From Chicken Soup to Denial and Beyond: Fifty Years of Arnold

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From Chicken Soup to Denial and Beyond: Fifty Years of Arnold 1 From Chicken Soup to Denial and Beyond: Fifty Years of Arnold Wesker. Kelly McCloy, B.A. (Hons), MRes. A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy, Faculty of Arts, Ulster University. January 2021 I can confirm that the word count of the thesis is less than 100,000 words 2 Contents Acknowledgements 4 Abstract 5 Introduction 7 Chapter One: Food (i) Wesker’s depiction of food in the Anglo-Jewish domestic space. 33 (ii) Pigs and Capitalism in The Kitchen. 47 (iii) Wesker’s Roots and the Battle between Potatoes and Victoria Sponge Cake. 51 (iv) The Search for Strawberries and Dreams in I’m Talking About Jerusalem. 61 (v) The King’s Daughters: Wesker and an Anti-Tale made for Foodies. 68 (vi) “She promised herself many things…to stop drinking, to cut out chocolates…” Wesker and eating alone. 70 (vii) “Pools:” Mrs Hyams the Jewish Everywoman. 78 Conclusion to Chapter One. 82 Chapter Two: Women (i) “Centre of power:” Wesker’s early women. 85 (ii) “Preserving the mask of a busy, uncommunicative housewife:” Wesker’s invisible women in Chicken Soup with Barley and Love Letters on Blue Paper. 96 (iii) “Daughters of Eve:” Wesker’s Women from the 1980s-2000s. 125 (iv) “O, these men, these men!” Love against all odds in Lady Othello. 139 (v) “I have no distorted, rosy image of them.” Wesker as an authentic writer of women. 162 Conclusion to Chapter Two 180 Chapter Three: Denial (i) Supposedly “false accusations of child abuse:” Denial. 183 (ii) “There has to be a reason:” A Torn Family Portrait. 196 Conclusion to Chapter Three 218 Chapter Four: Shylock (i) “From “jubilant bibliophile” to “a bitter man:” Wesker’s Shylock. 222 (ii) “But-Portia Reads! The representation of women in Shylock. 244 (iii) Conclusion to Chapter Four. 254 3 What, what is there more? Conclusion. 259 Bibliography 279 4 Acknowledgements First, this thesis would never have been completed without the unrivalled support of my two supervisors, Dr Kevin De Ornellas and Dr Frank Ferguson. At certain stages in this process I have required encouragement but also to be reminded of the dedication which is necessary in order to produce a thesis such as this, these two gentlemen provided me with both in abundance. Along the way there will inevitably be some bumps along the road, however nothing worth doing ever comes easy. Throughout the duration of this process I have both grown as a person and developed skills which will be priceless to me in the future, I have also learnt that you can never draft your work too many times! I also want to thank my mum who has been both a financial support and emotional support throughout this journey, and the person who told me to simply give it a go because there may never be a better time and life is too short. At points when I felt like I couldn’t progress she was always there to provide the sharp push that I needed. 5 Abstract This thesis is a revaluation of Sir Arnold Wesker’s body of work. The aim of this thesis is to recognise that Wesker’s contribution to the literary canon, did not begin and end as one of the so-called kitchen sink playwrights of the 1950s and 1960s. Rather, that Wesker was a prolific writer for fifty years since first gaining public recognition with The Trilogy. One of the main objectives of this thesis is to demonstrate how Wesker was a fluid, progressive, writer of multiple genres who through the years continually reinvented what the term ‘kitchen sink’ drama means. The thesis begins with an analysis on what role food plays within Wesker’s oeuvre. Ultimately the diversity of food within his writing reflects the ever-evolving nature of a post- World War Two Britain in which the boundaries between culture, ideology and religion were starting to become more plural and less simple to categorise. Chapters two and three of the thesis study Wesker’s representation of women within his written work and also the 2000 play Denial. One of the objectives across these two chapters is to convey how at every juncture of his career Wesker used the domestic to contradict the monotony which is associated with the term ‘kitchen sink’ thereby making it relevant to every decade of the twentieth century. This is also reflected in the transformation that his female characters undergo, as in his early works women are associated with the domestic sphere and motherhood, whilst in his later works women have gained financial independence as well as freedom from the constraints of the household. Family strength is a dominant feature of The Trilogy as Wesker uses the unwavering strength of a family to contrast the futility of a