When it’s due to interest or temperament, I’ve always been drawn to nature writing. For many, its mere mention conjures up certain associations – bucolic landscapes, nostalgic meditations, longings for golden ages, of days lost. But nature writing has never been a static genre, and increasingly it transcends the standard pastoral narratives. Last month, I had the pleasure to listen in on a live chat with critically acclaimed authors Rebecca Solnit and Robert MacFarlane as they delved into the evolving form of nature writing. In this entry, I’d like to summarize a few points I connected strongly with. You can listen to the entire talk below: Robert Macfarlane and Rebecca Solnit on Nature Writing If you want to follow along the timestamps I have provided in the post, you can also access the discussion directly on Orion Magazine’s website.
I don’t usually like New Year’s resolutions, but I couldn’t help but be inspired by the list over at Philosophy for Change (a blog everyone should check out). Number two on that list most resonated with me, because it speaks of a theme I’ve found myself returning to again and again on Ekostories. It’s a subject I’ve been grappling with over the past year: The power of love to affect change.
I am honoured to have been interviewed recently by Renée Sarojini Saklikar, my writing mentor and good friend. Renée is a critically acclaimed poet whose work has appeared in numerous literary journals and newspapers. Her first book of poetry, children of air india, was just published last month, and is a series of elegiac sequences exploring the nature of individual loss, situated within public trauma. I recently had the pleasure of collaborating with her on the relaunch of thecanadaproject: a lifelong poem chronicle, a blog that explores issues of place, identity, and language. Check out the interview here Stay tuned tomorrow for the first of a two parter on my favourite winter-themed Ekostory!
Have you ever read something where the author articulated precisely the ideas that you’ve been trying to work out in your own mind for ages? Have you ever felt that flash of recognition, that chill of goosebumps, and obeyed that urge to nod along and shout “yes!” out loud? And once the giddiness subsides, have you ever felt that sinking realization that someone managed to conveyed those ideas better than you ever could have? I recently had that experience with a piece from Orion Magazine. “Out of the Wild” features a conversation between authors Michael Pollan and William Cronon as they chat about many of the ideas I’ve been grappling with on Ekostories: Concepts of nature and culture, the power of stories for change, the importance of personal sustainability. Regular readers will know that I’ve written a few essays on Pollan’s work, namely on Second Nature: A Gardener’s Education and The Botany of Desire, so it should come as no surprise that I enjoyed his contributions to this piece. But in my opinion it was Cronon, an environmental …
“More familiarity with our own mythology might help us to relate to theirs.” – Jean-Luc Picard, from last week’s piece on Darmok With this quote and the tale of Gilgamesh and Enkidu still fresh in my mind, I came across a piece titled A Wild Man, Tarzan of the Highlands over at The AnthropoEccentric. In his thought-provoking essay, N.S. Anderson explores modern re-imaginings of the tale of Gilgamesh in music, translations, and art while highlighting the connections between nature and culture that lies at the heart of this Mesopotamian epic.
“Windrider is a project that I began in 1989 when music began to form in my mind while reading Nausicaa of the Valley of Wind for the very first time. Back then my musical equipment encompassed a couple of synths, a sound module and a MIDI digital sequencer. I was sometimes surprised when I would simply put my hands onto the keyboard and melodies would erupt from my hand movements. I did not really understand what was happening but it soon became evident that the music suited certain scenes and moods within the Nausicaa manga.” – Karl Schaal, The Windrider Project
Sticking to last weeks’s topic on music and sound in storytelling, I wanted to share a series of development videos around Flower, a videogame released in 2009 by thatgamecompany. It’s one of my personal favourites, and in these videos, music composer Vincent Diamante and sound designer Steve Johnson talk about their experiences crafting an emotionally resonant narrative for a game without text, speech, or even characters. Take a look: