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Many congregations, schools, and organizations are reaching out
into their neighborhoods to share God's story of abundance by
establishing community gardens, beehive colonies, and other
agricultural initiatives. They are creatively using their land and
property; providing training, inspiration, and cross-cultural
experiences for all ages; while at the same time feeding the hungry
and building community relationships. Too often food banks only
take non-perishables loaded with preservatives and sodium. Church
entities involved in agricultural ministries are able to provide
healthy food from their gardens to feeding programs, food pantries,
and others in need. This book tells the tale of 25 such communities
in story and image. An inspiration for others to develop such
projects, food and faith can go hand-in-hand as we get our hands
dirty while learning more about what Genesis 2 describes as God
"planted" a garden. Gardening can be seen on the rooftop of a
church in the city, beehives in the midst of a seminary, or a local
community garden alongside the church's parking lot. Discover where
this movement is alive and growing, and find ideas for starting
your own "food and faith" initiative in your own backyard, roof, or
front porch.
Sounding the Margins is the second of two publications to emerge
from the highly successful AFIS conference hosted by the Universite
de Lille in 2019. Concentrating on the literary manifestations of
marginality in Ireland and France, the essays treat of various
texts that demonstrate the extent to which marginality is a
recurring trope. This may well be because writers tend to situate
themselves at a distance from the centre or status quo in their
desire to maintain a certain degree of artistic objectivity. But it
is also the case that literary practitioners tend to identify more
easily with others living on the margins, either through choice or
circumstances. The collection is a mixture of comparative studies
and essays on individual authors but, in all cases, marginality is
presented as a liberating experience once it is freely chosen and
embraced.
With twelve original essays that characterize truly international
ecocriticisms, New International Voices in Ecocriticism presents a
compendium of ecocritical approaches, including ecocritical theory,
ecopoetics, ecocritical analyses of literary, cultural, and musical
texts (especially those not commonly studied in mainstream
ecocriticism), and new critical vistas on human-nonhuman relations,
postcolonial subjects, material selves, gender, and queer
ecologies. It develops new perspectives on literature, culture, and
the environment. The essays, written by contributors from the
United States, Canada, Germany, Turkey, Spain, China, India, and
South Africa, cover novels, drama, autobiography, music, and
poetry, mixing traditional and popular forms. Popular culture and
the production and circulation of cultural imaginaries feature
prominently in this volume-how people view their world and the
manner in which they share their perspectives, including the way
these perspectives challenge each other globally and locally. In
this sense the book also probes borders, border transgression, and
border permeability. By offering diverse ecocritical approaches,
the essays affirm the significance and necessity of international
perspectives in environmental humanities, and thus offer unique
responses to environmental problems and that, in some sense, affect
many beginning and established scholars.
With twelve original essays that characterize truly international
ecocriticisms, New International Voices in Ecocriticism presents a
compendium of ecocritical approaches, including ecocritical theory,
ecopoetics, ecocritical analyses of literary, cultural, and musical
texts (especially those not commonly studied in mainstream
ecocriticism), and new critical vistas on human-nonhuman relations,
postcolonial subjects, material selves, gender, and queer
ecologies. It develops new perspectives on literature, culture, and
the environment. The essays, written by contributors from the
United States, Canada, Germany, Turkey, Spain, China, India, and
South Africa, cover novels, drama, autobiography, music, and
poetry, mixing traditional and popular forms. Popular culture and
the production and circulation of cultural imaginaries feature
prominently in this volume-how people view their world and the
manner in which they share their perspectives, including the way
these perspectives challenge each other globally and locally. In
this sense the book also probes borders, border transgression, and
border permeability. By offering diverse ecocritical approaches,
the essays affirm the significance and necessity of international
perspectives in environmental humanities, and thus offer unique
responses to environmental problems and that, in some sense, affect
many beginning and established scholars.
What constitutes an environment in American literature is an issue
that has undergone much debate across environmental humanities in
the last decade. In the field, some have argued that environments
are markedly natural or wild sites while others contend literary
spaces can be both wild and urban, or even cultural. Yet, few of
the works produced to date have addressed the pronounced influence
the author of a text has on a literary environment. Despite
exciting work on materiality and culture in conceptions of
environments, critics have not yet fully examined the contributions
of poetry’s language, form, and self-awareness in rethinking what
constitutes an environment. By approaching environments in a new
way, Nolan closes this gap and recognizes how contemporary poets
employ self-reflexive commentary and formal experimentation in
order to create new natural/cultural environments on the page. She
proposes a radical new direction for ecopoetics and deploys it in
relation to four major American poets. Working from literal to
textual spaces through the contemporary poetry of A.R. Ammons’s
Garbage, Lyn Hejinian’s My Life, Susan Howe’s The Midnight, and
Kenneth Goldsmith’s Seven American Deaths and Disasters, the book
presents applications of unnatural ecopoetics in poetic
environments, ones that do not engage with traditional ideas of
nature and would otherwise remain outside the scope of ecocritical
and ecopoetic studies. Â Nolan proposes a new practical
approach for reading poetic language. Ecocriticism is a very fluid
and evolving discipline, and Nolan’s pioneering new book pushes
the boundaries of second-wave ecopoetics—the fundamental issue
being what is nature/natural, and how does poetic language,
particularly self-conscious contemporary poetic agency, contribute
to and complicate that question.
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