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<v Speaker 1>Jack Hilton was a plaster trade unionist, survivor of World

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<v Speaker 1>War One, and local activist in Lankash's Unemployed Workers' Movement

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<v Speaker 1>who turned to writing while banned from political activity. But

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<v Speaker 1>despite being celebrated by some of the most respected writers

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<v Speaker 1>of his generation, Hilton and his work faded into obscurity,

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<v Speaker 1>only to be rediscovered now, some ninety years after he

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<v Speaker 1>was first published. This is Working Class Literature.

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<v Speaker 2>Alamatina Happena Oh, very large Child, Very large Child, Very

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<v Speaker 2>large child, Child Child, Alamatina.

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<v Speaker 1>Before we start, a quick note to say that we're

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<v Speaker 1>only able to continue making these podcasts, both Working Class

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<v Speaker 1>History and Working Class Literature because of the support of

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<v Speaker 1>our listeners on Patreon. If you like what we do

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<v Speaker 1>and want to help us with our work, join us

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<v Speaker 1>on patreon dot com slash working Class History, where you

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<v Speaker 1>can get benefits like early access to episodes, exclusive bonus content,

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<v Speaker 1>discounted books, merch and more. For instance, Patreon supporters can

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<v Speaker 1>listen to both episodes about Jack Hilton now and also

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<v Speaker 1>have exclusive access to a special Patreon only bonus episode

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<v Speaker 1>where we discuss more passages from Jack Hilton's brilliant novel

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<v Speaker 1>Caliban Shrieks. Patrioon supporters also get access to our two

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<v Speaker 1>Patreon only podcast series, Radical Reads and fireside Chat link

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<v Speaker 1>in the show notes. In this double episode, we're going

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<v Speaker 1>to look at the life and work of British working

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<v Speaker 1>class author Jack Hilton, with a particular focus on his

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<v Speaker 1>nineteen thirty five auto biographical novel Caliban Shrieks. To do that,

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<v Speaker 1>we spoke to Jack Chadwick, who chanced upon Hilton's novel

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<v Speaker 1>back in twenty twenty one, and through what can only

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<v Speaker 1>be described as an incredible feat of literary detective work,

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<v Speaker 1>managed to track down some of Hilton's old friends and

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<v Speaker 1>get his book back into print almost ninety years after

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<v Speaker 1>it was first published. We discussed this incredible story of

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<v Speaker 1>how Jack got the book back into print in Part two.

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<v Speaker 1>So turning to Jack Hilton himself, then it's fair to

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<v Speaker 1>say that he had an extremely difficult start in life.

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<v Speaker 3>One of the things that makes him easy to sort

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<v Speaker 3>of date is he was born in nineteen hundred. For

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<v Speaker 3>someone who's not particularly good at mental maths, that makes

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<v Speaker 3>it a lot easier to sort of work out how

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<v Speaker 3>old he was at any given point. So born in

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<v Speaker 3>a slum terrace in Rochdale, the house where he was

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<v Speaker 3>born and is still standing. The only difference is but

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<v Speaker 3>it's no longer pact. But I think it would have

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<v Speaker 3>been two families. Now it's I presume just one. I've

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<v Speaker 3>not knocked on to check, but yes, so he was

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<v Speaker 3>born into this one room, but his two parents lived

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<v Speaker 3>in he was I've never been able to work out

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<v Speaker 3>where he was exactly in the order of the children born.

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<v Speaker 3>I think he was about maybe the third, the third child,

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<v Speaker 3>and potentially the first son. Part of why it's impossible

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<v Speaker 3>to know exactly where he came in the order of

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<v Speaker 3>a family is because of his siblings, so many of

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<v Speaker 3>them died within the first you know, before they even

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<v Speaker 3>reached adulthood. I think only one of his siblings out

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<v Speaker 3>of seven reached adulthood alongside him. I think a lot

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<v Speaker 3>of his siblings were even missed out by the censuses

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<v Speaker 3>because obviously they were born and died within a period,

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<v Speaker 3>so unless they reached ten, they were sort of like

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<v Speaker 3>missing from the records. His dad was from what Jack

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<v Speaker 3>Hilton described as being it's a sort of a lump proproletariat,

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<v Speaker 3>the lowest of the low.

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<v Speaker 4>But despite that, he was at.

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<v Speaker 3>The forefront of for sort of a meager early efforts

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<v Speaker 3>of socialist organizing in Rochdale, and so his dad had,

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<v Speaker 3>you know, quite like Jack Hilton went on to achieved.

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<v Speaker 3>He'd sort of scraped a little bit of an education

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<v Speaker 3>for himself, but it's not the kind of thing that

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<v Speaker 3>his father's work allowed him to pass on to his children.

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<v Speaker 4>So Jack Hillson would have.

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<v Speaker 3>Got, you know, little scraps of his father's knowledge because

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<v Speaker 3>obviously his father was working hard with all these children,

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<v Speaker 3>with all this death around him. But it still is

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<v Speaker 3>the case that Hilton was sort of given this sort

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<v Speaker 3>of early orientation towards socialism and towards the working class

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<v Speaker 3>and sort of knew he stood up and put on

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<v Speaker 3>firm ground. It was a solid foundation for what he

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<v Speaker 3>went on to do and what he went on to

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<v Speaker 3>do in terms of his own efforts to educate himself

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<v Speaker 3>and and as we'll talk about later, the direct inputs

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<v Speaker 3>he had into building the movement that his father was

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<v Speaker 3>sort of a father of in Rochdale.

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<v Speaker 1>As was common at the start of the twentieth century,

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<v Speaker 1>Jack Hilton was denied in education and forced into employment

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<v Speaker 1>as a child.

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<v Speaker 3>So Hilton grew up and like all of the kids

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<v Speaker 3>of his class and age in Rochdale at that time

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<v Speaker 3>went under the halftime system, went to work at the

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<v Speaker 3>age of nine, and there one small victory for a

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<v Speaker 3>working class around that time was that when you went

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<v Speaker 3>to work at the age of nine, you weren't since

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<v Speaker 3>for mill. Yet you got a bit of a grace

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<v Speaker 3>period of two years before you were sent to the

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<v Speaker 3>local mills. I say the local mills was about I

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<v Speaker 3>believe our three towering, dark buildings covered in black ash

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<v Speaker 3>smoke that you know, we're blackening the skies of rushed Owe.

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<v Speaker 3>All of these buildings within a stone's throw of where

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<v Speaker 3>Jack Hilton grow up. They're no longer there, but Hilton

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<v Speaker 3>was after about two years. I think he worked for

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<v Speaker 3>a grocer's. He did some sort of errand boy kinds

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<v Speaker 3>of jobs in his afternoons after school, and then he

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<v Speaker 3>was sent for mill at the age of eleven, waking

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<v Speaker 3>up at at you know, five point thirty in the

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<v Speaker 3>dark and carrying himself you know, up for Hill Downhill

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<v Speaker 3>to the local mill to do labor. That left him

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<v Speaker 3>absolutely knackered, to say the least. By the time he

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<v Speaker 3>was supposed to start what really has no right to

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<v Speaker 3>call itself an education.

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<v Speaker 4>Which would have been in the afternoons.

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<v Speaker 3>So he speaks about what this education entailed in Caliban Shrieks,

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<v Speaker 3>and if the image he gives of it is so

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<v Speaker 3>distinct and so different to what any kind of ideal

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<v Speaker 3>sense of what that word means now, or you know,

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<v Speaker 3>even at the time, it was jingoistic, it was patronizing.

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<v Speaker 3>It was very much about teaching the kid the web

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<v Speaker 3>along and under the Victorian scheme of class, rather than

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<v Speaker 3>giving him any sense of what they could be or

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<v Speaker 3>what the world is. So I think perhaps Jack Hilton

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<v Speaker 3>had the gift of knowing the limitations of what was

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<v Speaker 3>being presented to him as an education because of his father.

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<v Speaker 3>Even if his father wasn't able to give him any

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<v Speaker 3>kind of other education, he was able to let him

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<v Speaker 3>know the limitations of what was on offer in this

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<v Speaker 3>you know, authoritarian brutal school with its religious sealousy and

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<v Speaker 3>just quite frankly brutal floggings of the kids, which I

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<v Speaker 3>think he speaks about a little bit. And that was

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<v Speaker 3>a really bleak early instruction for Jack too, the worst

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<v Speaker 3>of capitalism, the worst of life.

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<v Speaker 4>It gave him the bleakest outlook. I think you could have.

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<v Speaker 1>Well Hilton's earliest experiences were already extremely difficult. They would

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<v Speaker 1>be compounded by the onset of the First World War

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<v Speaker 1>and the horrors that he would live through there.

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<v Speaker 3>He was at first too young to be sent to

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<v Speaker 3>the trenches, so he began a series of jobs in

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<v Speaker 3>the sort of logistics and a sort of support auxiliary

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<v Speaker 3>auxiliary roles in England. One of the jobs did for

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<v Speaker 3>the longest was looking after the horses of a marshal

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<v Speaker 3>who was sort of being kept back in England in

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<v Speaker 3>preparation for being sent to Belgium. Hilton did this job

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<v Speaker 3>for a while and it gave him this relationship with

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<v Speaker 3>this instruction to the ruling class. He was working for

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<v Speaker 3>the officer types. And I think this is another really

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<v Speaker 3>important influence on the man he would become, because you know,

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<v Speaker 3>unlike many of the other boys who were said off

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<v Speaker 3>to fight, he wasn't around his own type from the

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<v Speaker 3>very beginning of the war. The war brought him into

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<v Speaker 3>the world of class and it gave him a bit

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<v Speaker 3>a window onto the lives of how other richer Britain's lived,

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<v Speaker 3>and I think part of why he was selected for

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<v Speaker 3>his work working for the offices and why he was

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<v Speaker 3>able to do it for so long, I think about

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<v Speaker 3>two years, was because they recognized that there was a

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<v Speaker 3>brilliant brain in this lad Even though he lacked any

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<v Speaker 3>formal education.

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<v Speaker 4>He could just about write and read.

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<v Speaker 3>But this is again the gift of his father, who

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<v Speaker 3>had instilled in this sort of advantage of I guess

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<v Speaker 3>you would call it a cultural capital really that enabled

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<v Speaker 3>him to be distinctish from the other working class lights

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<v Speaker 3>is potentially having some kind of ability to do the

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<v Speaker 3>sort of more administrative taxs that were predominantly given to

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<v Speaker 3>middle class boys. So he was then when he was

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<v Speaker 3>of age, he was sent to the trenches.

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<v Speaker 4>And he writes.

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<v Speaker 3>Very little about this in the grand scheme of things,

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<v Speaker 3>but very powerfully. And I think it's one of those

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<v Speaker 3>cases where you know, a lot of the meaning is

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<v Speaker 3>contained in the gaps as opposed to in what's actually

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<v Speaker 3>communicated in the actual words on the page. So if

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<v Speaker 3>you read between the lines of his account of the

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<v Speaker 3>war and what came after for him, you get this,

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<v Speaker 3>I think, particularly brutal and personal explanation of the effects

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<v Speaker 3>of the war on this young working class boy. And

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<v Speaker 3>I say that because the following chapters, so he talks

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<v Speaker 3>about the experience of being sent to the trenches and

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<v Speaker 3>describes the the sort of a harrying how can I

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<v Speaker 3>put the very sort of a quick fire, rapid fire

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<v Speaker 3>sort of weight.

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<v Speaker 4>It's very visceral.

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<v Speaker 3>His account of what happened, but it does only run

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<v Speaker 3>maybe two three pages. But then what happens afterwards is

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<v Speaker 3>you have this pair of chapters covering ten years of

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<v Speaker 3>Jack Hilton's life from the end of the war until

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<v Speaker 3>he was mentally able to settle in Rochdale again at

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<v Speaker 3>the end of the twenties. And this period of ten

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<v Speaker 3>years is a direct response to what happened in the war.

