By Andy Croft
For over 70 years, the Communist celebration of serious Britain had a rare impression on British cultural existence, workout a power particularly out of share to its dimension or political impression. Many artwork kinds have been revitalized or profoundly replaced, new ones have been proven or formed via teams and contributors linked to the celebration. They introduced a dynamism and imaginative and prescient to cultural creation - no matter if in song, movie, theatre or literature - that helped lay the rules of a brand new radical tradition, a revolutionary avant garde within which the fight used to be to supply a tradition for and of the folk, within the entrance line of the conflict of rules. This quantity recounts the histories of the artists, poets and cultural visionaries of the interval, putting them in a broader historic context and supplying an creation to British social and cultural background within the twentieth century.
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Additional resources for A Weapon In The Struggle: The Cultural History of the British Communist Party
III. See also note 11. 18 I am thinking here of two socialist novels, John Sommerfield’s May Day, published in the same year as Major Operation, and Frank Griffin’s October Day (1939), both set in London. 19 Andy Croft, Red Letter Days (London: Lawrence & Wishart, 1990), p. 277. 20 The term is Virginia Woolf ’s from her famous essay ‘Modern Fiction’ in The Common Reader (London: Hogarth Press, 1925), p. 189. In fact, a miniature sketch of the very scene elaborated by Barke can already be found in Mrs.
S. ), Art in England, (Harmondsworth: Penguin, 1938). Coldstream along with his Euston Road School colleagues were active members of the AIA. His own crisis of conscience on the question of trying to reconcile modernist aesthetic and socialist political ideology led to his decision to abandon painting for a time and working in the field of documentary film-making. The artist he mentions who ‘gave up painting altogether ... for the Communist Party’ was Clive Branson; in fact he returned to painting, with a realist style which owed much to the manner of untrained art.
In showing it they help the present generation to go HEIRS TO THE PAGEANT 49 forward still further along the road of progress. They also show that the ‘Historical Elbow Room’ gained for the English proletariat in its historic mission, was one dearly bought by struggle on England’s very own soil. Today, when Fascism threatens, when liberties, rights, freedom are being attacked; when the ‘Elbow Room’ is being curtailed and pinched in, then such a march of history as London staged can only serve to inspire and nerve the present generation to defend the things their fathers fought so splendidly for.