The poet who invented Burnham’s North

The poet who invented Burnham’s North Andy Burnham, Britain's first Northern-born prime minister since Harold Wilson, has made no secret of his deep connection to the North of England. From invoking the music of New Order and the Stone Roses to referencing the poetry of Tony Harrison, Burnham has woven Northern identity into the fabric of his political messaging. Now, as he pushes forward with initiatives such as No. 10 North, aimed at addressing regional inequalities, the legacy of another figure, the modernist poet Basil Bunting, emerges as a surprising yet fitting precursor to Burnham’s vision. Bunting, born in 1891 in Tyneside, lived through much of the 20th century and became a key architect of the modern concept of “the North.” His life and work, marked by a sharp critique of English centralism and a commitment to regional distinctiveness, align closely with the themes Burnham now champions. This alignment becomes particularly notable as the 60th anniversary of Bunting’s seminal poem Briggflatts approaches, a work largely overlooked in public discourse despite its significance. Bunting’s early life reflected a growing awareness of the divide between North and South. As a teenager, he attended Leighton Park School in Berkshire, where he felt increasingly alienated from the dominant English cultural norms. A letter he wrote to his headmaster during a period of intense homesickness expressed a clear delineation between Northern and Southern sensibilities, describing Northerners as “comfortable & easy to deal with,” whereas Southerners were deemed “‘impossible’ & hateful.” These sentiments laid the groundwork for Bunting’s lifelong resistance to what he saw as the oppressive forces of the English establishment. His opposition to participating in the First World War led to his imprisonment in Wormwood Scrubs, where he endured harsh treatment as a “conscientious objector.” This experience left a lasting mark on him, reinforcing his disdain for the English state and its institutions. Friends described how this time shaped his worldview, fueling a deep-seated resentment toward what he referred to as the “Southrons.” After his release in 1919, Bunting gravitated toward the avant-garde circles of Europe, where he encountered Ezra Pound. Their meeting in a Paris café in 1923, where they played “swashbuckling kind of chess,” marked the beginning of a profound intellectual partnership. Pound’s influence helped shape Bunting’s poetic style, leading to the creation of works admired by figures such as W.B. Yeats and William Carlos Williams. However, Bunting’s association with Pound’s radical circle placed him at odds with the mainstream literary world in London, resulting in his exclusion from major publishing circles. Despite these challenges, Bunting continued to develop his artistic vision, though he eventually withdrew from the literary scene following a bitter falling-out with Pound in 1938 over the latter’s fascist leanings. For the remainder of the decade, Bunting pursued other careers, including journalism and military service. He did not return to poetry until later in life, when he settled back in the North East. In the postwar years, Bunting took up a position at the Newcastle Evening Chronicle, though he found the role unsatisfying. Despite this, his return to the North marked a turning point in his career. His final years were dedicated to revisiting and refining his poetic craft, culminating in the publication of Briggflatts in 1966. The poem, rooted in the landscapes and rhythms of the North, stands as a testament to Bunting’s enduring belief in the region’s unique cultural and spiritual essence. As Burnham continues to champion the North in both policy and rhetoric, the parallels between his mission and Bunting’s literary legacy become increasingly evident. While Burnham may not have known of Bunting’s contributions, the poet’s work offers a powerful historical foundation for the contemporary push to redefine British identity through regional pride and autonomy.