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<v Speaker 3>And it's clear this period of homelessness and rough sleeping

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<v Speaker 3>and vagrancy which he went through, but it wasn't unique

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<v Speaker 3>to him. It was actually sort of hundreds and hundreds

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<v Speaker 3>of thousands of veterans from the First World War went

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<v Speaker 3>through this long period of wandering. That it's timeless and

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<v Speaker 3>the account that he gives of this period tells you

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<v Speaker 3>so much about his experiences in the war, And that's

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<v Speaker 3>what I mean by you really have to sort of

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<v Speaker 3>read between the lines of his account of the war

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<v Speaker 3>to get a sense of how much trauma he was

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<v Speaker 3>carrying around with him afterwards, and that was all he

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<v Speaker 3>was carrying with him. He didn't have anything to his name.

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<v Speaker 3>He was wandering the countryside from town to town, made

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<v Speaker 3>it to London, made it out of London, and made

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<v Speaker 3>it back to London, back up north, back down south,

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<v Speaker 3>from Spike to Spike, poorhouse to poorhouse. He was carrying

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<v Speaker 3>nothing but this immense trauma that completely prevented him from

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<v Speaker 3>settling his own mind and settling down anywhere for at

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<v Speaker 3>least ten years, potentially eleven or twelve.

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<v Speaker 1>In the UK, we talked quite a lot about the

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<v Speaker 1>First World War, but often gloss over the sheer scale

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<v Speaker 1>of the horror and destruction they involved. So in total,

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<v Speaker 1>around twenty million people were killed and around another twenty

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<v Speaker 1>million were wounded. During the Battle of the Somme, over

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<v Speaker 1>fifty seven thousand soldiers died on one single day, but

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<v Speaker 1>it wasn't on common for hundreds to die, even on

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<v Speaker 1>supposedly quiet days, so it's not surprising that anyone who

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<v Speaker 1>found themselves in the middle of all that would come

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<v Speaker 1>home with severe post traumatic stress disorder, as indeed hundreds

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<v Speaker 1>of thousands did. Harry Patch, the last surviving British combat

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<v Speaker 1>veteran from World War One went on to describe war

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<v Speaker 1>as quote organized murder and nothing else end quote, and

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<v Speaker 1>said that the politicians who had dragged them into it

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<v Speaker 1>should have quote been given the guns and told to

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<v Speaker 1>settle their differences themselves end quote. Jack Hilton lived through

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<v Speaker 1>all of this, as did many others, but as if

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<v Speaker 1>that wasn't enough, Hilton and his generation would have yet

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<v Speaker 1>another era defining catastrophe to come, the Great Depression.

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<v Speaker 3>He had just got to that point in his life

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<v Speaker 3>where he was able to overcome the trauma of the

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<v Speaker 3>war and of what he saw and begin to settle

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<v Speaker 3>in Rochdale, which is where he was born. But he'd

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<v Speaker 3>settled into doing you know, odd jobs predominantly in the

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<v Speaker 3>construction industry. For Great Depression hits, and his entire generation

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<v Speaker 3>just has the worst luck when it comes to the

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<v Speaker 3>sort of the ages at which they hit these events.

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<v Speaker 3>You know, he's young enough to go to the trenches,

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<v Speaker 3>he's young enough to be still dealing with the effects

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<v Speaker 3>of the First World War as the Great Depression hits,

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<v Speaker 3>and he finds himself trying to settle in Rochdale but

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<v Speaker 3>unable to find work, and groups together with some of

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<v Speaker 3>his friends in the local library. There's only one library

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<v Speaker 3>and the whole of the town or its area. It

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<v Speaker 3>had been built about thirty years before, and they go

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<v Speaker 3>to this library predominantly for warmth because they have no

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<v Speaker 3>they're living in I think he was in a fixed

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<v Speaker 3>abode at that point, but no heating and no food

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<v Speaker 3>and sharing with like five of the lads, I believe.

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<v Speaker 3>So they're going to the library to sort of keep

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<v Speaker 3>warm in between the odd jobs that they're able to

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<v Speaker 3>pick up from arrival of this work. So these lads

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<v Speaker 3>were all clinging to each other out of desperation in

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<v Speaker 3>the library, and as the mobs passed by, they sort

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<v Speaker 3>of turned towards what they can do to improve their

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<v Speaker 3>situation out of sheer desperation. If they think, you know,

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<v Speaker 3>we're just doing nothing, what can we do to even

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<v Speaker 3>to make us feel like we're doing something.

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<v Speaker 1>It's worth mentioning just how bad the Great Depression in

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<v Speaker 1>Britain was. In nineteen thirty one, for instance, almost a

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<v Speaker 1>quarter of men and one in five women were recorded

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<v Speaker 1>as unemployed. Rather than do anything to help the unemployed,

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<v Speaker 1>the government introduced the means Test, whereby inspectors would visit

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<v Speaker 1>unemployed people's homes to see if they were living fecklessly

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00:14:48.840 --> 00:14:51.600
<v Speaker 1>or had any items that they could sell before giving

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<v Speaker 1>them their unemployment benefit. On top of that, the means

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<v Speaker 1>test applied to the household, meaning that if one of

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<v Speaker 1>the children got a job, they're earning would be deducted

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<v Speaker 1>from the parents dole money. Unsurprisingly, this meant that families

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<v Speaker 1>would often be broken up, with children leaving home in

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<v Speaker 1>the event that they found work. It's also really important

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<v Speaker 1>to highlight as well that despite these harsh conditions, the

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<v Speaker 1>unemployed were never given the sympathy that you'd expect from

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<v Speaker 1>the influential voices of their time. So, just like the

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<v Speaker 1>demonization of the unemployed today, newspapers during the Great Depression

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<v Speaker 1>depicted them as irresponsible, lazy, and having brought their poverty

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<v Speaker 1>upon themselves. In nineteen thirty one, The Times ran an

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<v Speaker 1>article in favor of the means test, claiming that the

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<v Speaker 1>doll had become quote an alternative source of almost permanent

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<v Speaker 1>maintenance end quote. Similarly, the Scotsmen published a piece claiming

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<v Speaker 1>that quote income taxpayers are unlike the unemployed, paying out

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<v Speaker 1>and getting no return directly for their money. While many

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<v Speaker 1>of the workless marry and breed families while in receipt

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<v Speaker 1>of the doll end quote. While many, perhaps even most,

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<v Speaker 1>of the unemployed responded to this situation with a deep

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<v Speaker 1>sense of hopelessness, others like Jack Hilton, began to get

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<v Speaker 1>politically active.

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<v Speaker 3>The first thing what happens is they hear about the

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<v Speaker 3>National Unemployed Workers Movement, which had been founded by the

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<v Speaker 3>Communist Party of Great Britain to represent the unemployed masses

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<v Speaker 3>after the end of the First World War. Now, this

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00:16:27.240 --> 00:16:32.519
<v Speaker 3>organization existed for ten years but didn't really achieve anything

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<v Speaker 3>like the breakthroughs, but it managed in the first years

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<v Speaker 3>of the Great Depression. I think the biggest march that

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00:16:38.919 --> 00:16:42.919
<v Speaker 3>they held was one hundred and ten thousand people in

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<v Speaker 3>nineteen thirty two to present a petition to Whitehall. Whitehall

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<v Speaker 3>responded with seventy thousand police mobilized from across the country

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00:16:51.600 --> 00:16:56.360
<v Speaker 3>to brutally intercept this crowd of desperate people and steal

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00:16:56.399 --> 00:16:58.919
<v Speaker 3>the petition they'd gathered, and then beat them out of

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<v Speaker 3>London over a few days of actively.

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<v Speaker 1>The march that Jack is talking about here is the

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<v Speaker 1>nineteen thirty two Hunger March, when two and a half

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<v Speaker 1>to three thousand unemployed workers set off from Glasgow to London,

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<v Speaker 1>one of many similar cross country marches that took place

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<v Speaker 1>in that period. In London, they were joined by over

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00:17:16.440 --> 00:17:20.079
<v Speaker 1>one hundred thousand other demonstrators and attempted to present a

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00:17:20.119 --> 00:17:23.119
<v Speaker 1>petition with over a million signatures to the government, but

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00:17:23.240 --> 00:17:27.160
<v Speaker 1>were stopped by police, resulting in huge clashes in central London.

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<v Speaker 3>So I think this is the camera vendor would have

304
00:17:30.279 --> 00:17:34.240
<v Speaker 3>got Hilton and his mate's attention in Rochdale, and that's

305
00:17:34.279 --> 00:17:37.240
<v Speaker 3>what led them to attempt to found a chapter of

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00:17:37.319 --> 00:17:41.839
<v Speaker 3>the NUWM in the town. The first meeting they held

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00:17:41.960 --> 00:17:45.559
<v Speaker 3>was dire. These weren't educated men, like I say. They

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00:17:45.599 --> 00:17:49.640
<v Speaker 3>had no concept of how to make a speech or

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00:17:49.680 --> 00:17:52.640
<v Speaker 3>how to explain what was going on in their lives.

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<v Speaker 4>They just knew that they.

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00:17:53.400 --> 00:17:55.480
<v Speaker 3>Needed to be able to explain it. They need to

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00:17:55.559 --> 00:18:00.799
<v Speaker 3>understand themselves. So after their first meeting they go back

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00:18:00.839 --> 00:18:04.599
<v Speaker 3>to the library and they just swallow book after book

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00:18:05.200 --> 00:18:08.440
<v Speaker 3>after book. And Hilton is not alone in this. It's

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00:18:08.480 --> 00:18:11.039
<v Speaker 3>about him and about five of them mates who do this.

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00:18:11.519 --> 00:18:15.160
<v Speaker 3>Who read marks, He read the classics of the English Canon,

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00:18:16.000 --> 00:18:20.400
<v Speaker 3>he read Shakespeare, and it does spare through. Their meetings

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00:18:20.440 --> 00:18:24.799
<v Speaker 3>start to pick up steam and every single new meeting.

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<v Speaker 3>They talk with more eloquence, They're able to explain things

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00:18:29.000 --> 00:18:32.680
<v Speaker 3>in more detail, with more credibility, and the crowds grow

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00:18:32.720 --> 00:18:36.000
<v Speaker 3>and grow riven a matter of months, these men are

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00:18:36.000 --> 00:18:40.119
<v Speaker 3>giving speeches that are drawing people from all over the town,

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00:18:40.240 --> 00:18:44.759
<v Speaker 3>men and women, young and old, and the meetings become rallies,

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00:18:45.160 --> 00:18:49.839
<v Speaker 3>and then the rallies become riots. And the riots, obviously,

325
00:18:50.240 --> 00:18:54.920
<v Speaker 3>for the powers that be in Rochdale, were completely unacceptable

326
00:18:55.319 --> 00:19:01.240
<v Speaker 3>and scary, and the local business leaders, the locals lean

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00:19:01.359 --> 00:19:05.000
<v Speaker 3>on the local judges and the local police and anyone

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00:19:05.039 --> 00:19:06.880
<v Speaker 3>who will listen to sort of put a stop to this.

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00:19:07.039 --> 00:19:10.000
<v Speaker 3>And Jack Hilton is seized in the midst of a

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00:19:10.079 --> 00:19:13.759
<v Speaker 3>demonstration and thrown in the cells and then taken to

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<v Speaker 3>Strange Rays prison, and he's let out after a matter

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00:19:16.640 --> 00:19:19.839
<v Speaker 3>of weeks, but he's only let out on the privize

333
00:19:19.839 --> 00:19:22.440
<v Speaker 3>over he never, for I think a period of three years,

334
00:19:22.960 --> 00:19:26.039
<v Speaker 3>never make another political speech in that time, on pains

335
00:19:26.039 --> 00:19:28.880
<v Speaker 3>of being sent straight back to Strange Rays.

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<v Speaker 1>However, it was precisely a result of the conditions of

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00:19:32.359 --> 00:19:34.960
<v Speaker 1>Hilton's release that he would go on to write his

338
00:19:35.000 --> 00:19:36.000
<v Speaker 1>first novel.

