Published in 1911, at the height of the women's suffrage movement in Britain, NO SURRENDER masterfully straddles the line between journalism and historical fiction. Throughout the novel, there are factually accurate and stirring portrayals of suffragette protests and incidents, as well as their arguments in favor of giving women the vote. The actions are carried out by fictional characters, but a close reading will give evidence that they are not-too-thinly-veiled representations of real people, such as Lady Constance Lytton and the Pankhursts.
Some of the protests verge on the humorous - suffragettes having themselves delivered, as parcels, to the Prime Minister's front door with their petitions, and a large group of women pretending to be a fire brigade with a call to meeting, instead of a call to fire. Suffrage supporters might ambush politicians after worship services, attend local and national government meetings, or take employment in an aristocrat's household just to be able to present a dignitary with the suffrage petition at a prominent dinner party. They would hand out pamphlets and copies of the petition for people to read, and spread their message through public forums and street-corner oratory. Some suffragettes would take more aggressive actions to draw attention to their cause, such as throwing rocks at the windows of anti-suffrage supporters. As the works became more violent, the police took a more active role in containing and detaining the suffragettes.
It was the courtroom and imprisonment scenes that had the strongest impact for me. The suffragettes were protesting for political equality. However, precisely because they could not vote, they were not treated as political prisoners by the judicial system. While political prisoners were given relatively comfortable quarters, quality food, and some liberties; suffragettes were condemned to the same class as thieves and drunkards. They were afforded almost no comforts, housed in squalid quarters, and if they dared to protest (as most of them did, for the injustices were plentiful inside as well as out of prison) the women were put in the inhumane conditions of solitary confinement. Many women protested this punishment the only way they could, by refusing food. To keep the hunger striking prisoners alive, prison staff would force-feed them. The horrific details of these forced feedings are not spared in NO SURRENDER, and the actions themselves are akin to rape. To think that women would willingly submit to such torture is proof of how stridently they believed in their cause.
There are also representations of the "Anti's" who stridently opposed women's suffrage. What became clear through reading NO SURRENDER was how strong the British class divides were, and how those divides played into the levels of sympathy and empathy afforded to suffragettes by others. The novel spends time with the aristocracy, the upper class, and the working class - exploring their lifestyles, prejudices, and how each group responds to the idea of women's suffrage. No matter the social class, women had practically no power or authority. A woman had no agency over her own children; one character's husband sends their children to live in Australia, without any notification or consent toward his wife, and she can do nothing about it. Lower-class women and girls worked for long hours in excruciating conditions, and few cares were made about their welfare by the employers. The meager wages they earned were legally belonging to their father/husband. For the women of the upper classes this was of little concern because they did not need to earn a living, but for working-class women it meant that they were prisoners in their lives and homes. One of the great strengths of NO SURRENDER is its focus on the lower class women, and their struggles as part of the greater social movement in which women's suffrage found stead.
As a work of historical interest, the significance of NO SURRENDER is self-evident. However, it struggles as a work of literature. The dialogue, especially of the Northern Brits, is stilted and full of stereotypical turn of phrase. It is distinctly different from the speech of the Londoners, which may serve to illustrate further class divides, but that point is practically invalidated by the main character, Jenny Clegg, who is a working-class Northern girl yet she has exceptionally educated-sounding speech. There is little in the way of plot throughout the novel. In fact, the book isn't divided into chapters, but rather sections called "Scenes". They seem to illustrate different parts and points in the Women's Suffrage movement, and function better when thought of as linked short stories rather than chapters in a cohesive novel. There are also instances of a romance between Jenny Clegg and two different men, but both relationship seem overly contrived and terribly inauthentic.
NO SURRENDER can be viewed as a novel of two parts. First, it is an honest, rational, and emotionally raw exposition on the women's suffrage movement in early twentieth century Britain, for women of all social classes. Although the characters are fictional, the events are factual and historically faithful. It is in terms of plot and dialogue that the novel suffers. It is not a great work of fiction, but it is a great work.