The international bestselling true story of an eighteenth-century sailor’s extraordinary voyages, compiled by the celebrated scientist and historian. In his many voyages, the Scottish-born sailor John Nicol twice circumnavigated the globe, visiting every inhabited continent while witnessing and participating in many of the greatest events of exploration and adventure in the eighteenth century. He traded with Native Americans on the St. Lawrence River and hunted whales in the Arctic Ocean. He fought for the British navy against American privateers in the Atlantic Ocean and Napoléon’s navy in the Mediterranean Sea. En route to Australia he met the love of his life, Sarah Whitlam, a convict bound for the Botany Bay prison colony, who bore his son before duty forced them apart forever. At the end of his journeys, John Nicol returned to his homeland and a life of obscurity and poverty, until the publisher John Howell met him one day while he was wandering the streets of Edinburgh, searching for dregs of coal to fuel his hearth. After hearing the fascinating stories of Nicol’s seafaring experiences, Howell convinced him to write his memoirs—the publication of which eventually earned Nicol enough money to live comfortably for the rest of his days. Tim Flannery has edited Nicol’s original text, providing accompanying footnotes and an introduction (updated for this North American edition) that give historical context to the sailor’s exploits. “Lively . . . Exciting . . . Nicol has made a lasting place for himself in the literature of the sea and the ships he loved so deeply.” —Jonathan Yardley, The Washington Post

This work renders the story of a man whom history has nearly forgotten. In his many voyages the Scottish-born sailor John Nicol twice circumnavigated the globe, visiting every inhabited continent and participating in many of the greatest events of exploration and adventure in the 18th century.

First published in 1822, this is the extraordinary story of John Nicol, a sailor who circled the globe twice, fought Napoleon’s navy, was in Hawaii just after Cook’s death, and went to Port Jackson on a Second Fleet vessel with its cargo of female convicts.

In 1794 and 1799 Superintendent of Convicts Nicholas Devine was granted 210 acres on the edge of the current CBD of Sydney. After the demise of Governor Bligh (to whom he was closely allied) Devine reluctantly retired to his estate where, as an old man living alone, he was constantly beaten and robbed. An Irish convict named Bernard Rochford befriended the old man in 1825 and upon his death in 1830 forged a Will and seized control of the estate and proceeded to subdivide it and sell it off. Many of the purchasers (and others, including the Governor) knew Rochford was in no position to sell the land as even if the will he had was authentic, he was a nonetheless a convict and therefore was prohibited from holding property, let alone profit from its sale. Rochford sold much of the land in exchange for grog and was continually in court over a variety of issues. As devious as Rochford was, he proved no match for his wife whose deceit landed him in jail where he died in 1839. The 30 new landowners included judges, mayors, magistrates, aldermen, newspaper editors, solicitors and other Sydney luminaries. They believed that with Rochford’s death all suspicions regarding their ownership of the land would also die but that was not to be. In 1848 Nicholas Devine’s heir John Devine arrived to lay claim to the entire estate.

Applied Theatre: Women and the Criminal Justice System offers unprecedented access to international theatre and performance practice in carceral contexts and the material and political conditions that shape this work. Each of the twelve essays and interviews by international practitioners and scholars reveal a panoply of practice: from cross-arts projects shaped by autobiographical narratives through to fantasy-informed cabaret; from radio plays to film; from popular participatory performance to work staged in commercial theatres. Extracts of performance texts, developed with Clean Break theatre company, are interwoven through the collection. Television and film images of women in prison are repeatedly painted from a limited palette of stereotypes – 'bad girls', 'monsters', 'babes behind bars'. To attend to theatre with and about women with experience of the criminal justice system is to attend to intersectional injustices that shape women's criminalization and the personal and political implications of this. The theatre and performance practices in this collection disrupt, expand and reframe representational vocabularies of criminalized women for audiences within and beyond prison walls. They expose the role of incarceration as a mechanism of state punishment, the impact of neoliberalism on ideologies of punishment and the inequalities and violence that shape the lives of many incarcerated women. In a context where criminalized women are often dismissed as unreliable or untrustworthy, the collection engages with theatre practices which facilitate an economy of credibility, where women with experience of the criminal justice system are represented as expert witnesses.