Class
Article
College
College of Humanities and Social Sciences
Presentation Type
Oral Presentation
Abstract
The poet May Swenson speaks frequently of the relationship of humans and the environment, as her speakers attempt connection with the natural world. Various studies in ecocriticism have argued whether humankind is 'part of or apart from the natural world,' and how the former association of which can lead to an unhealthy over-revering of nature (Orr). The latter viewpoint, 'apart from,' has become more prevalent now that our planet has entered the Anthropocene, described as 'our contemporary geologic era, marked by humanity's fateful emergence as a climatological force' intent on obtaining the world's resources (Marrs 201). Swenson places humankind's reverence for nature at a level attaining the spiritual in her poems 'Sunday in the Country' and 'Summer in New Hampshire,' and pronounces humankind's desire to capture and cultivate the natural world as they see fit in 'The Red Bird Tapestry' and 'Another Spring Uncovered.' Swenson's approach to the natural elements within the poems, however, actually strive for a harmonious and equal relationship. Her speakers observe and interact with nature by taking a passive role, sometimes offering up or sacrificing their own ways of being in an attempt at connection focused on humility. As the separation of human and natural worlds becomes ever more apparent through over-reverence, and as the current ecological climate moves further into the Anthropocene, examining Swenson's passive take on cohabitation provides a new approach of equality in connecting to the natural world we are each a part of.
Start Date
4-8-2020 1:00 PM
End Date
4-8-2020 2:00 PM
Passive in Nature: How May Swenson Approaches the Natural World
The poet May Swenson speaks frequently of the relationship of humans and the environment, as her speakers attempt connection with the natural world. Various studies in ecocriticism have argued whether humankind is 'part of or apart from the natural world,' and how the former association of which can lead to an unhealthy over-revering of nature (Orr). The latter viewpoint, 'apart from,' has become more prevalent now that our planet has entered the Anthropocene, described as 'our contemporary geologic era, marked by humanity's fateful emergence as a climatological force' intent on obtaining the world's resources (Marrs 201). Swenson places humankind's reverence for nature at a level attaining the spiritual in her poems 'Sunday in the Country' and 'Summer in New Hampshire,' and pronounces humankind's desire to capture and cultivate the natural world as they see fit in 'The Red Bird Tapestry' and 'Another Spring Uncovered.' Swenson's approach to the natural elements within the poems, however, actually strive for a harmonious and equal relationship. Her speakers observe and interact with nature by taking a passive role, sometimes offering up or sacrificing their own ways of being in an attempt at connection focused on humility. As the separation of human and natural worlds becomes ever more apparent through over-reverence, and as the current ecological climate moves further into the Anthropocene, examining Swenson's passive take on cohabitation provides a new approach of equality in connecting to the natural world we are each a part of.