{"id":590,"date":"2026-07-25T04:37:41","date_gmt":"2026-07-25T04:37:41","guid":{"rendered":"https:\/\/cityflowjournal.com\/?p=590"},"modified":"2026-07-25T04:37:41","modified_gmt":"2026-07-25T04:37:41","slug":"the-poet-who-invented-burnhams-north","status":"publish","type":"post","link":"https:\/\/cityflowjournal.com\/?p=590","title":{"rendered":"The poet who invented Burnham\u2019s North"},"content":{"rendered":"
\n

On Monday we said hello to Britain\u2019s first born-and-bred Northern prime minister since Harold Wilson. It would be fair to say that Andy Burnham has not been shy in heralding this fact. In his speeches, interviews, and campaign literature, references to New Order and the Stone Roses, Northern Soul music, and the poetry of Tony Harrison are never far from the surface. Meanwhile, in a more concrete, structural sense, tackling regional inequality with schemes like No. 10 North looks set to be the grand theme of his premiership.<\/p>\n

Read more Why we can\u2019t outrun the Neanderthals<\/a><\/p>\n

Though Burnham is probably unaware of it, there is in fact a striking literary precedent for his pro-North viewpoint in the figure of the 20th-century modernist poet Basil Bunting. An older, less accessible figure than Harrison, Bunting was one of the inventors of the idea of \u201cthe North\u201d in the modern sense. Against the backdrop of the Burnham moment, and on the 60th anniversary of Bunting\u2019s masterpiece Briggflatts<\/em> \u2014 a milestone that has been met with oddly little fanfare \u2014 the example of his life and work is worth exploring.<\/p>\n

Born in Tyneside in 1900, \u201camid rejoicings for the relief of Ladysmith in the Boer War\u201d, Bunting, who would die shortly after the end of the Miners\u2019 Strike in 1985, was a sort of avant-garde Forrest Gump whose life embodied the modernist century. Raised a Quaker, and sent to Leighton Park School in Berkshire as a teenager, Bunting divined early on that his Northernness set him apart from Edwardian England and its regional power dynamics. During one severe bout of homesickness, he wrote to his Leighton Park headmaster identifying a \u201cgrand underlying difference between North and South which makes people with Northern manners comfortable & easy to deal with, but people with the Southern manners\u2026 \u2018impossible\u2019 & hateful.\u201d<\/p>\n

This feeling of antagonism towards the English center would combine with Quaker principles to motivate Bunting\u2019s refusal \u2014 on grounds of conscientious objection \u2014 to take part in the final months of the First World War, after a call-up when he reached adulthood in 1918. As Bunting\u2019s friend the actor Denis Goacher later put it, the subsequent abuse he suffered as a \u201cconchie\u201d in Wormwood Scrubs, \u201ccolored all he thought about England, about the Establishment, the \u2018Southrons\u2019 as he called us\u2026 this experience embittered him for life\u201d.<\/p>\n

Bunting\u2019s embrace of a cosmopolitan strand of literary modernism after his release from prison in 1919 was clearly in some sense the outcome of his rejection of English tradition. Crucially, he met the radical modernist provocateur Ezra Pound while playing a \u201cswashbuckling kind of chess\u201d in a Paris caf\u00e9 in 1923. When Pound bailed Bunting from a Parisian jail a few weeks later after a drunk-and-disorderly episode, their friendship was firmly set. <\/p>\n

But in choosing to side with the strident anti-English experimentalism of the \u201cEzuversity\u201d \u2014 a Pound-centered expat community based in the Italian seaside town of Rapallo \u2014 Bunting was further distancing himself from mainstream Anglophone literary culture. Though this was the creative making of his mold-breaking early poems (admirers included William Carlos Williams and W.B. Yeats), Bunting\u2019s association with the uncompromising avant-gardism of the Pound school meant he was effectively blacklisted by the Thirties London literary set and its publishers. After some years of dwindling prospects \u2014 and a climactic 1938 quarrel with Pound over the latter\u2019s Mussolinian fascism and antisemitism \u2014 Bunting stopped trying altogether. Over the next three decades, his life as a poet would be exchanged for work as a sailor, RAF officer, and journalist.<\/p>\n

