This article begins with a climate poem and ends with a climate poem. In between, I explore what it means to do climate geopoetics. The first section addresses recent literary work that engages with climate change and the Anthropocene and outlines the geopoetic field as it is currently emerging as a subfield of the geohumanities. Next, I turn to examining climate narratives and frames; following the lead of many human geographers and environmental humanities scholars, I approach climate change as a social and cultural issue. I then discuss the methodology of this particular climate geopoetics project, commenting on and contextualizing some of my writing and thinking process for the climate poems that are woven throughout the article. By centering this article around three poems, I explore what it means to do climate geopoetics, the curious nature of the Anthropocene/Anthroposcene as a concept that both centers and de-centers the human, and the tensions on textual form that geopoetic practices create. It is my hope that this project may offer a fresh and unconventional approach to examining the multiple ways that climate change is framed, engaged, and contested.
Despite an historical connection between the arts and sciences, in the past century, the two disciplines have been greatly siloed. However, there is a renewed interest in collaboration across the arts and sciences to support conservation practice by understanding and communicating complex environmental, social, and cultural challenges in novel ways. 6&6 was created as a transdisciplinary art–science initiative to promote a deeper appreciation of the Sonoran Desert. Six artists and six scientists were paired to create work that explored conservation issues in the Sonoran Desert and the Gulf of California. In-depth interviews were conducted with the artists and scientists throughout the 4-year initiative to understand the impact of 6&6 on their personal and professional behaviors and outlook. The findings from this case study reveal the role that intensive, place-based, and transdisciplinary art–science programs can play in shaping narratives to better communicate the patterns and processes of nature and human–environment interactions.
This piece blends prose, poetry, and drawings in a geopoetic approach to bycatch in the Gulf of California shrimp trawling fishery. We briefly communicate some of the ecological effects of the trawling industry and reflect on our collaboration as an art-science practice that draws on our multiple disciplinary backgrounds, one as a geographer-poet and the other as a marine ecologistvisual artist. We present two poems and drawings addressed to specific individuals of bycatch -a Pacific snake-eel and a Shame-faced crab. We focus on specific individual marine bodies as an act of witness to the more-than-human bodies so often the casualties of this fishing practice. The poetic trope of direct address to an individual eel and crab allows us to work from specific embodied encounters as a site of cultural geographic and geopoetic practice. We aim to convey what it feels like to be on a trawler and to allude to geographic concerns implicitly in the poetry and text. We present this to readers as a piece of creative writing and invite them to bring their own interpretations to the text.
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