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00:19:36.599 --> 00:19:40.000
<v Speaker 3>In this period that he's bound over, having taught himself

340
00:19:40.039 --> 00:19:42.680
<v Speaker 3>how to make the speeches that can move hundreds and

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00:19:42.799 --> 00:19:47.200
<v Speaker 3>hundreds of people to action, But now being completely unable

342
00:19:47.359 --> 00:19:50.440
<v Speaker 3>to do this anymore, he instead turns to pen and paper,

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<v Speaker 3>and the speeches that he would have been giving to

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00:19:53.440 --> 00:20:00.000
<v Speaker 3>these crowds are kept for himself and his scrappy little notebooks.

345
00:20:00.079 --> 00:20:02.079
<v Speaker 3>He starts to write in these notebooks what he would

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00:20:02.119 --> 00:20:05.359
<v Speaker 3>otherwise have been saying to the crowds. And then one

347
00:20:05.440 --> 00:20:10.720
<v Speaker 3>evening a night class organized by the Workingmen's Educational Association,

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00:20:11.279 --> 00:20:13.599
<v Speaker 3>which I think he started going to around the time

349
00:20:13.599 --> 00:20:15.440
<v Speaker 3>but him and his mates were begin to educate themselves

350
00:20:15.480 --> 00:20:16.519
<v Speaker 3>to make speeches.

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<v Speaker 4>You've been going to these night classes.

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<v Speaker 3>Well, whenever he went to these classes, he was either

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00:20:21.640 --> 00:20:25.000
<v Speaker 3>you know, knackered after a day of work or starving

354
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<v Speaker 3>because he hadn't had any work. So after one of

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00:20:27.599 --> 00:20:30.519
<v Speaker 3>these classes, for whatever reason, he left his notebook behind,

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00:20:31.039 --> 00:20:36.880
<v Speaker 3>and the education or association suitor picked up the notebook and,

357
00:20:37.640 --> 00:20:41.160
<v Speaker 3>being a nosy booker, took it home and leafed through it,

358
00:20:41.720 --> 00:20:44.039
<v Speaker 3>and you know what he had in his hands was

359
00:20:44.279 --> 00:20:48.160
<v Speaker 3>the clamoring nucleus of what would then become caliban shrieks.

360
00:20:48.599 --> 00:20:51.720
<v Speaker 3>I think it equates to being about the first and

361
00:20:51.799 --> 00:20:56.400
<v Speaker 3>second chapters or thereabouts. What this nosey booker does is

362
00:20:56.440 --> 00:21:01.440
<v Speaker 3>he sends Jack Hilton's notebook without his permission to the

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00:21:01.599 --> 00:21:07.559
<v Speaker 3>editor of a modernist literary magazine called Viadelphi, which was

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00:21:08.319 --> 00:21:10.519
<v Speaker 3>I don't know how to promis really it was a

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00:21:10.680 --> 00:21:15.680
<v Speaker 3>sort of a haven for the misfits and the most

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<v Speaker 3>sort of unpopular figures of the literary world at that

367
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<v Speaker 3>time in England, like DH Lawrence, D. H.

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<v Speaker 1>Lawrence was an author and son of a Nottinghamshire coal miner,

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<v Speaker 1>closely connected to the literary avant garde of the early

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<v Speaker 1>twentieth century. His works frequently dealt in themes of sexual

371
00:21:33.200 --> 00:21:37.759
<v Speaker 1>desire that scandalized the literary mainstream, not to mention British authorities.

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<v Speaker 1>A number of his novels were subjects to obscenity trials,

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<v Speaker 1>like nineteen fifteen's The Rainbow, whose copies were seized and burnt.

374
00:21:46.119 --> 00:21:49.079
<v Speaker 1>Obviously not learning his lesson, in nineteen twenty eight, Lawrence

375
00:21:49.119 --> 00:21:52.559
<v Speaker 1>published Lady Chatterley's Lover, about a steamy love affair between

376
00:21:52.599 --> 00:21:56.039
<v Speaker 1>the wife of a wealthy landowner and her working class gamekeeper.

377
00:21:56.680 --> 00:21:59.359
<v Speaker 1>That book was similarly banned and not published in full

378
00:21:59.480 --> 00:22:02.519
<v Speaker 1>until Yeah, another obscenity trial resulted in the band being

379
00:22:02.519 --> 00:22:05.720
<v Speaker 1>lifted in nineteen sixty, by which time Lawrence had been

380
00:22:05.759 --> 00:22:09.440
<v Speaker 1>dead for thirty years. Well, Lawrence was still alive, however,

381
00:22:09.640 --> 00:22:12.319
<v Speaker 1>the Adelphi was a firm supporter of his work.

382
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<v Speaker 3>So when Jack Hilton's notebook was sent in and they

383
00:22:18.480 --> 00:22:21.799
<v Speaker 3>saw that what they'd been given was such a radical,

384
00:22:22.640 --> 00:22:27.599
<v Speaker 3>unusual but brilliant piece writing, the editors jumped on it,

385
00:22:27.759 --> 00:22:31.839
<v Speaker 3>especially because it was sort of one of the unspoken

386
00:22:32.440 --> 00:22:37.160
<v Speaker 3>missions of this magazine after d. H. Lawrence's death had

387
00:22:37.200 --> 00:22:39.599
<v Speaker 3>sort of been to put it quite crudely, to sort

388
00:22:39.599 --> 00:22:44.519
<v Speaker 3>of find the airs of Lawrence. It's no exaggeration to

389
00:22:44.559 --> 00:22:47.960
<v Speaker 3>say that with Jack Hilton, at least John Middleton Murray,

390
00:22:48.039 --> 00:22:51.400
<v Speaker 3>the editor, was so exciting and enamored of what he'd

391
00:22:51.440 --> 00:22:53.920
<v Speaker 3>been sent that he thought this could really be, you know,

392
00:22:54.279 --> 00:22:57.440
<v Speaker 3>the second coming of a figure that was the reason

393
00:22:57.480 --> 00:23:00.799
<v Speaker 3>this journal existed. So he wrote to Jack Hilton Vivi

394
00:23:00.960 --> 00:23:03.920
<v Speaker 3>Tutor asking him to write more and to expand on

395
00:23:05.720 --> 00:23:08.799
<v Speaker 3>just tied you up this fragment for a publication in

396
00:23:08.839 --> 00:23:10.920
<v Speaker 3>a journal, and that's what he did. About was the

397
00:23:10.920 --> 00:23:13.880
<v Speaker 3>first piece of published writing by Jack Hilton. So The

398
00:23:13.960 --> 00:23:16.680
<v Speaker 3>main takeaway here is that Hilton at no point ever

399
00:23:16.759 --> 00:23:20.240
<v Speaker 3>believed he would ever be a published writer, and never

400
00:23:20.359 --> 00:23:25.839
<v Speaker 3>sought out publication himself, despite clearly having the talent to

401
00:23:26.119 --> 00:23:31.440
<v Speaker 3>achieve publication and to warrant other people reading his writing.

402
00:23:32.319 --> 00:23:35.200
<v Speaker 1>One of the interesting things about Hilton's book, and probably

403
00:23:35.200 --> 00:23:37.440
<v Speaker 1>a result of the fact that he started writing because

404
00:23:37.480 --> 00:23:40.440
<v Speaker 1>the state had banned him from making speeches, is the

405
00:23:40.480 --> 00:23:44.160
<v Speaker 1>way that it differs from a traditional novel. So rather

406
00:23:44.200 --> 00:23:46.880
<v Speaker 1>than a linear narrative that follows the characters from the

407
00:23:46.880 --> 00:23:50.519
<v Speaker 1>beginning to the middle and end, Hilton narrates episodes or

408
00:23:50.519 --> 00:23:52.920
<v Speaker 1>whole periods of his life in a style that the

409
00:23:52.960 --> 00:23:56.960
<v Speaker 1>writer Andrew McMillan has described as poetic monologues.

410
00:23:57.880 --> 00:24:01.480
<v Speaker 3>It's completely resistant to to any kind of neat category,

411
00:24:01.920 --> 00:24:06.720
<v Speaker 3>any kind of recognizable form of writing of prose. Is

412
00:24:06.759 --> 00:24:09.599
<v Speaker 3>This is something that Andrew mc millan really gets across

413
00:24:09.720 --> 00:24:13.200
<v Speaker 3>very well in his instruction to the new edition, where

414
00:24:13.200 --> 00:24:16.720
<v Speaker 3>he sort of says, is this impression. There's different impressions

415
00:24:16.720 --> 00:24:21.319
<v Speaker 3>at different points in the text that you could sort

416
00:24:21.319 --> 00:24:25.000
<v Speaker 3>of pass as being different poetic monologues.

417
00:24:25.440 --> 00:24:26.200
<v Speaker 4>There's one thing that.

418
00:24:26.599 --> 00:24:29.720
<v Speaker 3>Andrew says that I love, and it's in this instruction

419
00:24:29.799 --> 00:24:33.680
<v Speaker 3>where he says, it's as if Hilton is running down

420
00:24:33.720 --> 00:24:37.359
<v Speaker 3>the street shouting at points. And the way I think

421
00:24:37.400 --> 00:24:40.319
<v Speaker 3>about it is that I have to reflect on my

422
00:24:40.359 --> 00:24:43.799
<v Speaker 3>own first time reading Caliban Tricks in the library where

423
00:24:43.839 --> 00:24:48.240
<v Speaker 3>I found it, and I remember when I first took

424
00:24:48.279 --> 00:24:51.039
<v Speaker 3>a break to have a cigarette, and I've reflected on

425
00:24:51.200 --> 00:24:55.039
<v Speaker 3>what I've been reading. I just thought to myself, it

426
00:24:55.079 --> 00:24:57.160
<v Speaker 3>didn't feel like I've been reading something similar to anything

427
00:24:57.160 --> 00:25:00.440
<v Speaker 3>I've ever read before. It felt very much like i'd been,

428
00:25:01.319 --> 00:25:05.440
<v Speaker 3>at points, listening to someone I already knew from across

429
00:25:05.440 --> 00:25:09.200
<v Speaker 3>a pub table, recounting stuff to me, recounting their impressions

430
00:25:09.240 --> 00:25:12.839
<v Speaker 3>to me. It sounds to you like it's coming from

431
00:25:12.880 --> 00:25:17.440
<v Speaker 3>above a soapbox. What Andrew McMillan says is the novel

432
00:25:17.440 --> 00:25:20.119
<v Speaker 3>you're about to read runs shouting down the street, trying

433
00:25:20.119 --> 00:25:22.920
<v Speaker 3>to break everybody up at points. The novel is a

434
00:25:22.920 --> 00:25:25.519
<v Speaker 3>conundrum that can only be answered by reading it, And

435
00:25:26.480 --> 00:25:29.440
<v Speaker 3>there is a narrative, but not in any conventional sense.

436
00:25:29.920 --> 00:25:34.079
<v Speaker 3>It's almost filmmaking in its sensibilities. It sort of anticipates

437
00:25:34.160 --> 00:25:38.000
<v Speaker 3>the nature of episodic boxet TV shows. Each scene here

438
00:25:38.119 --> 00:25:40.920
<v Speaker 3>could be a different, self contained novel shifting location and

439
00:25:40.960 --> 00:25:46.039
<v Speaker 3>constantly oscillating between eccentricity and stark social realism. Now, what

440
00:25:46.119 --> 00:25:49.839
<v Speaker 3>Andrew means by eccentricity here is I think it's a

441
00:25:49.880 --> 00:25:52.720
<v Speaker 3>real sense that Hilton is trying to sort of make

442
00:25:52.799 --> 00:25:57.519
<v Speaker 3>you smile at points, make you laugh sor it's the

443
00:25:57.599 --> 00:25:59.079
<v Speaker 3>kind of thing that your mates would do if you're

444
00:25:59.079 --> 00:26:01.240
<v Speaker 3>trying to tell you a story in an interesting ways.

