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What is waste? William Viney‘s Waste: A Philosophy of Things (Bloomsbury, 2014) explores the meaning of waste across a variety of contexts, including literature, sculpture and architecture. The text begins by stressing the importance of time to our understanding of waste, as opposed to more traditional conceptions that are grounded in spatial distinctions. Rather than looking at waste through the dualities of useful or not useful, dirty or clean, William Viney asks us to be attentive to our relationship to objects in time, understanding how they are understood by the many narratives that they may contain, which they may have been party to, and which they may require for us to be able to understand them. The book draws on an emerging but established tradition of work that draws attention to the role of materiality and objects in our understanding of the world. By offering an alternative to the view that waste is the garbage of consumer capitalism, we can see the value of things as their potential, as it is realised in time. The importance of time to understanding objects, as well as understanding waste, is seen through diverse examples, from Cornelia Parker’s sculptures, one created from an exploded shed, through the material objects of the manuscripts of James Joyce, to the representation of future ruins in The Planet of The Apes. These diverse and eclectic sites to exploring waste sit alongside the readings of more traditional subjects for literary theory, such as Elliot’s The Waste Land, meaning the book will appeal to a range of scholars working across the humanities and in the social sciences.
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The Canadian author and scholar, Heather Menzies, has written a book about the journey she took to the highlands of Scotland in search of her ancestral roots. In Reclaiming the Commons for the Common Good: A Memoir and Manifesto (New Society Publishers, 2014), Menzies outlines her discovery of a vanished way of life and argues that restoring it would help North Americans recover a deeper sense of self as well as more satisfying social relations with the people around them. It could also help them gain more control over political decisions that affect them in their communities, states and provinces and at the national level. “Commoning–cultivating community and livelihood together on the common land of the Earth,” Menzies writes, “was a way of life for my ancestors and for many other newcomers to North America too. It was a way of understanding and pursuing economics as embedded in life and the labor, human and non-human, that is necessary to sustain it.” She maintains that reclaiming the commons could also help us to heal an overheating planet and reconcile with the native peoples displaced by European settlers. Heather Menzies is an adjunct professor at Carleton University in Ottawa. She is the author of 10 books and has been awarded the Order of Canada for her contributions to public discourse.
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Robert Stolz‘s new book explores the emergence of an environmental turn in modern Japan. Bad Water: Nature, Pollution; Politics in Japan, 1870-1950 (Duke University Press, 2014) guides readers through the unfolding of successive eco-historical periods in Japan. Stolz charts the transformations of an “environmental unconscious” lying at the foundation of modern social and political thought. Bad Water begins by describing the establishment of the autonomous individual as a political unit, tracing the relationship between the Meiji liberal subject and the environment beginning in the 1870s. With the emergence of toxic flows that penetrated the body, and in light of the Ashio Copper Mine incident as Japan’s first experience with industrial-scale pollution, nature and politics were increasingly difficult to keep separated. Stolz looks closely at the work of Tanaka ShÅzÅ – Japan’s famous “first conservationist” – in this context, from Tanaka’s jikiso appeal to the Meiji Emperor in 1901 through an environmental turn in which he conducted river pilgrimages and developed an ecological philosophy of “flow” (nagare) and “poison” (doku). Bad Water also considers the work of anarchist Ishikawa SanshirÅ (1876-1956) and Snow Brand Dairy founder Kurosawa TorizÅ (1885-1982), two thinkers who took up the issue of the relationship between nature, the individual, and society after Tanaka’s death in 1913. It is a fascinating and important study that will be of wide interest to scholars and readers of the histories of Japan, environmentalism, hygienic modernity, and ecology. Enjoy!
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It is a rare event when a dissertation focused on a single work yields a rich and fruitful account of an entire period. James Nisbet‘s new book, which began as a study of Walter De Maria’s 1977 Land Art work TheLightning Field, does just this by ranging freely across a wide variety of art works, practices, and attitudes from the formative decades of the environmental movement and of postwar American art. Ecologies, Environments, and Energy Systems in Art of the 1960s and 1970s (MIT Press, 2014) traces the shifts in ecological thinking and artistic practice during this period, and makes a convincing case for an ecological reading of many of its landmark works. What makes this book particularly fun, though, is the sheer strangeness of the works Nisbet discusses, many of them only briefly considered in the critical literature. From Allan Kaprow’s Yard (a gallery environment filled with tires), to psychedelic happenings, Peter Hutchinson’s bread scatter on the edge of a volcano, 2001: A Space Odyssey, Robert Barry’s radio wave installations and telepathic pieces, to the decade-long gestation of De Maria’s 400 stainless steel poles in the landscape of Western New Mexico: the book explores the ways that artists and the culture at large struggled to understand the nature of environments, the place of viewers and humans in relation to the whole earth, and the ultimate unruliness of global ecologies. It also reminds us of the mediated nature of both art works and ecological systems by delving into a period before awareness of media saturation became our prevailing condition.
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The acclaimed Canadian author Silver Donald Cameron writes that the idea for his newly reissued book, The Living Beach: Life, Death and Politics where the Land Meets the Sea (Red Deer Press, 2014), occurred to him when he was interviewing a “lean, laconic, geologist,” named Bob Taylor who works at the Bedford Institute of Oceanography in Halifax, Nova Scotia.
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Earlier this spring, I drove to a small beaver pond near my home in Colorado, snapped together my fishing rod, and cast a silver lure into the pond’s crystalline waters. Within twenty minutes, I’d caught dinner: a pair of glittering rainbow trout, olive backs spattered with a constellation of black spots. The fish were gorgeous, and, roasted with oil and garlic, would prove delicious. But, having just read Douglas M. Thompson‘s The Quest for the Golden Trout: Environmental Loss and America’s Iconic Fish (University Press of New England, 2013), my enjoyment was just a tad diminished by one piece of knowledge: the fish had been stocked.
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Climate change is in the news a lot today. There seems to be little doubt that it’s getting warmer and that, should present trends continue, the warming trend will have “historical” consequences. Things are going to change.
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The paleontologist Michael Benton describes a mass extinction event as a time when “vast swaths of the tree of life are cut short, as if by crazed, axe wielding madmen.” Elizabeth Kolbert‘s new book, The Sixth Extinction: An Unnatural History (Henry Holt, 2014), explores the five major mass extinction events that have occurred on the Earth over the last half billion years. Kolbert contrasts these Big Five, as they are known, to the sixth mass extinction event, which we are in the midst of today.
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Jon Mooallem‘s book Wild Ones: A Sometimes Dismaying, Weirdly Reassuring Story About Looking at People Looking at Animals In America (Penguin, 2013) is a tour of a few places on the North American continent where animal species are on the very brink of extinction. What emerges is as much a story about creatures clinging on in the Anthropocene as it is a story about humans clinging to their humanity by clinging to disappearing animals.
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Americans are moving to the ocean. Every year, more and more Americans move to–or are born in– the coasts and fewer and fewer remain in–or are born in–the interior. The United States began as a coastal nation; it’s become one again.
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