2019 - 2020
Tutor: Maureen Freely and Andrew Williams
Term 1 Mondays, 15 00 -17 00 in the Writers Room
People from many and diverse walks of life feel compelled to write in response to past and present injustices: journalists, creative writers, lawyers, historians, philosophers and sociologists. They may write to seek redress or policy change, or they may simply want to bring wrongs to public attention. But to do so, they face common problems of representation. What forms of writing are appropriate? Which are possible? What ethical and political sensitivities and sensibilities are constraining? Are any liberating? What skills do they need to develop to write effectively and well? How is the matter of ‘truth’ addressed in different media and how does this affect the nature and content of representing wrongs?
On this module we will examine the ethical and practical elements of writing about human rights and wrongs or social injustice in varying contexts and media, looking at classic and contemporary non-fiction and fiction.
We will also offer you a chance to investigate and write about topics of your own choosing. We shall begin to think about these projects when we meet for our first session.
During the module we shall examine writing on selected contemporary crises to illustrate questions of technique, competing political and media agendas, ethical dilemmas and legal constraints that those writing about injustice commonly face.
In addition to large group sessions every Tuesday you will also have one-to-one sessions with assigned tutors to discuss and develop your writing for the module. To encourage the development of your writing, you will be asked to complete very short writing assignments that will be set each week. These will provide you with an opportunity to experiment and obtain some feedback on those efforts.
As a preliminary to the module please try to read ‘A Very British Killing: the Death of Baha Mousa’ by A.T. Williams
Other readings will be made available at the beginning of the module
Indicative programme for Term 1 (subject to confirmation):
Each week we will consider different themes (such as conflict; migration; genocide; freedoms) and the ways in which writing has responded to them. We will look at journalism, non-fiction, blogs, fiction, poetry etc. Readings will be provided to address both themes and forms.
We will also look at different writing conundrums in the context of these themes:
How can we understand an injustice? What evidence can we accept? What’s the distinction between truth, lies and perspective? How can we write about it?What barriers to writing about injustice will we face and how can these be overcome?
Throughout, we will provide as much space and time as we can for you to explore your possibilities for writing.
The outline for topics are as follows:
Week 1: Open House with Tutors (details to follow)
Week 2: Full module meeting with the tutors
We will introduce the detail of the module and also begin to explore the difficulties and issues involved in writing about wrongs. In particular, we will debate the relationship between academic and other forms of writing.
We shall also create a schedule for your one-to-one writing tutorials over the term.
Please read the following extracts provided:
George Orwell ‘Why I write’
Deborah Levy ‘Things I don’t want to know: Political Purpose’
Week 3: UNDERSTANDING INJUSTICE: Mapping individual and systemic wrongs
In the first part of the session we will look at the concept of injustice and how it might reveal deeper and more varied aspects than perhaps seem obvious when starting out to write. The impact of discovery through research but also the process of writing is something that we will consider. We’ll look at A Very British Killing as an example of an encounter with ambivalence even with what is an obvious injustice and consider how the story has extended beyond the individual wrong to the systemic.
A.T. Williams: extracts provided of A Very British Killing
Week 4: REGARDING THE PAIN OF OTHERS
We will consider the impact of images of suffering on the moral, ethical and authorial decisions we make when writing about or responding to wrongs.
Please read the extract from Susan Sontag: Regarding the Pain of Others
We will also look in particular at the work of Ai Wei Wei in response to the migrant crisis, Sebastião Salgado and Kevin Carter. What do you make of the images they have produced? How aware do you think the photographers are of the difficult issues we will discuss in class? Where have they managed to break down the barrier between us and them, and at what cost? What images stay with you, and why? And what relationship can image have to writing about human rights?
Please access the award winning work of the photojournalist César Dezfuli whose work appears in Lacuna at: https://lacuna.org.uk/migration/living-limbo-refugees-asylum-italy/
Week 5: CULTURAL APPROPRIATION
One of the most significant barriers to writing is the institutional and societal constraints placed on our freedom to express ourselves, whether through writing or some other medium. Much dispute has arisen recently about what a writer can and cannot write about.
Read the materials available here and come prepared to discuss the issues they reflect.
Week 6: EVIDENCE AND PERSPECTIVE
Should truth get in the way of a good story? How rigorous must the evidence for your writing be? Are there ethical standards applicable when sifting through the material you want to use in your writing about injustices? What are they and which ones might you decide to break? And how do legal ideas of evidence relate to journalism or other forms of writing.
David Vann: extract from Last Day on Earth
Week 7: WRITING ON EQUALITY
The #metoo campaign has highlighted some of the underlying injustices that continue to plague many societies. What can it teach us about those endemic wrongs and how we can write about them.
Week 8: WHOSE STORY?
How can/should creative writers/artists respond to catastrophe when they are involved in the suffering as participants or observers? What might they hope to achieve that news journalism cannot? Whose story ends up being told? To explore these questions we will consider two different stories. First, the response to the Grenfell Fire and second the death of a mental health user. Both have provoked considerable treatment in the media but also more prolonged writing through different forms.
Please read as much as you can of Andrew O'Hagan's The Tower
We will also look at the idea of subversion and how forms of writing can respond to and resist the conventions of the publishing industry and the authorised version of ‘the story’.
Week 9: WRITING ABOUT CLIMATE CHANGE
A look at the questions around writing about climate change.
Week 10: COMEDY
How possible is it to write about suffering and wrongdoing using humour? What problems ensue and what are the benefits and dangers?
Reading: extracts from Mark Steel's 'In Town', and Mark Thomas, Extreme Rambling
For the MA in Writing: Either an essay of 10,000 words on a topic arising from the module, agreed with the tutor; or a piece of original biographical writing, 8,500 words in length, on a topic agreed with the tutor, with a 1,500-word commentary on the aims and processes involved (45 CATS).
For the MA in English: Either an 8,000 word essay (36 CATS) or a 6,000 word essay (30 CATS).
For the MA in Philosophy and Literature: a 5,000 word essay (20 CATS)
For the LLM in International Development Law and Human Rights and LLM in Advanced Legal Studies: a 2500 word critical essay on a topic of the student’s choice relating to the module; and a 2500 creative work on the same topic.