After it Almost Unmade: Action in the Wake of Nature
J.M.W. Turner, Wreckers -- Coast of Northumberland, with a Steam-Boat Assisting a Ship off Shore (1833-1834)
Tentatively titled After it Almost Unmade: Action in the Wake of Nature, a second monograph project puts literary reading methods in dialogue with Victorian and contemporary thinking about ecological networks. Its aim is to show how the nineteenth century used literary forms to imagine massive systems and the failure of those systems, and how Victorian thinkers nevertheless imagined, in the midst of entropic networks of entangled causation, the possibility for action. In contrast to existing studies of environmental content and ecological themes in the world's first industrial era, this project locates in nineteenth-century literary writing an incipient conceptual language for understanding relations between individual and system, "environment" and action.
For twenty-first century thinkers like Bruno Latour and Jane Bennett, our present environmental calamity presents itself most pressingly as a problem of agency. One the one hand, climate change aggrandizes human capacity by placing human action at the center of geological processes; on the other, it radically attenuates this capacity, since no single act now seems capable of altering the course of our system-wide, networked catastrophe. My project unearths a prehistory to this paradoxical situation so as to begin conceptualizing a way out. The book’s chapters span the high period of nineteenth-century industrialization; they treat the interlinked character-systems of multiplot novels by George Eliot and Charles Dickens; theological lyrics about shipwreck, fate, and the end of time by the Jesuit poet Gerard Manley Hopkins and the Anglican Christina Rossetti; novelistic meditations on ruined pastoral environments by Thomas Hardy; watercolor sketches about extraction and dissolution by JMW Turner; and tiny, fragmentary poem-objects composed on torn paper by Emily Brontë. In all this, the book aims to track literary efforts to comprehend human capacity in a world no longer responsive to the post-Enlightenment or bourgeois assumption that individual will can result in effective action. By using literary methods to read nineteenth-century engagements with “fate,” “destiny,” “environment,” “background,” “system,” and “climate,” in other words --all shorthand for supraindividual and networked causal systems-- this project speaks to an interdisciplinary audience concerned to understand their own place in a world of seemingly failing systems. Bookended by scenes of collapse in Houston, Texas, two weeks after Hurricane Harvey and a toxic, haze-shrouded Fresno, California, the project reaches from the nineteenth century to the twenty-first, spotlighting the power of human making (poiesis) and slantwise agency when the capacity to act seems lost. What results is an inventory for thinking human possibility after the bourgeois world has eaten itself alive.
Some recent courses, Tragic Ecologies (grad and undergrad) and Approaching the Anthropocene (linked to the 2016-2018 Mellon-Saywer Seminar I co-directed, "Approaching the Anthropocene: Global Culture and Planetary Change") have helped me road-test some of these ideas in dialogue with students. A few blog posts (here and here) float initial parts of this work, and an essay on Christina Rossetti, which will become a section of the book, has been published in Nineteenth Century Contexts. I am grateful to e-flux journal for letting me test out some other parts this project at a lecture at their studios in New York, which they filmed and stored on the internet (see below). The working title for the project comes from Gerard Manley Hopkins:
For twenty-first century thinkers like Bruno Latour and Jane Bennett, our present environmental calamity presents itself most pressingly as a problem of agency. One the one hand, climate change aggrandizes human capacity by placing human action at the center of geological processes; on the other, it radically attenuates this capacity, since no single act now seems capable of altering the course of our system-wide, networked catastrophe. My project unearths a prehistory to this paradoxical situation so as to begin conceptualizing a way out. The book’s chapters span the high period of nineteenth-century industrialization; they treat the interlinked character-systems of multiplot novels by George Eliot and Charles Dickens; theological lyrics about shipwreck, fate, and the end of time by the Jesuit poet Gerard Manley Hopkins and the Anglican Christina Rossetti; novelistic meditations on ruined pastoral environments by Thomas Hardy; watercolor sketches about extraction and dissolution by JMW Turner; and tiny, fragmentary poem-objects composed on torn paper by Emily Brontë. In all this, the book aims to track literary efforts to comprehend human capacity in a world no longer responsive to the post-Enlightenment or bourgeois assumption that individual will can result in effective action. By using literary methods to read nineteenth-century engagements with “fate,” “destiny,” “environment,” “background,” “system,” and “climate,” in other words --all shorthand for supraindividual and networked causal systems-- this project speaks to an interdisciplinary audience concerned to understand their own place in a world of seemingly failing systems. Bookended by scenes of collapse in Houston, Texas, two weeks after Hurricane Harvey and a toxic, haze-shrouded Fresno, California, the project reaches from the nineteenth century to the twenty-first, spotlighting the power of human making (poiesis) and slantwise agency when the capacity to act seems lost. What results is an inventory for thinking human possibility after the bourgeois world has eaten itself alive.
Some recent courses, Tragic Ecologies (grad and undergrad) and Approaching the Anthropocene (linked to the 2016-2018 Mellon-Saywer Seminar I co-directed, "Approaching the Anthropocene: Global Culture and Planetary Change") have helped me road-test some of these ideas in dialogue with students. A few blog posts (here and here) float initial parts of this work, and an essay on Christina Rossetti, which will become a section of the book, has been published in Nineteenth Century Contexts. I am grateful to e-flux journal for letting me test out some other parts this project at a lecture at their studios in New York, which they filmed and stored on the internet (see below). The working title for the project comes from Gerard Manley Hopkins:
Thou hast bound bones and veins in me, fastened me flesh.
And after it almost unmade, what with dread,
Thy doing: and dost thou touch me afresh?
Over again I feel thy finger and find thee.
--G.M. Hopkins, The Wreck of the Deutschland (1876)
And after it almost unmade, what with dread,
Thy doing: and dost thou touch me afresh?
Over again I feel thy finger and find thee.
--G.M. Hopkins, The Wreck of the Deutschland (1876)
"My task is done." Smudged fragment on mourning paper. Emily Brontë, 1844 (Berg Collection, NYPL).
Streetside wreckage. Kashmere Gardens (Houston), two weeks after Hurricane Harvey. 9.16.2017, photo by the author