These essays are reports from an increasingly important crossroads where art and ecology meet. Andrew Schelling belongs, in the words of Patrick Pritchett, "to a small group of poets who are actively engaged with the rhythms and pulses of the natural world." He is also the preeminent translator into English of the poetries of ancient India.Wild Form, Savage Grammarcollects ten years of essays, many of which investigate the "nature literacy" of American and Asian poetry traditions. Other topics include recollections of Allen Ginsberg and Joanne Kyger, wolf reintroduction in the Rocky Mountains, pilgrimage to Buddhist India, and the possible use of hallucinogens among Paleolithic artists. An underlying commitment to ecology studies, Buddhist teachings, and contemporary poetry weaves the collection together.>/p> "What the archaic traditions (and their echoes in Asia, Native America and elsewhere) might come to mean for a nature literate people of today and the future is very exciting. A way out of the West's goofy pastoralism? Out of the neo-Victorian nature writing which dominates the commercial nature magazines? Let's envision somewhere in the immediate future a tradition grander than Romantic landscape verse or regional painting, and far more heartening than nostalgia for a pre-industrial or pre-agricultural past. What might it look like? Could there be a future in which ecology and art fruitfully interact, inspired by biological discoveries and scarcely envisioned conservation sciences of eras to come? My hope is that projective forms of writing will move quickly past visual descriptions of natural phenomena, to enact or recuperate what Aldo Leopold observed to be the grand theaters of ecology and the epic journeys of evolution."--from theIntroduction

Ever wonder about the dog in Downward Dog or the pigeon in Kapota? Rewild your yoga practice by connecting to the animals behind the asanas. For nature-loving yogis and readers of World of Wonders and Yoga Mythology From Downward Dog to Cobra, Wild Asana invites you into an embodied exploration of the animals that inspire familiar yoga poses. Drawing on wildlife science, anthropology, Hindu mythology, Eastern philosophy, and personal stories, this insightful guide by environmental educator and yoga instructor Alison Zak explores the connections among our bodies, our minds, and the animals that inspire our practice. In illustrated chapters on asanas like Tittibhasana (Firefly), Garudasana (Eagle), Bidalasana (Cat), and Ustrasana (Camel), Zak invites you to bring the deep nature of animals into breath and movement. You’ll learn to: Respect the monkey in “monkey mind” to honor—not tame—your own wildness Fly like an eagle to move from imprisonment to liberation Embody a pigeon’s stillness and nonattachment Imbue your practice with the agility, flexibility, and fierce commitment of a cat Incorporate asana variations, mudras, and meditations inspired by animal nature Practice lovingkindness meditations that include the more-than-human world With an encompassing ecological compassion, gorgeous original illustrations, profound insight into animal wisdom, and the humor and perspective of lived experience, Zak offers a path to deepen and enliven your practice. Whether you’re an animal lover, a first-time yoga student, or an experienced practitioner, Wild Asana is a practical and accessible guide to becoming animal on your yoga mat.

Weaving a Way Home will appeal to those deeply interested in knowing how we forge relationships with places and how that shapes who we are."--BOOK JACKET.

“Tracks Along the Left Coast more than accomplishes its self–appointed task of celebrating de Angulo’s legacy.” —Rain Taxi “Schelling’s biography of Jaime de Angulo—'cattle puncher, medical doctor, bohemian, buckeroo,' among other things—presents a fascinating, full–bodied portrait of a man and an era, as well as delving deep into California’s Native history. De Angulo’s isn't a household name, but in Schelling's work the man called by Ezra Pound the 'American Ovid' comes blazing to life in all his singular brilliance.” —Stephen Sparks, Literary Hub California, with its scores of native languages, contains a wealth of old–time stories—a bedrock of the literature of North America. Jaime de Angulo's linguistic and ethnographic work, his writings, as well as the legends that cloak the Old Coyote himself, vividly reflect the particulars of the Pacific Coast. In each retelling, through each storyteller, stories are continually revivified, and that is precisely what Andrew Schelling has done in Tracks Along the Left Coast, weaving together the story of de Angulo's life with the story of the land and the people, languages, and cultures with whom it is so closely tied.

This unique collection brings us African Americans reading the Black diasporahrough the eyes of exiled Tibetan monks; Americans of Vietnamese and Tibetaneritage wrestling with the cultural norms of their parents or ancestors; Zennd Dada inspired performance pieces; and groundbreaking writings from theioneers of the Beat movement, so many of whom remain not just relevant butital to this day. With its eclectic mix of acknowledged elders and newlymergent voices, this landmark anthology vividly displays how Buddhism isnfluencing the character of contemporary poetry.

"A single stanza of the poet Amaru," declared a ninth-century poetry critic, "may provide the taste of love equal to what's found in whole volumes." Graceful and yet remarkably playful, intensely passionate, and at times hinting of divine transcendence, the poems translated here offer poignant glimpses into the many faces of erotic love. This collection, known in Sanskrit as the Amarushataka ("One Hundred Poems of Amaru"), was compiled in the eighth century and remains to this day one of India's finest collections of love poetry. It has never been fully translated into English poetry before. Legend connects the poetry's authorship to King Amaru of Kashmir, while present-day scholars generally consider it an anthology of the verses of many poets. Poet and translator Andrew Schelling's artful translations render the ancient verses with freshness and immediacy. Schelling's compelling introduction and afterword offer musings on the colorful background and history of the original Sanskrit text.

Life Writing in the Anthropocene is a collection of timely and original approaches to the question of what constitutes a life, how that life is narrated, and what lives matter in autobiography studies in the Anthropocene. This era is characterised by the geoengineering impact of humans, which is shaping the planet’s biophysical systems through the combustion of fossil fuels, production of carbon, unprecedented population growth, and mass extinction. These developments threaten the rights of humans and other-than-humans to just and sustainable lives. In exploring ways of representing life in the Anthropocene, this work articulates innovative literary forms such as ecobiography (the representation of a human subject's entwinement with their environment), phytography (writing the lives of plants), and ethological poetics (the study of nonhuman poetic forms), providing scholars and writers with innovative tools to think and write about our strange new world. In particular, its recognition on plant life reminds us of how human lives are entwined with vegetal lives. The creative and critical essays in this book, shaped by a number of Antipodean authors, bear witness to a multitude of lives and deaths. The chapters in this book were originally published as a special issue of a/b: Auto/Biography Studies.