I would like to thank the following people for their help, support and advice: David Alderson, Michael Allen, Simon Bainbridge, Emma Clery, Anne-Julie Crozier, Colin Graham, Conor Hanna, Ken Hirschkop, Eamonn Hughes, Edward Larrissy, Declan Long, Michael Parker, Shaun Richards and Helen Stoddart. Keele University's decision to grant me a junior research award was of immense help in the completion of this book and I owe a debt of gratitude to all the members of the English Department of that institution and to the members of the Keele/ Staffordshire University Irish Studies collaboration.
Much of my discussion of Northern Irish film derives from the experience of teaching a remarkable group of final-year Keele undergraduate students for a course on modern Irish cinema and I would particularly like to thank Sharon Collis, Jeanette Cutland, James Daniel, Oliver Mitchell, Helen Riddell and Sophie Rudkin for their scholarly perception, dedication and enthusiasm.
A section of Chapter 3 was originally published as ‘Bourgeois Redemptions: the Fiction of Glenn Patterson and Robert McLiam Wilson’, in Liam Harte and Michael Parker (eds), Contemporary Irish Fiction: Themes, Tropes, Theories (Macmillan Press Ltd, 2000), and is reproduced by permission of Palgrave. A section of Chapter 2 was originally published as ‘Gender, nation, excess: reading Hush-a-Bye Baby’, in Scott Brewster, Virginia Crossman, Fiona Becket and David Alderson (eds), Ireland in Proximity: History, Gender, Space (Routledge, 1999), and is reproduced by permission of Routledge. The publishers are also grateful to Faber & Faber for permission to quote from ‘Off the Back of a Lorry’ by Tom Paulin from Liberty Tree (Faber & Faber, 1983) and to Blackstaff Press for permission to quote from ‘As You Like It’ and ‘Because I Paced my Thought’ by John Hewitt from The Collected Poems of John Hewitt (ed. Frank Ormsby, Blackstaff Press,