Cirrus@Austlit

'Ecopoetry—the practice of writing, reading, and critiquing poetic works that thematize the natural world and issues of sustainability—is hampered by its reliance on the terms “environment” and “nature” as undifferentiated catch-alls. As typically invoked, the terms tend to cover ecology, nonhuman life, oceans, rivers, rocks, animals, plants, forests, fungi, and so on without distinguishing sufficiently between these diverse animate and inanimate agents in the context of their material interrelationships. In this regard, J. Scott Bryson, for instance, characterizes ecopoetry as a poetic mode that “while adhering to certain conventions of traditional nature poetry, advances beyond that tradition and takes on distinctly contemporary problems and issues”. Leonard Scigaj, moreover, highlights ecopoetry’s prevailing emphasis on “human cooperation with nature conceived as a dynamic, interrelated series of cyclic feedback systems”. These assessments and others, however, often skim over the “specific” forms of “environment” and “nature” that engender the making—the poiesis—of “specific” forms of poetic expression. Nonetheless, with the emergence of critical studies of animals (McCance) and plants (Gagliano, Ryan, and Vieira)—coupled with theoretical advances in the geo-humanities (Dear et al.) and, more broadly, the environmental humanities (Emmett and Nye)—a movement toward greater more-than-human heterogenization within ecopoetic scholarship is slowly evolving. Encouraging precision beyond “environment” and “nature” as blunt descriptors, these interdisciplinary frameworks have compelled recent formulations of zoopoetics (Moe), phytopoetics (Ryan Plants), and bioregionalist poetics (Lynch, Glotfelty, and Armbruster) that aim to particularize the natural phenomena and subjects narrativized in poetry.' (Introduction)

'Positioned within current ecocritical scholarship, this volume is the first book-length study of the representations of plants in contemporary American, English, and Australian poetry. Through readings of botanically-minded writers including Les Murray, Louise Glück, and Alice Oswald, it addresses the relationship between language and the subjectivity, agency, sentience, consciousness, and intelligence of vegetal life. Scientific, philosophical, and literary frameworks enable the author to develop an interdisciplinary approach to examining the role of plants in poetry. Drawing from recent plant science and contributing to the exciting new field of critical plant studies, the author develops a methodology he calls "botanical criticism" that aims to redress the lack of emphasis on plant life in studies of poetry. As a subset of ecocriticism, botanical criticism investigates how poets engage with plants literally and figuratively, materially and symbolically, in their works. Key themes covered in this volume include plants as invasives and weeds in human settings; as sources of physical and spiritual nourishment; as signifiers of region, home, and identity; as objects of aesthetics and objectivism; and, crucially, as beings with their own perspectives, voices, and modes of dialogue. Ryan demonstrates that poetic imagination is as essential as scientific rationality to elucidating and appreciating the mysteries of plant-being. This book will appeal to a multidisciplinary readership in the fields of ecocriticism, ecopoetry, environmental humanities, and ecocultural studies, and will be of interest to researchers in the emerging area of critical plant studies.'

Source: Publisher's blurb.

'Based on the author’s end-to-end walk of the Cape to Cape Track (C2C), this article presents a literary history of the Leeuwin-Naturaliste region traversed by the trail. The C2C is a continuous, 135-kilometre coastal pedestrian path from Cape Naturaliste to Cape Leeuwin south of Perth in the south-west corner of Western Australia. A relatively short route by long-distance trekking standards, the C2C reverberates with literary narratives, incidents and encounters. In 1831, explorers John Dewar and Andrew Smith walked northbound from Augusta to the Swan River, approximately following the modern-day orientation of the track. Known for tempestuous weather, Cape Leeuwin—the southern terminus of the C2C, near Augusta, where the Indian and Southern Oceans converge—was the model for “Lewin’s Land” referenced in Jonathan Swift’s Gulliver’s Travels (1726) and later alluded to in D.H. Lawrence and Mollie Skinner’s The Boy in the Bush (1924). Drawing from theories of emplacement (de Certeau; Edensor; Gros; Ingold; Ingold and Vergunst; Merleau-Ponty; Michael; Solnit), this article describes walking as a medium for understanding the imbrications between bodies, landscapes, journeys, histories and stories.' (Publication abstract)

'Like the country’s arid interior, contemporary Australian ecopoetics is vast and robust. The expressions of Australian ecopoetry are as varied as the antipodean landscape itself, underscoring the intricate connections between language and ecology in this part of the world. The Mediterranean climate of Western Australia’s southwest corner, the Red Centre of Uluru, the tropical rainforests of Queensland, the temperate Tasmanian old-growth forests and the alpine reaches of the Victorian High Country signify this: rather than a contiguous desert or a terra nullius (as some readers both inside and outside of Australia may still believe), the Australian environment is a mosaic of biota, climates, topographies and regions.' (Author's introduction)