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This book defines nature writing as the creative practice of tracing the bodily and sensory enjoyment of nature in the broad sense of the processes and places of land, air, and water in prose poetry and poetic prose. In so doing, it celebrates the creative practice of selected nature and environmental writing, as well as related cultural critique. Giblett draws on the work of Gilles Deleuze, Felix Guattari, and Mikhail Bakhtin to establish what nature writing is and on Michel Foucault to distinguish what it is not. He discusses Aboriginal storytelling as well as the work of "classic" nature writers, including Henry David Thoreau, Aldo Leopold, and John Muir. He also considers writing on environmental conservation and politics, as well as "the new nature writing" found in the work of authors such as Richard Mabey, Robert Macfarlane, Caroline Crampton, and Rachel Lichenstein. Through all of this contemplation, the book invites readers to love their local places, plants, and animals through creative practice.
Table des matières
1. Introduction to Nature and Environmental Writing.- Part 1: Nature Writing is.- 2. Not Natural History.- 3. Minor Literature.- 4. Prosaic and Poetic.- 5. Dialogic and Polyphonic.- 6. Multi-Generic and Heterogenic.- 7. Carnivalesque about the Grotesque and the Monstrous.- 8. 'Non-Fiction' (Faction).- Part 2: Nature Writing of.- 9. Swamps and Marshes.- 10. National Parks and the Sublime.- 11. Environmental Conservation and its Politics.- Part 3: 'The New Nature Writing' and Environmental Writing of.- 12. People and Places in the City and the Country.- 13. Landscape Politics and the Exquisite: Rebecca Solnit and the Future of Nature and Environmental Writing.
A propos de l'auteur
Rod Giblett is Honorary Associate Professor of Writing and Literature at Deakin University, Australia. He has authored thirty books consisting of both fiction and non-fiction, including his most recent book for Palgrave Macmillan: Wetland Cultures: Ancient, Traditional, Contemporary (2024).
Résumé
This book defines nature writing as the creative practice of tracing the bodily and sensory enjoyment of nature—in the broad sense of the processes and places of land, air, and water—in prose poetry and poetic prose. In so doing, it celebrates the creative practice of selected nature and environmental writing, as well as related cultural critique. Giblett draws on the work of Gilles Deleuze, Felix Guattari, and Mikhail Bakhtin to establish what nature writing is and on Michel Foucault to distinguish what it is not. He discusses Aboriginal storytelling as well as the work of "classic" nature writers, including Henry David Thoreau, Aldo Leopold, and John Muir. He also considers writing on environmental conservation and politics, as well as "the new nature writing" found in the work of authors such as Richard Mabey, Robert Macfarlane, Caroline Crampton, and Rachel Lichenstein. Through all of this contemplation, the book invites readers to love their local places, plants, and animals through creative practice.
