Pub Date : 2022-07-03DOI: 10.1080/14688417.2022.2114519
T. Gifford
ABSTRACT Using the methodology of ‘narrative scholarship’ to explore walks today made by Coleridge and the Wordsworths out of Nether Stowey this essay relates their themes to contemporary environmental concerns by thinking of this Quantocks space as ‘post-pastoral’ – a site of both beauty and alarm. This tension is summed up as one between the political stoicism that might emerge from the nether world of the Anthropocene and the well-being of walking this space in times of pandemic. This tension is created in original poems that punctuate the critical and historical enquiry. The scholarship of Jonathan Bate’s Radical Wordsworth (2020) and Adam Nicolson’s The Making of Poetry (2019) is discussed, leading to reference to Samantha Walton’s Everybody Needs Beauty: In Search of a Nature Cure (2021). Finally, John Muir’s framing of ‘going out’ for a walk as really ‘going in’ leads to the conclusion that both are needed now.
{"title":"‘Nether Stoical? Re-Walking Coleridge and Wordsworth’s Quantocks Paths as Post-Pastoral Spaces’","authors":"T. Gifford","doi":"10.1080/14688417.2022.2114519","DOIUrl":"https://doi.org/10.1080/14688417.2022.2114519","url":null,"abstract":"ABSTRACT Using the methodology of ‘narrative scholarship’ to explore walks today made by Coleridge and the Wordsworths out of Nether Stowey this essay relates their themes to contemporary environmental concerns by thinking of this Quantocks space as ‘post-pastoral’ – a site of both beauty and alarm. This tension is summed up as one between the political stoicism that might emerge from the nether world of the Anthropocene and the well-being of walking this space in times of pandemic. This tension is created in original poems that punctuate the critical and historical enquiry. The scholarship of Jonathan Bate’s Radical Wordsworth (2020) and Adam Nicolson’s The Making of Poetry (2019) is discussed, leading to reference to Samantha Walton’s Everybody Needs Beauty: In Search of a Nature Cure (2021). Finally, John Muir’s framing of ‘going out’ for a walk as really ‘going in’ leads to the conclusion that both are needed now.","PeriodicalId":38019,"journal":{"name":"Green Letters","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77728377","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-03DOI: 10.1080/14688417.2022.2096317
Maria Sledmere
{"title":"Modernism and the Anthropocene: Material Ecologies of Twentieth-Century Literature","authors":"Maria Sledmere","doi":"10.1080/14688417.2022.2096317","DOIUrl":"https://doi.org/10.1080/14688417.2022.2096317","url":null,"abstract":"","PeriodicalId":38019,"journal":{"name":"Green Letters","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84636485","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-03DOI: 10.1080/14688417.2022.2114522
Anne Wallace
ABSTRACT In early 19th-century England and Europe, the primary cultural meanings of walking expanded from destination-bound ‘travail’ compelled by material or spiritual necessity into theoretically unbounded, deliberately chosen travel producing pleasure and artistic opportunity. English Romantic poet John Clare staged his walker’s identity as daily sojourns through the landscape of his ‘childhood dear’, his leisured walking enacting his freedom from labour and poverty. But Clare’s walker also finds his ambulatory resistance ‘stopt’ as privatising enclosures of common lands cut him off from his memories and reinforce class oundaries. This essay looks through the lens of Clare’s poetry into another time of stopt paths, New Orleans after Hurricane Katrina, to ask whether we can or should anchor identity in specific material locality traversed by the free walker. Does the walker’s placed identity empower personal transcendence and resistant action, or does the materiality of the local inevitably constrain the walker’s freedoms?
{"title":"’Paths to Freedom and to Childhood Dear’: Walking and Identity in a Time of ’Stopt’ Paths","authors":"Anne Wallace","doi":"10.1080/14688417.2022.2114522","DOIUrl":"https://doi.org/10.1080/14688417.2022.2114522","url":null,"abstract":"ABSTRACT In early 19th-century England and Europe, the primary cultural meanings of walking expanded from destination-bound ‘travail’ compelled by material or spiritual necessity into theoretically unbounded, deliberately chosen travel producing pleasure and artistic opportunity. English Romantic poet John Clare staged his walker’s identity as daily sojourns through the landscape of his ‘childhood dear’, his leisured walking enacting his freedom from labour and poverty. But Clare’s walker also finds his ambulatory resistance ‘stopt’ as privatising enclosures of common lands cut him off from his memories and reinforce class oundaries. This essay looks through the lens of Clare’s poetry into another time of stopt paths, New Orleans after Hurricane Katrina, to ask whether we can or should anchor identity in specific material locality traversed by the free walker. Does the walker’s placed identity empower personal transcendence and resistant action, or does the materiality of the local inevitably constrain the walker’s freedoms?","PeriodicalId":38019,"journal":{"name":"Green Letters","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78748168","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-03DOI: 10.1080/14688417.2022.2114524
Nishtha Pandey
ABSTRACT This article argues that the activity of walking in Jenny Erpenbeck’s 2015 novel Go, Went, Gone (translated from the German by Susan Bernofsky in 2017) is crucial in establishing a singular intimacy between its protagonist, the retired professor Richard, and the refugee-subjects of colour who live in precarious circumstances when they arrive in Berlin. It suggests that walking, as an action as well as an activity, triggers a transformation in his negotiations with radical alterity. This can be traced through a gradual shift in Richard’s perception of walking from an aesthetic pleasure to its utilisation in matters of ethical urgency. In this manner, it studies the new ethics of flânerie premised on affective and ethical engagements with various others in Erpenbeck’s novel.