Bunting returned to the North East in the postwar years, where he worked unhappily at the Newcastle Evening Chronicle<\/i> and seemed destined to retire in what the literary establishment deems to be \u201cprovincial obscurity\u201d. But then, in the mid-Sixties, came a sudden declaration of independence. After a fateful encounter with the teenage poet Tom Pickard, a self-identifying \u201cdole walla\u201d from working-class Tyneside, Bunting became a leading figure in the Morden Tower poetry scene in central Newcastle. A repurposed room in the city\u2019s medieval town walls, Morden Tower was developed as a countercultural \u201comphalos\u201d by Pickard and his partner Connie from 1964. It would eventually treat its Geordie audience (in Bunting\u2019s estimate: \u201chalf academics, half teenagers, with a sprinkling of thugs\u201d) to live offerings by Allen Ginsberg, Lawrence Ferlinghetti, Robert Creeley, and Alex Trocchi, among countless other beatnik luminaries.<\/p>\n

In a country where London\u2019s hold over literary discourse was and is hegemonic, the happenings at Morden Tower were in themselves a rare victory for Northern civic empowerment. But it was Bunting\u2019s revitalized literary output after this Sixties awakening that would suggest an imaginative starting point for a new form of Northern regionalism \u2014 a mostly undeveloped entity prior to this point.<\/p>\n

The sounding shot in this Northern rising was Briggflatts<\/em>. A modernist \u201cshort long poem\u201d loosely resembling T.S. Eliot\u2019s The Waste Land<\/em>, Bunting\u2019s masterpiece was published in the first weeks of 1966 \u2014 an annus mirabilis for radical English anomalies of all kinds. It quickly became a cause c\u00e9l\u00e8bre in the Anglo-American counterculture, and indeed in the more hidebound English literary scene that Bunting had hitherto been excluded from, bringing a passionate assertion of Northern English identity to a global readership.<\/p>\n

In the mythopoeia Bunting elaborated in Briggflatts<\/em>, \u201cNorthumbria\u201d worked as a shorthand for Northern England as a whole. The unique stylistic texture of the poem, first announced in a memorable opening stanza, incorporates a modernist pastiche of Old English alliterative verse. Bunting uses this mode to evoke a pastoral idyll, ostensibly a remote corner of the Yorkshire Dales (the land around the seminal Quaker site at Brigflatts [sic]):<\/p>\n

Brag, sweet tenor bull,
\ndescant on Rawthey\u2019s madrigal,
\neach pebble its part
\nfor the fells\u2019 late spring.
\nDance tiptoe, bull,
\nblack against may.
\nRidiculous and lovely
\nchase hurdling shadows
\nmorning into noon.
\nMay on the bull\u2019s hide
\nand through the dale
\nfurrows fill with may,
\npaving the slowworm\u2019s way.<\/p>\n

Read more The American disaster<\/a><\/p>\n

As the poem progresses, we abandon this youthful arcadia for a more epic regional canvas. Interwoven with a personal story of Northern exile and return is a Waste Land<\/em>-esque collage of Northumbrian history: as well as the glimpses of early-20th-century Brigflatts in the poem\u2019s opening section, we encounter the ghosts of legendary Border shepherds (the Wilsons and Telfers); the warriors of the ancient Welsh poem Y Gododdin<\/em> (which is set mainly in what is now North Yorkshire); and the creators of the beautiful Lindisfarne Gospels. At the thematic heart of the poem, Bunting inserts a diptych embodying Northern good and evil: the vainglorious \u201clast Viking king of Northumbria\u201d Eric Bloodaxe, and his angelic counterpart Cuthbert (the 7th-century patron saint of the original Anglo-Saxon kingdom).<\/p>\n

Having drunk deep from the well of Northumbriana while constructing this regional fantasia, Bunting would devote much time in his later years to a sort of pro-North cultural program. In a late-20th century context where Scottish and Welsh nationalist movements were surging \u2014 Bunting was a close friend of Hugh MacDiarmid, the militant godfather of the Scottish Renaissance \u2014 he tried to work out how far a Northern English analogue might be taken. In large part, this was a case of teasing out the cultural examples spotlighted in Briggflatts<\/em>. During his brief Seventies tenure as president of the funding body Northern Arts \u2014 an organization founded by the controversial Newcastle politician T. Dan Smith, another ardent localist \u2014 Bunting put forward the Lindisfarne Gospels and other ancient northern landmarks (such as the Bewcastle Cross and the poetry of Wordsworth) as a basis for a distinctive Northern imaginary.<\/p>\n

