Ian McMillan: ‘Tony Harrison Gave Me Linguistic Strength’
Photograph: Gary Calton/The Observer
Poet, playwright, and broadcaster
In the 1980s, I earned my living leading poetry workshops at libraries and community centers across South Yorkshire, working with the Workers’ Educational Association. Many participants, often older individuals, would arrive with their trusty folders filled with rhymed poems, many written in Yorkshire dialect.
Reflecting on my early days, it’s with regret that I recall urging these writers to drop their rhymes in favor of something “modern” and “contemporary.” I jokingly threatened to expel anyone who dared bring another dialect poem, mistakenly thinking that Yorkshire dialect was only suitable for lighthearted themes, fearing that serious topics would drown in a “sea of Yorkshire pudding batter.”
Then I discovered the works of Tony Harrison, which transformed my poetry journey. Discovering a poet from Leeds, so close to my own Barnsley, dismantled my belief that regions like ours were far removed from literary significance. Harrison masterfully employed rhyme and dialect, enhancing the richness of language instead of trivializing it.
I was deeply moved by his “School of Eloquence” series. The poem “*Them*” echoed in my mind with its battle cry: “and used my name and my own voice: (uz) (uz) (uz)…” This revelation showed me that poetry can embrace the language we use at home. Harrison empowered me to embrace my own voice, demonstrating that it’s a worthy vehicle for poetry.
The first time I presented on BBC Radio Sheffield, a man approached me in Barnsley bus station, saying, “I heard thi. Tha can’t talk like that on’t wireless!” To which I replied, “But I were talking like thee.” This mirrored the feedback I received later on Radio 4, critiqued for my accent. Thanks to Tony Harrison’s influence, I found the strength to respond to such backlash gracefully.
However, not everyone embraced Harrison’s poetry. At one workshop in Rawmarsh near Rotherham, a student dismissed him due to his Leeds origins, claiming “They know nowt.”
<h2 id="edith-hall-we-have-lost-a-towering-wordsmith" class="dcr-n4qeq9">Edith Hall: ‘We Have Lost a Towering Wordsmith’</h2>
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Photograph: Iain Masterton/Alamy
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<p class="dcr-130mj7b"><em>Classics professor at Durham University and author of Tony Harrison: Poet of Radical Classicism</em></p>
<p class="dcr-130mj7b">Tony Harrison, my vibrant, eloquent, and fiercely loyal friend for 35 years, passed away last Friday at the age of 88, leaving behind a rich legacy of plays and translations. It is tragic that many of his groundbreaking film poems, particularly “Gaze of the Gorgon,” “The Shadow of Hiroshima,” and “Prometheus,” first aired on Channel 4, remain unavailable to the public. His most recognized works often reflect his working-class roots in Leeds.</p>
<p class="dcr-130mj7b">As a scholarship student studying classics at Leeds Grammar School and subsequently at Leeds University, Harrison felt the widening gap between his intellectual pursuits and his roots, particularly with his taciturn baker father and empathetic mother. This tension is poignantly captured in his 1978 collection, *From the School of Eloquence*.</p>
<p class="dcr-130mj7b">His most notable poem, “V,” written during the 1984-85 miners' strike, captures the voice of an alienated skinhead. The televised version directed by Richard Eyre in 1987 ignited controversy, leading a Conservative MP to attempt to ban it under a motion titled “Television Obscenity.” The real injury to the establishment was Harrison's unwavering support for the working class.</p>
<p class="dcr-130mj7b">His debut collection, *The Loiners* (1970), won the Geoffrey Faber Memorial Prize, but its candid exploration of sexuality and comparison of political oppression in England to that of the Iron Curtain shocked many.</p>
<p class="dcr-130mj7b">In 1981, Harrison's striking translation of Aeschylus’s *Oresteia* was used in a groundbreaking National Theatre production. He insisted on an all-male cast, a decision stemming from his interpretation of the trilogy’s misogyny, which sparked backlash from feminists who felt it deprived female actors. Critics often dressed their unease with Harrison’s class politics as aesthetic disdain.</p>
<p class="dcr-130mj7b">Harrison also created the class-conscious *Trackers of Oxyrhynchus*, which premiered in Delphi in 1988 and featured fragments of a Sophoclean satyr play. The performance was remarkable for its combination of high art with cheeky humor.</p>
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The *Trackers of Oxyrhynchus* revival at The Finborough Theatre in 2017.
