Introduction

by Fran Lock

This story both is and isn’t about Birkbeck. On the one hand, it is absolutely particular to an iconic institution that recently celebrated its 200^th anniversary as a radical space offering accessible higher education previously beyond the reach of poor and working people. It is the story of how, in the midst of those celebrations, the aims and ideals of that institution were – and are – being aggressively undermined by major restructuring, with proposed cuts to more than 80 academic and over 50 administrative and professional services jobs across the College. In English alone 50% of academic staff are faced with redundancy.

This story matters: it matters because English research at Birkbeck is world-leading, ranked 2^nd in the UK and 1^st in London by the Times Higher Education. It matters because of the vital role the department plays in widening participation in English studies, creating a unique space with one of the most diverse student bodies in the country, among them many mature students, and many working-class students, often the first in their families to enter higher education. Most of these students are studying after or around the working day. I can attest from personal experience both to the pressing need for such spaces, and to the rich, polyphonous creative and intellectual communities they help to foster and create. This story matters. And it matters to me, personally.

On the other hand, this is also a story with much broader implications. It is a story about the managed decline of the Arts and Humanities across all levels of education. It is a story about the marketisation of the academy towards the exclusion of poor and working-class people. It is a Tory Story, about the way in which successive generations of Tory governments have used so-called educational “reforms” to routinise and shrink the teaching of English in schools, producing a loveless conveyor belt curriculum where students are rewarded for the relentless memorising of disconnected facts, and discouraged from developing any kind of lively or critical conversation with and about literature.

Michael Gove did a tremendous amount of damage as Education Secretary in 2013, and Ofqual's 2020 decision to make poetry optional at GCSE level is part of this same ongoing process, which is, to my mind, ideological and deliberate. To put it plainly: the skills that the study of English develop in us – nuanced and analytical thinking, creativity, communication, and collaboration – are not skills that those in power would like to see evenly distributed. The cuts taking place at Birkbeck are disturbing not only because they impoverish and scar a pioneering Arts and Humanities curriculum at an iconic institution (although they do), and not only because they are symptomatic of the government’s myopic and grimly utilitarian focus on STEM subjects within the academy (although they are); the cuts taking place at Birkbeck are disturbing because they concentrate the burden of that skewed focus on poor and working-class people. A move every bit as wrong-headed as it is political.

In 2022, the Office for Students announced plans to remove funding for “low quality” courses, which they defined as those where less than 60% of participants go into “good” jobs or further study quickly after graduating. This has led to a number of universities – among them Sheffield Hallam, Cumbria, Roehampton, and UEA – suspending or cancelling Arts and Humanities courses amid budget cuts and spiralling redundancies. The idea seems to be to strongarm universities (with a particular emphasis on non-Russell Group universities) into vocational courses, thereby shrinking at one stroke the pool of contributing talent to the artistic and cultural life of this country to a small group of privileged graduates. Yes, this is a miserable denial of working-class creativity, but it is also monumentally self-defeating: the arts and entertainment industry is one of the few areas of the British economy that can still claim to be thriving. Its reputation and success is, in large part, due to working-class creatives.

We need Birkbeck. We need literature and the arts. I needed it. It is far from perfect, but the level of cultural and intellectual participation I now enjoy, I owe to being able to complete my doctorate at Birkbeck. As a mature student. Around my existing jobs and elder care commitments. This would not have been possible for me at any other academic institution. And that’s important. In that it is important to acknowledge that significant and original contributions to knowledge are lost when we exclude poor and working-class people from educational opportunity. Because when we exclude them, then talent is frustrated and futures are curtailed. It is important because working-class people are as capable and deserving of knowledge, literature, art and culture as our more privileged peers.

But that’s not the whole story. What is happening at Birkbeck is inseparable from arts funding cuts, inside the academy and out, that ensure inequality of access and provision. Elites will always try to marginalise or underfund any cultural activity to such an extent that only those with a vested interest in maintaining the status-quo can afford to participate. And when they do invest, they tend to invest in the kinds of cultural activities that automatically exclude working-class people. For example, literature is underfunded by ACE in proportion to ballet, opera, and theatre. Put simply, as the academy closes its doors on the study of English, there are fewer and fewer outside opportunities to help fill that void.

How do ascribe worth? Can the cultural and intellectual pulse of a country really be reckoned by labour market outcomes? Whose value system is that, and is that a world any of us would seriously want to be a part of? Culture is the medium through which the work of ideology flows. It's also a place – and a language – where those ideologies can be met and challenged. We’re fighting for our right to broach those challenges, and the ability of future generations to think them into being.

Literature is for Working People

by Craig Smith

During lockdown, book sales boomed. Many of us who were forced to work from home found we had an extra couple of hours of free time per day because we weren’t commuting. We read. We watched movies. We binge-watched TV series. Isolation was tough, and we reached for works of imagination to escape our confinement, to bring light relief, to help us understand what was going on in the world.

The English language is fundamental to British culture, and English literature is the English language at its finest. Directly or indirectly, it filters through everything we think and do, and imbues our daily lives with a richness that sometimes we don’t appreciate. When literature matters so much to us as a nation – to our view of ourselves, to the world’s view of us – why would we not encourage students to immerse themselves in its variety and glory, to understand it thoroughly, to carry its message forward? But that is what Birkbeck University is planning to do.

The founding and growth of Birkbeck University – the Mechanics’ Institute – is testimony to a sane and civilised society providing opportunity for working people to engage with the world around them and to better their lot in life. Birkbeck offers opportunity for working people to grow, to challenge themselves, to follow their dreams when their circumstances mean they don’t have the luxury of ditching the day job, when they still need to earn a living.

We would not have been able to continue our studies had it not been for Birkbeck’s unique operating model. We are each in the second year of a two-year part-time MA in Creative Writing. English literature and creative writing go hand in hand. Understanding literature is fundamental to better writing. So we don’t just write, we also read, for the course and for the love of it. We are both from working-class backgrounds, we both work for a living, and it has always been our dream to sit within an ecosystem that revolves around written works of the imagination. Birkbeck allows us to do that.

You don’t have to study English to degree level to enjoy works of literature, but it’s a cornerstone of any worthwhile institution to offer an undergraduate course in the written word of our native language, to offer the opportunity to understand our shared body of literature. It speaks to the aspiration of your student body, of the students you wish to attract, to present English literature as an option. For Birkbeck, of all places, to walk away from English literature, or to downplay it, is to suggest that literature is not for working people. At least, that’s how it feels.

As writers of fiction, we are on a perpetual lookout for the reasons behind human behaviour, for the motivating factors behind a given course of action. We want to think well of the people around us, to search for resolution, for the satisfying ending. We believe in redemption. And so it is with the plight of English teaching at Birkbeck. We have faith that a solution can be reached that allows the English Department to survive and to thrive. But as we are not party to the discussions as to department’s future, all we can do is add our voice to the multitude of people who know that closing the department (or downgrading it, which is tantamount to the same thing) would be an error. English literature sits at the heart of British culture, and Birkbeck needs a thriving English department to support working people who love our language.

Craig Smith is a novelist and poet from Huddersfield. Craig was recently a winner of Poetry Archive Now! Wordview 2022 with his poem, 'The Great British Insurrection'. Other poems have appeared in The North, Atrium, iamb, Writers Rebel, The Interpreters House, among others. Rue Bella published his long poem, 'A Quick Word With A Rock and Roll Later Starter', and Smith/Doorstep published his pamphlet, L.O.V.E. Love. Craig is currently working toward an MA in Creative Writing at Birkbeck. He tweets at @clattermonger.