political ideology. The broken family of Denial is an emblem of the fractured society now entering into the “great Millennium” as speculated by Ronnie Kahn. 6 The final chapter is an exploration of how Wesker rewrote William Shakespeare’s The Merchant of Venice with the vision of creating a legacy. Wesker felt that the theatrical establishment lacked liberal, progressive thinking due to the praise bestowed upon brand Shakespeare. However, it is vital to remember that sixteenth century English society was not the society which we have today in 2020, in that racial tolerance and gender equality were not given the same importance within the social agenda. Therefore, I will also interrogate how Wesker is passively anachronistic towards Shakespeare. This thesis will also examine Wesker’s contribution to other genres of writing. Therefore, his short story writing including works from the collections Six Sundays in January and Love Letters on Blue Paper are examined in detail. In my analysis of Love Letters on Blue Paper I also refer to the cookery book written by Dusty Wesker, this is the first thesis in which this source is recognised therefore conveying the originality of this ground breaking insight into Wesker’s body of work. This thesis seeks to change the commonly accepted notion that Wesker was first and foremost a dramatist whose career held no merit post 1960s after the supposed heyday of the ‘kitchen sink’ genre. However, what this longitudinal study will prove is that even though Wesker’s style appeared to change from the loftiness of political ideology to the intricacies of human sexuality which it did do, he also never ceased to use the domestic or personal to evolve in perfect synchronisation with the times in which he was living. 7 Introduction In the House of Commons on Tuesday 12th April 2016, the leader of the Labour party Jeremy Corbyn encouraged the Prime Minister David Cameron to pay his condolences to Sir Arnold Wesker, whom Corbyn said was “one of the great playwrights of this country.”1 However, this interaction between Cameron and the leader of the opposition came to prominence not because of Cameron’s harrowing tribute to Wesker but because of his being unable to recall who Wesker even was. This was despite the fact that Corbyn was referring to one of the most prolific writers within the British literary canon. The aim of this thesis is to analyse how Wesker has become a marginalised figure and to recognise that he was a proactive writer who was continually reinventing both himself and what is meant by the term ‘kitchen sink.’ To do this my thesis will be separated into four different chapters which will cover the following topics: Food, Women in Wesker’s Body of Work, his controversial play Denial (2000) and finally an analysis of his rewriting of The Merchant of Venice: Shylock (1976). These topics were selected because they provide us with a broad cross-section of Wesker as a writer of multiple genres and as an evolutionary figure. However, he was also a figure who sadly gained a reputation of being unruly to work with predominantly due to the fall out that ensued between himself and the Royal Shakespeare Company, due to their refusal to perform his 1972 play The Journalists. The conflict arose due to the actors’ refusal to perform this play for fear that it was perhaps too authentic a depiction of certain members of the Conservative party. In an interview with Matthew Sweet from The Telegraph Wesker himself said that “I had my time in the wilderness.”2 Therefore, his work being trapped in a critical “wilderness”3 is a key motivation for my decision to produce this thesis. I want to encourage 1 Michael Deacon, “David Cameron had to pay tribute to a famous playwright. Only trouble was… he’d never heard of him,” The Telegraph, 13th April (2016). 2 Matthew Sweet, “Arnold Wesker: Did Trotskyists kill off the best Seventies play?” The Telegraph, 16th May (2012). 3 Ibid. 8 the literary world to pay tribute to Wesker as a writer for the modern world in general, not a writer who should only be looked upon as being relevant for an early-mid twentieth century society. A writer who evolved in direct proportion to the society in which he lived. A writer who was driven to provide his audience or reader with an authentic depiction of the working- class members of society, who chose to go against the creation of caricatured depictions of them as his bourgeois predecessors such as Agatha Christie and Noel Coward chose to. A writer who did not insult the British people’s intelligence by writing drama which was light- hearted escapism, instead giving the British audience complex drama which was not only entertaining but also thought provoking.
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