Contemporary British Literary Culture, Higher Education, and the Diversity Scandal
Total Page：16
File Type：pdf, Size：1020Kb
Contemporary British Literary Culture, Higher Education, and the Diversity Scandal by John Coleman A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English Language and Literature Carleton University Ottawa, Ontario © 2019, John Coleman Abstract Sociologists have demonstrated that neoliberal British education policies reproduce cultural and racial homogeneity in creative industries workforces. These policies have made fine art and design programs key pathways to work in the creative economy. Yet escalating tuition and the reliance on unpaid internships to gain course credit have meant that students are increasingly drawn from the more affluent socio-economic communities – often predominantly white. The impact on contemporary British literature, particularly writing by minoritized authors, has been remarkable. Despite efforts to increase diversity in the literary book trades, the vast majority of publishing professionals are white, independently wealthy graduates of elite universities. Scholars have said little about how the literary field responds to, manifests, and perpetuates this escalating – and racialized – inequality, whose ramifications are evident in everything from Brexit to the emboldening of the anti-immigrant alt-right movement. My research takes up this task. I discuss how neoliberal education policy has privileged a relatively homogenous creative class, whose hegemony resonates across literary production and literature itself. I analyze responses to this class’ control over the literary sphere in chapters studying the reading charity BookTrust, the decibel program’s prizing of Hari Kunzru’s 2005 novel Transmission, and Spread the Word’s Complete Works Scheme for poets of colour. ii Acknowledgements The devotion of many family members, friends and loved ones has combined to form an invaluable support system throughout my time in university and while writing this dissertation. For always being there, I thank my parents, Fran and John; my big brother, Bill; and, of course, Kim. I also need to thank all of the various members of my doctoral supervisory committee, whose guidance and perspectives I greatly appreciate. I especially thank Sarah Brouillette – whose own work inspired me to embark on this project. A slightly different version of chapter two is published in the Autumn 2018 issue of Wasafiri. iii Table of Contents Abstract………………………………………………….……………………………….ii Acknowledgements……………………………………………………………………...iii Table of Contents………………………………………………………………………..iv Introduction: Racialized Access to British Education and Contemporary Literary Economies in the UK…………………………………………………………………….1 General Overview…………………………………………………………………1 Contemporary British Literary Production………………………………………..9 Guiding Frameworks and Terminology………………………………………….16 Chapter Breakdown……………………………………………………………...25 Chapter One: “This really is a posh boys’ and girls’ job”: The Postwar Book in and beyond the Art School………………………………………………………………….34 1.1 Introduction……………………………………………………………………...34 1.2 Higher Education and the Creative Economy…………………………………...42 1.3 The Postwar Book in Art School Context……………………………………….49 1.4 Post-Art School Literary Production…………………………………………….60 1.5 Concluding Remarks: Notes for the Sociology of Literature……………………69 Chapter Two: Making Readers: BookTrust’s Multicultural Programming in the Creative Economy Context…………………………………………………………….72 2.1 Recent Innovations in Literary Commodification……………………………….73 2.2 Literature and Multicultural Education………………………………………….75 2.3 The New Black Writing………………………………………………………….81 iv 2.4 Conclusion……………………………………………………………………….90 Chapter Three: Corporate Social Responsibility, anti-meritocratic egalitarianism, and the case of Hari Kunzru’s Transmission…………………………………………94 3.1 The decibel-Penguin Prize……………………………………………………...100 3.2 A Reading of Hari Kunzru’s Transmission…………………………………….107 3.3 Institutionalized Racism in British Publishing…………………………………118 3.4 Concluding Remarks……………………………………………………………131 Chapter Four: “Editing from another perspective”: The Complete Works as Alternative Culture of Writing……………………………………………………….133 4.1 Race and Ethnicity in British Poetry Publishing………………………………..134 4.2 Warsan Shire and the Politics of Production…………………………………...139 4.3 London’s Alternative Culture of Writing………………………………………152 4.4 Conclusion……………………………………………………………………...163 Conclusion: Synopsis and Notes Toward Future Research………………………...169 Literature and the Rise of British Multicultural Education…………………….171 Multicultural Literary Teaching in the Creative-Economy Context……………182 Works Cited……………………………………………………………………………188 v Introduction: Racialized Access to British