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Although the term was coined twenty years ago, although critical readings of literary texts and movements in relation to ideas of nature, wilderness, natural science, and spatial environments of all sorts have been pursued for the better part of a century, only in the last decade has the study of literature in relation to environment begun, quite suddenly, to assume the look of a major critical insurgency. The \"Who's listening?\" question that nagged me when I began such work in the late 1980s has given way to \"How can I keep up with all that's coming out?\" and \"Can I even keep track of, let alone stay in touch with, all the players?\" Will this burgeoning of literature-and-environment studies continue? Almost surely so, for at least two reasons. First, the field of application for environmentally-valenced critical inquiry is immense in duration and range. Given that human beings are inescapably biohistorical creatures who construct themselves, at least partially, through encounter with physical environments they cannot not inhabit, any artifact of imagination may be expected to bear traces of that. From this it follows that the scope of the inquiry extends in principle from the oldest surviving literary texts, such as the Sumerian epic Gilgamesh, to the literature of the present moment -- as is borne out by the sweep of such critical books as Robert Pogue Harrison's Forests: The Shadows of Civilization and Louise Westling's The Green Breast of the New World, both of which start with Gilgamesh. Second, as human civilizations enter the fin de siècle, \"the environment\" looms up as a more pressing, multifarious problem than ever before. If, as W. E. B. DuBois famously remarked, the key problem of the twentieth century has been the problem of the color line, it is not at all unlikely that the twenty-first century's most pressing problem will be the sustainability of earth's environment -- and that the responsibility for addressing this problem, or constellation of problems, will increasingly be seen as the responsibility of all the human sciences, not just of specialized disciplinary enclaves like ecology or law or public policy. So literature-and-environment studies are here to stay, no doubt about it. But what has ecocriticism achieved thus far? Where has it succeeded, where fallen short? What new directions might it be expected to take? What directions does it need to take in order to fulfill its potential? At different points, the nine essays in this special issue address all those questions, and so will I -- in the form of a review of the movement's history, emphases, internal disagreements, and future prospects, with special but not exclusive reference to the essays in the present issue. Coherence vs. Dissensus: In the Movement, in These Essays As their heterogeneity attests, to the extent that contemporary literature-and-environment studies can in fact be rightly called \"a movement,\" so far it looks less like, say, New Critical formalism, structuralism, deconstructionism, and New Historicism than like feminist and ethnic revisionism or Gay Studies; for it is on the whole more issue-driven than methodology-driven. Ecocriticism so far lacks the kind of field-defining statement that was supplied for more methodologically-focused insurgencies by, for example, Wellek and Warren's Theory of Literature for New Critical formalism and Edward Said's Orientalism for colonial discourse studies. To be sure, it is possible to locate the inception point of the contemporary movement rather precisely: organizationally, as a ferment within the Western Literature Association that put the term \"ecocriticism\" into circulation, that gave birth to the Association for the Study of Literature and Environment, its periodical ISLE, and a series of major conferences of increasingly international scope; and substantively, as an inquiry focused especially in the first instance on Anglophone and particularly U.S. nonfiction and poetry about the natural world, an inquiry that, as one can see from the notes of the contributions to this issue, has begun to generate a sizeable secondary literature and with it, perhaps, the beginning...", "publicationTitle": "New Literary History", "publisher": "", "place": "", "date": "1999", "volume": "30", "issue": "3", "section": "", "partNumber": "", "partTitle": "", "pages": "699-712", "series": "", "seriesTitle": "", "seriesText": "", "journalAbbreviation": "", "DOI": "10.1353/nlh.1999.0031", "citationKey": "", "url": "http://muse.jhu.edu/journals/new_literary_history/v030/30.3buell.html", "accessDate": "2014-05-10T10:20:17Z", "PMID": "", "PMCID": "", "ISSN": "1080-661X", "archive": "", "archiveLocation": "", "shortTitle": "", "language": "", "libraryCatalog": "Project MUSE", "callNumber": "", "rights": "", "extra": "

Volume 30, Number 3, Summer 1999

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Quotes (transcribed):

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“By the end this early poem, nature turns into words, turns into…stacking words, being careful about words. The poem is as much about the experience of writing as it is about the experience and observation of nature. I think this is also my early understanding of words as appropriation. Not just a simple record of the unfamiliar, but taking the unknown and putting it under the control or in the realm of the known word. In the takeover, the taken is changed to conform to the taker. In other words, those are my carefully chosen deer, my grizzlies. However, they are not nature’s. And with this understanding comes a suspicion that this poem also is not nature. As if I’d stuffed and mounted them on the wall, I appropriated the grizzlies, without the active appetites, or their teeth. They are appropriated for a quiet, nonlethal poem. The teeth stay behind in a missing nature. The missing appetite and teeth came to reinforce my sense of how the human experience of nature differs from the larger nature. But there is always an unknowable, hidden aspect of this larger nature. This mystery beyond words is a root, if not itself, our mythology, our religion, my poetry. And we exist in the midst of living in another living beyond our human life. We have words to understand and experience our existence, but we come to the limit of those words and the limit of the experience of life, at that border of silence we reach when we face non-communicative nature, an animal who doesn’t speak our language. This nature however has no limit, we have limits. There is no outside of nature, there’s an outside of us. There’s no outside of nature to even experience. To the current theories of ecopoetics, man can’t reside outside of nature, you can’t be outside of nature, and our life exists inside and as an act of nature. Even our experience of the supernatural arises out of the likeness in the world out of our limited being, the end of our being; beyond that we can invent a supernatural. Ecopoetic theory sees the world of human experience existing in, on, or arising and precipitating out of the earth. The world is not the same as the earth. The world is our experience and the structure of that knowledge in which we live, that earth we see from the satellites. The nature poem occurs when a sense of the earth enters in to the world of human knowledge. The main understanding that results from this encounter is that the world’s desires do not drive the earth, but the earth does run the world.”

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\"face a knowledge beyond my current grasp, to be possessed by the earth\" 

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\"One of the things that we had to do periodically was go to New York and get seawater...seawater that we would put into tanks we had under the building. This idea of getting water from the Atlantic and having to live in that water...

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The idea that we have to live in U.S. history, that I have to live in U.S. history, and the history contains my dead, contains the folks lost in the Middle Passage... The idea of going swimming..up at Ohio Pal or some little place, going swimming and all of a sudden seeing an ancestor over here...Walker has that image...you have that image appear in a lot of writers. I don't think it's an image that's carried just because it's a pretty image. I think that thing is deeply felt, 'cause I know that I've felt that, that something is in the water, something is in the water\" (\"Poetry Lectures\")

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\"In the 60s...there were folks who were saying that black folks didn't need to be dealing with nature poems, they needed to be talking about what was going on in the community. Well, I was in the community, except I was in Alaska, I had a job. And I really, not took offense, but I sort of just thought that...you guys are missing something if you don't sort of pay attention to how folks from the cities deal with nature once they find themselves in the middle of it - stuck in the middle of the ocean or up at 16,000-foot\" (\"Poetry Lectures\")

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