{"title":"The Intimacy of Listening: A New Politics of Flânerie in Jenny Erpenbeck’s Go, Went, Gone","authors":"Nishtha Pandey","doi":"10.1080/14688417.2022.2114524","DOIUrl":"https://doi.org/10.1080/14688417.2022.2114524","url":null,"abstract":"ABSTRACT This article argues that the activity of walking in Jenny Erpenbeck’s 2015 novel Go, Went, Gone (translated from the German by Susan Bernofsky in 2017) is crucial in establishing a singular intimacy between its protagonist, the retired professor Richard, and the refugee-subjects of colour who live in precarious circumstances when they arrive in Berlin. It suggests that walking, as an action as well as an activity, triggers a transformation in his negotiations with radical alterity. This can be traced through a gradual shift in Richard’s perception of walking from an aesthetic pleasure to its utilisation in matters of ethical urgency. In this manner, it studies the new ethics of flânerie premised on affective and ethical engagements with various others in Erpenbeck’s novel.","PeriodicalId":38019,"journal":{"name":"Green Letters","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90040477","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-03DOI: 10.1080/14688417.2022.2102526
Neal Alexander
ABSTRACT Most literary representations of climate change focus upon its tangible effects: destructive storms and floods; melting glaciers and rising sea levels; wildfires, droughts and species extinctions. It is much less common, however, for writers to confront the primary causes of climate change and global warming: the mining and burning of fossil fuels over the course of more than two centuries, from the dawn of industrial capitalism to the present. This essay will examine some notable exceptions to this general rule, focusing upon the work of two Canadian poet-activists, Stephen Collis and Rita Wong. In particular, I argue that their representations of the Alberta Tar Sands are illuminating not only for the ways in which they integrate the effects of climate change with their sources in what Andreas Malm calls ‘the fossil economy’ but also because they foreground the politics of walking in a polluted and brutalised landscape.
{"title":"Walking the Tar Sands: Poetry and the Fossil Economy","authors":"Neal Alexander","doi":"10.1080/14688417.2022.2102526","DOIUrl":"https://doi.org/10.1080/14688417.2022.2102526","url":null,"abstract":"ABSTRACT Most literary representations of climate change focus upon its tangible effects: destructive storms and floods; melting glaciers and rising sea levels; wildfires, droughts and species extinctions. It is much less common, however, for writers to confront the primary causes of climate change and global warming: the mining and burning of fossil fuels over the course of more than two centuries, from the dawn of industrial capitalism to the present. This essay will examine some notable exceptions to this general rule, focusing upon the work of two Canadian poet-activists, Stephen Collis and Rita Wong. In particular, I argue that their representations of the Alberta Tar Sands are illuminating not only for the ways in which they integrate the effects of climate change with their sources in what Andreas Malm calls ‘the fossil economy’ but also because they foreground the politics of walking in a polluted and brutalised landscape.","PeriodicalId":38019,"journal":{"name":"Green Letters","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86589612","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-03DOI: 10.1080/14688417.2022.2079546
D. Farrier
ABSTRACT According to a UN report published in 2019, up to one million species face extinction by 2100. Such a scale of loss outpaces language. Drawing on Denise Riley’s work on the autonomy of language, this article argues that contemplating extinction involves attending to language’s capacity to speak outside its context. Mindful of the 40% of amphibian life under threat of extinction, it examines three poems about frogs, by Paul Muldoon, Kathleen Jamie, and Vahni (Anthony Ezekiel) Capildeo, as instances of Riley’s concept of ‘lyric shame’, where the poet acknowledges the ‘voice of language itself … trying to speak’. Focusing on allusion, apostrophe, and ekphrasis (facets of the poem that involve a clinamen, a turn away from or towards the subject) it argues that the lyric poem – as an occasion where shame gives rise to song – can also be a vehicle for encountering the lament of long-neglected non-human voices.
