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Argues that there is a taboo surrounding the human experience of work and the work place, with a corresponding silence in poetry and fiction. Asserts that this is not because work is boring, but because people are in a state of unfreedom at work, which also impacts on their effective participation as citizens. Discusses the problems with work place democracy, while arguing that freedom should nevertheless be considered a full-time, not a part-time matter. The paper, which was originally given at the 1994 Sitka Symposium on the spirit of human work, is punctuated with quotations from the author's writings.
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Argues that the centrality of daily work in human existence should make it a fundamental dimension of imaginative literature. The author discusses his commitment to writing about work from an inside-the-job perspective, and critiques other forms of fiction. Offers a definition of the "new industrial literature," including that it must help alter reality for the better. Considers aspects of new work writing (including in work poetry), writing as a skill, and the work-writing movement.
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Presents the work poems "Surplus Value Poem" and "Factory Time" by Tom Wayman, "spout deck," by bernard hobby, "Slime Warning," by John Morton, and "The Academy," by Roger Taus.
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Presents work poetry including "Paper, Scissors, Stone" and "The Detroit State Poems: Final Day" by Tom Wayman; "Waiting for Them to Come Back from Coffee" by Bruce Cudney; "Sorting Mail at Xmas" by Nellie McClung;; "job description" by Alicia Priest; "It's All Our Fault" by Al Grierson; "What He Knew" and "We are a Trade" by Alain Mouré; "The Strait of Belle Isle" by Rosemary E. Ommer; "Telephone Operator" by Sandra Shreve; and "give away" by Ken Cathers.