Sarah Nolan

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Engaging stories with photos in local communities and neighborhoods showing the church in action. Many congregations, schools, and organizations are reaching out into their neighborhoods to share God’s story of abundance by establishing community gardens, beehive colonies, and other agricultural initiatives. They are creatively using their land and property; providing training, inspiration, and cross-cultural experiences for all ages; while at the same time feeding the hungry and building community relationships. Too often food banks only take non-perishables loaded with preservatives and sodium. Church entities involved in agricultural ministries are able to provide healthy food from their gardens to feeding programs, food pantries, and others in need. This book tells the tale of 25 such communities in story and image. An inspiration for others to develop such projects, food and faith can go hand-in-hand as we get our hands dirty while learning more about what Genesis 2 describes as God “planted” a garden. Gardening can be seen on the rooftop of a church in the city, beehives in the midst of a seminary, or a local community garden alongside the church’s parking lot. Discover where this movement is alive and growing, and find ideas for starting your own “food and faith” initiative in your own backyard, roof, or front porch.

What constitutes an environment in American literature is an issue that has undergone much debate across environmental humanities in the last decade. In the field, some have argued that environments are markedly natural or wild sites while others contend literary spaces can be both wild and urban, or even cultural. Yet, few of the works produced to date have addressed the pronounced influence the author of a text has on a literary environment. Despite exciting work on materiality and culture in conceptions of environments, critics have not yet fully examined the contributions of poetry’s language, form, and self-awareness in rethinking what constitutes an environment. By approaching environments in a new way, Nolan closes this gap and recognizes how contemporary poets employ self-reflexive commentary and formal experimentation in order to create new natural/cultural environments on the page. She proposes a radical new direction for ecopoetics and deploys it in relation to four major American poets. Working from literal to textual spaces through the contemporary poetry of A. R. Ammons’s Garbage, Lyn Hejinian’s My Life, Susan Howe’s The Midnight, and Kenneth Goldsmith’s Seven American Deaths and Disasters, the book presents applications of unnatural ecopoetics in poetic environments, ones that do not engage with traditional ideas of nature and would otherwise remain outside the scope of ecocritical and ecopoetic studies. Nolan proposes a new practical approach for reading poetic language. Ecocriticism is a very fluid and evolving discipline, and Nolan’s pioneering new book pushes the boundaries of second-wave ecopoetics—the fundamental issue being what is nature/natural, and how does poetic language, particularly self-conscious contemporary poetic agency, contribute to and complicate that question.