SOLOMON HUGHES recommends Sunjeev Sahota’s recent novel set in a trade union election campaign for its fresh approach to what unites and divides workers, but wishes the union backdrop was truer to life
THERE are couple of lines in Mal Finch’s great song, Women of the Working Class: “In fighting for our future we found ways to organise. Where Women’s Liberation failed to move, this strike has mobilised.”
The strike in question was, of course, the Miners’ Strike of 1984-85. Some of the women in question were groups up and down the country, part of Women Against Pit Closures [WAPC]. The mention of Women’s Lib, though, is a lot trickier to pin down. The movement had already been demonised, not only in the tabloid press, but in working men’s clubs, workplaces and, hush-hush, even trade unions.
Spurious tales of bra-burning were rife, the strike for equal pay at Ford’s Dagenham plant had ruffled feathers, and there was a female prime minister in No 10.
MIKE QUILLE applauds an excellent example of cultural democracy: making artworks which are a relevant, integral part of working-class lives



