Child support: a march in Northumberland at the end of the miners's strike, 1985. Photo: Rex Features
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Writing the strike: poetry from the 1980s miners’ picket lines

Writing was fundamental to the protest, yet the poems and songs have been largely lost from popular memory.

In early March, the 30th anniversary of the 1984-85 miners’ strike will be marked with three performances of The Miners’ Hymns – a 50-minute sound/film project by the American director Bill Morrison and the Icelandic composer Jóhann Jóhannsson, which premiered at Durham Cathedral in 2010. Footage from the BFI and various regional archives is set to a score of the industry’s trademark brass bands. Morrison and Jóhannsson unite musical and visual discord to offer new perspectives on a lost industrial culture. From David Peace’s novel GB84 and Jeremy Deller’s artwork The Battle of Orgreave to musicals and tele­vision programmes such as Billy Elliot and Our Friends in the North, the cultural history of the miners’ strike is one of contestation, claim and counterclaim.

Writing was a fundamental part of the protest itself, yet the strikers’ own poems and songs have been largely lost from popular memory. Jotted on scraps of paper and in school textbooks, on till receipts and on the back of cereal packets, the poems are consigned to the archives of specialist institutions, from the National Coal Mining Museum in Wakefield to the Working Class Movement Library in Salford.

There was printed material, too. As a result of the increased writing from pit communities, regional printing presses were forced to respond to a new demand for published works. Some small publishers such as Canary Press published books at cost price to show their support; larger community publishers such as Yorkshire Art Circus, Artisan and Bannerworks produced their own strike literature and helped to distribute material at rallies.

The writing raised funds for the Miners’ Solidarity Fund and, after the return to work, the Miners’ Victimisation Fund. The comparative ease with which strikers were able to get their writing published during 1984-85 was unusual, especially for working-class people who were writing for the first time. As the prolific strike poet Jean Gittins recalls: “We were definitely flavour of the month!”

The poetry is often instructional and inspirational, demanding both action and solidarity. One anonymous song from the Ledston Luck picket asserts:


As the strike grows longer

Our resolve grows stronger

Maggie thought she’d starve us back

But she couldn’t be wronger.

Many women turned to writing to make their voices heard. A central concern for female poets was the change in roles brought about by the strike. In Jean Gittins’s “Kim”, home life and working-class culture are placed in direct competition with an active, participatory social life and new “trendy” health foods – a process of transition that the poet seems to suggest was speeded up by the strike.


A beautiful hand with the pastry she had

Her sponge cakes were lovely and light

But now it’s all muesli, and yoghurt,

and nuts

While she’s out at meetings each night . . .

Strikers’ children also wrote poetry. The political discussions that became a feature of family life rubbed off on young minds: children’s strike-writings commonly illus­trate an appreciation of critical issues such as their parents’ “right to work”, but tales of plight and need are also common. In “Winter 1984” a little girl (she signs “Ellie”) recounts daily humiliation at the hands of her headmaster. Because her parents were both on strike, they could not afford the black leather lace-ups required for her school uniform. Instead, she wore plimsolls throughout the winter months. Every day during assembly she was forced to stand up and tell the whole school why her parents were making her wear these shoes. Eventually, to her “delight”, she found an old pair of men’s black lace-ups, several sizes too large, at a local jumble sale.

Children’s writings are a reminder of formative experiences during the conflict that would shape social and political beliefs for years to come. As the strike recedes further into the past, projects such as The Miners’ Hymns make a significant step towards reclaiming a people’s history. But 30 years on, the strikers’ own poetry is more significant than ever – illuminating literature’s potential to interact with other representations of the social, economic and political state of the nation during a conflict. In many ways, mining culture, in the words of the Thurcroft National Union of Mineworkers banner inscription, is moving “From Obscurity to Respect”. 

“The Miners’ Hymns” comes to Gateshead, Easington and the Barbican in London from 5-9 March. Katy Shaw will lead the poetry event “Mining the Meaning” at the Latitude Festival, 20 July

This article first appeared in the 26 February 2014 issue of the New Statesman, Scotland: a special issue

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Commons confidential: Momentum’s Christine Shawcroft loses comrades with furious Whatsapp messages

Your weekly dose of gossip from Westminster.

The kamikaze style of Momentum narcissist Christine Shawcroft certainly isn’t found in the ABC of Chairmanship, Walter Citrine’s definitive guide to conducting labour movement meetings. Comrades fear the strain of chairing the party’s disputes panel is unsettling the veteran activist. Frustrated by her inability to persuade Labour’s National Executive Committee members to drop disciplinary charges in two constituency cases, three horrified sources recounted how, while still chairing the hearing, a seething Shawcroft pinged a couple of splenetic WhatsApp messages to a 25-strong left group. The first unwise denunciation – “you bunch of fucking wankers” – was followed swiftly by the perhaps unwiser “I want to kill you all”. Yelled in the room, the insult might have proved sufficient grounds to summon Shawcroft on an abuse charge before the very panel she convenes. How to lose friends and alienate comrades.

My radar-lugged snouts report Harriet Harman is quietly soliciting support for a potential tilt at the Speakership should John Bercow be forced to vacate the chair. The Westminster grande dame was overheard discussing the bullying row threatening Big John, a taxi driver’s son, in the members’ cloakroom with tall Tory Daniel Kawczynski. The Conservative MP loftily informed Harman, “We need a Speaker with a little dignity and class.” Who oozes more class than an earl’s niece or greater dignity than the woman who retained
her poise when Gordon Brown’s deputy?

The ears of little Ben Gummer will be burning. A band of Tories have warned Theresa May of their unhappiness should a peerage be awarded to the former cabinet office minister who lost his Ipswich seat in last year’s general election. “Gummer assured us the manifesto would create waves,” growled an angry rebel, “and the patronising squirt wasn’t bloody wrong.”

Nerdy Culture Secretary Matt Hancock’s nerdier special adviser Jamie Njoku-Goodwin stunned boozers by producing a roll-up chess board from his pocket to play a game sitting on the floor of a crowded bar
after midnight. Memo to self: check how that Tory campaign to fit in is going.

Labour’s punchy Louise Haigh has taken up boxing to keep fit. When Tory vice chair Chris Skidmore backed off in a lift, Left Hook Lou had to assure the wimp that she’s not hit an opponent. Yet.

“Are you Tom Watson?” inquired the stranger on a street, “You look a lot slimmer than on TV.” Not just the gogglebox. Shedding 5.5 stone creates a new political category: lightweight heavyweight. 

Kevin Maguire is Associate Editor (Politics) on the Daily Mirror and author of our Commons Confidential column on the high politics and low life in Westminster. An award-winning journalist, he is in frequent demand on television and radio and co-authored a book on great parliamentary scandals. He was formerly Chief Reporter on the Guardian and Labour Correspondent on the Daily Telegraph.

This article first appeared in the 22 March 2018 issue of the New Statesman, Easter special