From "Mother Earth" to "Mother Nature," women have for centuries been associated with nature. Feminists, troubled by the way in which such representations show women controlled by powerful natural forces and confined to domestic space, have sought to distance themselves from nature. In Undomesticated Ground, Stacy Alaimo issues a bold call to reclaim nature as feminist space. Her analysis of a remarkable range of feminist writings—as well as of popular journalism, visual arts, television, and film—powerfully demonstrates that nature has been and continues to be an essential concept for feminist theory and practice.Alaimo urges feminist theorists to rethink the concept of nature by probing the vastly different meanings that it carries. She discusses its significance for Americans engaged in social and political struggles from, for example, the "Indian Wars" of the early nineteenth century, to the birth control movement in the 1920s, to contemporary battles against racism and heterosexism. Reading works by Catherine Sedgwick, Mary Austin, Emma Goldman, Nella Larson, Donna Haraway, Toni Morrison, and others, Alaimo finds that some of these writers strategically invoke nature for feminist purposes while others cast nature as a postmodern agent of resistance in the service of both environmentalism and the women's movement.By examining the importance of nature within literary and political texts, this book greatly expands the parameters of the nature writing genre and establishes nature as a crucial site for the cultural work of feminism.

A story of first love that will break your heart, this bittersweet debut novel follows two teenagers whose all-consuming relationship is tested by the forces of class, prejudice, and addiction. “Reading this book is like holding a heartbeat in your hands.”—Amy Jo Burns, author of Mercury There were parts that were bliss, there were parts that were full and faultless and laden with joy. The way everything Danny and I did, everything we felt, we did, we felt together. The way we loved and loved and loved each other. From the beginning, it has always been Neef and her mother, Chrissy—troubled, beautiful, at the mercy of addiction and a revolving door of bad relationships. When Neef turns twelve, they move from inner-city Leeds to a small Yorkshire town to follow Chrissy’s much-older boyfriend, who runs the local pub. But for Neef, perhaps it’s also a chance to start over. On her first day in her new home, it becomes Neef and Danny, the boy who captures her attention planting flowers in the pub garden—and then, it is somehow always Danny. Danny is seen as an outsider by those around him; half Jamaican, he and his father are the only people of color in their community. Immediately drawn to each other, Neef and Danny form a friendship that gives way to the slow burn of romance as they grow up. Desperate to escape the confines of their world, Neef and Danny cling to each other throughout their adolescence, even as their relationship strains against the same forces that hold their families hostage: substance abuse, poverty, racism. For a while, though, it seems like it could be Neef and Danny forever. But then, finally, it is just Neef: sober, living in London, trying to tell herself she never knew a boy called Danny, never loved him, never had him wrenched away. That is, until someone from those days comes seeking redemption, and she cannot pretend any longer. Braiding together past and present, Wild Ground introduces us to a young woman both coming of age and coming to terms with herself. This tender and moving debut, at once heartbreaking and hopeful, is an aching love story that you will find impossible to forget.

This accessible and timely book uses a Christian perspective to explore ethical debates about nature. A detailed exploration of humanity’s treatment of the natural world from a Christian perspective. Covers a range of ethical debates, including current controversies about the environment, animal rights, biotechnology, consciousness, and cloning. Sets the immediate issues in the context of underlying theological and philosophical assumptions. Complex scientific issues are explained in clear student-friendly language. The author develops her own distinctive ethical approach centred on the practice of wisdom. Discusses key figures in the field, including Peter Singer, Aldo Leopold, Tom Regan, Andrew Linzey, James Lovelock, Anne Primavesi, Rosemary Radford Ruether, and Michael Northcott. The author has held academic posts in both theology and plant science.

The American wilderness narrative, which divides nature from culture, has remained remarkably persistent despite the rise of ecological science, which emphasizes interconnection between these spheres. Wild Abandon considers how ecology's interaction with radical politics of authenticity in the twentieth century has kept that narrative alive in altered form. As ecology gained political momentum in the 1960s and 1970s, many environmentalists combined it with ideas borrowed from psychoanalysis and a variety of identity-based social movements. The result was an identity politics of ecology that framed ecology itself as an authentic identity position repressed by cultural forms, including social differences and even selfhood. Through readings of texts by Edward Abbey, Simon Ortiz, Toni Morrison, Margaret Atwood, and Jon Krakauer, among others, Alexander Menrisky argues that writers have both dramatized and critiqued this tendency, in the process undermining the concept of authenticity altogether and granting insight into alternative histories of identity and environment.

From "Mother Earth" to "Mother Nature," women have for centuries been associated with nature. Feminists, troubled by the way in which such representations show women controlled by powerful natural forces and confined to domestic space, have sought to distance themselves from nature. In Undomesticated Ground, Stacy Alaimo issues a bold call to reclaim nature as feminist space. Her analysis of a remarkable range of feminist writings--as well as of popular journalism, visual arts, television, and film--powerfully demonstrates that nature has been and continues to be an essential concept for feminist theory and practice.Alaimo urges feminist theorists to rethink the concept of nature by probing the vastly different meanings that it carries. She discusses its significance for Americans engaged in social and political struggles from, for example, the "Indian Wars" of the early nineteenth century, to the birth control movement in the 1920s, to contemporary battles against racism and heterosexism. Reading works by Catherine Sedgwick, Mary Austin, Emma Goldman, Nella Larson, Donna Haraway, Toni Morrison, and others, Alaimo finds that some of these writers strategically invoke nature for feminist purposes while others cast nature as a postmodern agent of resistance in the service of both environmentalism and the women's movement.By examining the importance of nature within literary and political texts, this book greatly expands the parameters of the nature writing genre and establishes nature as a crucial site for the cultural work of feminism.

Modernity and urbanity have long been considered mutually sustaining forces in early twentieth-century America. But has the dominance of the urban imaginary obscured the importance of the rural? How have women, in particular, appropriated discourses and images of rurality to interrogate the problems of modernity? And how have they imbued the rural-traditionally viewed as a locus for conservatism-with a progressive political valence? Touching on such diverse subjects as eugenics, reproductive rights, advertising, the economy of literary prizes, and the role of the camera, A New Heartland demonstrates the importance of rurality to the imaginative construction of modernism/modernity; it also asserts that women, as objects of scrutiny as well as agents of critique, had a special stake in that relation. Casey traces the ideals informing America's conception of the rural across a wide field of representational domains, including social theory, periodical literature, cultural criticism, photography, and, most especially, women's rural fiction ("low" as well as "high"). Her argument is informed by archival research, most crucially through a careful analysis of The Farmer's Wife, the single nationally distributed farm journal for women and a little known repository of rural American attitudes. Through this broad scope, A New Heartland articulates an alternative mode of modernism by challenging orthodox ideas about gender and geography in twentieth-century America.

Opening with the statement “The anthropocene is no time to set things straight,” Stacy Alaimo puts forth potent arguments for a material feminist posthumanism in the chapters that follow. From trans-species art and queer animals to naked protesting and scientific accounts of fishy humans, Exposed argues for feminist posthumanism immersed in strange agencies and scale-shifting ethics. Including such divergent topics as landscape art, ocean ecologies, and plastic activism, Alaimo explores our environmental predicaments to better understand feminist occupations of transcorporeal subjectivity. She puts scientists, activists, artists, writers, and theorists in conversation, revealing that the state of the planet in the twenty-first century has radically transformed ethics, politics, and what it means to be human. Ultimately, Exposed calls for an environmental stance in which, rather than operating from an externalized perspective, we think, feel, and act as the very stuff of the world.