First published in 1991, Romantic Ecology reassesses the poetry of William Wordsworth in the context of the abiding pastoral tradition in English Literature. Jonathan Bate explores the politics of poetry and argues that contrary to critics who suggest that the Wordsworth was a reactionary who failed to represent the harsh economic reality of his native Lake District, the poet’s politics were fundamentally ‘green’. As our first truly ecological poet, Wordsworth articulated a powerful and enduring vision of human integration with nature which exercised a formative influence on later conservation movements and is of immediate relevance to great environmental issues today. Challenging the orthodoxies of new historicist criticism, Jonathan Bate sets a new agenda for the study of Romanticism in the 1990s.

Nature and Literary Studies supplies a broad and accessible overview of one of the most important and contested keywords in modern literary studies. Drawing together the work of leading scholars of a variety of critical approaches, historical periods, and cultural traditions, the book examines nature's philosophical, theological, and scientific origins in literature, as well as how literary representations of this concept evolved in response to colonialism, industrialization, and new forms of scientific knowledge. Surveying nature's diverse applications in twenty-first-century literary studies and critical theory, the volume seeks to reconcile nature's ideological baggage with its fundamental role in fostering appreciation of nonhuman being and agency. Including chapters on wilderness, pastoral, gender studies, critical race theory, and digital literature, the book is a key resource for students and professors seeking to understand nature's role in the environmental humanities.

Who were Shakespeare's 'Friend' and the 'Dark Lady'? Why did Donne risk his life and ruin his career for a seventeen-year-old girl? Why did Wordsworth's sister retire to her bed on his wedding day? Writing never takes place in a vacuum and much of the finest poetry in the English language has been inspired by particular people - patrons, spouses, lovers, friends, or just casual acquaintances. Whether relegated to an obscurity they do not deserve or thrust into prominence they did not seek, their importance to the creative process is inescapable. In Where All the Ladders Start, Julian Lovelock discusses with characteristic incisiveness and enthusiasm nine major British poets and the real lives behind some of their most personal and significant works. Along the way he shows how poetry has developed over the past four hundred years and provides suggestions for further reading, while for convenience all of the relevant poems and extracts are reproduced in full. Written for both the seasoned reader and the student encountering these poems for the first time, Lovelock's analysis will inspire and entertain in equal measure.

Winner of the ASLE-UKI Book Prize 2023. The commons and enclosure are among the most vital ways of thinking about poetry today, posing urgent ecological and political questions about land and resource ownership and use. Poetry & Commons is the first study to read postwar and contemporary poetry through this lens, by putting it in dialogue with the Romantic experience of agrarian dispossession. Employing an innovative transhistorical structure, the book demonstrates how radical Anglophone poetries since 1960 have returned to the 'enclosure of the commons' in response to political and ecological crises. It identifies a 'commons turn' in contemporary lyric that contests the new enclosures of globalized capital and resource extraction. In lucid close readings of a rich field of experimental poetries associated with the 'British Poetry Revival', as well as from Canada and the United States, it analyses a landscape poetics of enclosure in relationship with Romantic verse. Canonical Romantic poetry by Wordsworth and Clare is understood through the fine-grain textures of the period’s vernacular and radical verse and discourse around enclosure, which the book demonstrates contain the seeds of neoliberal political economy. Engaging with the work of Anne-Lise François and Anna Tsing, Poetry & Commons theorizes commoning as marking out subsistence 'rhythms of resource', which articulate plural, irregular, and tentative relations between human and nonhuman lifeworlds.

Bringing together scholars from English literature, geography, politics, the arts, environmental humanities and sociology, Imagining Apocalyptic Politics in the Anthropocene contributes to the emerging debate between bodies of thought first incepted by scholars such as Mouffe, Whyte, Kaplan, Hunt, Swyngedouw and Malm about how apocalyptic events, narratives and imaginaries interact with societal and individual agency historically and in the current political moment. Exploring their own empirical and philosophical contexts, the authors examine the forms of political acting found in apocalyptic imaginaries and reflect on what this means for contemporary society. By framing their arguments around either pre-apocalyptic, peri-apocalyptic or post-apocalyptic narratives and events, a timeline emerges throughout the volume which shows the different opportunities for political agency the anthropocenic subject can enact at the various stages of apocalyptic moments. Featuring a number of creative interventions exclusively produced for the work from artists and fiction writers who engage with the themes of apocalypse, decline, catastrophe and disaster, this innovative book will be of great interest to students and scholars of the politics of climate change, the environmental humanities, literary criticism and eco-criticism.

Why are rocks and landforms so prominent in British Romantic poetry? Why, for example, does Shelley choose a mountain as the locus of a "voice... to repeal / large codes of fraud and woe"? Why does a cliff, in the boat-stealing episode of Wordsworth's Prelude, chastise the young thief? Why is petrifaction, or "stonifying," in Blake's coinage, the ultimate figure of dehumanization? Noah Heringman maintains that British literary culture was fundamentally shaped by many of the same forces that created geology as a science in the period 1770–1820. He shows that landscape aesthetics—the verbal and social idiom of landscape gardening, natural history, the scenic tour, and other forms of outdoor "improvement"—provided a shared vernacular for geology and Romanticism in their formative stages.Romantic Rocks, Aesthetic Geology reexamines a wide range of eighteenth- and nineteenth-century poetry to discover its relationship to a broad cultural consensus on the nature and value of rocks and landforms. Equally interested in the initial surge of curiosity about the earth and the ensuing process of specialization, Heringman contributes to a new understanding of literature as a key forum for the modern reorganization of knowledge.

Few architectural styles evoke so strong a sense of place as Pueblo architecture. This book brings together experts from architecture and art, archaeology and anthropology, philosophy and history, considering Pueblo style not simply architecturally, but within its cultural, religious, economic, and climate contexts as well. The product of successive layers of Pueblo Indian, Spanish, and Anglo influences, contemporary Pueblo style is above all seen as a harmonious response to the magnificent landscape from which it emerged. Pueblo Style and Regional Architecture, first published in 1990, is a unique and thorough study of this enduring regional style, a sourcebook that will inform and inspire architects and designers, as well as fascinate those interested in the anthropology, culture, art, and history of the American Southwest.

In identifying Wordsworth's interest in nature as a vital, ecological interest, and linking it with the ecological debate in political history, this study attempts to define the politics of poetry. Wordsworth is portrayed as the guide to a pastoral consciousness.

This critical edition of the poems of Anna Seward (1742-1809) re-establishes one of the most popular and prolific poets of the early Romantic period. Her work influenced Charllotte Smith and Mary Robinson and later both Wordsworth and Coleridge. Her reputation was so high that Sir Walter Scott edited the posthumous edition of her poems in 1810. Unlike Scott's, this edition reproduces the poems as they were first published in periodicals and collections during Seward's lifetime, allowing scholars to experience them as eighteenth century readers did. It also includes mire than 200 poems that were excluded from the Scott edition.

This critical edition of the poems of Anna Seward (1742-1809) re-establishes one of the most popular and prolific poets of the early Romantic period. Her work influenced Charllotte Smith and Mary Robinson and later both Wordsworth and Coleridge. Her reputation was so high that Sir Walter Scott edited the posthumous edition of her poems in 1810. Unlike Scott's, this edition reproduces the poems as they were first published in periodicals and collections during Seward's lifetime, allowing scholars to experience them as eighteenth century readers did. It also includes mire than 200 poems that were excluded from the Scott edition.