Category: Academic Members

My first book: Charlotte Smith and the Sonnet: Place, Form and Tradition in the Late Eighteenth Century (Liverpool University Press, 2019) offers the first full-length study of Smith’s influential Elegiac Sonnets and clarifies its ‘place’ – in multiple ways – in literary history as a work celebrated for ‘making it new’, yet deeply engaged with the literary past. It argues that Smith’s sense of literary tradition is inscribed in the subjects of her poems, and that the literary associations of the places, settings, flora and fauna of her sonnets – across the River Arun, the sea, plants and flowers – are a constitutive aspect of them. It is interested in and reveals the complex processes underpinning Smith’s reception and paradoxical position from the late eighteenth century to the present day, and shows that the appropriation of place itself was an important way in which aspects of literary tradition have been negotiated and understood by Smith, her predecessors, contemporaries and successors. My second book is Nightingale for the Reaktion Press Animal series (forthcoming, 2021) and my current research is on Romantic ornithology; and on the literary and natural history of the River Mersey.

My interests in landscape and environment flow in two (occasionally overlapping) directions: the literature of the sea and the blue humanities, on the one hand, and the gothic and the nonhuman, on the other. What unites these topics is how literature can speak to us on an ethical level – not how it can dictate certain morals to us, not how it might tell us how we can or how we should behave; but rather, how careful and considered engagement with a piece of writing, how listening to the voices and representational work within that piece of writing, provides the building blocks for understanding our own ethical relationship with others, and with the world we inhabit. By inflecting this process by the seascapes and environments, and nonhuman creatures (and monsters) of maritime and gothic fiction, we are challenged to engage with ideas, worlds, behaviours, forms of being that are at times wholly unfamiliar, alien to, hostile to, our usual terrestrial world and the modes of being and behaviour we are used to engaging in.

My recent research follows several trajectories with this literature: the cultural history of the deep sea, exploring how the deep and its ecosystems are often portrayed as being somehow “beyond” our limited human knowledge and asking what it means to cast a natural environment in these terms; the representation of human-animal relationships in recent gothic fiction about vegetarianism or meat production; and the role of the coast in gothic fiction from the eighteenth-century to the present, exploring the intersection of human culture and an environmental ecotone traditionally seen as “in-between”, neither sea nor land proper, neither here nor there.

Matthew is interested in the art of place specifically from the perspective of soundscapes and listening to (primarily natural) environments. His background is in the history of emotions of the long eighteenth century and Romantic-period writing, and his fascination with our relation to, and feelings for, the natural world stems in part from the emergence during this time of what we might call an ecological way of thinking. Specifically, then, what we might say is a certain Romantic hope (perhaps most clearly articulated in the writing of the Wordsworths) that sympathy with nature leads also to greater understanding of ourselves and others.

Matthew’s next project will hopefully explore the sorts of thinking and feeling produced by listening to the sounds of the natural world, and how particular places (for instance riverbanks, seashores, forests, mountain-tops, open fields) might speak with distinctive resonance. He hopes that a consideration of listening in literature (and especially the response and attitude of Romantic and post-Romantic poets) to landscape, location, place, and space, will encourage us to be more attentive and attuned to the natural world. Listening in literature is also an invitation to become better listeners – both to literature and its sounds, rhymes and rhythms, its sonic effects and in our lives and how we listen to the environment and its ever-changing soundscape. During a time of ecological and environmental crisis, such possibilities lead to opportunities to better process how we listen to nature and what it is telling us about our fragile planet. Matthew is keen to explore how this project might have educational value as well – not only to inspire greater environmentalism but also to encourage children to spend more time outside as a way of helping them reflect on their place in the world, and how environments provide imaginative space as well.

My current book-in-progress, Everyday Rebellion: Poetry and Resistance in New York, 1960-1995, is a study of poetry and resistance from the counterculture to the AIDS crisis. The study of New York poets involves an intellectual and affective closeness with the spaces and places of the city: much of their work is framed or shaped by what Jane Jacobs called (‘the heart-of-the-day ballet’, the immediate and localised intensities of New York. And yet, as Megan Bradbury writes, ‘the city is not a work of art. It is not an object. It is not something to be admired from a distance – it is a process’. Everyday Rebellion explores this process, arguing that socially-situated poetry offers crucial sites of resistance. It asks what we can learn from a poetics of loitering, of being on the street, of making contact with people in contingent places rather than within institutions; it examines the ways in which New York poets negotiate conflicting perceptions or experiences within the city; it considers the significance of working within a definable urban community, such as the New York School or the Black Arts Movement, or without one; it ponders the changing nature of the city streets for women poets, queer poets, and poets of colour, thinking about what it means to move or not move around the city; it investigates the erasure of queer connections and the work that city poetry does to combat this, thinking about the importance of alternative mapping to queer work; and considers the ways in which the poetry accounts for, or fails to account for, the environment out of which it emerges, that ‘Byzantine City’, to borrow from Jed Perl, that ‘place of exchanges, of cross-fertilizations’.