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Turning the Tide: The narrative of Green Energy

By Aruni Samarakoon, PhD candidate in Political Science, University of Hull.

Figure 1- Picture taken by Aruni Samarakoon at the exhibition of Turning the Tide at the University of Hull’s Brynmor Jones Library, 2023

The global community commemorated an important occasion on the 25th of November: the United Nations’ Elimination of Violence against Women. This day holds particular significance as it coincides with numerous women and children striving to preserve their lives amidst conflict-ridden regions such as Gaza (Mughrabi and Masoud, 2023), South Sudan, Gujarat in India, and various other areas grappling with instability.

While the UN commemorated November 25th in relation to the elimination of violence, a significant event took place at the University of Hull – the exhibition called “Turning the Tide.” This exhibition showcased a pivotal moment in the history of women’s rights discourse, specifically the Women’s Movement (the suffragette movement in 1918, which granted voting rights to women over the age of 30).

This historical event marked the creation of a political space for women to be represented in governance, making them visible in political institutions and policies. It had a lasting impact on women’s political voice, influencing the labour rights of women in emerging industries at that time. Forwarding feminist discourse from history to contemporary times involves exploring various dimensions, including anti-violence efforts, ending inequalities, and empowering women. The current feminist discourse is trending toward aligning with emerging industries, such as ‘Green energy,’ as shared in the “Turning the Tide” exhibition.

“Turning the Tide” represents one of the dimensions of the women’s political movement, with the aim of asserting the presence of women in the industry and making them visible in the workforce. Its objective is to “highlight the important and often unnoticed roles that women play in the workplace today” (Turning the Tide) The question posed in feminist scholarship is: why have women often gone unnoticed? This blog article seeks to answer this question from the perspective of a feminist scholar at the University of Hull.

“Turning the Tide” was an exhibition hosted at the Brynmor Jones Library at the University of Hull from September 9th to October 20th, 2023. Its primary objective is to reflect on the history of the women’s movement and set a forward trajectory for women to have choices in their careers, particularly in the emerging industry of renewable energy in Humber. The exhibition encourages women to pursue their passions in arts and other aspirations as they grow.

The exhibition captured the essence of dedicated female scholars and individuals from various sectors, including entrepreneurship and homemaking, representing a diverse range of ages and educational backgrounds. It was a participative and collective project that reflects the collective consciousness of women to pursue their aspirations and passions, which have often been limited by patriarchal structures or other reasons.

These women were donned in flowing white dresses, briskly moving from one corner to another, tirelessly working day and night to combat the drawing attention to the potential opportunities right on the shores of the Humber which the offshore wind industry presents for women to work for solutions to the challenges from Climate Change. These women presented narratives that had previously gone unheard, defining not only the overarching theme of the exhibition but also shedding light on their individual passions and the choices that have shaped their lives.

The narrative of one of the dancers chronicles the poignant journey of a young girl whose dream of becoming a ballerina ultimately transformed into a pursuit within the realm of science academia. This shift led her towards exploring solutions to the burgeoning environmental crisis, now an integral facet of our daily lives, rendering people—especially women—increasingly vulnerable.

“I was one of those little girls who imagined herself as a ballerina- I took the classes, had the tutu, did the Royal Ballet exams, read all the books until my late teens- but then I grew too tall and I did not have the right shaped feet to dance professionally. But I always loved dance- now I am in my late 50s (I can hardly believe that) I thought that my lot was to watch others dance, to be in the audience”

– Louise Smith, Director – Aura Innovation Centre (Garland, 2023)

Applying critical feminist epistemology to Louise’s narrative I argue that the strict interpretations establishing body standards and the requirement to become professional dancers have imposed strict rules and regulations on individuals. These rules may have originated from specific knowledge holders, who have power to set up the rules. Louise, however, found herself in business, inspiring many other young women to join the field of renewable energy. Nevertheless, my critical feminist inquiry raises the question: what happens to women who have limited opportunities for multiple choices and limited resources to identify their skills and shape them to become who they want to be?

This inquiry connects with the intersectional feminist discourse of class, race, and gender, which explores the origin and power behind the ‘strict rules’ in various professional settings. This is where my feminist epistemology connects to understand the “Turning the Tide” exhibition.

Analysing the narratives of Louise and other participants in the project, along with their expressive body language that includes gestures of freedom, shining eyes, and optimistic language regarding hopes and a better future, reveals a manifestation of women’s power to resist and overcome challenges imposed on them due to their gender, age, body shape, and educational backgrounds. The freely moving hands and the scenery of standing on the Church roof can be considered symbolic representations of women’s ability to explore and assert their choices, extending beyond traditional narratives of positive thinking.