445
00:26:01.640 --> 00:26:05.880
<v Speaker 3>But I think I'm interesting. Comparison, the best one that

446
00:26:05.880 --> 00:26:08.440
<v Speaker 3>I've been able ever able to find to sort of

447
00:26:08.680 --> 00:26:13.000
<v Speaker 3>draw any kind of similarities between Calabatricks and other pieces

448
00:26:13.039 --> 00:26:16.799
<v Speaker 3>of culture is in the sort of punk poetry of

449
00:26:16.880 --> 00:26:23.359
<v Speaker 3>the sixties, because those punk poets of the sixties, seventies

450
00:26:23.359 --> 00:26:26.680
<v Speaker 3>and eighties, I think come closest to sort of doing

451
00:26:26.680 --> 00:26:30.599
<v Speaker 3>the same things as what Hilton's in terms of creating

452
00:26:30.640 --> 00:26:34.680
<v Speaker 3>this warm, accessible Also, I think of it as sort

453
00:26:34.720 --> 00:26:37.680
<v Speaker 3>of like he's placing himself in your head and you

454
00:26:37.759 --> 00:26:42.079
<v Speaker 3>are at the same time being welcomed into his head

455
00:26:42.279 --> 00:26:45.359
<v Speaker 3>with a red carpet of a pint waiting for you there.

456
00:26:46.160 --> 00:26:50.200
<v Speaker 3>And it's the most sort of intimate connection I've felt

457
00:26:50.200 --> 00:26:53.480
<v Speaker 3>with another with reading an author before. I think in

458
00:26:53.519 --> 00:26:57.720
<v Speaker 3>a sense that you're taken through these junctions in his life,

459
00:26:58.039 --> 00:27:00.480
<v Speaker 3>not in a sense of a description of events as

460
00:27:00.480 --> 00:27:04.240
<v Speaker 3>he lived them, which actually, as McMillan touches on, there's

461
00:27:04.279 --> 00:27:06.000
<v Speaker 3>not much of that in the novel. It's not about

462
00:27:06.119 --> 00:27:08.480
<v Speaker 3>you know, it's not about valved This happened, and I

463
00:27:08.519 --> 00:27:11.119
<v Speaker 3>did this, and then you know, there's no sort of

464
00:27:11.920 --> 00:27:15.039
<v Speaker 3>or at least not much cause and effect. It's not

465
00:27:15.119 --> 00:27:16.880
<v Speaker 3>a historical document in that way.

466
00:27:18.160 --> 00:27:18.880
<v Speaker 4>It is a.

467
00:27:18.880 --> 00:27:23.200
<v Speaker 3>History of his internal life and the responses of his

468
00:27:23.319 --> 00:27:27.200
<v Speaker 3>sort of mind and personality to the things he lived

469
00:27:27.240 --> 00:27:30.039
<v Speaker 3>through and the ideas he came into contact with. And

470
00:27:30.039 --> 00:27:32.480
<v Speaker 3>there's sort of the rules of the world that he

471
00:27:32.559 --> 00:27:36.400
<v Speaker 3>had to crash up against. That's what's brilliant about Hilton.

472
00:27:36.480 --> 00:27:41.160
<v Speaker 3>And he achieves this with poetic monologues, which I think

473
00:27:41.400 --> 00:27:44.400
<v Speaker 3>McMillan just after talking about these monologues a little bit,

474
00:27:44.559 --> 00:27:46.880
<v Speaker 3>he sort of asks the question, you know, who is

475
00:27:46.920 --> 00:27:51.559
<v Speaker 3>being addressed with invent And there's a sense that Hilton

476
00:27:51.720 --> 00:27:56.880
<v Speaker 3>is writing if you go off how he addresses his

477
00:27:56.920 --> 00:27:59.920
<v Speaker 3>audience in the text, it's almost as if he's writing

478
00:28:00.160 --> 00:28:05.119
<v Speaker 3>for people that he's quite disdainful of, for writing for

479
00:28:05.200 --> 00:28:10.279
<v Speaker 3>a middle class crowd, and this might be because I'm

480
00:28:10.359 --> 00:28:14.359
<v Speaker 3>undecided on this. I think his sort of instruction to

481
00:28:14.400 --> 00:28:17.119
<v Speaker 3>the network of the Adelphi magazine, which was a very

482
00:28:17.119 --> 00:28:20.480
<v Speaker 3>middle class, upper class outfit, but with I think the

483
00:28:20.519 --> 00:28:25.839
<v Speaker 3>most working class people in the Adelphie subscribers list would

484
00:28:25.839 --> 00:28:29.640
<v Speaker 3>be like teachers and academics, people who lived in worlds

485
00:28:29.759 --> 00:28:32.440
<v Speaker 3>far far removed from Hilton's own. So he knew that

486
00:28:32.519 --> 00:28:35.079
<v Speaker 3>these people were the ones who are reading and applauding

487
00:28:35.119 --> 00:28:38.599
<v Speaker 3>he's writing, and so that's expressed in Caliban trias in

488
00:28:38.680 --> 00:28:41.480
<v Speaker 3>but he is sort of directly addressing McMillan says, you know,

489
00:28:41.519 --> 00:28:43.319
<v Speaker 3>there's a nonsense for art for the people who were

490
00:28:43.519 --> 00:28:46.160
<v Speaker 3>so central to Hilton. The people in the pub, ordinary soldiers,

491
00:28:46.240 --> 00:28:49.400
<v Speaker 3>the wider community aren't imagined as the readers of the book.

492
00:28:49.720 --> 00:28:54.119
<v Speaker 3>His imagined reader is Prospero, not Caliban. Now, I think

493
00:28:54.160 --> 00:28:56.119
<v Speaker 3>this is a very fair reading of the book, but

494
00:28:56.200 --> 00:28:59.720
<v Speaker 3>I also don't necessarily agree with I think, actually this

495
00:28:59.839 --> 00:29:04.759
<v Speaker 3>is quite a clever way of Hilton actually addressing his

496
00:29:04.920 --> 00:29:10.160
<v Speaker 3>ideal reader for working class reader who definitely he would

497
00:29:10.160 --> 00:29:14.000
<v Speaker 3>have been aware weren't reading the book in the same magnitude.

498
00:29:14.079 --> 00:29:17.400
<v Speaker 3>Is the middle class audience that gave birth to his

499
00:29:17.920 --> 00:29:22.039
<v Speaker 3>writing career. But I think there's a sort of a

500
00:29:22.160 --> 00:29:24.680
<v Speaker 3>sort of I don't know. It's quite cheeky, really to

501
00:29:25.200 --> 00:29:27.880
<v Speaker 3>address a book to one audience in a sort of

502
00:29:28.200 --> 00:29:31.880
<v Speaker 3>scathing way, in a sort of dismissive way, and then

503
00:29:32.240 --> 00:29:36.799
<v Speaker 3>all along. I actually hope this is a device forgetting

504
00:29:36.839 --> 00:29:39.480
<v Speaker 3>the attention of readers from another class. I think that's

505
00:29:39.480 --> 00:29:41.720
<v Speaker 3>potentially what he was doing that. I think he's like

506
00:29:41.880 --> 00:29:47.279
<v Speaker 3>ushering the working class readers into the jewry box in

507
00:29:47.319 --> 00:29:50.680
<v Speaker 3>a way while he takes the stand, and then the

508
00:29:50.720 --> 00:29:52.640
<v Speaker 3>rest of them are in I guess, in the doc

509
00:29:52.759 --> 00:29:54.640
<v Speaker 3>or in the sort of court gallery.

510
00:29:56.240 --> 00:29:59.200
<v Speaker 1>Just interrupting this episode to give you a quick podcast recommendation.

511
00:30:00.039 --> 00:30:02.920
<v Speaker 1>If you're looking for an excellent philosophy podcast, then here's

512
00:30:02.960 --> 00:30:05.720
<v Speaker 1>the show for you. The Partially Examined Life is a

513
00:30:05.759 --> 00:30:08.599
<v Speaker 1>philosophical podcast by four guys who are at one point

514
00:30:08.680 --> 00:30:11.880
<v Speaker 1>set on doing philosophy for a living. For each episode,

515
00:30:11.920 --> 00:30:13.839
<v Speaker 1>they pick a text and chat about it with some

516
00:30:13.960 --> 00:30:17.359
<v Speaker 1>balance between insight and flippancy. You don't have to know

517
00:30:17.400 --> 00:30:19.680
<v Speaker 1>any philosophy or even to have read the text they're

518
00:30:19.680 --> 00:30:22.759
<v Speaker 1>discussing to be able to follow and enjoy. With a

519
00:30:22.839 --> 00:30:26.279
<v Speaker 1>thirteen year plus catalog of episodes, The Partially Examined Life

520
00:30:26.279 --> 00:30:29.960
<v Speaker 1>has probably covered any philosophical topic you're interested in, from

521
00:30:30.000 --> 00:30:34.440
<v Speaker 1>practical ethics to theoretical foundations of science. They go deep

522
00:30:34.480 --> 00:30:38.079
<v Speaker 1>into the history of philosophy while making it personal and funny.

523
00:30:38.960 --> 00:30:42.160
<v Speaker 1>Join the over forty five million downloads already pondering with

524
00:30:42.240 --> 00:30:45.680
<v Speaker 1>the Partially Examined Life. Find new episodes wherever you stream

525
00:30:45.720 --> 00:30:50.240
<v Speaker 1>your podcasts or at partially Examined life dot com. In

526
00:30:50.279 --> 00:30:52.279
<v Speaker 1>a moment, Jack is going to read the preface to

527
00:30:52.359 --> 00:30:55.640
<v Speaker 1>Caliban Shrieks, where this narrative style, in which Hilton is

528
00:30:55.640 --> 00:30:59.839
<v Speaker 1>ostensibly addressing and denouncing a middle class reader but almost

529
00:30:59.839 --> 00:31:03.480
<v Speaker 1>for the entertainment of an imagined working class onlooker, may

530
00:31:03.519 --> 00:31:06.759
<v Speaker 1>become clear. However, first we should probably explain that the

531
00:31:06.799 --> 00:31:09.720
<v Speaker 1>Caliban in the title of Hilton's novel is a reference

532
00:31:09.759 --> 00:31:13.920
<v Speaker 1>to William Shakespeare's play The Tempest. Set on a remote island,

533
00:31:14.000 --> 00:31:17.599
<v Speaker 1>The Tempest follows Prosper, the exiled Duke of Milan, who

534
00:31:17.720 --> 00:31:22.359
<v Speaker 1>uses his magical powers to seek vengeance on his brother. Caliban, meanwhile,

535
00:31:22.440 --> 00:31:24.920
<v Speaker 1>is a native inhabitant of the island that Prosper has

536
00:31:24.920 --> 00:31:28.519
<v Speaker 1>been exiled to, and who Prospero has both taught language

537
00:31:28.759 --> 00:31:32.960
<v Speaker 1>and enslaved anyway. Here is Jack Chadwick reading the preface

538
00:31:33.039 --> 00:31:35.039
<v Speaker 1>to Jack Hilton's Caliban, shrieks.

539
00:31:36.799 --> 00:31:39.720
<v Speaker 3>Caliban is a man ye should know well, a freckled

540
00:31:39.759 --> 00:31:43.599
<v Speaker 3>whelp hagborne, not honored with a human shape. He holds

541
00:31:43.640 --> 00:31:48.440
<v Speaker 3>opinions about his rights. Such foolishness. He should overcome hag seed.

542
00:31:48.519 --> 00:31:52.279
<v Speaker 3>Hence fetch us in fuel and be quick vout best

543
00:31:52.319 --> 00:31:54.960
<v Speaker 3>to answer for businessman, say, I must eat my dinner.

544
00:31:55.319 --> 00:31:58.559
<v Speaker 3>This island's mind, which vou takest from me? When val

545
00:31:58.720 --> 00:32:01.920
<v Speaker 3>Camest first stroked me and made as much of me,

546
00:32:02.400 --> 00:32:05.119
<v Speaker 3>which give me water with berry sints, and teach me

547
00:32:05.160 --> 00:32:07.279
<v Speaker 3>how to name the bigger light and halve less for

548
00:32:07.440 --> 00:32:09.960
<v Speaker 3>burned by day and night. And then I love thee

549
00:32:10.480 --> 00:32:13.279
<v Speaker 3>and showed the over qualities of the aisle, the fresh springs,

550
00:32:13.359 --> 00:32:16.640
<v Speaker 3>brian pitts, barren places, and fertile curse beavers.