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<p class="dcr-130mj7b">Harrison impressed Alan Rusbridger, then the features editor at the Guardian, leading to a request for commentary on the Gulf War. He produced two celebrated poems, “Initial Illumination” and “A Cold Coming.” His connection with the Guardian persisted, although with intervals, spanning over a decade. During a visit to the Bosnian war in 1995, he wrote the harrowing “The Cycles of Donji Vakuf,” penned under fire while in an armored vehicle.</p>
<p class="dcr-130mj7b">I first met Tony during the *Trackers* production, having previously admired the televised versions of *V* and *Oresteia*. He was surprisingly modest and quiet but had an electric presence that transformed any social setting. We quickly bonded, both feeling alienated from certain academic circles, with shared political views rooted in socialism.</p>
<p class="dcr-130mj7b">Over the years, we enjoyed lively discussions filled with good wine, and I had the pleasure of editing his prose essays and helping him research his radio play, *Iphigenia in Crimea*. Our research trip to Greece before the Russian invasion remains a cherished memory, along with those who accompanied us. I organized a celebration for his 80th birthday, where esteemed guests gathered to honor him.</p>
<p class="dcr-130mj7b">Upon being diagnosed with Alzheimer's, Tony displayed grace, wit, and strength, retiring to be cared for by his beloved partner Siân. Some of his most poignant works reflect his bond with her. I treasure the memories of intimate lunches filled with our discussion of societal corruption, surrounded by a warm atmosphere in his Newcastle home. Despite his struggles, he found joy in his final days, still recognizing loved ones. We have lost not only a brilliant poet but a custodian of social justice and humane values.</p>
<h2 id="michael-billington-his-artistic-manifesto-should-be-required-reading" class="dcr-n4qeq9">Michael Billington: ‘His Artistic Manifesto Should Be Required Reading’</h2>
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Photograph: Sarah Lee/The Guardian
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<p class="dcr-130mj7b"><em>Theatre critic and Guardian journalist</em></p>
<p class="dcr-130mj7b">Peter Hall once remarked that “we have a great poet back in the theatre.” This significance is amplified considering the late 20th-century context, where prose dominated. Harrison emerged as a leading figure, employing robust and direct language that resonates with Jean Cocteau's notion of theatrical poetry being “visible at a distance.”</p>
<p class="dcr-130mj7b">Harrison’s body of work is impressively diverse. His contributions to the National Theatre showcase his ability to meld French comedy, Greek tragedy, and medieval Mysteries seamlessly. His 1973 rendition of *The Misanthrope* was impactful, demonstrating his skill in revitalizing the text while maintaining Molière’s comic energy.</p>
<p class="dcr-130mj7b">His works on *Phaedra Britannica* and *The Oresteia* exemplified this talent, notably in his rendition of *The Mysteries,* which harmoniously combines earthy humor with elevated themes. Lines like “Bursar was I, balancing t’brethren’s budgeting book” showcase his ability to blend realism with poetic flair.</p>
<p class="dcr-130mj7b">Harrison’s commitment to bridging cultural divides is evident in *The Trackers of Oxyrhynchus*. This production, showcasing the interaction of ancient characters and modern scholars, initially caused a stir for its comedic elements, merging high art with accessible themes. His artistic manifesto, eloquently outlined in the play’s preface, advocates for a unified cultural approach, transcending class and genre boundaries.</p>
<p class="dcr-130mj7b">*Trackers* marked another milestone in Harrison’s career, revealing his directorial skills, influence in film, and engagement in non-theatrical spaces. His legacy lies in proving that erudition need not equate to elitism and that popularity can coexist with depth. During my experiences working with his partner Siân Thomas, I found Tony to be shrewd, kind-hearted, and an embodiment of his life’s artistic aim: a unified sensibility.</p>
<h2>Final Thoughts</h2>
<p>Tony Harrison’s poetic legacy continues to resonate, enriching the literary and cultural landscape. His ability to embrace language in all its forms, championing the working class while defying societal norms, has left an indelible mark. As we reflect on his contributions, we celebrate not only his artistic achievements but also the powerful voices he inspired and uplifted throughout his career.</p>