After delving into the narratives of the women in the project, it suggests that they have embraced the power to resist for their freedom of choice, akin to what women did in the suffragette movement a hundred years ago.

In the construction of History (or “His + Story”), the discourse often neglects the examination of structural challenges against women’s bodies and the formation of their consciousness in shaping their identity. In the context of aspiring to become a ballerina, a prerequisite is the conformity of one’s feet to a certain standard. A critical inquiry arises: “Who determines the criteria for fitting in, and what power perpetuates the stereotypes dictating the acceptable shape of feet?” This question is pivotal as it intertwines with the broader discussion on the elimination of violence against women. Stereotypes, as discussed, generate forms of violence against women, restricting their choices in life and violating their rights to equal representation. The scrutiny of such seemingly mundane standards reveals underlying power structures that can perpetuate inequality and contribute to the structural violence faced by women in various aspects of their lives.

Violence manifests in various forms—verbal, physical, psychological, and symbolic—ultimately encroaching upon the freedom and liberty of individuals and fostering inequality and vulnerability. Throughout history, women have been subjected to such violence, often reduced to the status of a ‘sexual object’ rather than being recognized as fully human. This objectification extends beyond the physical realm, permeating into women’s representation, intellectual capacities, and leadership roles.

Many young dancers with aspirations of becoming professional mirrors the broader issue of women facing objectification. Having unfit feet for a ballerina, can be a representation in the field of dance of objectification. This parallels the historical struggle reflected in the Women’s Suffragette movement highlighted through the “Turning the Tide” exhibition, which will commemorate 100 years in 2028. Both instances underscore the pervasive nature of objectification and the need for collective efforts to challenge and overcome such systemic barriers.

The Women’s Suffragette movement in the United Kingdom was a pivotal initiative aimed at securing political space and representation for women, specifically advocating for their right to vote. Initially dominated by the elite class, the movement progressively broadened its scope to include working-class women. As the movement evolved, it played a crucial role in politically mobilizing women across class boundaries, bringing them into the public sphere and articulating demands for reforms that would acknowledge their presence and rights in both economic and political realms. The movement, therefore, transcended its initial elite origins to become a more inclusive and impactful force for women’s rights and representation.

Reflecting on history, the narratives within “Turning the Tide” underscore the pervasive issue of stereotyping women’s bodies, which can be aptly defined as a form of violence. The women scholars and supportive staff associated with the exhibition are actively engaged in efforts to mitigate the impact of a non-green economy on human lives.

It is crucial to note that the contemporary discourse surrounding green economics remains a partially ideological reflection, as it has yet to fully integrate women’s perspectives. This is especially relevant for women in the global south, who possess distinct knowledge and experiences related to the climate change crisis and its resolution. The representation of Louise’s and other women’s stories in the “Turning the Tide” exhibition serves as a poignant reminder that women contribute significantly to challenging the masculinist paradigm inherent in the green economy, moving toward a more inclusive human paradigm. Their efforts can be further enhanced by incorporating the voices and experiences of women from the global south.

In conclusion, “Turning the Tide” serves as a reflective movement, akin to a mirror that succinctly encapsulates the history of women—depicting their struggles against many challenges and their subsequent triumphs, leading to the emergence of women as scholars with significant contributions. This article aims to view this movement through a different lens, aligning its narratives with the contemporary situation of women. By doing so, it seeks to illuminate the ongoing relevance of these historical struggles and achievements in shaping the present landscape for women, providing insights into their continued journey towards empowerment and recognition.

References

Garland, F. (2023) Turning the Tide [Photograph]. Brynmor Jones Library, University of Hull.

Mughrabi, N., Masoud, B. (2023) UN Calls for Immediate Ceasefire in Gaza, Biden Warns Israel is losing Support. Reuters, Internet edition. 13 December Available online, , UN calls for immediate ceasefire in Gaza, Biden warns Israel is losing support | Reuters [Accessed 13/12/2023].

University of Hull- Research and Enterprise (2022) Turning The Tide  [Youtube]. Available online : https://www.youtube.com/watch?v=v1ivla2NR1s [Accessed 20/12/2023].

The views or opinions expressed by individuals in this blog do not necessarily reflect those of the Library and the University.

You can find more information about upcoming exhibitions on our Exhibition Space webpage.

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General Hull University Archives Library insider University history

‘A Lifted Study Storehouse:’ Philip Larkin and the Brynmor Jones Library

By day, a lifted study-storehouse; night  

Converts it to a flattened cube of light.  