551
00:32:16.640 --> 00:32:17.759
<v Speaker 4>I did so vi.

552
00:32:17.960 --> 00:32:20.440
<v Speaker 3>I am all the subjects that you have, which first

553
00:32:20.519 --> 00:32:23.079
<v Speaker 3>was my own king. I know the musings in the

554
00:32:23.240 --> 00:32:25.839
<v Speaker 3>rays of my modern Caliban flout all the accepted rules

555
00:32:25.839 --> 00:32:29.160
<v Speaker 3>of writing. But you taught me a language, and my

556
00:32:29.240 --> 00:32:33.279
<v Speaker 3>prophet huntint is I know how to curse the red plague.

557
00:32:33.319 --> 00:32:36.119
<v Speaker 3>Rid you for learning me your language. I break from

558
00:32:36.119 --> 00:32:38.599
<v Speaker 3>a personal to a dire tribe against alden sundry. But

559
00:32:38.680 --> 00:32:41.640
<v Speaker 3>here is neither bush nor shrub to bear off any

560
00:32:41.640 --> 00:32:44.880
<v Speaker 3>weather at all, and another stormy brewing. You may not

561
00:32:44.960 --> 00:32:48.240
<v Speaker 3>want to be disturbed by Caliban's inflated, inflicted importance.

562
00:32:48.759 --> 00:32:50.000
<v Speaker 4>Still he is here.

563
00:32:50.480 --> 00:32:54.200
<v Speaker 3>I give you his story from infancy to infirmity, as

564
00:32:54.200 --> 00:32:56.240
<v Speaker 3>clear as my feeble ability can arrange it for you.

565
00:32:56.680 --> 00:32:59.519
<v Speaker 3>The jargon is one of a clamorous demagogue for which

566
00:32:59.559 --> 00:33:02.440
<v Speaker 3>there is no apology yours, Jack Hilton.

567
00:33:03.640 --> 00:33:06.319
<v Speaker 1>When Hilton writes in this preface that you should know

568
00:33:06.519 --> 00:33:09.480
<v Speaker 1>Caliban well but may not want to be disturbed by him,

569
00:33:09.920 --> 00:33:12.559
<v Speaker 1>we can begin to see what Andrew McMillan means when

570
00:33:12.599 --> 00:33:16.680
<v Speaker 1>he says Hilton's imagined reader is Prospero, not Caliban. But

571
00:33:16.759 --> 00:33:20.240
<v Speaker 1>the mockery and sarcasm of Hilton's tone also lends itself

572
00:33:20.279 --> 00:33:22.839
<v Speaker 1>to what Jack says about this also being done for

573
00:33:22.880 --> 00:33:25.799
<v Speaker 1>the benefit of a working class audience, or, to go

574
00:33:25.880 --> 00:33:28.759
<v Speaker 1>back to Jack's analogy, Hilton puts the middle and upper

575
00:33:28.799 --> 00:33:31.559
<v Speaker 1>classes in the dock, while the working class reader is

576
00:33:31.640 --> 00:33:34.680
<v Speaker 1>ushered into the jury box and court gallery to watch

577
00:33:34.759 --> 00:33:38.319
<v Speaker 1>as Hilton puts them on trial and, by extension, the

578
00:33:38.359 --> 00:33:41.880
<v Speaker 1>society that they represent. Hilton also uses a number of

579
00:33:41.920 --> 00:33:44.599
<v Speaker 1>quotes in this preface, not just from The Tempest, but

580
00:33:44.640 --> 00:33:47.759
<v Speaker 1>from a number of Shakespeare's other plays as well, often

581
00:33:47.839 --> 00:33:51.400
<v Speaker 1>doing a way with quotation marks completely so that Shakespeare's

582
00:33:51.440 --> 00:33:54.640
<v Speaker 1>words are integrated into the language and rhythms of Hilton's

583
00:33:54.640 --> 00:33:57.839
<v Speaker 1>own words. In his book chapter on Working Class Writing

584
00:33:57.839 --> 00:34:01.720
<v Speaker 1>and Literary Experimentation, BENK Clark argues that this is Hilton's

585
00:34:01.759 --> 00:34:04.599
<v Speaker 1>way of reclaiming Shakespeare so that his work should not

586
00:34:04.640 --> 00:34:07.720
<v Speaker 1>be quote the property of the dominant classes, to which

587
00:34:07.759 --> 00:34:11.400
<v Speaker 1>others may be granted conditional access, but a common resource

588
00:34:11.840 --> 00:34:15.719
<v Speaker 1>end quote. This struggle with, but also for the established

589
00:34:15.760 --> 00:34:18.599
<v Speaker 1>canon of English literature can also be read as a

590
00:34:18.639 --> 00:34:22.800
<v Speaker 1>struggle both for and against literary language. As Hilton writes

591
00:34:22.840 --> 00:34:26.280
<v Speaker 1>his modern Caliban flouts all the accepted rules of writing,

592
00:34:26.800 --> 00:34:30.039
<v Speaker 1>followed by a line from The Tempest quote you taught

593
00:34:30.079 --> 00:34:32.440
<v Speaker 1>me a language, and my profit on it is I

594
00:34:32.519 --> 00:34:36.360
<v Speaker 1>know how to curse end quote. Hilton is acknowledging that

595
00:34:36.440 --> 00:34:38.760
<v Speaker 1>it's not just the text of the English literary canon

596
00:34:38.840 --> 00:34:41.280
<v Speaker 1>that have been kept as the property of the dominant classes,

597
00:34:41.519 --> 00:34:45.800
<v Speaker 1>but the very language of literature itself, regional working class

598
00:34:45.840 --> 00:34:49.000
<v Speaker 1>accents and dialects were for a long time excluded from

599
00:34:49.079 --> 00:34:53.840
<v Speaker 1>conventional ideas of what is literary. Against such a literary tradition,

600
00:34:53.920 --> 00:34:57.519
<v Speaker 1>then Hilton could do nothing but flout its accepted rules.

601
00:34:58.239 --> 00:35:02.599
<v Speaker 3>They are the nucleus of calibantrieks. Obviously really roughly written,

602
00:35:03.119 --> 00:35:07.280
<v Speaker 3>just scribbled down account of Jack Hilton's early life, but

603
00:35:07.360 --> 00:35:09.440
<v Speaker 3>he just got out, probably out of just boredom or

604
00:35:09.480 --> 00:35:13.800
<v Speaker 3>desperation to express himself in some way in the notebook

605
00:35:13.840 --> 00:35:16.400
<v Speaker 3>that he took along to a tutorial of a workingmen's

606
00:35:16.480 --> 00:35:19.679
<v Speaker 3>educational association in Rochdale. In his writing at that point

607
00:35:19.800 --> 00:35:22.159
<v Speaker 3>was purely way for him to vent the frustration of

608
00:35:22.239 --> 00:35:26.039
<v Speaker 3>being bound over by the courts and prevented from making

609
00:35:26.079 --> 00:35:31.320
<v Speaker 3>political speeches. So he started to write more and developed

610
00:35:31.400 --> 00:35:36.639
<v Speaker 3>this fragment of the encouragement of Johnason Murray from the Fiadelphia,

611
00:35:36.639 --> 00:35:39.000
<v Speaker 3>who asked him to turn it into an entry in

612
00:35:39.079 --> 00:35:42.199
<v Speaker 3>the journal, which he did. He tied it up a

613
00:35:42.239 --> 00:35:45.679
<v Speaker 3>little bit Middleton Murray edited it and it became one

614
00:35:45.719 --> 00:35:51.079
<v Speaker 3>of the most impactful, popular unique entries in the magazine

615
00:35:51.159 --> 00:35:54.280
<v Speaker 3>of that period, and then a publisher that had links

616
00:35:54.320 --> 00:35:59.559
<v Speaker 3>to the journal, Cobden Sanderson, approached Hilton at the behest

617
00:35:59.559 --> 00:36:04.920
<v Speaker 3>of of Generald to murray to turn this entry into

618
00:36:05.159 --> 00:36:09.039
<v Speaker 3>develop it into a longer book, a debut novel. If

619
00:36:09.039 --> 00:36:10.960
<v Speaker 3>you're reading it out loud, you really tell that the

620
00:36:11.079 --> 00:36:14.360
<v Speaker 3>energy of the text transforms according to the meter that

621
00:36:14.519 --> 00:36:16.719
<v Speaker 3>Hilton writes it in. And the point right this is

622
00:36:16.800 --> 00:36:20.599
<v Speaker 3>most obvious is it's often at the end of chapters,

623
00:36:20.639 --> 00:36:23.719
<v Speaker 3>particularly the end of the last chapter, where he breaks

624
00:36:23.760 --> 00:36:26.360
<v Speaker 3>off from his I would say, is that in his

625
00:36:26.519 --> 00:36:29.400
<v Speaker 3>normal style of writing in the book, But there really

626
00:36:29.440 --> 00:36:31.960
<v Speaker 3>is no normal for one normal style of writing in

627
00:36:32.000 --> 00:36:35.760
<v Speaker 3>this book. He breaks off from from one approach to

628
00:36:35.840 --> 00:36:40.440
<v Speaker 3>this new approach based on a sort of hidden meter,

629
00:36:41.159 --> 00:36:44.840
<v Speaker 3>but just climbs and climb in energy as it goes.

630
00:36:44.920 --> 00:36:48.760
<v Speaker 3>In the monologue at this point is is a toast

631
00:36:48.800 --> 00:36:51.440
<v Speaker 3>to you know, here's to you, mister landlord, here's to you,

632
00:36:51.559 --> 00:36:55.920
<v Speaker 3>mister bootstrapper, here's to you the working man of England.

633
00:36:56.000 --> 00:37:01.079
<v Speaker 3>It's it's like five or so big paragraphs of text,

634
00:37:01.519 --> 00:37:03.679
<v Speaker 3>the effect of which you can only really get it

635
00:37:03.679 --> 00:37:06.159
<v Speaker 3>by reading it out loud and reading it directly as

636
00:37:06.159 --> 00:37:08.920
<v Speaker 3>a follow on from a previous start of a chapter,

637
00:37:09.280 --> 00:37:12.719
<v Speaker 3>and obviously he would have learned about meters from I

638
00:37:12.760 --> 00:37:15.679
<v Speaker 3>think he read a lot about speech making, about the

639
00:37:15.719 --> 00:37:18.800
<v Speaker 3>sort of theory of varration, because you have to remember

640
00:37:18.880 --> 00:37:20.880
<v Speaker 3>this was the main challenge. But him and his mates

641
00:37:20.920 --> 00:37:23.280
<v Speaker 3>had set themselves when they went to the library to

642
00:37:23.360 --> 00:37:25.599
<v Speaker 3>learn how to make political speeches. They'd sort of read

643
00:37:26.079 --> 00:37:30.239
<v Speaker 3>I guess the guidebooks, probably like Victorian guidebooks, maybe even earlier,

644
00:37:30.639 --> 00:37:33.039
<v Speaker 3>on how to make good speeches, which would have introduced

645
00:37:33.039 --> 00:37:38.960
<v Speaker 3>them to concepts and to the various different options to use.

646
00:37:39.519 --> 00:37:41.400
<v Speaker 3>And so I think that's kind of the biggest influence

647
00:37:41.440 --> 00:37:44.719
<v Speaker 3>on the form of the text. It really is such

648
00:37:45.079 --> 00:37:48.760
<v Speaker 3>a unique creation, and it's unique because of he didn't

649
00:37:48.760 --> 00:37:51.159
<v Speaker 3>have access to the kinds of writing that you may

650
00:37:51.199 --> 00:37:53.920
<v Speaker 3>have in a different world used to give his own

651
00:37:53.960 --> 00:37:56.159
<v Speaker 3>writing more of a recognizable form.

652
00:37:56.880 --> 00:37:57.960
<v Speaker 4>And also he didn't.

653
00:37:57.760 --> 00:38:00.840
<v Speaker 3>Have the sort of a motivation to follow any form

654
00:38:00.880 --> 00:38:03.679
<v Speaker 3>because he wasn't writing to be recognized as a writer.

