Culture Matters is proud to announce the publication and launch of The Cry of the Poor: An Anthology of Radical Writing About Poverty, selected and edited by Fran Lock.
Featuring poetry, short stories, life-writing, essays and art by over one hundred contributors from around the world, this ambitious anthology asks urgent and compelling questions about what poverty is, who it affects, and what it feels like. In doing so it carves a little space for many voices and experiences not often heard within mainstream contemporary literature; for the “unseen, the in between” (‘My People’, Tracey Pearson, p.22).
The Cry of the Poor approaches poverty from many different angles, exploring the fraught intersections of poverty with family, labour, gender, disability, race, ethnic and cultural heritage. It is divided into five sections: ‘Who We Are: Writing about daily life’; ‘What we do: Writing about work, working, and not working’; ‘A Place for Us: Writing about home, homelessness, exile and belonging’; ‘With a raised fist: Writing in rage, protest, and defiance’; and ‘In solidarity and in sorrow: Writing about loss and despair, hope and faith’.
Throughout each section, poverty is presented in its various manifestations, be they material, emotional, political or spiritual, so that James O’ Brien’s grimly topical ‘The Suicide Sanctions: “A parish bier burdened with the ghosts of capital,/ Eking out a funeral pace to the food bank” (p.162) shares space with Sarah Wedderburn’s melancholic and subtle ‘Sleeping Pilgrim’: “Paths are my grace,/ their end a cathedral of stars” (p.199).
The Cry of the Poor offers the reader provocative and unsettling glimpses of poor and working-class life, as in Neimo Askar’s beautiful ‘Dua for Black boys’: “this world holds/ an awaiting cemetery for Black bodies” (p.26) and in the vivid and arresting extract from Karl Parkinson’s The Blocks: “Neighbours on top uv ya, each side uv ya, underneath ya. Weird single men wit beards n stinkin hallways, dirty curtains not washed in ten years, windows always gettin broken. Small grey concrete pram-sheds wit wooden doors dat held bikes n prams in dem, sum turned inte pigeon lofts n dog sheds n smoke dens n sex dungeons” (‘Georgie’, p.179).
But there are also moments of tenderness and joy, ribaldry and resistance, as in Zach Murphy’s finely honed vision of escape, ‘Rose Knows’: “From this view, the falling leaves look like fluttering butterflies. Rose knows that when she comes down she’ll be in a lot of trouble. So she squints up at the sun and gives the balloon some more power.” (p.198), or Jane Burn’s ultimately triumphant hymn to jumble sale scavenging in ‘Jumble Sale Rider of the 80’s Cheap Clothes Apocalypse’: “Poverty made you thrill at the mining/ of a table top’s rummaged vein eyes out/ for Taccini Tammy Girl Sweater Shop Squashed pixie boots/ Something a bit Bananarama Something mohair/ batwing stonewashed Something nice” (p.19).
The work is rich and varied because the cry of the poor is rich and varied, never merely abject, begging or downtrodden. There are stories of hope and inspiration here. There are moments of quiet reflection and rigorous thought. There are flashes of humour and of anger. There is mourning, pain, protest, and love—a chorus of voices expressing and demanding the kind of love that could power the transformation of society.
Poverty is not a tragic accident or a force of nature. It is caused by a lack of love, the love, care and compassion we should feel for one another as suffering mortal beings, which is the foundation of both true communism and basic human decency. Heed The Cry of the Poor, for it is the cry of all of us.
The Cry of the Poor: An Anthology of Radical Writing About Poverty, selected and edited by Fran Lock, ISBN 978-1-912710-41-6. Available here.