Whichever’s shown, the symbol is the same:  

Knowledge; a University; a name.

Philip Larkin, 1983. On the Brynmor Jones Library, from Collected Poems, 1988.

Larkin at 100

Given what would have been Larkin’s 100th birthday on the 9th of August 2022, our latest blog post focuses on Larkin’s career as head librarian at the Brynmor Jones Library. This includes what Larkin contributed to the library during his employment, and how his presence can be observed within the building today.

The recently developed library is a modern facility at the heart of the campus.
An illustration of the redevelopment of the Brynmor Jones Library. 

Hull University Library in the 1960s

Larkin’s biographer, and a poet in his own right, Andrew Motion wrote that ‘in all the libraries which employed him. Larkin combined the roles of scholar, technician and administrator’ (Goodman, 1999). At the time in which Larkin was employed at the University of Hull in 1955, he had held previous employment at several libraries from 1943 onwards. These being: Wellington Public Library (1943-1946), University of Leicester (1946-1950), and Queen’s University in Belfast (1950-1955). As Andrew Motion states, Larkin’s role as librarian involved multiple duties as part of the position.

This can be evidenced through Larkin’s career at the University of Hull, as he oversaw the transformation of the library alongside the university’s vice-chancellor of the time Professor Brynmor Jones, from which the library now takes its name. As of Larkin’s employment in 1955, the library contained 124,000 items and employed just 12 staff to support the 727 students of the university at this time. Larkin ‘presided over its transformation during the next two decades. A new purpose-built library was opened in two stages in 1960 and 1970, and by 1985 there were over 750,000 items in stock, a computerised catalogue and circulation system, and over 80 staff’ (Hull History Centre, 2017).

Larkin's involvement in the library's redevlopment in the 60s played a role in the modern, technology-enabled library that can be observed as of today.
From the Estate of Philip Larkin.

Larkin and the Library’s Transformation

At the time, the university library was one of the first to be redeveloped in post-war Britain. The task was understood to be challenging, given that Larkin had no previous experience in the architectural field. Larkin’s muse and co-worker Maeve Brennan recalled that Larkin worked on the project ‘far removed from library staff…he spread out the plans for the new building and worked on them most afternoons. We had strict instructions that his whereabouts were not to be revealed nor was he to be interrupted except on matters of urgency’ (Goodman, 1999).

During this construction, the progress was split into two stages and would involve the production of a three storey building complete with the addition of reading rooms. It was Larkin who made several suggestions to the university concerning the library’s layout during this period. This was specifically in regards to the university’s initial idea of separating the book stacks from the students within the building. The university accepted these recommendations, and certain aspects of Larkin’s attention to detail can be observed in the building’s inspired modern lighting and coloured stacks to this day. During this period, Larkin worked closely with the architect for the project and photographed the progress as the building was constructed. 

The library was certainly different in Larkin's time, we had a lot less space and cars could park right outside the front door!
The library has since expanded, with the older extension from Larkin's time still being preserved.
From The University of Hull Archives.

Larkin as Poet and Librarian

It is evident that during Larkin’s time at the University of Hull, his role blended between librarian and poet. It was during this period where Larkin produced his celebrated works The Whitsun Weddings (1964) and High Windows (1974). Despite the critical acclaim, Larkin chose to remain a private individual, even turning down the position of Poet Laureate in his attempts to avoid the limelight.

The poet seemed to prefer his role as librarian, once stating in an interview that ‘librarianship suits me…it has just the right blend of academic interest and administration that seems to match my particular talents’ (Goodman, 1999). The university staff and students that interacted with Larkin during this period have given a mixed retelling of their experiences, many of which can be observed in the University of Hull Alumni Association’s blog which highlights particular memories of Larkin.  

The original Librarian sign from the 1959 redevelopment can still be observed on the first floor today.
The original Librarian sign from the 1959 building.

Larkin’s Presence Today

Larkin’s presence in the Brynmor Jones Library remains to this day, within the preserved location of the librarian’s office. This has been the office of the University of Hull librarian since 1959, when the first phase of the library was built under Larkin’s supervision. It was used by Philip Larkin from 1959 until his death in 1985. He wrote to his mother that ‘my room is so beautiful I can hardly believe it. I’m afraid it will make everyone so green with jealousy that I shall be the most hated person in Hull’ (Pearman, 2014). After Larkin’s death, his secretary, Betty Mackereth, with whom he had a secret love affair with, shredded the thirteen volumes of his diary in this office, in accordance to his wishes.