655
00:38:04.239 --> 00:38:06.400
<v Speaker 4>And so we have the biggest influence his.

656
00:38:06.440 --> 00:38:08.679
<v Speaker 3>Sort of start, the sort of the origins of his

657
00:38:08.760 --> 00:38:13.400
<v Speaker 3>creative output being in speechmaking, and the understanding of me

658
00:38:13.519 --> 00:38:15.039
<v Speaker 3>to v picked up for that purpose.

659
00:38:15.880 --> 00:38:19.840
<v Speaker 1>Hilton's writing was widely appreciated in nineteen thirties literary circles,

660
00:38:20.239 --> 00:38:22.960
<v Speaker 1>not just by John Middleton Murray of the Adelphi, but

661
00:38:23.039 --> 00:38:26.760
<v Speaker 1>also a number of other highly respected literary figures. The

662
00:38:26.800 --> 00:38:30.719
<v Speaker 1>famous poet W. H. Jordan, for example, described Hilton as

663
00:38:31.000 --> 00:38:34.480
<v Speaker 1>quote the finest writer of them all end quote and

664
00:38:34.519 --> 00:38:38.199
<v Speaker 1>praised what he called the books magnificent moby dick rhetoric.

665
00:38:38.760 --> 00:38:42.320
<v Speaker 1>But the most famous of Hilton's literary supporters was probably

666
00:38:42.480 --> 00:38:46.119
<v Speaker 1>George Orwell. Interestingly, the two of them had actually met

667
00:38:46.159 --> 00:38:48.559
<v Speaker 1>previously as part of their political activism.

668
00:38:49.360 --> 00:38:52.239
<v Speaker 3>When he and his mate set up this chapter of

669
00:38:52.280 --> 00:38:56.119
<v Speaker 3>the National Unemployed Workers Movement in Rochdale, it brought them

670
00:38:56.119 --> 00:39:02.960
<v Speaker 3>into contact with the Independent Labourer, which was undergoing a

671
00:39:02.960 --> 00:39:06.079
<v Speaker 3>big sort of I guess crisis really in the Northwest

672
00:39:06.599 --> 00:39:09.480
<v Speaker 3>where many of its members were in the early thirties.

673
00:39:09.719 --> 00:39:12.719
<v Speaker 3>And this is quite important because it potentially is what

674
00:39:12.800 --> 00:39:17.280
<v Speaker 3>brought Jack Hilton into contact with another key figure from Viodelphi,

675
00:39:17.760 --> 00:39:21.920
<v Speaker 3>potentially even before Hilton had been contacted by John Milton.

676
00:39:22.400 --> 00:39:25.800
<v Speaker 3>A fragment from the Notebook, and that's George Orwell. Over time,

677
00:39:25.920 --> 00:39:30.679
<v Speaker 3>Eric Blair, who was up north for the founding conference

678
00:39:30.920 --> 00:39:35.079
<v Speaker 3>of the Independent Socialist Party, which was a sort of

679
00:39:35.159 --> 00:39:40.440
<v Speaker 3>northwest breakaway from the ILP, and Hilton was at this

680
00:39:40.519 --> 00:39:44.320
<v Speaker 3>conference in Manchester and would have met some of the

681
00:39:44.360 --> 00:39:47.480
<v Speaker 3>figures from Fiadelphi through this and certainly another writer called

682
00:39:47.519 --> 00:39:50.599
<v Speaker 3>Jack Common, I believe was he first came into contact

683
00:39:50.599 --> 00:39:52.239
<v Speaker 3>with Hilton at this point.

684
00:39:53.000 --> 00:39:54.760
<v Speaker 1>There are a couple of groups and names here that

685
00:39:54.840 --> 00:39:58.519
<v Speaker 1>might need some explaining. So the Independent Labor Party was

686
00:39:58.559 --> 00:40:02.360
<v Speaker 1>a British political party that predated the main Labour Party,

687
00:40:02.800 --> 00:40:06.559
<v Speaker 1>then later affiliated and eventually merged into it. The ILP

688
00:40:06.760 --> 00:40:09.480
<v Speaker 1>was generally to the left of the mainstream Labour Party.

689
00:40:09.920 --> 00:40:13.159
<v Speaker 1>The Independent Socialist Party was a short lived splinter from

690
00:40:13.159 --> 00:40:16.840
<v Speaker 1>the ILP, which had Hilton's native Lancashire as its base.

691
00:40:17.719 --> 00:40:20.760
<v Speaker 1>Jack Common, meanwhile, was a working class from Newcastle in

692
00:40:20.800 --> 00:40:24.039
<v Speaker 1>the northeast of England. Common worked at the Adelphi and

693
00:40:24.119 --> 00:40:26.800
<v Speaker 1>went on to write a number of books, most famously

694
00:40:26.880 --> 00:40:31.320
<v Speaker 1>his autobiographical debut novel Kidder's Luck Anyway. Orwell was also

695
00:40:31.360 --> 00:40:34.960
<v Speaker 1>a big fan, writing that Hilton had quote a considerable

696
00:40:35.000 --> 00:40:39.719
<v Speaker 1>literary gift. End quote for Orwell, Hilton embodied the quote

697
00:40:39.880 --> 00:40:44.320
<v Speaker 1>humorous courage, the fearful realism and the utter imperviousness to

698
00:40:44.360 --> 00:40:48.639
<v Speaker 1>middle class ideals which characterizes the best type of industrial

699
00:40:48.679 --> 00:40:52.800
<v Speaker 1>worker end quote. Furthermore, Hilton also had a hand in

700
00:40:52.840 --> 00:40:55.840
<v Speaker 1>the evolution of Allwell's famous piece of Depression era and

701
00:40:55.880 --> 00:40:58.199
<v Speaker 1>non fiction, The Road to Wigan Pier.

702
00:40:59.239 --> 00:41:03.800
<v Speaker 3>In the early conferences they attended in Manchester around the

703
00:41:03.800 --> 00:41:07.079
<v Speaker 3>time of the founding of the Independent Socialist Party in

704
00:41:07.079 --> 00:41:09.639
<v Speaker 3>the Northwest. But they would have come across each other,

705
00:41:09.880 --> 00:41:14.280
<v Speaker 3>and maybe Hilton remembered Orwell, but Orwell didn't really remember

706
00:41:14.360 --> 00:41:18.480
<v Speaker 3>Hilton or what happened after that was Orwell was commissioned

707
00:41:18.519 --> 00:41:22.119
<v Speaker 3>by his publisher to write a sort of documentary work

708
00:41:22.400 --> 00:41:26.280
<v Speaker 3>about conditions for the working class in the North of England,

709
00:41:26.559 --> 00:41:30.960
<v Speaker 3>and he turned to his network of friends that he

710
00:41:31.039 --> 00:41:36.320
<v Speaker 3>had through Fiodelphi and the ILP slash isp and but

711
00:41:36.440 --> 00:41:39.519
<v Speaker 3>one of the names that was given to him to

712
00:41:39.599 --> 00:41:42.679
<v Speaker 3>sort of use as a first port of call for

713
00:41:42.719 --> 00:41:45.880
<v Speaker 3>getting a sort of advantage point on where we would

714
00:41:45.880 --> 00:41:49.679
<v Speaker 3>be useful to go was Jack Hilton. So a few

715
00:41:49.679 --> 00:41:52.519
<v Speaker 3>of Allwill's contacts told him to go and to write

716
00:41:52.519 --> 00:41:56.320
<v Speaker 3>to Jack Hilton asking him if it would be possible

717
00:41:56.960 --> 00:42:01.360
<v Speaker 3>to come and live with him in Rochdale for I

718
00:42:01.400 --> 00:42:04.000
<v Speaker 3>think a period of like a month or so to

719
00:42:05.519 --> 00:42:07.800
<v Speaker 3>structure of a book that he'd been commissioned to write

720
00:42:08.239 --> 00:42:12.880
<v Speaker 3>around the experiences of the Rochdale mill workers. Now, the

721
00:42:13.079 --> 00:42:16.480
<v Speaker 3>story of Jack's response to it is fascinating. It says

722
00:42:16.480 --> 00:42:19.840
<v Speaker 3>a lot about the sort of cultural differences between a

723
00:42:19.840 --> 00:42:23.639
<v Speaker 3>working lass man like Jack Hilton and someone of the

724
00:42:23.679 --> 00:42:26.880
<v Speaker 3>background of all Well. Orwell was asking to come and

725
00:42:26.920 --> 00:42:31.559
<v Speaker 3>stay with Hilton in his tiny little set of rooms

726
00:42:31.599 --> 00:42:34.400
<v Speaker 3>like two rooms, where Hilton and his wife were living,

727
00:42:34.800 --> 00:42:38.760
<v Speaker 3>and it was it was a bizarre request for someone

728
00:42:38.880 --> 00:42:41.599
<v Speaker 3>like Hilton to be fielded, because it just wasn't a

729
00:42:41.679 --> 00:42:44.440
<v Speaker 3>done thing to ask to stay in someone's house when

730
00:42:44.559 --> 00:42:48.239
<v Speaker 3>that house was so small, and when Hilton himself was

731
00:42:48.280 --> 00:42:52.000
<v Speaker 3>out working for most of the day, and so Orwell

732
00:42:52.000 --> 00:42:54.719
<v Speaker 3>would have been left alone in the house with Hilton's wife,

733
00:42:54.719 --> 00:42:58.639
<v Speaker 3>which was it would have been something it just never

734
00:42:58.719 --> 00:43:01.360
<v Speaker 3>happened in the community. But Hilton lived in to have

735
00:43:01.480 --> 00:43:05.199
<v Speaker 3>like a male visitor staying at home where it's just just.

736
00:43:05.199 --> 00:43:06.079
<v Speaker 4>Him and your wife.

737
00:43:06.599 --> 00:43:10.440
<v Speaker 3>And Hilton said this to him in his letter back

738
00:43:10.679 --> 00:43:14.199
<v Speaker 3>and said, you know, I can't host you. Maybe, but

739
00:43:14.280 --> 00:43:16.559
<v Speaker 3>maybe didn't sort of emphasize how much of a weird request.

740
00:43:16.599 --> 00:43:19.559
<v Speaker 3>It was, I guess for him to have. He did, however,

741
00:43:20.239 --> 00:43:25.519
<v Speaker 3>recommend to or Weell to go to Wigan for Veril

742
00:43:25.599 --> 00:43:28.840
<v Speaker 3>good Folk, for Wigan colligues is. I think Harry puts

743
00:43:28.960 --> 00:43:32.800
<v Speaker 3>him and he even gave him some contacts to people

744
00:43:32.880 --> 00:43:35.239
<v Speaker 3>to write to in Wigan. And I believe it was

745
00:43:35.960 --> 00:43:38.559
<v Speaker 3>one of those contacts who either was able to host

746
00:43:39.320 --> 00:43:42.039
<v Speaker 3>or Well or to put him in touch with the

747
00:43:42.119 --> 00:43:43.800
<v Speaker 3>place he ended up staying, which was above a tripe

748
00:43:43.840 --> 00:43:48.679
<v Speaker 3>shop in Wigan. Now Orwell went to Wigan and did

749
00:43:48.760 --> 00:43:53.960
<v Speaker 3>his investigation, and then what resulted was for Rosewig and Peter,

750
00:43:55.519 --> 00:43:57.360
<v Speaker 3>a copy of which made its way to Hilton.

751
00:43:58.039 --> 00:44:00.519
<v Speaker 1>Hilton, however, did not think much of what went on

752
00:44:00.719 --> 00:44:03.320
<v Speaker 1>to become one of Allwell's most celebrated works.

