Others drew on what they had experienced of unemployment or saw all around them, and wrote novels about how it affected men, their families, their communities. Walter Greenwood, who had three spells of unemployment from his work as a clerk and council canvasser, was the author of Love on the Dole, which was the probably the best-known novel of the Depression. Nevertheless, in 1936 the British Board of Film Censors twice refused to allow a film version to be shown in cinemas on both moral (too much bad language) and political (a scene of unemployed men fighting the police) grounds. It was, they declared, a ‘very sordid story in very sordid surroundings’, despite the fact that both the book and a play based on it had enjoyed great success. It finally reached the screen in 1941.
Although Love on the Dole was the only ‘Depression novel’ that was a best-seller, publishers were anxious to find ‘authentic’ proletarian writers — partly because there were so few of them. As the novelist, reviewer and editor Cyril Connolly pointed out, ‘90 per cent of all English authors come from the Mandarin class … A rigorous class system blankets down all attempts to enlarge these barriers. The English mandarin simply cannot get at pugilists, gangsters, speakeasies, negroes’- or the unemployed, he might have added. In June 1927 the Communist newspaper the Sunday Worker had written of having the ‘misfortune to be compelled to make do with stories about the working-class who are “sympathetic” but have no first hand knowledge of workers’ lives’.
But that changed over the next decade: with time on their hands, men turned to writing about what they knew only too well. Leslie Halward, an unemployed plasterer, had a story accepted by John o’London’s magazine — and was paid £100 just as the Means Test man was scheduled to call. Another out-of-work plasterer, Jack Hilton, was sent to Strangeways for six months in 1932 for leading an unemployed workers’ protest in Rochdale, and wrote his autobiography and a novel — about unemployed workers’ protests — while he was in prison. William Holt, a weaver, went to jail for nine months for the same offence, this time committed at Todmorden; when he was released he couldn’t find a job and was about to be evicted so he resumed the writing he had always done, but now his subject was invariably the experience of unemployment, selling his books from door to door in the Calder Valley. Walter Brierley recounted the harrowing tale of the depredations wrought by a Means-Test Man (1935); the novel sold 6,000 copies in the first year of publication. James Hanley’s Grey Children was a story of ‘humbug and misery’ in the lives of unemployed shipyard workers; Roger Dataller’s Steel Saraband was a tale of unemployment in the steelworks; Lewis Jones’s Cmwardy and also his later We Live told of the hard lives of miners in the Welsh Valleys. Lewis Grassic Gibbon (the stirring pseudonym of Leslie Mitchell) wrote a powerful dialect trilogy of Scotland’s ills, A Scots Quair, the story of a family moving from rural to urban poverty, of which the third volume, Grey Granite (1934), charts their response to unemployment in a fictitious industrial city. Jack Lindsay (writing under the pseudonym Richard Preston) wrote a novel dealing with the collapse of the Cornish economy.
One author had some notepaper printed with the heading ‘B.L. Coombes, Miner-Author’ after the success of his first book, These Poor Hands (1937), another Left Book Club choice, and he continued to work as both. A[rchibald]. J. Cronin, who had been appointed Medical Inspector of Mines in 1924, drew on his experience of the wretched conditions in the coal industry for The Stars Look Down (1935), while his sensationally successful next novel, The Citadel (1937), was an attack on the system of private medicine, again drawing on his experiences in Tredegar, where he had witnessed the correlation between the inhalation of coal dust and lung disease, and its ‘model’ treatment with the help of the Tredegar Medical Aid Society.
By the second half of the thirties the prejudice against those who had no intimate experience of working-class life, of poverty and unemployment, seems to have somewhat dissipated: there was an important story to be told, whoever the teller. The one-time editor of the Strand Magazine and John O’London’s, George Blake, wrote a novel set in the shipyards, and in Ruined City Nevil Shute (who was an engineer rather than a manual worker) wrote of a rescue package dreamed up by an altruistic businessman for a thinly disguised Jarrow.
Although unemployment seared deepest into the working classes, not all the middle classes escaped: by 1934 an estimated 4,000 black-coated workers were without work, and their plight began to be described in such novels as Simon Blumefeld’s They Won’t Let You Live (1939), in which the graduate protagonist unsuccessfully applies for 187 jobs, eventually deciding to kill himself. Even the thriller writer Eric Ambler used the frustration of a skilled production engineer who could not find work as the basis for the plot of Cause for Alarm, published in 1938.
Despite the widespread evocations of unemployment, both real and fictional, which stood as indictments of a system that had failed, political calls to action — let alone revolution — were muted. The BBC dutifully bore vivid witness to the plight of the unemployed, but in its efforts to avoid more controversy than programmes such as Time to Spare already whipped up, it largely avoided probing the causes of unemployment and means of relieving it, other than by strenuous voluntary efforts to ‘help’. When ‘Edward Windsor’, as Wal Hannington consistently referred to the Prince of Wales, an active supporter of voluntary movements for the unemployed, came to the microphone in December 1933 to introduce the first series of Time to Spare, he set the tone by asserting that ‘the causes of unemployment are beyond our control, and we might differ in our estimate of them, but it is largely within our power to control the effects of unemployment. The unemployed are just our fellow men, the same as ourselves, only less [considerably less in his case] fortunate.’
However, novels such as Love on the Dole were hailed as a wake-up call, with the left-wing novelist Ethel Mannin hoping that ‘It is going to shock smug, fashionable, comfortably-off, middle-class London into a realisation of what the industrial north is really like.’ One reader at an Ilkeston public library noticed how many grimy thumbprints such novels bore, evidence, he thought, of their having ‘clearly passed through the hands of a variety of curious proletarians’. Thus, in various ways and with varying intensity, by the end of the decade the contours of unemployed Britain in the 1930s had been, if not fully explained, at least comprehensively mapped — even if some declined to listen, or to believe that the topography was quite so bleakly craggy as others portrayed it.
Oh hush thee, my baby,
Thy cradle’s in pawn: No blankets to cover thee Cold and forlorn …
Thy mother is crying,
Thy dad’s on the dole: Two shillings a week is the price of a soul.
‘A Carol’, C. Day Lewis (1935)
The death of Annie Weaving, the thirty-seven-year-old wife of an unemployed man in South-East London, mother of seven children, who collapsed and died while bathing her six-month-old twins, offered a stark definition of poverty in 1933. Mrs Weaving had been struggling to keep her family going on the forty-eight shillings a week benefits her husband received. She did so by going without food herself, and though the immediate cause of her death was recorded as pneumonia, the coroner concluded that this would not have