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.
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.
Some new press on The Sonoran Desert: A Literary Field Guide:
Upcoming events are here.
A few of my poems (“the sky: to a bird” and “the sky: frames”) are published along a trail at Baxter Conservation Area in Ontario, Canada, thanks to Chris Turnbull and her footpress. Thrilled to be included in this cool project. It looks like one of them is inside a tree.
With work by Anna Lena Phillips Bell, Alyse Bensel, Melissa Buckheit, Jefferson Carter, Matthew Cooperman, Patrick Jones, Jeffrey Jullich, Stacy Kidd, Rico Moore, Ellen Noonan, Dan Raphael, Jessica Reed, Chris Turnbull, and an entry poem composted from fragments of each of the pieces in the issue, Spiral Orb Eleven is here.
The Sonoran Desert: A Literary Field Guide is now available for pre-order here.
“It’s a book to walk with, a book to scribble in, and even a book to use as a cushion if the desert rock you tried to sit on was too sharp. It’s also a book to get away with. Let the rest of the country rant and rave and post and tweet and babble. The writers inside these pages aren’t listening. They are too busy getting out there and getting lost, naming plants and animals, teaching and learning, and doing the vital work of mapping their place.” —David Gessner, author of All the Wild That Remains: Edward Abbey, Wallace Stegner, and the American West
“A book of delights for the mind and spirit, this is what a field guide ought to be. What better way to truly see a place than through the unblinking eyes of literature? What better way to truly love a place than through the embrace of ecology? Put them together, as Magrane and Cokinos have brilliantly done, and here is their irresistible invitation to the spectacular desert.” —Kathleen Dean Moore, author of Wild Comfort: The Solace of Nature
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.