An Ahsahta Press anthology curating poetic work in the pastoral genre that is considered postmodern, experimental, or avant garde.
“I can’t even enjoy a blade of grass unless I know there’s a subway handy, or a record store or some other sign that people do not totally regret life.” —Frank O’Hara, “Meditations in an Emergency”
THE ARCADIA PROJECT: NORTH AMERICAN POSTMODERN PASTORAL is an approximately 500-page anthology bringing together seminal work in the genre of the pastoral as it has evolved into the 21st century. Published by Ahsahta Press, edited by poets Joshua Corey and G.C. Waldrep, and designed by Jeff Clark, the book includes sections on New Transcendentalisms, Textual Ecologies, Local Powers, and The Necropastoral.
Featuring some of the most provocative and innovative poets of the current moment, this anthology has been curated not only with an eye to an exhilarating reading experience, but to the literature and creative writing classrooms as well. An accompanying website with a teachers’ guide will make this volume especially valuable for students and teachers.
From the introduction by Joshua Corey: “The blade of grass, the record store: necessary inclusions to the Arcadias of these poems (though the grass may be engineered by Monsanto, though the record store may be an MP3-blog or the CD rack at WalMart). Postmodern pastoral retains certain allegiances to the lyric and to individual subjectivity while insisting on the reality of a world whose objects are all equally natural, and therefore equally unnatural. Because this is an anthology of poems, its primary orientation, its allegiance, must be to the aesthetic, to the movements of language and the imagination. Yet as the ecocritic Kate Soper has remarked, 'it is not language that has a hole in its ozone layer’; imagining 'the good life,’ or its betrayal, has a clear relation to the actual suffering world. Postmodern pastoral offers a means of mapping the shifting terrain of that world while maintaining its ethical consciousness that the map must never be mistaken for the territory.”
Contributors: Emily Abendroth, Will Alexander, Rae Armantrout, Eric Baus, Dan Beachy-Quick, John Beer, Mei-Mei Berssenbrugge, Sherwin Bitsui, Kamau Brathwaite, Susan Briante, Oni Buchanan, Heather Christle, Stephen Collis, Jack Collom, Phil Cordelli, T. Zachary Cotler, Brent Cunningham, Christopher Dewdney, Timothy Donnelly, Michael Dumanis, Camille Dungy, Marcella Durand, Lisa Fishman, Rob Fitterman, Forrest Gander, Merrill Gilfillan, C.S. Giscombe, Peter Gizzi, Jody Gladding, Johannes Göransson, Chris Green, Arielle Greenberg, Richard Greenfield, Sarah Gridley, e. tracy grinnell, Gabriel Gudding, Joshua Harmon, Nathan Hauke, Lyn Hejinian, Mary Hickman, Brenda Hillman, Kevin Holden, Paul Hoover, Erika Howsare & Kate Schapira, Brenda Iijima, Sally Keith, Karla Kelsey, Amy King, Melissa Kwasny, Brian Laidlaw, Maryrose Larkin, Ann Lauterbach, Karen An-hwei Lee, Paul Legault, Sylvia Legris, Dana Levin, Eric Linsker, Alessandra Lynch, J. Michael Martinez, Nicole Mauro, Aaron McCollough, Joyelle McSweeney, K. Silem Mohammad, Laura Moriarty, Rusty Morrison, Erin Mouré, Jennifer Moxley, Laura Mullen, Melanie Noel, Kathryn Nuernberger, Peter O'Leary, Patrick Pritchett, Bin Ramke, Stephen Ratcliffe, Matt Reeck, Marthe Reed, Evelyn Reilly, Karen Rigby, Ed Roberson, Lisa Robertson, Elizabeth Robinson, Craig Santos Perez, Leslie Scalapino, Standard Schaefer, Brandon Shimoda, Eleni Sikelianos, Jonathan Skinner, Gustaf Sobin, Juliana Spahr, Jane Sprague, Fenn Stewart, Adam Strauss, Mathias Svalina, Arthur Sze, John Taggart, Michelle Taransky, Brian Teare, Tony Tost, Jasmine Dreame Wagner, Cathy Wagner, Elizabeth WIllis, Jane Wong, and C.D. Wright.
Funding: This funding will help Ahsahta Press with the printing and design costs for the book, the accompanying teaching website, and other production costs. Thank you for your support!
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