Cirrus@Austlit

'If Cooke’s previous book, Lyre, urged us towards the ‘more’ of the more-than-human world, then The grass is greener over your grave returns to the ‘human’ end of that spectrum—though always with an eye to the porosity of the human and its immersion in waves of land, language, dream, and sea. Typically wide-ranging in form, this new collection develops Cooke’s preoccupations with colonisation, ecology, metaphysics, and travel, while also acknowledging their heritage in the life and work of the late poet Martin Harrison.' (Publication summary)

'Bringing together decolonial, Romantic and global literature perspectives, Transcultural Ecocriticism explores innovative new directions for the field of environmental literary studies. By examining these literatures across a range of geographical locations and historical periods – from Romantic period travel writing to Chinese science fiction and Aboriginal Australian poetry – the book makes a compelling case for the need for ecocriticism to competently translate between Indigenous and non-Indigenous, planetary and local, and contemporary and pre-modern perspectives. Leading scholars from Australasia and North America explore links between Indigenous knowledges, Romanticism, globalisation, avant-garde poetics and critical theory in order to chart tensions as well as affinities between these discourses in a variety of genres of environmental representation, including science fiction, poetry, colonial natural history and oral narrative.' (Publication summary)

'In this essay, the author argues that the appreciation of nonhuman poetic forms, or an “ethological poetics,” is a necessary but neglected mode of ecological relation, and is especially important in the Anthropocene. Motivated by his own creative practice—in particular, the composition of Lyre, a book of poems about different animals, plants, and landforms—he considers important examples of ethologically attentive poetics before outlining how his compositional method attempts to incorporate insights from the environmental humanities and animal studies. Rather than insisting on their essential difference from human worlds, the author argues for an attentive, ethical, and imaginative engagement with nonhuman lives, through which surprising and unusual forms of poetry might emerge.' (Publication abstract)

'In the essay that follows I outline and then respond to the poetic qualities of Deborah Bird Rose’s thinking. Trained as an anthropologist, Rose was a highly original scholar. She pioneered ecological ethnography by focusing on the links between social and ecological justice, in particular with the Yarralin and Lingarra communities in the Northern Territory, and she is a founding figure in the environmental humanities, multispecies studies and extinction studies. Her sustained interest in poetry and the poetic imagination made her ever aware of the power of ‘deep stories’; Rose wanted always to be close to ‘the cadences of the[ir] poetry’ (Wild Dog 16). Unlike many scholars in the humanities, for whom writing and reading are dominated by genres of prose, references to poetry and to contemporary poets are common in Rose’s work, and her writing regularly gestures towards the poetic. Rose’s work is vital for ecological criticism that attempts to grapple with the drastic cultural and climactic changes of this century, particularly for criticism with decolonising ambitions.' (Introduction)