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Seven Rooms
Dominic Jaeckle, Jess Chandler; Afterword by Gareth Evans; Contributions by Mario Dondero, Erica Baum, Jess Cotton, Rebecca Tamás, Stephen Watts, Helen Cammock, Salvador Espriu, Lucy Mercer, Lucy Sante, RyÅ«nosuke Akutagawa, Ryan Choi, John Yau, Nicolette Polek, Chris Petit, Sascha Macht, Amanda DeMarco, Mark Lanegan, Vala Thorodds, Richard Scott, Joshua Cohen, Hannah Regel, Nick Cave,, Daisy Lafarge, Holly Pester, Matthew Gregory, Olivier Castel, Emmanuel Iduma, Joan Brossa, Cameron Griffiths, Imogen Cassels, Hisham Bustani, Maia Tabet, Raúl Guerrero, Velimir Khlebnikov, Natasha Randall, Edwina Atlee, Matthew Shaw, Aidan Moffat, Lesley Harrison, Oliver Bancroft, Lauren de Sá Naylor, Will Eaves, Sandro Miller, Jim Hugunin,, …
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Seven Rooms brings together highlights from Hotel, a magazine for
new approaches to fiction, non-fiction & poetry which, since
its inception in 2016, provided a space for experimental reflection
on literature's status as art & cultural mediator. Co-published
by Tenement Press and Prototype, this anthology captures, refracts,
and reflects a vital moment in independent publishing in the UK,
and is built on the shared values of openness, collaboration, and
total creative freedom.
Environmental writing is an increasingly popular literary genre,
and a multifaceted genre at that. Recently dominated by works of
'new nature writing', environmental writing includes works of
poetry and fiction about the world around us. In the last two
decades, universities have begun to offer environmental writing
modules and courses with the intention of teaching students skills
in the field of writing inspired by the natural world. This book
asks how students are being guided into writing about environments.
Informed by independently conducted interviews with educators, and
a review of existing pedagogical guides, it explores recurring
instructions given to students for writing about the environment
and compares these pedagogical approaches to the current theory and
practice of ecocriticism by scholars such as Ursula Heise and
Timothy Morton. Proposing a set of original pedagogical exercises
influenced by ecocriticism, the book draws on a number of
self-reflexive, environmentally-conscious poets, including Juliana
Spahr, Jorie Graham and Les Murray, as creative and stimulating
models for teachers and students.
Environmental writing is an increasingly popular literary genre,
and a multifaceted genre at that. Recently dominated by works of
'new nature writing', environmental writing includes works of
poetry and fiction about the world around us. In the last two
decades, universities have begun to offer environmental writing
modules and courses with the intention of teaching students skills
in the field of writing inspired by the natural world. This book
asks how students are being guided into writing about environments.
Informed by independently conducted interviews with educators, and
a review of existing pedagogical guides, it explores recurring
instructions given to students for writing about the environment
and compares these pedagogical approaches to the current theory and
practice of ecocriticism by scholars such as Ursula Heise and
Timothy Morton. Proposing a set of original pedagogical exercises
influenced by ecocriticism, the book draws on a number of
self-reflexive, environmentally-conscious poets, including Juliana
Spahr, Jorie Graham and Les Murray, as creative and stimulating
models for teachers and students.
Longlisted for the Michael Murphy Memorial Poetry Prize 2021.
Shortlisted for the 2020 Seamus Heaney First Collection Prize.
Shortlisted for the 2020 John Pollard Foundation International
Poetry Prize. Shortlisted for The 2019 Forward (Felix Dennis) Prize
for Best First Collection. The Telegraph's Poetry Book of the Month
March 2019. A Telegraph Book of the Year 2019. In her first book of
poems, Isabel Galleymore takes a sustained look at the 'eight
million differently constructed hearts' of species currently said
to inhabit Earth. These are part of the significant other of her
title; so too are the intimacies - loving, fraught, stalked by loss
and extinction - that make up a life. The habit of foisting human
agendas on non-human worlds is challenged. Must we still describe
willows as weeping? In the twenty-first century, is it possible to
be 'at one' with nature? The poems reflect on our desire to locate
likeness, empathy and kinship with our environments, whilst
embracing inevitable difference. As the narratives belonging to
animal fables, Doomsday Preppers and climate change deniers are
adapted, new metaphors are found that speak of both estrangement
and entanglement. Drawing at times from her residency in the Amazon
rainforest, Galleymore delves into a world of pink-toed tarantulas,
the erotic lives of barnacles, and caged owls that behave like
their keepers. The human world revises its own measure in the light
of these poems.
In The Ecological Thought, eco-philosopher Timothy Morton has
argued for the inclusion of "dark ecology" in our thinking about
nature. Dark ecology, he argues, puts hesitation, uncertainty,
irony, and thoughtfulness back into ecological thinking." The
ecological thought, he says, should include "negativity and irony,
ugliness and horror." Focusing on this concept of "dark ecology"
and its invitation to add an anti-pastoral perspective to
ecocriticism, this collection of essays on American literature and
culture offers examples of how a vision of nature's darker side can
create a fuller understanding of humanity's relation to nature.
Included are essays on canonical American literature, on new voices
in American literature, and on non-print American media. This is
the first collection of essays applying the "dark ecology"
principle to American literature.
In The Ecological Thought, eco-philosopher Timothy Morton has
argued for the inclusion of "dark ecology" in our thinking about
nature. Dark ecology, he argues, puts hesitation, uncertainty,
irony, and thoughtfulness back into ecological thinking." The
ecological thought, he says, should include "negativity and irony,
ugliness and horror." Focusing on this concept of "dark ecology"
and its invitation to add an anti-pastoral perspective to
ecocriticism, this collection of essays on American literature and
culture offers examples of how a vision of nature's darker side can
create a fuller understanding of humanity's relation to nature.
Included are essays on canonical American literature, on new voices
in American literature, and on non-print American media. This is
the first collection of essays applying the "dark ecology"
principle to American literature.
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