The politics of hope in 1970s Britain
First Signs, Speech Day, The Gamekeeper, Tom Kite, The Price of Coal
in Barry Hines
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact for pricing options.


If you have an access token for this content, you can redeem this via the link below:

Redeem token

This chapter focuses on a period of extremely fruitful aesthetic production for Barry Hines, in terms of the novels and screenplays that followed A Kestrel for a Knave. During the 1970s, Hines's political energies were directed towards considering the institutions and structures of life at a time of active struggle for workers' rights. Barry Hines's third novel, First Signs, is probably his least known. As we will see again in Hines's writing, for instance in The Gamekeeper, which was published two years after the broadcast of Speech Day, apparently different varieties of time-keeping all point irrevocably towards the 'time discipline' of an industrial work routine. Hines's 1976 screenplay Tom Kite was never filmed, but, as his surname implies, this drama was about an attempted flight on the part of the eponymous protagonist by means of footballing prowess, one that might take him away from Britain altogether.

Barry Hines

Kes, Threads and beyond


All Time Past Year Past 30 Days
Abstract Views 192 9 0
Full Text Views 28 0 0
PDF Downloads 21 1 0