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Mediating the Windrush Children

Caryl Phillips and Horace Ové

Josiane Ranguin

Mediating the Windrush Generation analyses three plays by St. Kitts-born British playwright Caryl Phillips and a film by Trinidadian-British filmmaker Horace Ové as artistic depictions of the experience of the Windrush generation, a term which refers to the Anglo-Caribbean immigrants recruited to help rebuild Britain in the aftermath of World War II. The book understands these works as vibrant calls to resist visuality as an authoritative medium, and as tools of resilience. The book’s discussion is timely, given the London revival of Phillips’ Strange Fruit at the Bush Theatre and the mounting of an exhibition celebrating the works of Ové at the Somerset House, both in the summer of 2019. Both events reflect on the 2018 Windrush scandal that saw members of the Windrush generation denied their rights as British citizens. Mediating the Windrush Generation should appeal to students engaged in drama studies, film studies and English and postcolonial literature, as well as members of the general public interested in artistic works focusing on the Windrush generation.

“I first met Horace Ové the way he would want me to meet him—through his work. In 1981, I was working as the Writer-in-Residence at The Factory Community Centre in Paddington. One evening there was a screening of Horace Ové’s film Pressure (1975). I was interested, of course, not only because it was a film by Horace Ové, but it featured a script by Sam Selvon. That these ‘older’ guys were attempting to understand ‘my generation’ was a great revelation to me. I was familiar with their take on those who had arrived from the Caribbean—the first generation, if you like—but Ové and Selvon were trying to examine a second-generation disaffection and alienation with which I was only too familiar.”—Caryl Phillips, 2019

“Motherland was very much how Caribbeans saw England from a distance, and my parents, along with many others, arrived here on British passports, from Trinidad and Jamaica and wherever else, with a sense of belonging, because this was the country you had always been read about and taught in school. I think the reality on arrival is a whole other experience.”—Zak Ové, from “Get Up, Stand Up Now" (Film), Somerset House, London, 2019