In the first book devoted exclusively to the ecopoetics of the twenty-first century, Lynn Keller examines poetry of what she terms the ""self-conscious Anthropocene,"" a period in which there is widespread awareness of the scale and severity of human effects on the planet. Recomposing Ecopoetics analyzes work written since the year 2000 by thirteen North American poets-including Evelyn Reilly, Juliana Spahr, Ed Roberson, and Jena Osman-all of whom push the bounds of literary convention as they seek forms and language adequate to complex environmental problems. Drawing as often on linguistic experimentalism as on traditional literary resources, these poets respond to environments transformed by people and take ""nature"" to be a far more inclusive and culturally imbricated category than conventional nature poetry does. This interdisciplinary study not only brings cutting-edge work in ecocriticism to bear on a diverse archive of contemporary environmental poetry; it also offers the environmental humanities new ways to understand the cultural and affective dimensions of the Anthropocene.

As a tradition modernism has fostered particularly polarised impulses - though the great modernist poems offer impressive models, modernist principles, epitomised in Ezra Pound's exhortation to 'make it new', encourage poets to reject the methods of their immediate predecessors. Re-making it New explores the impact of this polarised tradition on contemporary American poets by examining the careers of John Ashbery, Elizabeth Bishop, Robert Creeley and James Merrill. To demonstrate how these four have extended modernist attitudes to create a distinctive post-modern art, each one's poetry is compared with that of a modernist who has been an important influence: Ashbery is discussed in conjunction with Wallace Stevens, Bishop with Marianne Moore, Creeley with William Carlos Williams and Merrill with W. H. Auden. Lynn Keller's book shows that contemporary poets have chosen not to reach for order as their modernist predecessors did; instead, they attempt to dissolve hierarchical distinction and polarising categories in a modest spirit of accommodation and acceptance.

Second edition of The Good and Heavenly COUNSEL by Mrs. Grace Smith, published in 1712. The only recognized religious book by a Puritan woman in Colonial America. Original Edition transcribed by Reverend Samuel Treat, Graduate of 1669 Class of Harvard University. Reverend Treat paid a visit to his congregant, Mrs. Grace Smith, who was ninety-six. She had been his faithful congregant for almost forty years, yet he discovered she had an entirely different approach to the same verses he had taught. This book is a collection of the COUNSEL Grace Smith wanted to leave for her children. These are moral lessons with concern for their souls. She had written two poems, which still have merit, as well as twenty teachings with correlating biblical verses. Reverend Treat carefully chose his descriptive words for her. The Good and Heavenly COUNSEL Of that Eminent and Pious Matron, Mrs. GRACE SMITH Late Widow to Mr. RALPH SMITH Of Eastham in New England. He made his own dedication and commitment clear by his declaration: "Left as a perpetual Monitor to her Surviving Children; as it was taken from her own mouth a little before her death, by the Minister of that Town where she died." He then chose the biblical passage that sets the context for her teachings as the moral authority of a mother, as differentiated from that of a father. Prov 1.8 My Son, Hear the Instruction of thy Father and Forsake not the Law of thy Mother Reverend Treat understood the lessons of this aged, alert woman had a gentle, loving approach. This was quite different from the hell, fire and brimstone teachings that were customary from the ministers of the time. She was concerned about the souls of her children. She had the moral authority. Timothy Green was the preeminent publisher of his time. Thus The Good and Heavenly COUNSEL had the approval and dedication of Reverend Treat and Publisher Green, who were highly respected authorities. The careful transcription has been done by Lynn Keller, her tenth generation descendant. This is an important tome for American history, religion in America, women's studies, and Cape Cod lore. The teachings are as relevant today as they were three hundred years ago.Indeed, the authority of wise old women is often the missing voice in our society. A bright and alert 96 year old, Grace had the perspective of living through the entire first century of America. She was a respected member of the generation that forged our society. Having come to America in 1635, she knew the changes in her tightly knit community and through her own family. Many of her great-grandchildren were teenagers when she died in 1710. This book represents the religious viewpoint of the mothers who pass on their moral teachings from one generation to the next.

Contemporary American women are writing long poems in a variety of styles which repossess history, reconceive female subjectivity, and seek to revitalize poetry itself. This book explores this evolving body of work, offering revealing discussions of its diverse traditions and feminist concerns. The poets discussed include Rita Dove, Brenda Marie Osbey, Sharon Doubiago, Judy Grahn, Marilyn Hacker, Beverly Dahlen, Rachel Blau Du Plessis and Susan Howe. Arguing that women poets no longer feel intimidated by the traditional associations of long poems with the heroic, public realm or with great artistic ambition, Keller shows how the long poem's openness to sociological, anthropological and historical material makes it an ideal mode for exploring women's roles in history and culture. In addition, the varied forms of long poems - from sprawling free-verse epics and regular sonnet sequences to highly disjunctive experimental collages - make this hybrid genre easily adaptable to diverse visions of feminism and of contemporary poetry.

In the first book devoted exclusively to the ecopoetics of the twenty-first century, Lynn Keller examines poetry of what she terms the ""self-conscious Anthropocene,"" a period in which there is widespread awareness of the scale and severity of human effects on the planet. Recomposing Ecopoetics analyzes work written since the year 2000 by thirteen North American poets-including Evelyn Reilly, Juliana Spahr, Ed Roberson, and Jena Osman-all of whom push the bounds of literary convention as they seek forms and language adequate to complex environmental problems. Drawing as often on linguistic experimentalism as on traditional literary resources, these poets respond to environments transformed by people and take ""nature"" to be a far more inclusive and culturally imbricated category than conventional nature poetry does. This interdisciplinary study not only brings cutting-edge work in ecocriticism to bear on a diverse archive of contemporary environmental poetry; it also offers the environmental humanities new ways to understand the cultural and affective dimensions of the Anthropocene.