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GEOPOETICS in the ANTHROPOCENE by Eric Magrane Creative Geographies and Environments: Geopoetics in the Anthropocene Item Type text; Electronic Dissertation Authors Magrane, Eric Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 28/09/2021 00:18:37 Link to Item http://hdl.handle.net/10150/624580 CREATIVE GEOGRAPHIES AND ENVIRONMENTS: GEOPOETICS IN THE ANTHROPOCENE by Eric Magrane ____________________________ Copyright © Eric Magrane 2017 A Dissertation Submitted to the Faculty of the SCHOOL OF GEOGRAPHY AND DEVELOPMENT In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 2017 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the dissertation prepared by Eric Magrane, titled Creative Geographies and Environments: Geopoetics in the Anthropocene, and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy. ___________________________________________________Date: 4/11/2017 Sallie Marston ___________________________________________________Date: 4/11/2017 Diana Liverman ___________________________________________________Date: 4/11/2017 John Paul Jones III ___________________________________________________Date: 4/11/2017 Alison Hawthorne Deming ___________________________________________________Date: 4/11/2017 Harriet Hawkins Final approval and acceptance of this dissertation is contingent upon the candidate’s submission of the final copies of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the dissertation requirement. ___________________________________________________Date: 4/11/2017 Dissertation Director: Sallie Marston 2 STATEMENT BY AUTHOR This dissertation has been submitted in partial fulfillment of the requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this dissertation are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his or her judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. SIGNED: Eric Magrane 3 ACKNOWLEDGEMENTS Thank you to my committee: Sallie Marston, Diana Liverman, Alison Deming, J.P. Jones, and Harriet Hawkins. Each of you has inspired me with your brilliance and kindness. You have known how to challenge and push my work right where it needed to be pushed. I’m sure that each of you will see your influences reflected in the articles of this dissertation. The support and willingness of my committee to entertain the kind of hybrid geopoetic practice that I develop in this dissertation has been tremendous, which is a tribute to your deep engagement with interdisciplinary thought and practice. I have been extremely lucky to also have what I think of as an extended committee. I have been motivated, energized, and informed by conversations and collaborations with Lydia Breunig, Christopher Cokinos, Kimi Eisele, Gregg Garfin, Ellen McMahon, Gary Paul Nabhan, and Beth Weinstein, as well as the entire Arts, Environment, and Humanities Network housed at UA’s Institute of the Environment, of which I have had the good fortune of being a member since its start. My colleagues in Sallie Marston’s graduate group, especially Audra El Vilaly, Joseph Patton, Becky Patterson-Markowitz, and Jeff Wilson, have offered feedback and encouragement on drafts of multiple pieces of this dissertation over the last year, helping to keep me on track. Thank you all so much. And Edie—thank you, Edie! I’m grateful for funding support in the form of fellowships from the Institute of the Environment Carson Scholars Program, the Confluencenter for Creative Inquiry, and the Climate Assessment for the Southwest, as well as a fellowship to attend the National Endowment for the Humanities 2016 Summer Institute on “Extending the Land Ethic: Current Humanities Voices and Sustainability.” The communities of interdisciplinary scholars that I have had the privilege to get to know through these fellowships have been extremely helpful and supportive in the development of my research. Your work encourages me, especially in the challenging political times, circa 2017, about the future of research in both the sciences and the arts and humanities. In addition, my collaborators and supporters in the community have been crucial to much of this work. Some of you are acknowledged within the individual articles of this dissertation. Here, I’d like to thank Debbie Colodner, Craig Ivanyi, Pete Oftedahl, Shawnee Riplog-Peterson, Betsy Warner, and Cree Zischke at the Arizona-Sonora Desert Museum; Cynthia Anson, Paul Mirocha and Ben Wilder at Tumamoc Hill; Matt Adamson, Greg Barron-Gafford, Kevin Bonine, Franklin Lane, the late Rafe Sagarin, Tyeen Taylor, and Joost Van Haren at Biosphere 2, as well as the poets who contributed to the Biosphere 2 project, including Wendy Burk, Christopher Cokinos, Alison Deming, Joshua Marie Wilkinson, and Arianne Zwartjes; and Gail Browne, Jim Hensley, and Tyler Meier at the University of Arizona Poetry Center. Thank you as well to my graduate student colleagues in UA’s School of Geography and Development, for your intellectual and practical conversation and camaraderie, especially Laurel Bellante, Mimi Gay-Antaki, Christina Greene, Richard Johnson, Sarah Kelly-Richards, Casey Lynch, Jacob Miller, Carly Nichols, and Kate Sammler. I am sure that I am missing someone; I will thank you in person when I see you. Finally, I want to thank Wendy Burk for your support, genius, patience, and care, and for being my most trusted reader. I could not have done this without you. 4 DEDICATION for Wendy 5 TABLE OF CONTENTS LIST OF FIGURES/ILLUSTRATIONS ........................................................................... 8 LIST OF TABLES/BOXES ............................................................................................... 8 ABSTRACT ....................................................................................................................... 9 INTRODUCTION ........................................................................................................... 10 Working the Edges ............................................................................................... 10 Geography and Poetry: Productive Tensions in Geopoetics ................................ 14 PRESENT STUDY .......................................................................................................... 19 CONCLUSION ................................................................................................................ 25 Geopoetics within the Geohumanities and Environmental Humanities .............. 25 Publics .................................................................................................................. 29 Scholarly and Disciplinary Publics ......................................................... 29 ‘Public’ Publics ....................................................................................... 30 Expanded More-than-Human Publics ..................................................... 31 Collaborating with Publics ...................................................................... 31 Challenges and Implications for Future Work ..................................................... 32 Challenges................................................................................................ 32 Implications for Future Work .................................................................. 35 Writing the Desert ................................................................................................ 38 REFERENCES ................................................................................................................ 41 APPENDIX A: SITUATING GEOPOETICS ................................................................. 44 Abstract ................................................................................................................ 45 Introduction .......................................................................................................... 46 Geopoetics and Traditions of Geography and Creativity .................................... 47 Geopoetics as Creative Geography: Geographer-Poets and Poetry as Research Method .................................................................................. 51 Geographer-Poets .................................................................................... 52 Poetry as a Research Method Within Geography .................................... 55 Geopoetics and Literary Geographies of Poetry .................................................. 57 Geopoetics as Geophilosophy .............................................................................. 59 Geopoetics:
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