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Three Department of English faculty and staff members are celebrating the recent and forthcoming releases of their newest books.
This book addresses the intersections between the interdisciplinary realms of Ecocriticism and Indigenous and Native American Studies, and between academic theory and pragmatic eco-activism conducted by multiethnic and indigenous communities. It illuminates the multi-layered, polyvocal ways in which artistic expressions render ecological connections, drawing on scholars working in collaboration with Indigenous artists from all walks of life, including film, literature, performance, and other forms of multimedia to expand existing conversations. Both local and global in its focus, the volume includes essays from multiethnic and Indigenous communities across the world, visiting topics such as Navajo opera, Sami film production history, south Indian tribal documentary, Maori art installations, Native American and First Nations science-fiction literature and film, Amazonian poetry, and many others. Highlighting trans-Indigenous sensibilities that speak to worldwide crises of environmental politics and action against marginalization, the collection alerts readers to movements of community resilience and resistance, cosmological thinking about inter- and intra-generational multi-species relations, and understandings of indigenous aesthetics and material ecologies. It engages with emerging environmental concepts such as multispecies ethnography, cosmopolitics, and trans-indigeneity, as well as with new areas of ecocritical research such as material ecocriticism, biosemiotics, and media studies. In its breadth and scope, this book promises new directions for ecocritical thought and environmental humanities practice, providing thought-provoking insight into what it means to be human in a locally situated, globally networked, and cosmologically complex world.
With Michael Davis, Adamson also released a collection arising from her work with the grant-funded Humanities for the Environment (HfE) project. From the publisher:
Humanities for the Environment, or HfE, is an ambitious project that from 2013-2015 was funded by a generous grant from the Andrew W. Mellon Foundation. The project networked universities and researchers internationally through a system of 'observatories'. This book collects the work of contributors networked through the North American, Asia-Pacific, and Australia-Pacific observatories.
Humanities for the Environment showcases how humanists are working to 'integrate knowledges' from diverse cultures and ontologies and pilot new 'constellations of practice' that are moving beyond traditional contemplative or reflective outcomes (the book, the essay) towards solutions to the greatest social and environmental challenges of our time. With the still controversial concept of the 'Anthropocene' as a starting point for a widening conversation, contributors range across geographies, ecosystems, climates and weather regimes; moving from icy, melting Arctic landscapes to the bleaching Australian Great Barrier Reef, and from an urban pedagogical 'laboratory' in Phoenix, Arizona to Vatican City in Rome. Chapters explore the ways in which humanists, in collaboration with communities and disciplines across academia, are responding to warming oceans, disappearing islands, collapsing fisheries, evaporating reservoirs of water, exploding bushfires, and spreading radioactive contamination.
This interdisciplinary work will be of great interest to scholars in the humanities, social sciences, and sciences interested in interdisciplinary questions of environment and culture.
Adamson is Professor of English and Environmental Humanities and Senior Sustainability Scholar at the Global Institute of Sustainability at ASU. She directs the Environmental Humanities Initiative (EHI) at ASU and is the author and/or co-editor of many books, volumes, articles, chapters, and reviews on environmental humanities in-general, and specifically on indigenous perspectives on environmental justice and cosmopolitics, citizenship and the commons, material ecocriticism, food justice, the arts of futurity, critical plant studies, and the eco-digital humanities.
The Estate of LG Williams is proud to present this publication for LG Williams’s recent body of work -- the SoCal Mid-Rise Multi-Story series. In these pictures, Williams merges Thiebaud's now canonical compositions of Sacramento Valley landscapes, San Francisco cityscapes, and assorted pastries. But this is where familiarity and transparency ends. As the viewer looks into the illuminated windows, the mysteries compound and multiply—forms transform into reflections, reflections into abstract thought. They are made expressly for our age—the age of the image.
The text, entitled "Bullchild," tells of a Mexican illegal immigrant who, inspired by an aging East German Communist Art History Professor, attempts to make his name on the L.A. gallery scene by pretending to be Persian, dressing up as a matador and inventing a movement called “Pedo-Taurinism.” Based on a true story.
Hawkes is Professor of English at Arizona State University where he teaches courses in Early Modern Literature. He is the author of five books: Idols of the Marketplace: Idolatry and Commodity Fetishism in English Literature, 1580-1680 (Palgrave), Ideology (Routledge), The Faust Myth: Religion and the Rise of Representation (Palgrave), John Milton: A Hero of Our Time (Counterpoint) and The Culture of Usury in Renaissance England (Palgrave).
Red Wreck is a wreck. She has been for many years, unnoticed since early girlhood when she was a little throb and pulse no bigger than a Chihuahua’s bulbous eye. Alone, she watches daytime talk shows featuring bad kids who are brought out on stage to be put in their place by a huge man in camouflage who can take them away to a camp where they will lie on their bellies holding golf balls in their mouths for being disrespectful. These men have nothing on Red Wreck’s father, who so terrified her that she would take down the shelves from inside a cabinet to make herself a secret hiding hole to ride out his tantrums. Once he was winded, heavy, exhausted breaths shuddering the house, she would emerge to get him a nice cold glass of milk that he would drink in one long gulp before collapsing into his chair to stare at her.
“Jenny Irish’s scintillate debut collection of prose poems, Common Ancestor, is an awe-inspiring read. From the confident power of its narratives to the hurricane-force language of its vision, this poetry’s riveting. In two dramatic personae series of gorgeous, near-gothic detail, Irish looks at all the havoc humans wreak and does not blink. She scrutinizes violence with rare sangfroid, and though never moralizing, leaves us in little doubt of the moral center of her universe: “Metal is not guilty for what it does in man’s hands, absent of soul,” as one poem puts it. In lines laced with brilliant figure and sly internal rhyme, Irish’s poetry is charged by truth’s searing song.”
—Cynthia Hogue, author of Revenance
Irish is the Assistant Director of ASU English’s Creative Program. Her work has appeared in Alaska Quarterly Review, Blackbird, Catapult, Colorado Review, Epoch, and The Georgia Review.