Ecological Form brings together leading voices in nineteenth-century ecocriticism to suture the lingering divide between postcolonial and ecocritical approaches. Together, these essays show how Victorian thinkers used aesthetic form to engage problems of system, interconnection, and dispossession that remain our own. The authors reconsider Victorian literary structures in light of environmental catastrophe; coordinate "natural" questions with sociopolitical ones; and underscore the category of form as a means for generating environmental-and therefore political-knowledge. Moving from the elegy and the industrial novel to the utopian romance, the scientific treatise, and beyond, Ecological Form demonstrates how nineteenth-century thinkers conceptualized the circuits of extraction and violence linking Britain to its global network. Yet the book's most pressing argument is that this past thought can be a resource for reimagining the present.

Environmental Criticism for the Twenty-First Century showcases the recent explosive expansion of environmental criticism, which is actively transforming three areas of broad interest in contemporary literary and cultural studies: history, scale, and science. With contributors engaging texts from the medieval period through the twenty-first century, the collection brings into focus recent ecocritical concern for the long durations through which environmental imaginations have been shaped. Contributors also address problems of scale, including environmental institutions and imaginations that complicate conventional rubrics such as the national, local, and global. Finally, this collection brings together a set of scholars who are interested in drawing on both the sciences and the humanities in order to find compelling stories for engaging ecological processes such as global climate change, peak oil production, nuclear proliferation, and food scarcity. Environmental Criticism for the Twenty-First Century offers powerful proof that cultural criticism is itself ecologically resilient, evolving to meet the imaginative challenges of twenty-first-century environmental crises.

Environmental Criticism for the Twenty-First Century showcases the recent explosive expansion of environmental criticism, which is actively transforming three areas of broad interest in contemporary literary and cultural studies: history, scale, and science. With contributors engaging texts from the medieval period through the twenty-first century, the collection brings into focus recent ecocritical concern for the long durations through which environmental imaginations have been shaped. Contributors also address problems of scale, including environmental institutions and imaginations that complicate conventional rubrics such as the national, local, and global. Finally, this collection brings together a set of scholars who are interested in drawing on both the sciences and the humanities in order to find compelling stories for engaging ecological processes such as global climate change, peak oil production, nuclear proliferation, and food scarcity. Environmental Criticism for the Twenty-First Century offers powerful proof that cultural criticism is itself ecologically resilient, evolving to meet the imaginative challenges of twenty-first-century environmental crises.

Ecological Form brings together leading voices in nineteenth-century ecocriticism to suture the lingering divide between postcolonial and ecocritical approaches. Together, these essays show how Victorian thinkers used aesthetic form to engage problems of system, interconnection, and dispossession that remain our own. The authors reconsider Victorian literary structures in light of environmental catastrophe; coordinate "natural" questions with sociopolitical ones; and underscore the category of form as a means for generating environmental-and therefore political-knowledge. Moving from the elegy and the industrial novel to the utopian romance, the scientific treatise, and beyond, Ecological Form demonstrates how nineteenth-century thinkers conceptualized the circuits of extraction and violence linking Britain to its global network. Yet the book's most pressing argument is that this past thought can be a resource for reimagining the present.

Bringing together 100 essential critical articles across 4 volumes, Literature and the Environment: Critical and Primary Sources is a comprehensive collection of the most important academic writings on ecocriticism and literature’s engagement with environmental crisis. With texts by key scholars, creative writers and activists, the articles in these four volumes follow the development and history of environmental criticism, as well as interdisciplinary conversations with contemporary philosophy and media studies. Literature and the Environment includes work by such writers as: Stacy Alaimo, Jonathan Bate, Winona LaDuke, Laura Pulido, Kyle Powis Whyte, Jacques Derrida, Ursula K. Heise, Bruno Latour, Rob Nixon, Ken Saro-Wiwa, William Shakespeare, Leslie Marmon Silko, Henry David Thoreau, Rita Wong. E.O. Wilson, Cary Wolfe and William Wordsworth.

As far back as Thomas More's Utopia and Francis Bacon's New Atlantis, the Pacific Ocean has inspired literary creations of promising worlds. Hope at Sea asks how literary writers have more recently conceived the future of ocean living. In doing so, it provides a new perspective on art and imagination in the face of enormous environmental change. Drawing together ecocriticism, theories of hope, and literary analysis, this book explores how literary writers evoke hope in engaging with environmental upheavals that are reshaping life in the Pacific Ocean. Teresa Shewry considers contemporary poetry, short stories, novels, art, and journalistic pieces from Australia, New Zealand, Hawai'i, and other ocean sites, examining their imaginative accounts of present life and future living in places where humans coexist with environmental loss: rivers that no longer reach the sea, dwindling populations of ocean life, the effects of nuclear weapons testing, and more. These works are connected by their views of a future that includes hope. Until now, hope has never been theorized in a direct, sustained way in ecocriticism. Hope at Sea makes an argument for hope as a lens for creative and critical confrontation with environmental disruptions and the resulting sense of loss. It also reflects on the critical approaches that hope as an analytic category opens up for the study of environmental literature. With hope as a critical perspective, Shewry develops a method for reading environmental literature: literary writers create new ways to apprehend existing environmental realities and craft stories about seas, forests, cities, and rivers that could be-not as literal plans but as ways of imagining promising lives in the present world and in the world to come.