753
00:44:04.280 --> 00:44:09.159
<v Speaker 3>He was aghast, to be honest, he was very It's

754
00:44:09.159 --> 00:44:12.159
<v Speaker 3>a really difficult thing to explain his response because I

755
00:44:12.280 --> 00:44:16.440
<v Speaker 3>think at first on behalf of the people documented in

756
00:44:16.559 --> 00:44:21.960
<v Speaker 3>this book. He was insulted by the emphasis but all

757
00:44:22.039 --> 00:44:25.280
<v Speaker 3>Well placed on the smell and the lack of hygiene,

758
00:44:25.320 --> 00:44:27.880
<v Speaker 3>and how these people would go to the toya and

759
00:44:27.960 --> 00:44:30.599
<v Speaker 3>not wash their hands, and how breath stank, and how

760
00:44:31.360 --> 00:44:34.920
<v Speaker 3>the smell of the tripe shop below and just critical

761
00:44:34.960 --> 00:44:38.199
<v Speaker 3>little nitpicking of their personal hygiene in a situation where

762
00:44:38.239 --> 00:44:41.000
<v Speaker 3>they actually had no running what and no money for

763
00:44:41.119 --> 00:44:44.440
<v Speaker 3>soap and stuff like that. It made Hilton think that

764
00:44:44.679 --> 00:44:49.719
<v Speaker 3>basically what we had done is not much better. Or

765
00:44:49.760 --> 00:44:52.159
<v Speaker 3>Well had taken no more sort of care, to be

766
00:44:52.639 --> 00:44:57.920
<v Speaker 3>quite respectful, than a wildlife documentarian would take in writing

767
00:44:57.960 --> 00:45:01.400
<v Speaker 3>about the habits and lives of apes. It was as

768
00:45:01.400 --> 00:45:05.719
<v Speaker 3>if he was making a sort of taxonomous study of

769
00:45:05.880 --> 00:45:09.199
<v Speaker 3>this community without taking into account of that these were

770
00:45:09.280 --> 00:45:11.880
<v Speaker 3>people that he was writing about in some ways with

771
00:45:12.000 --> 00:45:15.920
<v Speaker 3>such derision and just I guess rudeness. Really, it was

772
00:45:15.960 --> 00:45:19.760
<v Speaker 3>no other way to put it. But that said, what

773
00:45:20.360 --> 00:45:24.199
<v Speaker 3>or Well was attempting to do enamored him to Hilton,

774
00:45:24.519 --> 00:45:28.199
<v Speaker 3>and what grew out of this dismissal of the road

775
00:45:28.400 --> 00:45:31.679
<v Speaker 3>compare on the part of Hilton was a sort of

776
00:45:31.760 --> 00:45:36.760
<v Speaker 3>respect for the fact that this Exitonian old Etonian ex

777
00:45:36.840 --> 00:45:41.039
<v Speaker 3>officer type, as he puts it, this lanky, well spoken,

778
00:45:42.199 --> 00:45:46.239
<v Speaker 3>teetotal because guy who was completely detached in all of

779
00:45:46.320 --> 00:45:48.599
<v Speaker 3>his characteristics from the kind of people who went to study.

780
00:45:49.079 --> 00:45:52.159
<v Speaker 3>But he'd made an effort to go and study this

781
00:45:52.280 --> 00:45:55.360
<v Speaker 3>community because he did care. He did genuinely want to

782
00:45:56.079 --> 00:45:59.599
<v Speaker 3>communicate their conditions of life to his middle class leadership.

783
00:46:00.159 --> 00:46:03.199
<v Speaker 3>I think Hilton recognized that this was an impossible challenge

784
00:46:03.400 --> 00:46:06.159
<v Speaker 3>for a man like Eric Blair to undertake in a

785
00:46:06.599 --> 00:46:09.079
<v Speaker 3>respectful way. But nonetheless he was impressed that he'd gone

786
00:46:09.079 --> 00:46:13.199
<v Speaker 3>off and tried to do it. So he yeah, I

787
00:46:13.239 --> 00:46:16.400
<v Speaker 3>can't think of the exact phrase, but he did say

788
00:46:17.000 --> 00:46:19.679
<v Speaker 3>a few years afterwards, you know that it shows that

789
00:46:20.280 --> 00:46:23.079
<v Speaker 3>this or Well it was there was something special.

790
00:46:23.960 --> 00:46:26.519
<v Speaker 1>Indeed, while Hilton and all Well stayed in touch and

791
00:46:26.639 --> 00:46:29.280
<v Speaker 1>in many ways were quite close to each other, Hilton

792
00:46:29.440 --> 00:46:32.119
<v Speaker 1>was no fan of the Road to Wigan Pier. Writing

793
00:46:32.239 --> 00:46:35.920
<v Speaker 1>some years later, Hilton said that while Orwell quote went

794
00:46:36.000 --> 00:46:39.199
<v Speaker 1>to Wigan, he might as well have stayed away end quote,

795
00:46:39.639 --> 00:46:43.360
<v Speaker 1>as what he ultimately produced was quote color that wasn't

796
00:46:43.440 --> 00:46:47.400
<v Speaker 1>worth the paint mixes end quote. Hilton's main issue with

797
00:46:47.480 --> 00:46:50.480
<v Speaker 1>all Wor's texts was its failure to understand poverty from

798
00:46:50.519 --> 00:46:54.559
<v Speaker 1>the inside. One example that Hilton gives is Alway's description

799
00:46:54.719 --> 00:46:57.239
<v Speaker 1>of mister Brooker, the keeper of a tripe shop and

800
00:46:57.360 --> 00:47:00.320
<v Speaker 1>lodging house, as he carries a chamber pot full of

801
00:47:00.400 --> 00:47:03.639
<v Speaker 1>excrement which he gripped with his thumb well over the rim.

802
00:47:04.159 --> 00:47:07.000
<v Speaker 1>The same thumb, or Will points out that touches the

803
00:47:07.119 --> 00:47:11.880
<v Speaker 1>swages mister Brooker gives to his lodgers. In response, Hilton

804
00:47:11.920 --> 00:47:15.280
<v Speaker 1>writes that when he's carried chamber pots downstairs, he also

805
00:47:15.360 --> 00:47:17.760
<v Speaker 1>has always gripped the pot with his thumb well over

806
00:47:17.840 --> 00:47:22.400
<v Speaker 1>the rim. As Hilton explains, quote one inexperienced in pots

807
00:47:22.400 --> 00:47:25.320
<v Speaker 1>should get hold of one, feel its weight, and carry

808
00:47:25.400 --> 00:47:26.400
<v Speaker 1>it end quote.

809
00:47:27.480 --> 00:47:27.679
<v Speaker 4>Well.

810
00:47:27.760 --> 00:47:30.480
<v Speaker 1>Hilton does acknowledge Orwell's text as one of very few

811
00:47:30.639 --> 00:47:34.519
<v Speaker 1>genuine attempts by upper class writers to describe working class life.

812
00:47:35.039 --> 00:47:38.000
<v Speaker 1>In his opinion, it fails due to all Well's distance

813
00:47:38.079 --> 00:47:41.719
<v Speaker 1>from the experiences he's trying to depict. This is one

814
00:47:41.719 --> 00:47:45.639
<v Speaker 1>of the key differences between all Worll's text and Caliban Shrieks.

815
00:47:45.880 --> 00:47:50.000
<v Speaker 3>As Jack explains, now, in terms of the similarities of

816
00:47:50.119 --> 00:47:53.599
<v Speaker 3>the Road Twig and Pare and Caliban Shreeksbey are none whatsoever.

817
00:47:54.239 --> 00:47:56.719
<v Speaker 3>They are totally different. It could not be more different

818
00:47:56.760 --> 00:48:02.760
<v Speaker 3>in a way in their sort of guiding values and form,

819
00:48:03.440 --> 00:48:05.719
<v Speaker 3>and you know what they're attempting to get across, in

820
00:48:05.840 --> 00:48:09.599
<v Speaker 3>their relationship to the people form the subjects of these

821
00:48:09.639 --> 00:48:15.199
<v Speaker 3>two works. They are so different, and they say if

822
00:48:15.480 --> 00:48:19.079
<v Speaker 3>Hilton had been commissioned to write something similar, he would

823
00:48:19.119 --> 00:48:21.679
<v Speaker 3>have knowlt it. Either at this point in his life,

824
00:48:21.679 --> 00:48:23.480
<v Speaker 3>he wouldn't be able to write a documentary sort of

825
00:48:23.519 --> 00:48:26.880
<v Speaker 3>study of working class people in the North of England

826
00:48:26.880 --> 00:48:31.800
<v Speaker 3>because the sort of enlightenment idea of writing a sort

827
00:48:31.800 --> 00:48:35.920
<v Speaker 3>of objective study of such working class communities wouldn't have

828
00:48:36.679 --> 00:48:40.360
<v Speaker 3>been something that Hilton could could have done, because you know,

829
00:48:40.440 --> 00:48:43.280
<v Speaker 3>he was of these communities. Yeah, that's an important thing

830
00:48:43.320 --> 00:48:43.480
<v Speaker 3>to know.

831
00:48:44.079 --> 00:48:47.199
<v Speaker 1>Here, Jack is about to read another passage from Calabana Shrieks.

832
00:48:47.840 --> 00:48:50.960
<v Speaker 1>This passage focuses on Hilton's time as a public speaker

833
00:48:51.079 --> 00:48:55.119
<v Speaker 1>with the National Unemployed Workers Movement and in particular the

834
00:48:55.239 --> 00:49:00.159
<v Speaker 1>fate of Bill, a fellow unemployed activist in Rochdale. To

835
00:49:00.239 --> 00:49:02.559
<v Speaker 1>this passage, he should get an idea of just how

836
00:49:02.639 --> 00:49:05.000
<v Speaker 1>different it is from the top down in more ways

837
00:49:05.039 --> 00:49:07.599
<v Speaker 1>than one. Style of the road to wig and Pier.

838
00:49:08.440 --> 00:49:11.360
<v Speaker 3>Bill was ever trying to improve. He started to swallow

839
00:49:11.400 --> 00:49:14.760
<v Speaker 3>a dictionary page by page. Somehowever, he could not stop.

840
00:49:15.159 --> 00:49:17.599
<v Speaker 3>It was words, words, words. He was sitting in the

841
00:49:17.679 --> 00:49:20.760
<v Speaker 3>library hours upon hours writing and pronouncing the words. Then

842
00:49:20.800 --> 00:49:23.400
<v Speaker 3>at night he would deliver himself. What a strain he

843
00:49:23.440 --> 00:49:29.000
<v Speaker 3>put on himself, underfed, rushing from inarticulateness to eloquence, mastering

844
00:49:29.079 --> 00:49:32.039
<v Speaker 3>the fluency of speech, the meaning of words, words, words,

845
00:49:32.559 --> 00:49:35.519
<v Speaker 3>More and more bills swallowed and delivered. The task was

846
00:49:35.599 --> 00:49:40.239
<v Speaker 3>too mighty. He nearly conquered. Then snap, he became potty.

847
00:49:40.679 --> 00:49:43.559
<v Speaker 3>He flew off at a tangent. He became a reincarnation

848
00:49:43.639 --> 00:49:47.159
<v Speaker 3>of a French revolutionary, made the hottest speech of his speeches.

849
00:49:47.800 --> 00:49:51.719
<v Speaker 3>Years of starvation, consuming of words for fire in his soul,

850
00:49:51.840 --> 00:49:54.800
<v Speaker 3>his mind became unbalanced. He left us in a fit

851
00:49:54.880 --> 00:49:59.119
<v Speaker 3>of derangement. He was done for, moody and melancholy, never

852
00:49:59.239 --> 00:50:03.760
<v Speaker 3>again normal, sometimes walking excessively brisk, with eyes staring vacantly

853
00:50:03.840 --> 00:50:07.559
<v Speaker 3>about him. Later he was running for purloining a motor car.

854
00:50:08.079 --> 00:50:11.719
<v Speaker 3>Poor Bill, the whitest man I've known, more harmless than Christ.

855
00:50:12.159 --> 00:50:15.599
<v Speaker 3>A life celibate, possessing no vice, Bill of all people.

856
00:50:15.800 --> 00:50:19.280
<v Speaker 3>In prison there he started to chew the printed regulations.

