Speak for England [an oral history of a small market town] has the flat, unpatronizing power of Bragg's Cumbrian novels, such as The Hired Man and A Place In England—and also their undercurrent of anger, even bitterness, against the centuries-old class system that has darkened the lives of his people for so long. Yet the major flaw in this work is that it is too nice, too filial. There are no scoundrels, no black sheep. The author has given us a sincere, unmalicious, and perhaps oversimple tribute to a place he can always safely return to. (p. 24)
On the whole, Bragg's Wigtoners don't complain. This may partly reflect the traditional stoicism of the working class in northern England. But the even, placid tone of Bragg's informants also owes much to his method of screening out the "characters" and big talkers. He admits that he "itched to embroider and take off gossip," but he forced himself not to fictionalize or dwell on unpleasantries. It's our loss….
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