Montage of shots from ‘Eco Monsters and Somatic Take-Overs,’ a small outdoor EcoSomatics symposium, Ypsilanti, Michigan, September 2021, shots from a workshop led by Marc Arthur, with symposium participants Charli Brissey, moira williams, Petra Kuppers, Cara Hagen, Stephanie K. Dunning, Stephanie Heit, Biba Bell, Christina Seers-Etters, and Kathy Westwater, all playing with monster addenda, crutch lightsabers, and relational objects.
An assemblage montaged by Petra Kuppers, with Syrus Marcus Ware, Naomi Ortiz, Stephanie Heit, Lori Landau, Carolyn Roy, Christina Vega-Westhoff, Michele Minnick, Denise Leto, moira williams, Catherine Fairfield, andrea haenggi and bull thistle leaf, DJ Lee, Megan Kaminski, Charli Brissey, Bronwyn Preece, Kanta Kochhar-Lindgren, Rania Lee Khalil, and Madeline Kerslake.
An assemblage montaged by Petra Kuppers, with Syrus Marcus Ware, Naomi Ortiz, Stephanie Heit, Lori Landau, Carolyn Roy, Christina Vega-Westhoff, Michele Minnick, Denise Leto, moira williams, Catherine Fairfield, andrea haenggi and bull thistle leaf, DJ Lee, Megan Kaminski, Charli Brissey, Bronwyn Preece, Kanta Kochhar-Lindgren, Rania Lee Khalil, and Madeline Kerslake.
Allison Cobb and Brian Teare joined Julia Bloch, Knar Gavin, and Aylin Malcolm in the Wexler Studio on April 2, 2019, following their lunchtime discussion with scholars and poets from Penn’s Poetry and Poetics and Anthropocene and Animal Studies reading groups. Our discussion ranged from human embeddedness in the nonhuman world to the role of affect in poetry that seeks to reckon with ever-intensifying ecodisasters.
“Lastly, there are birds — that other traditional poetic symbol of hope. ... Birds replace religious prophets. A group of crows is a murder; and, truth be told, crows are smart birds that work well in groups. (In crows, we trust.)” Image: Vincent Van Gogh, ‘Wheatfield with Crows’ (1890), via Wikimedia Commons.
Joseph Harrington’s first book of poetry, Things Come On, was both a memoir about his mother and a documentary of a time in American history. It was documentary in nature, if the document of history were subjected to aesthetic manipulations and personal refashioning. Of Some Sky, his new book, has a differently indeterminate generic structure: it asks the question of whether humor is possible in poetry whose subject is ecological collapse.
Joseph Harrington’s first book of poetry, Things Come On, was both a memoir about his mother and a documentary of a time in American history. It was documentary in nature, if the document of history were subjected to aesthetic manipulations and personal refashioning. Of Some Sky, his new book, has a differently indeterminate generic structure: it asks the question of whether humor is possible in poetry whose subject is ecological collapse.
