Modern Ecopoetry: Reading the Palimpsest of the More-Than-Human World explores the fruitful dialogue between poetry and the more-than-human world from various critical standpoints in modern English-writing poets from diverse backgrounds such as the USA, the UK, Canada, India, and Pakistan.

Definitive and daring, The Ecopoetry Anthology is the authoritative collection of contemporary American poetry about nature and the environment--in all its glory and challenge. From praise to lament, the work covers the range of human response to an increasingly complex and often disturbing natural world and inquires of our human place in a vastness beyond the human. To establish the antecedents of today's writing,The Ecopoetry Anthology presents a historical section that includes poetry written from roughly the mid-nineteenth to the mid-twentieth century. Iconic American poets like Walt Whitman and Emily Dickinson are followed by more modern poets like Wallace Stevens, William Carlos Williams, Ezra Pound, and even more recent foundational work by poets like Theodore Roethke, Elizabeth Bishop, Robert Hayden, and Muriel Rukeyser. With subtle discernment, the editors portray our country's rich heritage and dramatic range of writing about the natural world around us.

The essays are uniformly thoughtful, perceptive, and readable ... [and] engage the current scholarship gracefully, without pretense or pedantry. Each chapter is stuffed with insights. --John Tallmadge.

"Ecopoetics: Essays in the Field makes a formidable intervention into the emerging field of ecopoetics. The volume's essays model new and provocative methods for reading twentieth and twenty-first century ecological poetry and poetics, drawing on the insights of ecocriticism, contemporary philosophy, gender and sexuality studies, black studies, Native studies, critical race theory, and disability studies, among others. As a volume, this book makes the compelling argument that ecopoetics should be read as "coextensive with post-1945 poetry and poetics," rather than as a subgenre or movement within it. It is essential reading for any student or scholar working on contemporary literature or in the environmental humanities today"--Back cover.

In contrast to nature poets of the past who tended more toward the bucolic and pastoral, many contemporary nature poets are taking up radical environmental and ecological themes. In the last few years, interesting and evocative work that examines this poetry has begun to lay the foundation for studies in ecopoetics. Informed in general by current thinking in environmental theory and specifically by the work of cultural geographer Yi-Fu Tuan, The West Side of Any Mountain participates in and furthers this scholarly attention by offering an overarching theoretical framework with which to approach the field. One area that contemporary theorists have found problematic is the dualistic civilization/wilderness binary that focuses on the divisions between culture and nature, thereby increasing the modern sense of alienation. Tuan’s place-space framework offers a succinct vocabulary for describing the attitudes of ecological poets and other nature writers in a way that avoids setting up an adversarial relationship between place and space. Scott Bryson describes the Tuanian framework and employs it to offer fresh readings of the work of four major ecopoets: Wendell Berry, Joy Harjo, Mary Oliver, and W. S. Merwin. The West Side of Any Mountain will be of great interest to scholars and teachers working in the field of contemporary nature poetry. It is recommended for nature-writing courses as well as classes dealing with 20th-century poetry, contemporary literary criticism, and environmental theory.

Focusing on the work of A.R. Ammons, Wendell Berry, W.S. Merwin, and Gary Snyder, author Leonard Scigaj shows that just as a sustainable society does not depreciate its resource base, so a sustainable poetry does not restrict interest to language. Over the past thirty years many poets have shown an increasing sensitivity to ecological thinking. But critics trained in poststructuralist language theory often fail to explore the substance of ecopoetry. Scigaj is the first to define ecopoetry as separate and distinct from nature or environmental poetry, marked by its concern with balancing the interests of human beings with the needs of nature. Just as science learned that the earth was not the center of the universe, ecopoetry insists on the recognition that humans are not at the center of the natural world.

Huron, Ontario, Michigan, Erie, Superior: HOMES. Moheb Soliman traces the coast of the Great Lakes with postmodern poems, exploring the natural world, the experience of belonging, and the formation of identity along borders. Moheb Soliman’s HOMES maps the shoreline of the Great Lakes from the rocky North Shore of Minnesota to the Thousand Islands of eastern Ontario. This poetic travelogue offers an intimate perspective on an immigrant experience as Soliman drives his Corolla past exquisite vistas and abandoned mines, through tourist towns and midwestern suburbs, seeking to inhabit an entire region as home. Against the backdrop of environmental destruction and a history of colonial oppression, the vitality of Soliman’s language brings a bold ecopoetic lens to bear on the relationship between transience and belonging in the world’s largest, most porous borderland.