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One manifestation of the cascading ecological crises that characterize our current moment is a weakening of any sense of futurity. The implacable escalation of the climate crisis, the amplification of which is already inevitable given the carbon already in the atmosphere, has the effect of eroding any forward‐facing enterprise and concentrating our focus on the immediacy of the present. In ecopoetics, a genre of poetry that has emerged in response to ecological crisis, this altered temporal framework has manifested in a new form of elegy, one that takes as its subject planetary survival. Unlike earlier forms of elegy, these ecopoetic works do not just mourn for what has passed, but for what remains. Many of these works therefore offer an interrogation of the value and meaning of hope in a chronically diseased environmental body; they question the end of futurity and seek consolation in the project of making kin across human and nonhuman divides. Such works question what can be passed on to future generations when our capacity to think the future has corroded. These works therefore establish a form of ‘climate poetics’, reflecting the ways in which an awareness of climate breakdown has altered poetic representation. This article will analyze this trend in ecopoetics through a close reading of poems by two prominent practitioners, Jorie Graham and Ed Roberson, while also situating their work within the wider cultural tendency toward the end of futurity. The work of these two poets reveals how elegiac writing has the potential to reconceptualize climate breakdown as a type of recursive bereavement, enacted on the nonhuman and the human alike, while also showing how ecopoetic elegy can function as a means of reconsidering the relation between the lyric self and the wider ecosystem, conceived of as a site of perpetual disaster and loss.

Excerpt from Oceanic Archives, Indigenous Epistempologies, and Transpacific American Studies , edited by Yuan Shu, Otto Heim, and Kendall Johnson

This article explores the link between literature and the environment by examining the ingenious application of poetry by two Nigerian poets to draw people’s attention to the debilitating effects of their actions on the human ecosystem. Based on Niyi Osundare’s poetry collection The Eye of the Earth and Nnimmo Bassey’s We Thought it was Oil but it was Blood, the paper shows how issues relating to human ecology can be masterfully interwoven in the art of poetry to project a perspective it terms environmental poetics. Thus, utilizing the instrument of poetry, the poets demonstrate the usefulness of art in portraying the ways in which human activities greatly impact on the human environment. Drawing theoretical precepts from ecopoetics, the paper argues that the two poets sensitized people to care for their environment while mobilizing them to confront those whose style of living, business, and governance utterly degrade the Earth and the people inhabiting it.

This paper offers an ecopoetic reading of the works of Jacques Réda and Claude Eveno, based on their walks in and around Paris. These new twentieth-century flâneurs offer new perspectives for rethinking the links between city and nature. The aim is to analyse the repre- sentation of the Parisian space and its outskirts, where nature attempts to reinvent itself in the face of man's destruction through time. The methodology combines literary analysis of the texts with theoretical contributions from ecopoetics and geopoetics, in order to develop a sensitive and critical vision of the transformed urban landscape. The aim is to examine the aesthetic value of the space-time of nature in the contemporary city through the chosen corpus.

This article examines Charles-Ferdinand Ramuz’s ecopoetic vision of Paris in the early 20th century, highlighting how urbanization disrupts the bond between humans and nature. Through works such as Paris, notes d’un Vaudois (1938), Aimé Pache, peintre vaudois (1911), and Samuel Belet (1913), Ramuz critiques the transformation of the city into an artificial space, where modernity reinforces the illusion of complete independence from the natural environment. The study analyzes his denunciation of Parisian indifference toward nature and his re- flection on the dehumanizing effects of industrialization. From an ecopoetic perspective, the article explores how Ramuz questions urbanization and advocates for restoring a balanced re- lationship between humans and their natural surroundings.

Johnson successfully demonstrates how poetry and comparative studies can raise awareness and combat pressing environmental concerns. Its engagement with poetry from the Italian and Floridian peninsulas produced a fruitful cross- cultural dialogue. Common widespread issues were revealed in both contexts, providing insight to their particularly damaging effects on coastal landscapes. Furthermore, consideration of these concerns in poetry--such as coastal overbuilding, roadkill, and marginalization of nonhumans -- facilitated the exposure of the psychological phenomenon SBS. Moreover, examining local linguistic traditions with indigenous language and dialectal poetry broadened the conversation. The inclusion of these overlooked modes of expression uncovered pressing issues like language disappearance and the loss of environmental knowledge. In fact, as discussed, language can be considered an indicator of the state of the oikos and certain poetic voices hold valuable knowledge for combating urgent concerns. To continue and to expand this crucial dialogue, this methodology can be further applied to other languages and other landforms besides the two peninsulas, underlining how even very distant landscapes are interconnected and share similar ecological challenges.

Born in Warrington, UK, Seán Hewitt is an acclaimed author and poet, critic, and lecturer at Trinity College Dublin, where he now resides. He has been hailed as one of the most talented young voices in Irish literature and culture today, and he has received a number of awards, including the Rooney Prize for Irish Literature (2022) and The Poetry School’s Resurgence Prize (for eco-poetry). Hewitt’s writing explores themes of identity, memory, and the environment, with particular attention given to how the episodic or temporal is linked to larger historical and cultural issues. This interview was conducted online in the Spring of 2024 with the aim of showcasing his work and his ideas to an Italian audience

This article analyses, in Wendy Delorme’s novel Viendra le temps du feu (2021), by means of cultural theories of space – geocriticism, ecocriticism, ecopoetics, ecofeminism, posthumanism – the literary mappings of repression and dissidence across the city, the body, and nature, in order to reveal how Delorme’s rebellious voices sketch, within the fractures of the present, the contours of another way of inhabiting the world.

The study reviews from an ecopoetic point of view the tendencies in Hungarian poetry of recent years that emphasise the biopoetic aspects of existence. László Lázár Lövétei’s eclogues, for example, renew the discourse from the perspective of the ancient tradition, while Tamás Korpa and Mátyás Sirokai transform the reader’s mental consciousness by focusing on the plant life, and in doing so, reassess and rethink the concept of being embedded in nature. For example, Gábor Dávid Németh combines the mechanisms of cultural memory, the ecosystems of environmental awareness and the plant metaphor system arising from the organicity of language. Gábor Mezei approaches the question from the perspective of hybridity. Besides blurring the traditional boundaries of body and self, these authors also exploit the subversive, resistant character of ecopoetics, not once asserting the principle of what they call the ecopoetic imperative whose topological, tropological, entropological and ethnological dimensions are worth exploring.