857
00:50:19.880 --> 00:50:23.000
<v Speaker 3>There they found he was gone. After treatment, he returned

858
00:50:23.000 --> 00:50:26.440
<v Speaker 3>to Rochdale a strange man, his mind far away from everything,

859
00:50:26.880 --> 00:50:29.840
<v Speaker 3>walking about with eyes that never seemed to see a head,

860
00:50:29.920 --> 00:50:33.039
<v Speaker 3>always looking upwards in a nervous habit of continually pulling

861
00:50:33.159 --> 00:50:36.519
<v Speaker 3>his neck above his collar. Later, he again, in an

862
00:50:36.519 --> 00:50:39.920
<v Speaker 3>act of unaccountableness, purloined another car, drove it for about

863
00:50:39.920 --> 00:50:42.639
<v Speaker 3>a mile, got out and lay on the grass. The

864
00:50:42.719 --> 00:50:45.320
<v Speaker 3>police searching for the car found him. He was arrested,

865
00:50:45.440 --> 00:50:48.679
<v Speaker 3>muttering there's something doing. He came up in front of

866
00:50:48.719 --> 00:50:51.119
<v Speaker 3>the bench. They did not know him, nor his strangeness.

867
00:50:51.519 --> 00:50:55.679
<v Speaker 3>The evidence was convincing, previous conviction mentioned and low a

868
00:50:55.800 --> 00:50:58.239
<v Speaker 3>prison medical view of him. It showed him to be

869
00:50:58.239 --> 00:51:01.360
<v Speaker 3>an artful dodger. He put the loopiness on sowers to

870
00:51:01.400 --> 00:51:04.400
<v Speaker 3>get off easily. For bench, acting on the evidence before them,

871
00:51:04.480 --> 00:51:06.679
<v Speaker 3>administered justice according to their consciences.

872
00:51:07.079 --> 00:51:07.719
<v Speaker 4>He went down.

873
00:51:08.400 --> 00:51:10.760
<v Speaker 3>It may sound of no account but knowing Bill as

874
00:51:10.800 --> 00:51:13.559
<v Speaker 3>I know him, nothing will convince me of the criminality

875
00:51:13.599 --> 00:51:17.320
<v Speaker 3>of his acts. The poor blighter had gone potty, poverty,

876
00:51:17.480 --> 00:51:20.320
<v Speaker 3>and overstudy of the causes. He is a case for

877
00:51:20.440 --> 00:51:23.840
<v Speaker 3>treatment instead of punishment. Humanity may seem as though wis

878
00:51:23.840 --> 00:51:26.800
<v Speaker 3>in powers of endurance are limitless, but many reach that

879
00:51:26.920 --> 00:51:29.480
<v Speaker 3>point when too great an effort sends them over the line.

880
00:51:30.079 --> 00:51:34.679
<v Speaker 3>Often in the case of exceptional beautiful innocence, they become irresponsible.

881
00:51:35.400 --> 00:51:37.719
<v Speaker 3>Bill came out in a very brief period, committed the

882
00:51:37.800 --> 00:51:40.719
<v Speaker 3>same act purloined another car. This time he gets the

883
00:51:40.760 --> 00:51:45.360
<v Speaker 3>assizes eighteen months, poor Bill, Reader, I cannot dwell on it.

884
00:51:45.760 --> 00:51:49.800
<v Speaker 3>There may be some mistake. Superficial judgment can commit mistakes.

885
00:51:50.199 --> 00:51:54.280
<v Speaker 3>I know Bill was strange. He was once potty cause

886
00:51:54.559 --> 00:51:57.159
<v Speaker 3>poverty and overstudy. Is he now saying?

887
00:51:58.079 --> 00:51:59.840
<v Speaker 4>Eighteen months? Hard Bill?

888
00:52:00.000 --> 00:52:01.159
<v Speaker 3>The cleanest liver I knew?

889
00:52:02.760 --> 00:52:06.000
<v Speaker 1>In this heartbreaking passage, Hilton returns to that theme of

890
00:52:06.079 --> 00:52:10.199
<v Speaker 1>the working class struggle for literary language. Like Hilton himself,

891
00:52:10.400 --> 00:52:14.480
<v Speaker 1>Bill is another caliban, teaching himself the words words words

892
00:52:14.559 --> 00:52:18.159
<v Speaker 1>of prosperos language, a language from which, by virtue of

893
00:52:18.199 --> 00:52:22.280
<v Speaker 1>his class, he has always been excluded. Unlike Hilton, however,

894
00:52:22.559 --> 00:52:25.639
<v Speaker 1>the struggle for that language, combined with the hardships of

895
00:52:25.679 --> 00:52:29.159
<v Speaker 1>the Great Depression, proved too much for Bill. But this

896
00:52:29.280 --> 00:52:32.519
<v Speaker 1>passage also brings us back to that fundamental difference between

897
00:52:32.639 --> 00:52:35.960
<v Speaker 1>Hilton's book and a documentary work like Allwell's Road to

898
00:52:36.000 --> 00:52:39.719
<v Speaker 1>Wig and Pier. Hilton isn't observing Bill from a distance

899
00:52:39.800 --> 00:52:43.639
<v Speaker 1>as someone going through an experience that's completely alien. When

900
00:52:43.760 --> 00:52:47.480
<v Speaker 1>Hilton writes, reader, I cannot dwell on it, he's struggling

901
00:52:47.599 --> 00:52:50.760
<v Speaker 1>to retell the suffering of a friend, struggling not just

902
00:52:50.840 --> 00:52:54.320
<v Speaker 1>because the memory itself is painful, but because Bill's suffering

903
00:52:54.440 --> 00:52:56.360
<v Speaker 1>could just as easily have been his own.

904
00:52:57.639 --> 00:53:00.400
<v Speaker 3>At our propaganda meetings, we at first only got little

905
00:53:00.440 --> 00:53:03.119
<v Speaker 3>lad and a dog. If our audience increased, it was

906
00:53:03.199 --> 00:53:06.480
<v Speaker 3>generally hostile collections We dare not ask for. We could

907
00:53:06.559 --> 00:53:09.159
<v Speaker 3>not speak for nuts. We were badly clobbered. We had

908
00:53:09.199 --> 00:53:10.599
<v Speaker 3>not that respectable appearance.

909
00:53:10.679 --> 00:53:12.159
<v Speaker 4>We were raw and very green.

910
00:53:12.920 --> 00:53:15.840
<v Speaker 3>Still we had within our breasts what people call inspiration.

911
00:53:16.559 --> 00:53:19.920
<v Speaker 3>This was viurge viewerage, out of which all lost and

912
00:53:20.000 --> 00:53:24.079
<v Speaker 3>hopeless causes get the sustenance to continue. Laughed at and ridiculed,

913
00:53:24.159 --> 00:53:27.519
<v Speaker 3>we were dubbed workshires or idiots and what convey dos.

914
00:53:28.119 --> 00:53:31.239
<v Speaker 3>Slowly and surely we improved, improved to be able to

915
00:53:31.320 --> 00:53:34.559
<v Speaker 3>get a platform perform the crude rudiments of stating our case.

916
00:53:35.159 --> 00:53:38.559
<v Speaker 3>It became our existence. Bill would be what we termed

917
00:53:38.719 --> 00:53:41.559
<v Speaker 3>coming out. That would mean he had spoken some words

918
00:53:41.599 --> 00:53:44.960
<v Speaker 3>continuously for fifteen minutes. Joe would get confidence to be

919
00:53:45.079 --> 00:53:47.719
<v Speaker 3>the chairman. Frank would be able to conclude with a

920
00:53:47.840 --> 00:53:50.800
<v Speaker 3>peroration about the good things that could be if only

921
00:53:50.840 --> 00:53:54.480
<v Speaker 3>we got together. Gradually, we got better, got wise to

922
00:53:54.519 --> 00:53:57.119
<v Speaker 3>for many little tricks of a talkie game, how not

923
00:53:57.239 --> 00:53:59.840
<v Speaker 3>to get hoarse, how not to say it all at once,

924
00:54:00.360 --> 00:54:02.719
<v Speaker 3>how to dress it up, humor it. Get our listeners

925
00:54:02.719 --> 00:54:06.719
<v Speaker 3>a little grieved about misfortunes, indignant at how they were treated.

926
00:54:07.159 --> 00:54:10.760
<v Speaker 3>Get them optimistic, feeling that something could be done, would

927
00:54:10.800 --> 00:54:14.199
<v Speaker 3>be done, and must be done. We grew. We whitewashed

928
00:54:14.199 --> 00:54:16.480
<v Speaker 3>the flags with our slogans as a form of publicity

929
00:54:16.559 --> 00:54:20.440
<v Speaker 3>to awaken our fellow sufferers. We painted our posters, became

930
00:54:20.519 --> 00:54:24.920
<v Speaker 3>our own sandwich meny lucky, luck out.

931
00:54:33.199 --> 00:54:35.679
<v Speaker 1>That's all we've got time for in this episode. Join

932
00:54:35.760 --> 00:54:38.119
<v Speaker 1>us in part two, where we will discuss Jack Hilton's

933
00:54:38.119 --> 00:54:40.559
<v Speaker 1>writing in relation to some of the other working class

934
00:54:40.639 --> 00:54:43.320
<v Speaker 1>novels of the time. We'll also talk more about his

935
00:54:43.440 --> 00:54:46.960
<v Speaker 1>later life and continuing relationship to George Orwell, his struggles

936
00:54:47.000 --> 00:54:50.119
<v Speaker 1>with middle class editors and publishers, and how his writing

937
00:54:50.239 --> 00:54:52.920
<v Speaker 1>was almost lost forever had it not been for quite

938
00:54:52.920 --> 00:54:56.199
<v Speaker 1>an amazing series of events. We also have a bonus

939
00:54:56.239 --> 00:54:59.679
<v Speaker 1>episode where our interviewee Jack Chadwick reads and discusses more

940
00:54:59.679 --> 00:55:03.880
<v Speaker 1>pass from Caliban Shrieks. That bonus episode will be available

941
00:55:03.960 --> 00:55:08.039
<v Speaker 1>soon exclusively for our supporters on Patreon. It is only

942
00:55:08.119 --> 00:55:10.800
<v Speaker 1>support from you, our listeners, which allows us to make

943
00:55:10.880 --> 00:55:14.159
<v Speaker 1>these podcasts. So if you appreciate our work, please do

944
00:55:14.320 --> 00:55:17.199
<v Speaker 1>think about joining us at patreon dot com slash working

945
00:55:17.239 --> 00:55:20.719
<v Speaker 1>Class History link in the show notes. In return for

946
00:55:20.800 --> 00:55:23.280
<v Speaker 1>your support, you get early access to content as well

947
00:55:23.280 --> 00:55:27.639
<v Speaker 1>as ad free episodes, exclusive bonus content, discounted merch and more.

948
00:55:28.199 --> 00:55:30.840
<v Speaker 1>And if you can't spare the cash, absolutely no problem.

949
00:55:31.079 --> 00:55:33.639
<v Speaker 1>Please just tell your friends about this podcast and give

950
00:55:33.719 --> 00:55:36.320
<v Speaker 1>us a five star review on your favorite podcast app.

951
00:55:37.000 --> 00:55:39.880
<v Speaker 1>Thanks also to our Patreon supporters for making this podcast

952
00:55:40.000 --> 00:55:44.280
<v Speaker 1>possible special thanks to Jazz Hands, Fernando Lopez Ojeda, Nick

953
00:55:44.360 --> 00:55:47.960
<v Speaker 1>Williams and Old Norm. Our theme tune is Bella Chau.

954
00:55:48.360 --> 00:55:50.800
<v Speaker 1>Thanks for permission to use it from Disky del sale.

955
00:55:51.280 --> 00:55:53.320
<v Speaker 1>You can buy it or stream it on the links

956
00:55:53.360 --> 00:55:58.480
<v Speaker 1>in the show notes. This episode was edited by Jesse French. Anyway,

957
00:55:58.639 --> 00:56:01.119
<v Speaker 1>that's it for today. Hope you enjoyed the episode and

958
00:56:01.239 --> 00:56:01.960
<v Speaker 1>thanks for listening.

959
00:56:04.320 --> 00:56:10.159
<v Speaker 2>Mister Fielded BiONO Moto Linia

960
00:56:11.400 --> 00:56:19.920
<v Speaker 3>Mister Fiordedo Moto be liniverda Montoli
