By Andy Croft
For over 70 years, the Communist occasion of significant Britain had a rare influence on British cultural existence, workout a power relatively out of share to its dimension or political effect. Many artwork varieties have been revitalized or profoundly replaced, new ones have been verified or formed via teams and members linked to the social gathering. They introduced a dynamism and imaginative and prescient to cultural creation - no matter if in track, movie, theatre or literature - that helped lay the principles of a brand new radical tradition, a revolutionary avant garde during which the fight used to be to supply a tradition for and of the folk, within the entrance line of the conflict of principles. This quantity recounts the histories of the artists, poets and cultural visionaries of the interval, putting them in a broader historic context and offering an creation to British social and cultural heritage within the twentieth century.
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Additional resources for A Weapon In The Struggle: The Cultural History of the British Communist Party
17 The Complete Poems of C. Day Lewis (London: Sinclair-Stevenson, 1992), p. 162. Barke has a predilection for the use of quotations as titles. The Land of the Leal probably goes back to Caroline Oliphant’s poem ‘The Land o’ the Leal’, first published anonymously in Robert Archibald Smith’s The Scottish Minstrel (Edinburgh: Purdie, 1821–24), vol. III. See also note 11. 18 I am thinking here of two socialist novels, John Sommerfield’s May Day, published in the same year as Major Operation, and Frank Griffin’s October Day (1939), both set in London.
11 It is interesting that Lewis Grassic Gibbon should also refer to this hymn in his short story ‘Greenden’. This was included in The Scottish Scene (1934), the miscellany written jointly with Hugh MacDiarmid. 12 See Andy Wightman, Who Owns Scotland Now? (Edinburgh: Mainstream, 1996). 13 Lewis Grassic Gibbon, ‘New Novels: Mr Barke and Others’, The Free Man, 24 February 1934; quoted from William K. Malcolm, A Blasphemer and Reformer: A Study of James Leslie Mitchell / Lewis Grassic Gibbon (Aberdeen: Aberdeen University Press, 1984), p.
1 This judgement by Alfred Durus (alias Kenemy) which appeared in International Literature in 1936 undoubtedly captures the level of anger and determination and the strategic intentions of the three British artists, James Boswell, James Fitton and James Holland, collectively, and apparently unresentfully, known from early days as ‘The Three Jameses’. Their work was being exhibited at the Museum of Modern Western Art (the renamed Pushkin Museum) in Moscow which reflected the international recognition of the signal effect these artists had made as regular illustrators for Left Review.
A Weapon In The Struggle: The Cultural History of the British Communist Party by Andy Croft