{"title":"On Lyric Shame and Extinction","authors":"D. Farrier","doi":"10.1080/14688417.2022.2079546","DOIUrl":"https://doi.org/10.1080/14688417.2022.2079546","url":null,"abstract":"ABSTRACT According to a UN report published in 2019, up to one million species face extinction by 2100. Such a scale of loss outpaces language. Drawing on Denise Riley’s work on the autonomy of language, this article argues that contemplating extinction involves attending to language’s capacity to speak outside its context. Mindful of the 40% of amphibian life under threat of extinction, it examines three poems about frogs, by Paul Muldoon, Kathleen Jamie, and Vahni (Anthony Ezekiel) Capildeo, as instances of Riley’s concept of ‘lyric shame’, where the poet acknowledges the ‘voice of language itself … trying to speak’. Focusing on allusion, apostrophe, and ekphrasis (facets of the poem that involve a clinamen, a turn away from or towards the subject) it argues that the lyric poem – as an occasion where shame gives rise to song – can also be a vehicle for encountering the lament of long-neglected non-human voices.","PeriodicalId":38019,"journal":{"name":"Green Letters","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81356134","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-03DOI: 10.1080/14688417.2022.2081022
J. Hill
This theoretical and narrative work brings together the diverse fields of ecocriticism, biose-miotics and Shakespeare in a thought-provoking and original way to construct the argument that the nature of narrative is life itself. Day offers a new perspective on the connections between the natural environment, human bodies and literature, viewing texts as organisms that operate within an evolutionary system that emerges from, and runs parallel to, our material world. Day argues that information in interrelated systems adapts and mutates as it travels through time and space, shaping the future in unpredictable ways. This idea is illustrated in each chapter through an examination of a Shakespeare play and a modern work that is genetically related to the earlier drama. Day chooses to focus on Shakespeare because his works are particularly influential and ubiquitous in our culture, although Day points out that their stories can be traced back to the earliest civilisations. These examples underline the importance of literature’s role in the transmission of ideas and the construction of the human umwelt , a term coined by the German biologist Jakob Von Uexküll to denote ‘the species-specific linguistic habitat that humans share in common’ (xxii). In each chapter, Day builds on the theories of scientists and literary critics, and he inter-sperses the narrative in this often personal work with engaging stories from his own life that support his argument. Day hopes that his insights into our deep connection to the natural world will encourage humanity to disregard arbitrary barriers between species and see the world from an evolutionary perspective. In this way, the author aims to foster a greater respect for nature and a heightened awareness of the cascading effects our actions can have on the environment. This is very much a book for our times as the world continues to grapple with Covid and global warming. living love
{"title":"Shakespeare and the evolution of the human umwelt: adapt, interpret, mutate","authors":"J. Hill","doi":"10.1080/14688417.2022.2081022","DOIUrl":"https://doi.org/10.1080/14688417.2022.2081022","url":null,"abstract":"This theoretical and narrative work brings together the diverse fields of ecocriticism, biose-miotics and Shakespeare in a thought-provoking and original way to construct the argument that the nature of narrative is life itself. Day offers a new perspective on the connections between the natural environment, human bodies and literature, viewing texts as organisms that operate within an evolutionary system that emerges from, and runs parallel to, our material world. Day argues that information in interrelated systems adapts and mutates as it travels through time and space, shaping the future in unpredictable ways. This idea is illustrated in each chapter through an examination of a Shakespeare play and a modern work that is genetically related to the earlier drama. Day chooses to focus on Shakespeare because his works are particularly influential and ubiquitous in our culture, although Day points out that their stories can be traced back to the earliest civilisations. These examples underline the importance of literature’s role in the transmission of ideas and the construction of the human umwelt , a term coined by the German biologist Jakob Von Uexküll to denote ‘the species-specific linguistic habitat that humans share in common’ (xxii). In each chapter, Day builds on the theories of scientists and literary critics, and he inter-sperses the narrative in this often personal work with engaging stories from his own life that support his argument. Day hopes that his insights into our deep connection to the natural world will encourage humanity to disregard arbitrary barriers between species and see the world from an evolutionary perspective. In this way, the author aims to foster a greater respect for nature and a heightened awareness of the cascading effects our actions can have on the environment. This is very much a book for our times as the world continues to grapple with Covid and global warming. living love","PeriodicalId":38019,"journal":{"name":"Green Letters","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86633391","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-03DOI: 10.1080/14688417.2022.2081021
Helen List
strike, the details of the crimes of Franco's regime are there, waiting in the archive until the will to expose them becomes insurmountable. The repressed cannot remain under the surface indefinitely. This book is a must read for iberophiles, ecocritics and anyone interested in the material agency of waste. Its exploration of film, photography, literature and garbage converges into something that feels urgent, unique and perversely entertaining. The metaphors that Amago creates between garbage, forgotten spaces, buried documents and repressed histories come to life when put into conversation with what artists can make of the discarded. Amago‘s book will undoubtedly affect the way that any reader looks at, and interacts with, the basura in their own surroundings.
