I’ve been up in Canada and the Pacific Northwest giving presentations at two conferences in late September/early October: the Under Western Skies Interdisciplinary Conference on the Environment at Mount Royal University in Calgary, Alberta, and the Association of Pacific Coast Geographers Meeting in Portland, Oregon.
On Saturday 10/15, I’ll be at the Northern Arizona Book Festival in Flagstaff, taking part in a University of Arizona Press reading at Barefoot Cowgirl Books, 18 N. San Francisco St., from 3-4 pm.
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.)
Mirocha, P., Magrane, E., Terkanian, B., Milstead, M., Koopman, K., Coleman, D., Wakamatsu, M., Soria, M. (2015). The Tumamoc Hill Arts Initiative: A Portfolio of Site-based Art and Poetry Inspired by a History of Sonoran Desert Science. Journal of the Southwest, 57 (2-3), 265-303.
My article “Situating Geopoetics” is in the Association of American Geographers’ new journal GeoHumanities. Download the pdf here.
Here’s the abstract:
The form of the ars poetica is one in which the poet makes a statement on the art of poetry. Consider this a kind of ars-geo-poetica, a groundsetting for and statement on geopoetics that intends to both situate and to break open the field. This is an invitation for geopoetic texts and practices that draw on the work of poets as well as geographers, for an enchanted, earthy, and transaesthetic approach that moves to juxtapose contemporary poetics, particularly in the realm of ecopoetics, with critical human geography. Looking to geographers, poets, literary scholars, and poems themselves, this article aims to help situate and historicize geopoetics, provide a brief inventory of the current field, and carve out sites for future work.
Key Words: creative geographies, ecopoetics, geohumanities, geopoetics, site-based poetics.
Over at Jacket 2, Linda Russo has compiled a collective glossary of place-relation ecopoetics. Linda lives in western Washington, and in the context of the ongoing Washington wildfires, where the Okanogan complex is the largest in state history, she writes: “Some fear the fires will continue to burn until it snows; some fear we can expect little in the way of precipitation again this year. The uncertainty is disconcerting, to say the least. I don’t know how to segue into the introduction I wrote for this glossary less than a week ago. I do know that what the terms gathered below represent – attunement to unfolding earth-realities and reverence for the many living things caught up in them – help me navigate that uncertainty.”
The collective glossary includes terms like Biotariat, B-RAD: Bio-Regional Attachment Disorder, Indigenous ecopoetics, Phylogeny, Relaxation time, and Walking. My contribution to the glossary is geopoetics.
A UANews piece published today features the American Landscape Field Course that I recently taught at the University of Arizona. In the course (GEOG 407/507), we hit the road for a 10-day road trip throughout the greater Southwest, visiting iconic land art sites such as Robert Smithson’s Spiral Jetty and Nancy Holt’s Sun Tunnels, as well as iconic places such as the Grand Canyon and Glen Canyon Dam. We visited with Matt Coolidge at Center for Land Use Interpretation’s Wendover residency site; with Sara Frantz, archivist at the Center for Art + Environment; with Jeff Brown at Sagehen Field Station in the Sierra, where we visited Helen & Newton Harrisons’ Force Majeure plots; and with many others along the way. In the geographic tradition of field learning, we camped along the way, and we had an ongoing discussion of the many ways to approach and think about landscape—environmentally, artistically, politically, culturally.