But though Bunting\u2019s focus was largely an aesthetic one, he would also take steps to make clear the wider political implications of this project. At the same time as the first substantial modern discussions around English devolution were gathering pace \u2014 culminating in the half-baked constitutional recommendations in the 1969 Redcliffe-Maud Report \u2014 Bunting would talk, only half-jokingly, about setting up passport control at the Humber. He offered discount rates for poetry readings inside Northumbria\u2019s ancient boundaries, and spent much time researching historic rebellions like the 1569 Rising of the North as he sought to compose a follow up to Briggflatts<\/em> (as it happened, no such work was forthcoming prior to Bunting\u2019s death in Hexham in 1985, though a handful of shorter lyrics did see the light of day).<\/p>\n

What to make of the legacy of all this? We should probably start by acknowledging the limits of Northern English devolutionary schemes that go too far down the road of nationalism proper. There were elements of essentialism and chauvinism \u2014 even if often tongue-in-cheek \u2014 in Bunting\u2019s literary King of the North schtick, which his contemporary heirs would do well to avoid (Bunting\u2019s late-period reading style, for example, was based on a rather affected old Northumbrian accent, which many listeners have found to be slightly ridiculous). Bunting\u2019s \u201cNorthumbria\u201d took in most of the North, but its southern border was the Humber-Ribble line (because of a rather arbitrary linguistic technicality). Such footnotes highlight a familiar problem with attempts to construct regional polities within more established national frameworks: the fact that no one can agree where the North ends and the South begins (let alone the yet more ambiguous Midlands).<\/p>\n

Nonetheless, Bunting\u2019s vision for greater Northern cultural empowerment remains pertinent because the contexts that inspired it have not gone away. When it comes to literary publishing \u2014 and the same is true for culture and indeed politics more broadly \u2014 England is still an astonishingly over-centralized country. In an overwhelmingly urban nation, the vast majority of publishing houses, media organs, and political institutions are still based in just one of our dozens of cities (the so-called Big Five literary publishers, for example, are all headquartered in London). The fact that this reality has been exploited and worn-down to a clich\u00e9 during a decade of chatter about the \u201cleft behind\u201d and the \u201cmetropolitan bubble\u201d does not mean that it is not still an urgent problem.<\/p>\n

If Burnham\u2019s critics are perhaps right to say that he doesn\u2019t know exactly how to achieve regional devolution in the long term, then neither did Bunting. But then again, it is much harder to envision a fairer, more equal future than to be critical of the status quo. In the end, Bunting\u2019s example reminds us that when it comes to imagined communities, it is the imagination<\/i> that must lead the way. As a poet and lone individual (rather than, say, a prime minister with a large parliamentary majority), Bunting was inevitably circumscribed in what he could recommend when it came to plans for Northern political renewal.<\/p>\n

But his cultural assertions were surely enough. Writing to the Scottish poet Gael Turnbull in the late Sixties, Bunting described a \u201ctree of life\u201d carving on a medieval tombstone in Hexham Abbey:<\/p>\n

\u201cIt is very beautiful, and if it really is as late as the 12th century, it shows how the life goes on, underneath all the suppressions and oppressions.\u2026 [This is] my kind of art: the firm line, the counterpoint, the essence, not the illusion, the intricacy, not the confusion. I want more of it, a Northumberland as fertile as any land you can mention.\u201d<\/p>\n

As these comments suggest, Bunting believed that in working out how to construct new political realities for the North of England \u2014 realities that might put an end all the \u201csuppressions and oppressions\u201d \u2014 we should take inspiration from the \u201cfirm lines\u201d, \u201ccounterpoint\u201d, and essential vitality of the artifacts buried in its deeper history. A \u201cculturalist\u201d suggestion this might have been. But there is surely something to be said for the idea that the starting point for political reform must be a realization of cultural heritage \u2014 in other words, of the collective consciousness that makes regional identity meaningful in the first place.<\/p>\n

In this light, all the cynicism directed at Burnham\u2019s Northern cultural offering in recent weeks seems misplaced. Maybe he is onto something by kicking off his premiership by dad-dancing to New Order\u2019s \u201cTrue Faith\u201d. There is a long, arduous road ahead for the devolutionary schemes that will likely define the Burnham government. But perhaps the new prime minister is right to grasp that a transformative political project must begin not with exhaustive policy documents, but with the sort of unifying, emotional, imaginative foundation for collective praxis provided by art, poetry, and music. Bunting at least would have agreed.<\/p>\n

Read more Escape from Trad-Land<\/a><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

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