There’s a crisis in the UK writing and publishing scene, highlighting a growing disconnect among working-class individuals whose stories often go unheard. Advocates for new literary platforms argue this point strongly.
The timing of the launch for The Bee magazine was intentional, coinciding with the early May bank holiday. The magazine includes literary magazines, podcasts, and outreach initiatives.
Supported by actor Michael Sheen, New Writing North, a charity based in Newcastle, launched The Bee as a reaction to what many see as a “class crisis in the UK writing industry.”
Richard Benson, the magazine’s editor, recalls his past editing work in the 1990s and notes that while the creative field is notably skewed in terms of representation, writing and publishing may be even more imbalanced.
“It’s not a great situation,” he reflects. “Why do we accept that good working-class representation is a norm in music but not in literature?”
He points out that indicators suggest deterioration in this regard. He reminisces about the 60s and 70s when there was greater working-class visibility in media.
Supporters of The Bee argue that the alienation of working-class writers is only increasing. Data from 2014 indicated that 43% of published authors were from middle-class backgrounds, while a meager 12% were from working-class origins. By 2019, middle-class representation had surged to 60%.
Benson believes this disparity raises not just issues of fairness, but also practical considerations.
“A lot of the significant literature we see today—and many beloved narratives—emerge from ordinary workers,” he points out. “It’s often those working-class tales that reveal the reality of our world.”
One initiative they’ve launched includes a podcast aimed at creating a “classic alternative canon,” where guest writers and scholars discuss whether certain books deserve a spot in a “working-class library.”
Three episodes were released on a recent Monday, featuring Louise Dauty reflecting on Hilary Mantel’s work, Craig McLean analyzing Irvine Welsh’s “Trainspotting,” and Simon James, an English literature professor at Durham University, discussing George Gissing’s 1891 novel “New Grub Street.”
Benson acknowledges the complexity in defining class. It can mean different things to different people, but he asserts that by 2025, one’s background will still significantly influence life opportunities and career prospects.
Claire Malcolm, the CEO of New Writing North, mentions that while some initiatives have shown positive outcomes, surveys indicate that the class crisis persists.
Based on data from the Sutton Trust, she notes that a mere 10% of authors come from working-class backgrounds, while 44% of newspaper columnists are private school graduates.
“There’s been a lot of dialogue about class within the creative sector, yet little has changed,” she states. “In fact, conditions are becoming worse, and inequalities are becoming more pronounced. We need to forge our own path.”
Malcolm emphasizes that “talent knows no class, but opportunities are dictated by it. The Bee initiatives are a timely response to this.”
The first print edition of the magazine is set to be published in the fall, showcasing contemporary life and culture pieces from working-class writers. Additionally, an online platform called Beehive, designed to support emerging working-class authors, is expected to launch in the summer.
The Bee is part of a broader initiative for working-class writers championed by Michael Sheen, the Joseph Lowe Tree Foundation, and the University of Northumbria, with support from publisher Faber.