Education and Contemporary Literary Economies in the UK General Overview This dissertation is not a work of cultural sociology. Rather, it is a set of readings of particular diversity initiatives that have been designed to redress the whiteness of contemporary British literary publishing and specific works emerging from or promoted as part of these initiatives. The purpose of this study is to provide information that will lead to a better understanding of the literary writing that authors are producing within the context of these initiatives. This dissertation is the first study of how contemporary British literature has been shaped by, within, and against the rise of the neoliberal university – in which job training for work in the globalized economy has become a dominant priority, student interest in seeking higher education credentials is encouraged from early ages, and students are increasingly likely to emerge with substantial debt and in search of lucrative employment.1 One of the core emphases of this dissertation is that a current lack of diversity in the British literary industry reflects the dramatic failure of neoliberal British education policies to “widen participation” in arts and cultural 1 Since Larry L. Leslie and Sheila Slaughter’s ground-breaking Academic Capitalism (1997), innumerable studies which analyze and object to the corporate takeover of universities have been published. Especially significant to my thinking on the impacts of the marketization and commodification of British higher education have been Roger Brown with Helen Carasso’s Everything For Sale?, and Joyce E. Canaan and Wesley Shumar’s edited collection, Structure and Agency in the Neoliberal University. 1 education and work as promised. Britain’s New Labour government was in office under Prime Minister Tony Blair from 1997-2010. Outlined in The Future of Higher Education (DfES, chapter 6), New Labour’s policy of widening participation was introduced by the Department for Education and Skills (DfES) and continues now under Department for Education (DfE) oversight (see “Statistics: widening participation”). Sociologists have demonstrated that features of this and other policies, despite being presented as able to pull swathes of aspiring students from minoritized racial, ethnic and faith communities into university and, through this, into cultural work, have worked to reproduce cultural and racial homogeneity in creative-industries workforces. As Daniel Ashton and Caitriona Noonan’s edited collection Cultural Work and Higher Education discusses, these policies have since the early 2000s placed unprecedented importance on fine art and design programs as pathways for any individual to work in the UK’s burgeoning arts and cultural sectors. However, a number of obstacles have prevented such pathways from developing. Tuition fees were introduced in the UK in 1998 and calculated based on a family income. These fees were increased to a cap of £3,000 in England and Northern Ireland in 2006-2007 and in Wales in 2007-2008. The Browne Review of 2010 rose the cap to £9,000 per year. Escalating university tuition is now capped at £9,250 per year in most countries in the UK.2 Furthermore, the reliance on unpaid internships as a primary means for gaining course credit has meant that students in creative arts and design programs are increasingly drawn from the more affluent socio-economic communities – 2 There is some variance to the capped fee currently in place, notably the lack of fees for Scotland and EU residents studying in Scotland. 2 often predominantly white.3 The impact on contemporary British literature, particularly writing by minoritized authors, has been remarkable. Despite efforts to increase diversity in the literary book trades, recent estimates are that between only 8 and 10 per cent4 of publishing employees are from Black, Asian and Minority Ethnic – or “BAME” – backgrounds (Flood, “90% white”).5 While these ratios are not radically disproportionate to the racial demographics of Britain nationally,6 they are to those of London – the hub of UK publishing with many firms, agencies and media outlets that are eager to promote marketable authors. According to the most recent census, taken in 2011, of London’s 8,173,941 people, only 59.7 per cent identified themselves as “White” (Office for National Statistics). The British literary industry’s current lack of cultural diversity persists despite the important strides which have been made in postwar black and Asian British publishing. 3 In addition to the contributions of David Lee and Kate Oakley to Cultural Work and Higher Education, on the whiteness of fine arts and design student demographics see: Mark Banks, Creative Justice: Cultural Industries, Work and Inequality, Ch. 4; Mark Banks