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Contemporary Black British Literature: an Introduction for Students

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Contemporary Black British Literature: an Introduction for Students Contemporary Black British Literature: An Introduction for Students Contemporary Black British Literature: An Introduction for Students Contents Introduction 3 Historical context 5 Introductions to selected prose Incomparable World, S.I. Martin recommended by Dr Leila Kamali 9 NW, Zadie Smith recommended by Dr Malachi McIntosh 10 Strange Music, Laura Fish recommended by Dr Deirdre Osborne 11 Trumpet, Jackie Kay recommended by Heather Marks 12 Introductions to selected drama Fallout, Roy Williams recommended by Dr Deirdre Osborne 13 nut, debbie tucker green recommended by Dr Valerie Kaneko-Lucas 14 Something Dark, Lemn Sissay recommended by Dr Fiona Peters 15 The Story of M, SuAndi recommended by Dr Elaine Aston 16 Introductions to selected poetry Ship Shape, Dorothea Smartt recommended by Dr Suzanne Scafe 17 Telling Tales, Patience Agbabi recommended by Nazmia Jamal 18 The Rose of Toulouse, Fred D’Aguiar recommended by Dr Abigail Ward 19 Too Black, Too Strong, Benjamin Zephaniah recommended by Kadija Sesay 20 Bibliography 21 © Pearson 2017 2 Contemporary Black British Literature: An Introduction for Students Introduction Why have we produced a guide to Contemporary Black British Literature? Think about what you understand by the idea of our English literary heritage. Whose names and faces come to mind when you hear these terms? Shakespeare? Dickens? Keats? Whichever authors you picture as stalwarts of the literary canon, do they have any physical characteristics in common? Are they men? Are they white? Are they dead? The answer may not always be yes to all of these questions, but we would be willing to bet that it is more often than it is not. And perhaps we say, so what? The fact that Dickens was a white man does not mean that his personal experiences and literary representations of nineteenth-century life speak for every other white man of the time, let alone the myriad other individuals going about their business in Victorian Britain. Yet as much as these canonical authors are the creators of some of our greatest works of British literature, and rightly studied and celebrated, they also become imbued with more significance than that. They become (or personify) a defining quality of what ‘greatness’ and ‘literature’ mean, and ultimately what ‘Britishness’ means. The cultural commentator Raymond Williams stated that the content of any education ‘expresses, both consciously and unconsciously, certain basic elements in the culture, what is thought of as “an education” being in fact a particular selection, a set of emphases and omissions’. So if we think about how ideas of Britishness are constructed through our education, including by the books we read and study, we hope this Guide will broaden the content from which you can choose to study for your coursework, to address the current omissions in the A level specification, and to attempt to better reflect contemporary British culture. Highlighting the significance of these issues in contemporary British culture, in March 2017 the Guardian website reported on a survey conducted for the Royal Society of Literature, which found that when 2000 people were asked to name people they regarded as ‘writers of literature’, only 7 per cent of the 400 writers named were from black, Asian or minority ethnic (known as BAME) backgrounds. In each example, where a BAME writer was named it was by only one respondent, whereas 210 people named Shakespeare. You might wonder how this selection could ever change if students of literature are never introduced to texts by authors from black, Asian or minority ethnic backgrounds. This is why we developed a guide to Contemporary Black British Literature. Dr Deirdre Osborne, co-founder of the first ever degree course in the world in Black British Writing at Goldsmiths, University of London, and author of our detailed resource © Pearson 2017 3 Contemporary Black British Literature: An Introduction for Students Contemporary Black British Literature: A Guide, outlines that: ‘In this guide, “Black British literature” indicates a range of late-twentieth-century and contemporary work in a context of literary history, rather than as projecting racial restrictions upon the many possible identities that can comprise any individual, and to which they might subscribe personally and collectively. As a literary term, Black British can be asserted, disputed and problematised in turn. Nonetheless, it is an important strand within British literature that needs to be woven into educational curricula and its value recognised by current and future generations.’ Your coursework is the part of your A level where you have freedom to choose the texts that you want to study. Contemporary Black British Literature: A Guide, the first in our series of resources on diversifying the curriculum, has been created to encourage you to maximise the potential of this freedom, and to jump into some of these academic and political debates. We would like to introduce you to some texts by black British authors that you may not have encountered in your many years of English lessons. As is the case with most A level texts, the works in the Guide deal with more mature content and themes than those which you would encounter at GCSE, and their content can sometimes be challenging. In this Introduction for Students, leading academics, educators and commentators in the field of contemporary black British literature introduce you to a handful of influential texts covering the genres of prose, drama and poetry as well as a wide range of contexts, settings, forms and themes. The Introduction aims to give you a taster of each text, and hopefully will inspire you to investigate further. If you would like to use any of these texts for your coursework submission, we’ve also offered some suggestions of possible pairings to kick- start your research of potential text combinations. And even if you don’t decide to use any of these texts for your coursework, we hope we’ve given you some food for thought and introduced you to some fantastic writers, whose work you will read for pleasure over the years. Happy reading! Deirdre Osborne Eva McManamon and Katy Lewis Goldsmiths University Pearson English Team © Pearson 2017 4 Contemporary Black British Literature: An Introduction for Students Historical context This guide consists of a selection of novels, poetry and drama by contemporary writers of African descent who were born and raised in Britain and who represent the generation who have been described (and importantly, who self-term) as Black British writers. African descent people have lived in the British Isles since the Roman Empire, when Britannia was simply a dominion. However, the traces of these presences have become obscured in the dominance of the British Empire many centuries later. People, cultures and commerce circulated between Africa and Europe well before the systems of enslavement and colonization. Literature plays a vital role in correcting this imbalance in historical representation. Sixteenth–nineteenth centuries Until the eighteenth century in Britain, black people were represented primarily through white (and in the majority male) writers’ works, and predominantly through the medium of plays. However, black characters were not played by black actors. Blackness was represented through prosthetics (black gloves, stockings, wigs) and the darkening of white performers’ skin. This continued into twentieth-century film adaptations. English pageants and morality plays evolved in the Middle Ages, when Christian iconography portrayed devils and pagans as black. In the Renaissance (the beginnings of England’s imperial expansion) the term ‘Moor’ was used to describe African, Chinese, Indian, Arab and non-Christian people. The most famous of these depictions is the eponymous tragic hero of Othello (1604). Others include Niger in Ben Jonson’s Masque of Blackness (1605), Toto in Thomas Heywood’s The Fair Maid of the West (1600–03?), and Zanche in John Webster’s The White Devil (1611). A noteworthy step in these white cultural representations of Laurence Olivier as Othello blackness occurred when Restoration playwright Aphra Behn, the first English woman to earn her living as a writer, penned her prose fiction Oroonoko: or The Royal Slave, a True Story (1688). Albeit without challenging white Europeans’ assumption of racial superiority, Behn employs a female narrative voice in what was then a rare account of the horrors of British colonisation and enslavement. © Pearson 2017 5 Contemporary Black British Literature: An Introduction for Students The earliest known pre-twentieth-century writing by black and mixed-race (but not necessarily British-born) people in Britain is exemplified in works by eighteenth-century figures such as Phyllis Wheatley, Quobna Ottobah Cugoano, Olaudah Equiano, Ignatius Sancho, and in the nineteenth century, by Robert Wedderburn, Mary Prince, and Mary Seacole. Prior to World War II In the port cities of the United Kingdom, communities of black and Mary Seacole mixed heritage families have been, incontestably, a longstanding presence throughout British history. However, there is no identifiable body of creative literature that was written by these British born citizens. What survives extends to letters, diaries, memoir, song lyrics, political pamphlets and journalism. Authors who might be described as pioneers of Black British writing prior to World War II were invariably from abroad. Figures of note who resided in Britain (ostensibly London) for various periods of time in the 1930s and 40s include the Trinidadians C.L.R. James and George Padmore, and Jamaican Una Marson, who, with fellow colonial intellectuals, circulated in Britain’s elite cultural circles. The trio individually and with a collective activism provided vital cultural platforms, which were to remain influential antecedents for the post-war émigré writers – although until recent decades, their presence was ignored or marginalised in British literary histories. Post-war A flashpoint in British national memory has become fixed at the docking of the Empire Windrush at Tilbury in 1948.
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