggest that Trump hasn’t fully understood – or has wilfully misunderstood – the meaning of transparency and what it would take, in practice, to achieve it.
Continue reading Trumping Transparency: The Need for Government Data to be more Empowering
by Martina Zimmermann, honorary Associate Professor in Pharmacology at Goethe University Frankfurt, with an MA in Literature and Medicine and a second PhD in Health Humanities at King’s College London.
I am a pharmaceutical scientist by training who specialised in neuropharmacology. For over 15 years, my research interests have been the molecular mechanisms that cause the death of brain cells in conditions like Alzheimer’s disease. While pursuing, and later supervising, laboratory based experimental projects, I more and more often wondered how patients actually experience the condition which I only knew from studies in cell culture and other disease models. The methodologies, models and approaches I used were unsuited to answering this question.
Still, Alzheimer’s patients would not write…
I began looking for patient accounts about a decade ago. At the time, I found only just over a dozen of books published in English, and one diary in French. I was astonished that there were so few, especially because I felt that the popular press had long preferred Alzheimer’s disease to any other subject in its health and wellbeing pages. Also, patients usually have five to ten years between diagnosis and death, and, at the time of clinically perceivable onset, can continue to articulate themselves proficiently in writing, as well as retaining figurative language. Still, Alzheimer’s patients would not write. Continue reading The Poetics and Politics of Alzheimer’s Disease Life-Writing