Princess & The Hustler: Context (AQA GCSE English Literature): Revision Note
Exam code: 8702
Princess & The Hustler: historical context
The Windrush generation
British colonisation of Jamaica began in 1655 and it remained under British rule until its independence in 1962, resulting in many Jamaicans continuing to feel a strong sense of connection to Britain:
The British colonial government promoted loyalty through annual events like Empire Day, where people in Jamaica celebrated being part of the British Empire
Britain was often referred to as the “mother country” by Jamaicans
Jamaican schoolchildren learned about Britain and were often encouraged to view England as wealthy, cultured and the model of civilisation
From 1948, people from the Caribbean were given the right to work and live in Britain, prompting a wave of migration between 1948 and 1973:
This group became known as the Windrush Generation:
The term comes from the first ship to bring Caribbean migrants to England, the HMT Empire Windrush, which arrived in England 1948
Many migrants arrived expecting a warm welcome as fellow British citizens who were ready to contribute to post-war British society:
They soon discovered they were not accepted as “truly” British by many white Britons
Racist hostility and systemic barriers to housing and employment were common, and immigrants were frequently met with suspicion and prejudice
How this links to Princess & The Hustler | |
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Windrush | Princess’ parents, Wendell and Mavis, are part of the Windrush generation. Their experiences reflect the hope many migrants had for a better life in Britain, alongside the reality of prejudice and exclusion they faced upon arrival. |
Integration | Wendell is particularly vocal about the difficulty he has had integrating into British society. He refers to being underappreciated for his military service in England and how hard it is to find work as a result of racist attitudes. |
Racist attitudes | The play shows both overt and subtle racism: the societal prejudice that limits opportunities for black people and the casual everyday discrimination that undermines Princess’ ambitions. The backdrop of the Bristol Bus Boycott highlights the collective fight against these injustices, showing how communities came together to demand change. Margot also uses language that suggests that he has negative preconceptions of the black community. For example, referring to Margot as a “good sort and not one to rock the boat”, suggesting approval for her political passivity, and implying that those who agitate for positive change are the opposite. |
Princess & The Hustler: social context
Bristol in the 1960s
In the early 1960s — when Princess & The Hustler is set — racial discrimination was still legal in Britain, and tensions between black communities and white-dominated institutions were high:
In Bristol, the local branch of the Transport and General Workers’ Union (TGWU) and the Bristol Omnibus Company enforced a colour bar that prevented black and Asian people from working as bus crews
This led to the Bristol Bus Boycott of 1963, a landmark protest organised by members of the West Indian community, including Paul Stephenson and Roy Hackett, and inspired by the American civil rights movement
The boycott lasted for four months and was successful in ending the bus company’s discriminatory hiring practices
How this links to Princess & The Hustler | |
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The Bristol Bus Boycott | Protests relating to the bus boycott are first mentioned by Leon, who suggests his father is organising a meeting to discuss opposing the colour bar, which plants the seed of protest in the minds of Junior and Wendell, who both express an interest in participating (Act 1, Scene 7). Two of the key organisers of the boycott, Roy Hackett and Paul Stephenson, are mentioned by name (by Wendell in Act 2, Scene 2). The radio announcement in Act 2, Scene 5 quotes Paul Stephenson. Chinonyerem Odimba spoke at length with Paul Stephenson about his role in the Bristol Bus Boycott before writing the play |
Princess & The Hustler: literary context
Social realism
Princess & The Hustler doesn’t fit neatly into one single literary form. On the surface, it operates as a family drama, but blends real and imagined elements. It is perhaps best thought of as a piece of social realism.
It adheres to the following conventions of social realist theatre:
Convention | Princess & The Hustler |
|---|---|
Depicts the speech patterns of people in real life |
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Focuses on the way real political and social issues affect characters |
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Uses real historical events as the backdrop for its narrative |
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Uses real settings |
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Source
Odimba, Chinonyerem. (2019) Princess & The Hustler. Nick Hern Books
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