In Toxic Matters, Monica Seger considers two Italian environmental disasters: an isolated factory explosion in Seveso, just north of Milan, in 1976 and the ongoing daily toxic emissions from the Ilva steelworks in the Apulian city of Taranto. Both have exposed residents to high concentrations of the persistent organic pollutant known as dioxin. Although different in terms of geography and temporality, Seveso and Taranto are deeply united by this nearly imperceptible substance, and by the representational complexities it poses. They are also united by creative narrative expressions, in literary, cinematic, and other forms, that push back against dominant contexts and representations perpetuated by state and industrial actors.Seger traces a dialogue between Seveso and Taranto, exploring an interplay between bodies, soil, industrial emissions, and the wealth of dynamic particulate matter that passes in between. At the same time, she emphasizes the crucial function of narrative expression for making sense of this modern-day reality and for shifting existing power dynamics as exposed communities exercise their voices. While Toxic Matters, is grounded in Italian cases and texts, it looks outward to the pressing questions of toxicity, embodiment, and storytelling faced by communities worldwide.

In Toxic Matters, Monica Seger considers two Italian environmental disasters: an isolated factory explosion in Seveso, just north of Milan, in 1976 and the ongoing daily toxic emissions from the Ilva steelworks in the Apulian city of Taranto. Both have exposed residents to high concentrations of the persistent organic pollutant known as dioxin. Although different in terms of geography and temporality, Seveso and Taranto are deeply united by this nearly imperceptible substance, and by the representational complexities it poses. They are also united by creative narrative expressions, in literary, cinematic, and other forms, that push back against dominant contexts and representations perpetuated by state and industrial actors.Seger traces a dialogue between Seveso and Taranto, exploring an interplay between bodies, soil, industrial emissions, and the wealth of dynamic particulate matter that passes in between. At the same time, she emphasizes the crucial function of narrative expression for making sense of this modern-day reality and for shifting existing power dynamics as exposed communities exercise their voices. While Toxic Matters, is grounded in Italian cases and texts, it looks outward to the pressing questions of toxicity, embodiment, and storytelling faced by communities worldwide.

Italian writer and filmmaker Gianni Celati's 1989 philosophical travelogue Towards the River's Mouth explores perception, memory, place and space as it recounts a series of journeys across the Po River Valley in northern Italy. The book seeks to document the "new Italian landscape" where divisions between the urban and rural were being blurred into what Celati terms "a new variety of countryside where one breathes an air of urban solitude." Celati traveled by train, by bus, and on foot, at times with photographer Luigi Ghirri, at others exploring on his own without predetermined itineraries, taking notes on the places he encountered, watching and listening to people in stations, fields, bars, houses, squares, and hotels. In this way the book took shape as Celati traveled and wrote, gathering and rewriting his notes into "stories of observation" (9). Celati attempts to find meaning by seeking the uncertain limits of our ability to discern everyday surroundings. "Every observation," as he puts it, "needs liberate itself from the familiar codes it carries, to go adrift in the middle of all things not understood, in order to arrive at an outlet, where it must feel lost." At the forefront of the then-nascent spatial turn in the humanities, Towards the River's Mouth is a key text of what in recent years has been variously termed literary cartography, literary geography, and spatial poetics. Its call to carefully and affectionately examine our surroundings while attempting to step back from habitual ways of perceiving and moving through space, has resonated as much with literary scholars and other writers as with geographers and architects. By now a classic of twentieth-century Italian literature, it has in recent years garnered increasing attention, especially with the growth of ecocriticism and new materialism within the environmental humanities. This edition, translated into English for the first time, features an introduction that places Towards the River's Mouth in the context of Celati's other work, and a selection of ten scholarly essays by prominent figures in comparative literature and Italian studies.

Since its economic boom in the late 1950s, Italy has grappled with the environmental legacy of rapid industrial growth and haphazard urban planning. One notable effect is a preponderance of interstitial landscapes such as abandoned fields, polluted riverbanks, and makeshift urban gardens. Landscapes in Between analyses authors and filmmakers - Italo Calvino, Pier Paolo Pasolini, Gianni Celati, Simona Vinci, and the duo Daniele Cipri and Franco Maresco - who turn to these spaces as productive models for coming to terms with the modified natural environment. Considering the ways in which sixty years' worth of Italian literary and cinematic representations engage in the ongoing dialogue between nature and culture, Monica Seger contributes to the transnational expansion of environmental humanities. Her book also introduces an ecocritical framework to Italian studies in English. Rejecting a stark dichotomy between human construction and unspoilt nature, Landscapes in Between will be of interest to all those studying the fraught relationship between humanity and environment.