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Notes
1. Edward Said, from ‘Orientalism’ in Colonial Discourse and Post-Colonial Theory: A Reader, ed. Patrick Williams and Laura Chrisman (London: Longman, 1994), 133.
2. Emily Brontë, Wuthering Heights (1847) (London: Penguin, 1965), 77.
3. Brontë, Wuthering Heights, 91, 98.
4. Sandra Gilbert and Susan Gubar, The Madwoman in the Attic: The Woman Writer and the Nineteenth-century Literary Imagination (New Haven: Yale University Press, 1979), 265.
5. Matt Simpson, Wuthering Heights (London: Greenwich Exchange, 2007), xiii.
6. Matt Simpson, Cutting the Clouds Towards (Liverpool: Liverpool University Press, 1998). Hereafter abbreviated to CCT.
7. Carla Lane's long-running TV sitcom The Liver Birds (BBC, 1969–1979, 1996), which focused on a succession of female characters, was notably different in that it arose from the sixties when, rather than being associated with economic decline and industrial unrest, Liverpool still basked in the glow of the swinging sixties and the Beatles.
8. Peter Barry, ‘“Out of Transformations”: Liverpool Poetry in the Twenty-first Century’, Writing Liverpool: Essays and Interviews, ed. Michael Murphy and Deryn Rees-Jones (Liverpool: Liverpool University Press, 2007), 268.
9. Matt Simpson, Making Arrangements (Newcastle upon Tyne: Bloodaxe, 1982). Hereafter abbreviated to MA.
10. Matt Simpson, ‘Prior to Going Up’ in An Elegy for the Galosherman: New and Selected Poems (Newcastle upon Tyne: Bloodaxe, 1990), 40. Hereafter abbreviated to EG.
11. Barry, “Out of Transformations”, 268.
12. Matt Simpson, In Deep (Nottingham: Shoestring Press, 2006), 3.
13. Matt Simpson, Catching Up With History (Newcastle upon Tyne: Bloodaxe, 1995), 9. Hereafter abbreviated to CUH.
14. Elsie B. Michie, Outside the Pale: Cultural Exclusion, Gender Difference, And the Victorian Woman Writer (Ithaca and London: Cornell University Press, 1993), 144.
15. The poems in the section of Cutting the Clouds Towards entitled ‘To Tasmania with Mrs Meredith’ were published in a pamphlet by Headland Press before Simpson travelled to Tasmania in 1994. The poems he subsequently wrote in Australia and are gathered together in the third section, ‘On the Right Side of the Earth’ (with the exception of ‘Threads’, ‘Journal Entry for Tuesday, 31st Oct.’ and ‘Making an Exhibition’), were published as work-in-progress by Launceston's Queen Victoria Museum and Art Gallery to mark the conclusion of the residency. Neither pamphlet included ‘Ship in a Bottle’.
16. Paul Carter, The Road to Botany Bay: An Essay in Spatial History (London: Faber and Faber, 1987), xxii.
17. Carter, The Road to Botany Bay, xvi.
18. Robert Hughes, The Fatal Shore: A History of Transportation of Convicts to Australia, 1787–1868 (1986) (London: Vintage, 2003), plate n.p.
19. Dale Spender, The Penguin Anthology of Australian Women's Writing (Penguin: Victoria, Australia; Harmondsworth, England, 1988), xiii–xiv.
20. Spender, The Penguin Anthology of Australian Women's Writing, xiii.
21. Simpson, Wuthering Heights, 3.
22. Spender, The Penguin Anthology of Australian Women's Writing, 55, 56, 56, 58, 59.
23. Jon Murden, ‘“City of Change and Challenge”: Liverpool since 1945’, Liverpool 800: Culture, Character and History, ed. John Belchem (Liverpool: Liverpool University Press, 2007), 438.
24. Brontë, Wuthering Heights, 91.
25. Hughes, The Fatal Shore, 241.
26. Spender, Penguin Anthology of Australian Women's Writing, xvi.
27. William Shakespeare, The Tempest IV.i, 93 (London: Penguin, 1968). With its female deities, pastoral setting with an abundance of ‘rich leas/Of wheat, rye, barley, fetches, oats and pease’ (IV.I, 60–1), and its army of Reapers ‘properly habited’, Prospero's masque offers an idealised version of the colonies not dissimilar to that depicted in Wedgwood's medal, ‘Hope Encouraging Art and Labour, Under the Influence of Peace’.
28. Chantal Zabus, Tempests After Shakespeare (New York, Hampstead: Palgrave, 2002), 2.
29. Zabus, Tempests After Shakespeare, 2.
30. Mahon, Collected Poems (Dublin: Gallery, 1999), 107.
31. We might also recall in Wuthering Heights Nelly Dean's request that Mr Earnshaw bring her back ‘a pocketful of apples and pears’ (77) from his trip to Liverpool. What he returns with, of course, is Heathcliff.
32. Carter, The Road to Botany Bay, xxii.
33. Carter, The Road to Botany Bay, xxv.
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