Drawing upon the English literary tradition for new perspectives and paradigms, this collection presents a broad range of theoretical and historical approaches to ecocriticism. The first section of the volume offers different theoretical frameworks for ecocritical work, encompassing a range of socio-political, post-modern and multi-disciplinary approaches. In the second section, contributors explore the ways in which ecocriticism allows us to re-think literary history.
With Thoreau’s Walden as a touchstone, Buell offers an account of environmental perception, the place of nature in the history of Western thought, and the consequences for literary scholarship of attempting to imagine a more “ecocentric” way of being. In doing so, he provides a profound rethinking of our literary and cultural reflections on nature.
In identifying Wordsworth's interest in nature as a vital, ecological interest, and linking it with the ecological debate in political history, this study attempts to define the politics of poetry. Wordsworth is portrayed as the guide to a pastoral consciousness.
Perhaps America's best environmental idea was not the national park but the garden cemetery, a use of space that quickly gained popularity in the mid-nineteenth century. Such spaces of repose brought key elements of the countryside into rapidly expanding cities, making nature accessible to all and serving to remind visitors of the natural cycles of life. In this unique interdisciplinary blend of historical narrative, cultural criticism, and poignant memoir, Aaron Sachs argues that American cemeteries embody a forgotten landscape tradition that has much to teach us in our current moment of environmental crisis. Until the trauma of the Civil War, many Americans sought to shape society into what they thought of as an Arcadia--not an Eden where fruit simply fell off the tree, but a public garden that depended on an ethic of communal care, and whose sense of beauty and repose related directly to an acknowledgement of mortality and limitation. Sachs explores the notion of Arcadia in the works of nineteenth-century nature writers, novelists, painters, horticulturists, landscape architects, and city planners, and holds up for comparison the twenty-first century's--and his own--tendency toward denial of both death and environmental limits. His far-reaching insights suggest new possibilities for the environmental movement today and new ways of understanding American history.
American environmental literature has relied heavily on the perspectives of European Americans, often ignoring other groups. In Black on Earth, Kimberly Ruffin expands the reach of ecocriticism by analyzing the ecological experiences, conceptions, and desires seen in African American writing. Ruffin identifies a theory of "ecological burden and beauty" in which African American authors underscore the ecological burdens of living within human hierarchies in the social order just as they explore the ecological beauty of being a part of the natural order. Blacks were ecological agents before the emergence of American nature writing, argues Ruffin, and their perspectives are critical to understanding the full scope of ecological thought. Ruffin examines African American ecological insights from the antebellum era to the twenty-first century, considering WPA slave narratives, neo-slave poetry, novels, essays, and documentary films, by such artists as Octavia Butler, Alice Walker, Henry Dumas, Percival Everett, Spike Lee, and Jayne Cortez. Identifying themes of work, slavery, religion, mythology, music, and citizenship, Black on Earth highlights the ways in which African American writers are visionary ecological artists.
This book is the first collection of its kind, an anthology of classic and cutting-edge writings in the rapidly emerging field of literary ecology. Exploring the relationship between literature and the physical environment, literary ecology is the study of the ways that writing - from novels and folktales to U.S. government reports and corporate advertisements - both reflects and influences our interactions with the natural world.
In Strange Natures, Nicole Seymour investigates the ways in which contemporary queer fictions offer insight on environmental issues through their performance of a specifically queer understanding of nature, the nonhuman, and environmental degradation. By drawing upon queer theory and ecocriticism, Seymour examines how contemporary queer fictions extend their critique of "natural" categories of gender and sexuality to the nonhuman natural world, thus constructing a queer environmentalism. Seymour's thoughtful analyses of works such as Leslie Feinberg's Stone Butch Blues, Todd Haynes's Safe, and Ang Lee's Brokeback Mountain illustrate how homophobia, classism, racism, sexism, and xenophobia inform dominant views of the environment and help to justify its exploitation. Calling for a queer environmental ethics, she delineates the discourses that have worked to prevent such an ethics and argues for a concept of queerness that is attuned to environmentalism's urgent futurity, and an environmentalism that is attuned to queer sensibilities.
Literary scholars have traditionally understood landscapes, whether natural or manmade, as metaphors for humanity instead of concrete settings for people's actions. This book accepts the natural world as such by investigating how Anglo-Saxons interacted with and conceived of their lived environments. Examining Old English poems, such as Beowulf and Judith, as well as descriptions of natural events from the Anglo-Saxon Chronicle and other documentary texts, Heide Estes shows that Anglo-Saxon ideologies that view nature as diametrically opposed to humans, and the natural world as designed for human use, have become deeply embedded in our cultural heritage, language, and more.