{"title":"Teaching environmental writing: ecocritical pedagogy and poetics","authors":"Helen List","doi":"10.1080/14688417.2022.2081021","DOIUrl":"https://doi.org/10.1080/14688417.2022.2081021","url":null,"abstract":"strike, the details of the crimes of Franco's regime are there, waiting in the archive until the will to expose them becomes insurmountable. The repressed cannot remain under the surface indefinitely. This book is a must read for iberophiles, ecocritics and anyone interested in the material agency of waste. Its exploration of film, photography, literature and garbage converges into something that feels urgent, unique and perversely entertaining. The metaphors that Amago creates between garbage, forgotten spaces, buried documents and repressed histories come to life when put into conversation with what artists can make of the discarded. Amago‘s book will undoubtedly affect the way that any reader looks at, and interacts with, the basura in their own surroundings.","PeriodicalId":38019,"journal":{"name":"Green Letters","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90727853","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-03DOI: 10.1080/14688417.2022.2081023
M. Haggith
new garden should be, especially in light of the repression of indigenous people across the Americas by Spanish colonialists, who had ‘conflated the indigenous body with the body of nature’ (123). This attitude is reflected in The Tempest, as Prospero’s treatment of Caliban begs the question of who the real monster is. The director of La Otra Tempestad, a modern adaptation of The Tempest that Day watched in Madrid, responds to the same question about man’s relationship with nature, which remains just as urgent today. The drama serves as a lesson to us all to celebrate and embrace chaotic nature and regard it not as ‘frighteningly other, but as the stuff of our genes, our dreams, and our stories’ (116).
新的花园应该是，特别是考虑到西班牙殖民者对美洲各地土著人民的镇压，他们“将土著身体与自然身体混为一谈”(123)。这种态度反映在《暴风雨》中，因为普洛斯彼罗对卡利班的处理回避了谁是真正的怪物的问题。《暴风雨》(La Otra Tempestad)是我在马德里观看的《暴风雨》(The Tempest)的现代改编版，该片的导演回答了关于人与自然关系的同样问题，这个问题在今天仍然同样紧迫。这部戏剧给我们上了一课，让我们庆祝和拥抱混乱的自然，不要把它看作“可怕的其他事物，而是我们基因、梦想和故事的组成部分”(116)。
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Pub Date : 2022-04-03DOI: 10.1080/14688417.2022.2102525
Jasper Delbecke
ABSTRACT This article engages with the obstacles confronting documentary-oriented artists when engaging with the multifaceted problem of the era of climate change. The label ‘documentary’ evokes several assumptions and suggests that such artworks represent events in an objective, neutral and unmediated way. Consequently, the premise of representing reality-as-it-is is attached to these kinds of documentary artworks. Despite the large body of theoretical reflections on the limitations of the documentary mode, these false assumptions and promises endure. By revisiting the genealogy of the documentary tradition, and with particular reference to Hannes Dereere and Silke Huysmans’ 2019 performance Pleasant Island, this article points at some challenges and possible solutions for documentary artists to cope with the overwhelming complexity that characterises our current period.
{"title":"Documentary(‘s) Challenges in the Anthropocene","authors":"Jasper Delbecke","doi":"10.1080/14688417.2022.2102525","DOIUrl":"https://doi.org/10.1080/14688417.2022.2102525","url":null,"abstract":"ABSTRACT This article engages with the obstacles confronting documentary-oriented artists when engaging with the multifaceted problem of the era of climate change. The label ‘documentary’ evokes several assumptions and suggests that such artworks represent events in an objective, neutral and unmediated way. Consequently, the premise of representing reality-as-it-is is attached to these kinds of documentary artworks. Despite the large body of theoretical reflections on the limitations of the documentary mode, these false assumptions and promises endure. By revisiting the genealogy of the documentary tradition, and with particular reference to Hannes Dereere and Silke Huysmans’ 2019 performance Pleasant Island, this article points at some challenges and possible solutions for documentary artists to cope with the overwhelming complexity that characterises our current period.","PeriodicalId":38019,"journal":{"name":"Green Letters","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91037671","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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