Alison Hawthorne Deming

Ann Fisher-Wirth

Elizabeth Bradfield

Lucille Lang Day

Writing Our Way to Discovery

Poetry and Science

Fisher-Wirth's second full-length collection of poetry. She has been described stylistically as realist and a modernist who writes with intelligence and passion.

Five Terraces

Laura-Gray Street

Definitive and daring, The Ecopoetry Anthology is the authoritative collection of contemporary American poetry about nature and the environment--in all its glory and challenge. From praise to lament, the work covers the range of human response to an increasingly complex and often disturbing natural world and inquires of our human place in a vastness beyond the human. To establish the antecedents of today's writing,The Ecopoetry Anthology presents a historical section that includes poetry written from roughly the mid-nineteenth to the mid-twentieth century. Iconic American poets like Walt Whitman and Emily Dickinson are followed by more modern poets like Wallace Stevens, William Carlos Williams, Ezra Pound, and even more recent foundational work by poets like Theodore Roethke, Elizabeth Bishop, Robert Hayden, and Muriel Rukeyser. With subtle discernment, the editors portray our country's rich heritage and dramatic range of writing about the natural world around us.

The Ecopoetry Anthology

This gorgeous large-format hardback (11 x 9.25 inches) features 47 poems and 47 color photographs that explore the history, culture, and ecology of the state of Mississippi. The epigraph for the book is taken from Theodore Roethke's "North American Sequence": "The imperishable quiet at the heart of form." This quietness to be found by contemplating the photographs of Maude Schuyler Clay was at the heart of Ann Fisher-Wirth's poetic process, which involved listening — listening to the voices that spoke their stories somehow in connection, however oblique, with the photographs. Clay is a seventh-generation Mississippian; Fisher-Wirth has lived there for 30 years, so the images and words represent long, complicated accumulations and recombinations of visual and linguistic experience. In her recent memoir The Faraway Nearby, the environmental writer Rebecca Solnit writes: "A place is a story, and stories are geography, and empathy is first of all an act of imagination, a storyteller's art, and then a way of traveling from here to there." Mississippi suffers from severe environmental degradation that cannot be separated from its history of poverty and racial oppression. Yet the state also possesses great natural beauty and a rich and complex culture, one interwoven from the many voices that have made up its identity. Mississippi explores both this degradation and this beauty. The poems are explorations of voice in its Mississippi plenitude and variety, honoring the voices, no matter whose they are, whether white or African American, and exploring the rich orality of Mississippi culture. With one exception, the beautiful, haunting photographs do not depict people, but, rather, swamps, fields, trees, lakes, empty chairs, dilapidated buildings. They work with the poems to offer the spirit of place.

Ann Fisher-Wirth

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