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Environmental criticism is a relatively new discipline that brings the global problem of environmental crisis to the forefront of literary and cultural studies. This introduction defines what eco-criticism is and provides a set of conceptual tools to encourage students to look at the texts they're reading in a new way.
- Sales Rank: #797826 in Books
- Brand: Brand: Cambridge University Press
- Published on: 2011-02-14
- Original language: English
- Number of items: 1
- Dimensions: 8.98" h x .51" w x 5.98" l, .95 pounds
- Binding: Paperback
- 267 pages
- Used Book in Good Condition
Review
"This book offers an explanatory overview of ecocentric literary and cultural criticism and serves as an introduction to the concepts, methods, and arguments of ecocriticism."
-Scott Slovic,Isle of Oxford Journals
"In this superb book, Timothy Clark has achieved what the best introductions for students achieve: brief, accurate and readable summaries of the main positions in a field, combined with a series of provocative and stimulating questions to be explored in class. Clark has done this and more - he has written a book that any ecocritic should read, since as well as setting out the central dilemmas with a rare clarity and sharpness, it asks searching questions that challenge some of ecocriticism's most established positions."
-Richard Kerridge, Green Letters
"Far from a pedestrian college textbook, Clark's Introduction to Literature and the Environment is an erudite survey of ecocriticsm accessible to both scholar and student, as well as a practical tool for demonstrating literature's representation of and engagement with environmental issues of all kinds ... I can think of no better intellectual map of ecocriticism's present state or future prospects than this book."
Modern Philology
About the Author
Timothy Clark is Professor of English at Durham University.
Most helpful customer reviews
3 of 4 people found the following review helpful.
Neither fish nor fowl (3.8-ish stars)
By A. J. Sutter
Reading this book about "ecocriticism" made me recall a word I had to learn during one of the duller stretches of 10th grade English: "congeries," meaning a heap or aggregation of disparate items. That's pretty much what this is: the book's 20 chapters cover a wide selection of topics, but even reading it cover to cover didn't give me a more coherent idea of what ecocriticism is than I had before.
Apparently the term not only takes in criticism of fiction, poetry, and drama, but also of non-fiction genres such as essayistic nature writing and science popularisations. On top of that it also often seems to morph into things like ontology (e.g., Chap. 6, which questions the ontological status of human beings as distinct from machines) or sociology of science (e.g., Chap. 15, which raises the question of what counts as good science). Unfortunately, the book doesn't present a clear case for what critiques of climate science or sociobiology *as such* have in common with critiques of Wordsworth, Mary Shelley and *essays about* climate change or sociobiology, even though all of these topics come within the book's ambit. Sometimes TC even muddles these distinctions, as when in a discussion of Stephen Jay Gould's essays he suggests that the notion of punctuated equilibrium is "idiosyncratic" to Gould and does not warrant the "public authority" his essays give it (@171) -- I suspect many paleontologists might differ with this.
That's not to say that critiques of science and critiques of literature couldn't have anything in common. For example, it seems plausible that you could apply some form of discourse analysis to scholarly scientific papers, conference proceedings, journalistic reporting, advertising, etc. no less than to literary and popular genres. It's too bad that TC doesn't explore such avenues more specifically. Had he done so, a title something like "The Cambridge Introduction to Environmental Discourse" might have been an appropriate frame to help the reader see how all this stuff could hang together.
As it is, though, the book's approach isn't unifying but kaleidoscopic -- with all of the connotations of fragmentation and disorientation that metaphor suggests. Very possibly TC doesn't deserve most of the blame for this incoherence: a lot of it might have to do with diverse camps of humanities scholars all trying to jump onto the "eco" bandwagon, as Education ministries in the UK and elsewhere demand they provide evidence of their productivity, competitiveness, and relevance. Whoever is to blame, though, the reader who's new to this field can't be faulted for concluding that "ecocriticism" is more about fashion than about synergy.
On the plus side, TC's perspective isn't entirely Anglophone, as he brings in some German touches with discussions of philosophers Martin Heidegger and Hubert Zapf and fiction writers Christa Wolf and Wilhelm Raabe, among others. (TC seems eager to exculpate Heidegger of racism (@59), something not really feasible when this book came out and now much less so with the 2014 publication of his "Schwarze Hefte" [black notebooks]; at the same time he refers to Heidegger's being perceived as an archetypical "eco-fascist" (id.), a term not defined until two chapters later (@74), leaving me wondering whether the humor was intentional or inadvertent.) Of course the Three Musketeers (Foucault, Deleuze, Guattari) also make an obligatory appearance, along with D'Artagnan (Bruno Latour).
Unfortunately, TC accepts Latour's definition of "political ecology" as the paradigmatic one, thereby ignoring an older and more fruitful line of thinking put forward by André Gorz, Ivan Illich, Jacques Ellul and others. He also ignores virtually the entire sustainability literature produced by economists. Some of this, particularly Robert Solow's notion of weak sustainability and the dialogue about discount rates led by Nicholas Stern and William Nordhaus, is very directly relevant to topics in the book, such as the "rights of the not-yet-born" (@110). And for someone who is quick to point out the political implications of most arguments, it's a pity TC lets post-humanism off without any criticism of its implications for democracy (Chap. 6). When writers like Timothy Morton read "Frankenstein" to mean that "the task becomes to love the disgusting, the inert and the meaningless," and that "the most ethical act is to love the other precisely in their artificiality" (quoted @ 70), TC raises no question about who makes the decisions to release these monstrosities into the world. Just because crazed billionaire Tony Stark-wannabes have the ego, desire and resources to do so doesn't mean that we should all have to suffer the consequences.
I suspect that the misleading title of this book came at the insistence of some CUP editor, given that the title of the series in which it appears is "Cambridge Introductions to Literature." If only that person could have applied the same gung-ho spirit to fixing the presentation of references, which is extremely inconvenient for a book of this sort. Unless you read the book in chapter order (as I did) and read all endnotes assiduously and with a photographic memory (as I did not), you'll find many endnotes just give an author surname, a short title and a page number without any indication of other bibliographic information (as happened to me almost all the time). I had to resort to Amazon's "Look Inside" feature to find full information for some of the notes that interested me, which often was buried 20 pages or more prior to where I was looking: e.g., the full cite for Chap. 14, note 15 on p. 224 is findable only as note 15 of the Introduction, on p. 204. The nature of a book like this is that many readers will read chapters selectively and/or in multiple sittings over an extended period of time, and/or will look up only those notes that they need to. All abbreviated references should should have indicated the location of the first citation or, better yet, there should have been a full bibliography to accompany the notes.
The text is also decorated with a number of unattractive and unfunny cartoons that add neither insight nor humor. I'm somewhat generous in my star-rating, since it's possible that the book's flaws are a faithful reflection of the field itself, and that those who are caught up in the glass bead game of academic literary studies might benefit from this work's presentation of their professors' preoccupations. But I emerged from the book much more skeptical about the enterprise of ecocriticism than when I entered.
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