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THE UNIVERSITY of HULL the Creative Writer in the Public Sphere

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THE UNIVERSITY of HULL the Creative Writer in the Public Sphere THE UNIVERSITY OF HULL The Creative Writer in the Public Sphere being a Thesis submitted for the Degree of Doctor of Philosophy in the University of Hull by Mary Aherne, B.A., M.A. October, 2013 Summary This thesis provides an analysis of the creative writer in contemporary Britain, using both literary and cultural theory to define and understand the roles available to the writer. It explores how these roles are interpreted by writers. The thesis offers new research and insights into the scope of current patronage practices, examines how the writer engages with these new roles, and assesses the potential impact on the writer, the reader and literature. Based on research conducted in the UK, this thesis focuses on four major contexts: the writer in residence, the prize culture, the literary festival, and the writer in the blogosphere. It considers how the writer’s role has been reconstructed in different social and cultural contexts. In addition, this study highlights writers’ perception of their public role and their position in society; the multiple and complex power relations inherent in these roles; the increasingly public presence of the writer; the reader-writer relationship, and the impact on the literature produced. Reflecting my own literary interests and practices, it focuses on the work and experiences of poets and novelists, rather than on those of dramatists and non- fiction writers. This study contributes to the as yet limited body of research into contemporary patronage practices. Furthermore, the thesis contributes to the historicising and theorisation of the creative writer which links the individual experience of writers with social and cultural structures and processes, making reference to the theories of Theodor Adorno, Roland Barthes, Pierre Bourdieu, Terry Eagleton and Jürgen Habermas. The research sheds light on the writer’s struggle to maintain a balance between gainful employment and creativity while negotiating the complex power relations that affect their literary output and their socio- cultural relations with patron and public. Acknowledgements I would like to thank the University of Hull whose generous sponsorship allowed me to undertake this research and complete my thesis. I am also indebted to the many writers who gave up their precious time to be interviewed. A list of these writers is included in Appendix 1. I would also like to thank those who have contributed to the development of this thesis including Professor James Booth, Christopher Reid, Professor Valerie Sanders and Dr David Wheatley. It goes without saying that I could not possibly have completed this work without the love, good humour and encouragement of family and friends. Special thanks are due to Dr Cliff Forshaw for his support and sound advice. For my mother and father, Brigid and Séamus, and my children, Sam, Hugo and Jess 1 If he [sic] is to enjoy leisure and privacy, marry, buy books, travel and entertain his friends, a writer needs upwards of five pounds a day net. If he is prepared to die young of syphilis for the sake of an adjective, he can do on under. Cyril Connolly, 1946: 144 There’s no such thing as a job that will give you enough time to write. Les Murray (in Crawford), 2013 2 Table of Contents Chapter 1 Scope of Thesis 1.1 Introduction ……………………………………………………………………. 7 1.2 The Death of the Author and the Rise of the Creative Writer ………………… 14 1.3 The Public Sphere …………………………………………………………….. 19 1.4 Pierre Bourdieu, Cultural Capital and the Literary Field …………………….. 24 1.5 Conclusions …………………………………………………………………... 29 Chapter 2 A History of Patronage 2.1 Introduction …………………………………………………………………... 31 2.2 Theories of Patronage ………………………………………………………... 39 2.3 Expressions of Loyalty, Promises of Protection …………………………….. 43 2.4 Patronage and Patriotic Pride ………………………………………………… 51 2.5 The Demise of Patronage and the Rise of the Booksellers …………………... 57 2.6 The Nineteenth Century: The Commercialisation of Literature ……………… 67 2.7 Hostility to the Market: A Return to Patronage ………………………………. 73 2.7 Conclusions …………………………………………………………………… 78 Chapter 3 The Poet Laureate: Poets, Pawns and Propagandists 3.1 Introduction ………………………………………………………………….. 79 3.2 Political and Poetical Defender ……………………………………………….83 3 3.3 Panegyrists and Paid Flatterers ………………………………………………. 88 3.4 A New Era …………………………………………………………………… 94 3.5 Populism and Democracy ……………………………………………………103 3.6 Reimagining the Role ………………………………………………………..112 3.7 The First Woman Laureate …………………………………………………. 116 3.8 Conclusions ………………………………………………………………… 121 Chapter 4 The Writer in Residence 4.1 Introduction ………………………………………………………………… 125 4.2 Poetry and Work …………………………………………………………… 127 4.3 Poetry Places ……………………………………………………………….. 