The Sonoran Desert: A Literary Field Guide was recently reviewed in The Los Angeles Review and Western American Literature.
Here are a few quotes from the review by L. Ann Wheeler in The Los Angeles Review:
“…this anthology is the field guide you’ve always wanted. Combining factual information alongside a creative response to each entry, The Sonoran Desert harmonizes science and the arts. This much needed convergence is made in a time where the two fields are often separated and pitted against each other as fabricated opposites.”
“…the valuation of observation over monument-making, is the greatest joy of this collection. Magrane and Cokinos capture light in a jar, so that you may take it into the field: a living, breathing companion.”
And here are a few from the review by Jennifer Lair in Western American Literature:
“The guide fills a niche in western American literature by delivering a combination of literary insight specific to a region while at the same time providing legitimate field guide information in a memorable way likely to make readers chuckle.”
“…a useful, thought-provoking, and entertaining addition to anyone’s field guide collection…”
BYCATCH EXHIBIT AT UNIVERSITY OF ARIZONA MUSEUM OF ART
February 4 through April 2, 2017
Opening Reception: Thursday, February 9, 5:00-7:00 pm
The Sonoran Desert: A Literary Field Guide has been named a Southwest Book of the Year. An article in the Arizona Daily Star announced the awards:
The Sonoran Desert also recently won a New Mexico-Arizona Book award from the New Mexico Book Co-op for best anthology of 2016.
Thanks to the panelists who selected the book for these awards, to UA Press, and to all the contributors and critters in the book!
Thanks to the editors of Ecotone, The Louisville Review, and Terrain, where my essays and poems have recently appeared.
The Ecotone essay is titled “A Poem is its Own Animal: Poetic Encounters at the Arizona-Sonora Desert Museum.” In it I reflect on my work as Poet in Residence at the Arizona-Sonora Desert Museum. The essay is in Ecotone’s featured “Poem in a Landscape” series in the most recent issue (no. 21).
“Ghost-Birds” is a collaborative poem I wrote with Wendy Burk, originally written while we were artists in residence at Big Cypress National Preserve in southern Florida. This poem is included in the Fall 2016 40th anniversary issue of The Louisville Review.
Two poems and drawings from my Bycatch collaboration with Maria Johnson—“Shovelnose Guitarfish” and “Pacific Seahorse”—are up at Terrain.
I had the pleasure of co-hosting the Speedway & Swan Radio Show with the incomparable Brian Blanchfield last week. If you didn’t catch it on KXCI radio in Tucson, you can listen to it here online, archived at the Poetry Center.
Here’s the description of the show:
Poet and geographer Eric Magrane joins host Brian Blanchfield for an episode of poetry of place, past pastoral, off the map, crossing a threshold, or aground in the borderlands. Featuring poetry by C. S. Giscombe, Allison Adelle Hedge Coke, John Pluecker, Alberto Blanco, Marianne Moore, David Schubert, Linda Hogan, Robert Smithson, Richie Hofmann, and Alberto Rios.
With musical selections by Lou Barlow, Xenia Rubinos, Paul Simon, Passion Pit, and more.
SPEEDWAY & SWAN is a fortnightly, one-hour free-format radio program that presents contemporary poetry against a context of variously compatible and offbeat musical selections. Culling from the exceptional libraries of his partners, the University of Arizona Poetry Center and KXCI 91.3 Tucson Community Radio, creator and host Brian Blanchfield is joined in conversation each episode by a rotating guest co-host who brings to the hour a selection of poetry from his or her personal canon, which, along with the freshest and best from the “new shelves,” they read live.
Magrane, E., W. Burk, and E. Quin-Easter. 2016. What will stand: Songs from (F)light, a collaborative borderlands song cycle. ACME: An International Journal for Critical Geographies 15 (2): 482-510.
(F)light: a borderlands song cycle is a creative response to migration. We wrote and composed the cycle of nine songs in relation to two particular borders: those between Arizona, United States and Sonora, Mexico; and Maine, United States and New Brunswick, Canada. The songs address borders, geopolitics, mobility, emotion, and narrative. We briefly contextualize our collaboration on (F)light and then share three songs from the project, as scores and as sound files performed by Women in Harmony, a women’s chorus in Portland, Maine.
(The sound files can be accessed either by clicking on the icons on the top of the scores if viewing the pdf in Adobe, or through clicking on the supplementary files on the right side of the ACME console.)
Early poems and drawings from Bycatch appear in April’s Zócalo and at the new online Coordinates Society Magazine.
Bycatch is a co-produced art-science project that combines geohumanities, political ecology, poetics, art, and marine ecology to creatively respond to the shrimp trawling industry in the Gulf of California. “Bycatch” refers to everything captured that is not the target species, so in this case, everything that is not shrimp. Approximately 87% of the weight of catch by shrimp trawlers is made up of 225+ species of bycatch fish, invertebrates, and turtles. The majority of shrimp caught in the industry is sold in the U.S.
I am collaborating with marine biologist and illustrator Maria Johnson on this project as part of the Next-Gen 6&6 Art + Science initiative. The field work for this collaboration has included overnight trips aboard shrimp trawlers off of Bahía de Kino, Sonora.