The electric fire from the 1959 redevlopment can still be observed in the librarian's office.
Larkin's Olivetti Lettera DL typewriter is positioned in the centre of the librarian's main desk in the office.
The original electric fire and surround (left) and Larkin’s Olivetti Lettera DL typewriter (right).

A number of things are original to the room to this day: the bookcase; the electric fire and its surround, the parquet flooring and the desk. The desk has a brass plaque commemorating its use by Larkin. He boasted that it was ‘larger than that of President Kennedy’ (Pearman, 2014). It was restored as part of the redevelopment of the library, and improved. The top of the desk is now real leather in place of the original leatherette. The typewriter is Larkin’s personal Olivetti Lettera DL.

Larkin's collection is on display during Larkin library tours, that are available upon request.
The plaque reads: 'From 1959 to 1985 this desk was used by Philip Larkin, poet and University Librarian.'
The original Librarian desk with the commemorative Larkin brass plaque.

The collection of books in the bookcase is the Brynmor Jones Collection. It was assembled by the library in honour of the university’s Vice-Chancellor Sir Brynmor Jones when he retired in 1972. It consists of first editions of titles published between 1890 and 1940 that were nominated by the university’s academic departments as being of particular importance. The period of 1890 to 1940 is also the focus of the University Art Collection. The ‘Librarian’ sign on the door, pictured above, leads directly into the office from the first floor of the library and is original to the 1959 building.

The original bookcase hosts the Brynmor Jones collection, and is positioned at the back of the room.
The Brynmor Jones book collection.

There were some particular objects that Larkin kept in his office during his employment, one of these being the pottery frog money box from circa 1970. This is a reminder of Larkin’s poems Toads, written in 1954, and Toads Revisited, written in 1962, about the necessity of going to work to earn a living. When asked by an interviewer, ‘how did you arrive upon the image of a toad for work or labour?’ he replied, ‘Sheer genius’ (Phillips, 2003). There is also the Hermes 3000 office typewriter situated near the bookshelf, circa 1969.

Larkin's toad ornament can be observed in front of Larkin's nameplate.
Larkin's Hermes 3000 office typewriter is positioned next to the original bookcase, in its original casing.
The toad ornament (left) and the Hermes 3000 office typewriter (right).

As pictured below, there are also three mugs of Larkins on display: a Queen Elizabeth II coronation mug, a D.H. Lawrence mug, and a lettered ‘P’ mug. Larkin’s nameplate can also be observed, as well as a collection of vinyls of Larkin reading his poetry. 

The mugs are part of a wider collection of Larkin's possessions, that are available to view upon request at the Hull History Centre.
Larkin’s mug collection.
A vinyl of Philip Larkin's reading of his popular collection 'High Windows' can be observed.
A selected vinyl collection.

The Modern Day Brynmor Jones Library

Following Larkin’s involvement in the transformation of the library, the building has since had another upgrade. Work began in 2012 and was completed by 2015, with the Poet Laureate of the time, Professor Dame Carol Ann Duffy opening the site. The library’s collection is now slightly larger since Larkin’s time. We now house over one million books in the building, alongside other physical and digital resources. Larkin’s presence within the Brynmor Jones Library is important to discuss, as are the contentious aspects of his character.

This month, the University Library’s Twitter Conversation highlights the contentious aspects of the poet’s life and challenges us to consider how we feel about his poetry in this context. The University Archive and the Hull History Centre contain manuscripts, drafts of poems and novels, photographs and Larkin’s jazz record collection. These materials can be requested at the Hull History Centre for viewing. If you would like to follow the Conversation, you can do so below.

For Reference

Goodman, Richard. (1999). My Particular Talents. Humanities Collections. 1(2), pp.45-60. [Online]. Available at: https://philiplarkin.com/wp-content/uploads/2015/04/my_particular_talents_rgoodman.pdf. 

Hull History Centre. (2017). Philip Larkin. [Online]. Hull History Centre. Available at: https://www.hullhistorycentre.org.uk/research/research-guides/philip-larkin.aspx. 

Larkin, Philip. (2014). A lifted study-storehouse. In: Burnett, Archie. (Ed). The Complete Poems of Philip Larkin. London: Faber and Faber Limited. 

Pearman, Hugh. (2014). After this it will be all Danish butter-factories. [Online]. RIBA. Available at: https://www.ribaj.com/culture/philip-larkin-and-the-architects. 

Phillips, Robert. (2003). The Madness of Art. New York: Syracuse University Press. p.23.