133 4.4 Poetry as Commodity ………………………………………………………..142 4.5 Accessibility …………………………………………………………………146 4.6 The Origins and Development of the Residency …………………………….149 4.7 Features of the Residency ……………………………………………………155 4.8 The Importance of Location …………………………………………………161 4.9 Conclusions ………………………………………………………………….165 Chapter 5 The Healing Pen: Poetry as Therapy 5.1 Introduction …………………………………………………………………. 167 4 5.2 The Theoretical Basis for the Use of the Arts in Therapeutic Settings ……... 171 5.3 The Treasure House of All Misfortunes …………………………………….. 173 5.4 Writers and Mental Illness …………………………………………………... 179 5.5 Writing as Therapy ………………………………………………………….. 186 5.6 Poetry Places and Poetry in Healthcare Services …………………………… 192 5.6.1 Debjani Chatterjee at Sheffield Hospital ………………………….. 192 5.6.2 Rogan Wolff: Hyphen-21 …………………………………………. 194 5.6.3 Rose Flint: Dean Lane Family Practice …………………………… 195 5.6.4 Mahendra Solanki: East Midlands Centre for Forensic Health …… 196 5.7 Conclusions ………………………………………………………………… 198 Chapter 6 The Literature Festival 6.1 Introduction …………………………………………………………………. 203 6.2 Research into the Literature Festival ………………………………………... 210 6.3 The Importance of Festival: A Historical Perspective ……………………… 214 6.4 The Evolution of the Literature Festival ……………………………………. 218 6.5 The Contemporary Festival …………………………………………………. 222 6.6 Pierre Bourdieu: Cultural Capital and Cultural Consumption ……………… 226 6.7 Literary Celebrity: The Reader/Writer Relationship ……………………….. 229 5 6.8 Festival: A Celebration of Writers …………………………………………. 234 6.9 Conclusions ………………………………………………………………… 240 Chapter 7 The Contemporary Prize Culture 7.1 Introduction ……………………………………………………………….. 243 7.2 Origins of the Literary Prize ……………………………………………… 244 7.3 A History of the Booker Prize and its Current Status …………………….. 251 7.4 The Booker Prize: A Winning Profile ……………………………………. 256 7.4.1 The Booker: Nationality ………………………………………... 256 7.4.2 The Booker: Gender ……………………………………………. 260 7.4.3 The Booker: Education …………………………………………. 262 7.4.4 The Booker: Age/Seniority ………………………………………263 7.5 A Short History of the T.S. Eliot Prize …………………………………… 265 7.5.1 The Eliot: Winning Poets ……………………………………….. 267 7.6 The Booker Prize and the T.S. Eliot Prize: A Comparison ………………. 271 7.7 Pierre Bourdieu and the Prize Culture ……………………………………. 275 7.8 Prizes and Protest ………………………………………………………… 285 7.9 Conclusions ………………………………………………………………..300 6 Chapter 8 The Writer in the Blogosphere 8.1 Introduction ……………………………………………………………….. 301 8.2 The Blog as Literary Platform …………………………………………….. 304 8.3 Blogs and Blogging ……………………………………………………….. 308 8.4 The Blog as Diary ………………………………………………………… 310 8.5 The Role of the Reader …………………………………………………… 315 8.6 The Impact of Technology …………………………………………………317 8.7 The Liminality of the Blog …………………………………………………319 8.8 The Blog and the Academic Writer: A Challenge to Gatekeepers ………... 323 8.9 Conclusions ………………………………………………………………... 328 Chapter 9 Overall Conclusions ………………………………………….. 332 Appendices ……………………………………………………………………. 336 Appendix 1 – List of Writers Interviewed ………………………………. 337 Appendix 2 – Transcript of Interviews ………………………………….. 338 Bibliography ………………………………………………………………….. 430 7 Chapter 1 Scope of Thesis 1.1 Introduction Writing, writers, The Writing Life – if this last is not an oxymoron. Is this subject like the many-headed Hydra, which grows two other subtexts as soon as you demolish one? … Hard to get hold of certainly. Where to start? At the end called Writing, or the end called The Writer? (Margaret Atwood, 2009: 3) We would be hunters of meaning, we would speak the truth about the world and about our own lives. Jean-Paul Sartre, ‘Merleau-Ponty’, 1960. Through the ages the writer has always fulfilled the role of social observer and reporter, analysing and recording events and emotions, and providing narratives of political, historical and psychological importance. These narratives bear witness to human triumph, courage, suffering and resilience; they may also question, openly challenge and denounce the failings and evil forces at work within society. As a result of producing thought-provoking, inspiring and entertaining works of literature, the established writer has enjoyed respect within both the literary and public spheres. I draw a distinction between these two realms as the writer normally needs to succeed in the literary sphere before gaining recognition in the public sphere. Once a writer is seen to have met the standards of value imposed by the literary establishment, and succeeded in having their work published, they are then in a position to assume roles in the public sphere. The precise positioning of the literary sphere in relation to the public sphere is the subject of some debate. For Habermas, 8 the literary sphere was a separate
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