100 books like Black Nature

I have a love of fields having grown up on a farm in the west of Ireland and now living on a hillside in Co. Wicklow.

The boundaried space of a field is like a poem in how it restricts and frees, hides and reveals, protects and exposes the life within. This anthology, first published in 1998, is testimony to what fields have meant and still mean to us. Every page reveals a moving poem by one of my favourite poets; Gillian Clarke, John Clare, Thomas Hardy, Denise Levertov, Seamus Heaney, Patrick Kavanagh, Alice Oswald.

The anthology is produced by Common Ground, a Devon-based charity that seeks to reconnect people with nature and inspire communities to become responsible for their local environment.  

Soon after it was published sixteen years ago my wife gave me a gift of Earth Shattering. I’ve valued this anthology ever since as an essential guide to ecopoetry.

The selection of poets includes writers of the past as well as leading contemporary poets from around the world. In particular the wilderness poetry of ancient China was a revelation to me as was the modern Native American poetry.

The editor Neil Astley’s summary of the key issues debated within ecocriticism is excellent and I often return to the clarity of his definition: “eco poetry goes beyond traditional nature poetry to take on distinctly contemporary issues, recognising the interdependence of all life on earth, the wildness and otherness of nature, and the irresponsibility of our attempts to tame and plunder nature.” 

By showcasing the rich tradition of queer poets whose writing is inspired by nature, Queer Nature opens up the nature poetry genre.

It is the book I needed twenty years ago when I began writing poetry. In my search for queer role models I was happy to find Mary Oliver, Kay Ryan, and Elizabeth Bishop but little did I know how many others were hiding in plain sight. This expansive anthology presents up to 200 more poets from 150 years ago to the present day, with a moving introduction by editor Michael Walsh.

Funny, sad, complex, and direct; the poems explore exclusion and alienation as well as love and belonging. Above all else this anthology confirms that poetry is as boundless as nature and that together they belong to everyone.

What’s distinctive about this gorgeous poetry anthology is not only that each poem has a specific tree or flower as its subject but that they are grouped according to plant family.

The editor Sarah Maguire was a gardener as well as a poet and translator. In what was clearly a labour of love she brought together poems from all over the world, spanning eight centuries of writing. Her fascinating introduction considers many aspects of nature poetry, including gender and colonialism.

As a gardener and poet I have loved finding poems by Medbh McGuckian, Emily Dickinson and D.H. Lawrence grouped together in the Gentian family or poems by Louise Glück, Seamus Heaney, Lorna Goodison, Robert Herrick, Marianne Moore, and Richard Wilbur thriving next to each other in the Mint family. 

We tend to think about the Black Arts Movement of the 1960s as dominated by militant male voices. This book explores the rich contributions of black women artists to the movement—by amplifying the voices of women artists in their own words. The book is a collection of oral histories, drawing on dozens of interviews with influential Black women artists. Some of them are recognizable, like playwrights/poets Sonia Sanchez and Ntozake Shange. Others are less familiar names whose influence should be appreciated more fully. This is a rich celebration of the impact of women artists during a key period of African American cultural change.

Everyone should read this book and own this book, which contains key poems from A Street in Bronzeville, Annie Allen (the book for which Gwendolyn Brooks won the Pulitzer Prize in 1950), The Bean Eaters, as well as new poems. Brooks’s sonnets are like a knife in a heart made vulnerable. I could read these poems—especially “The Sundays of Satin-Legs Smith”—again and again. Gwendolyn Brooks was the best American poet of the twentieth century, bar none.

If you think that literary societies have nothing to do with African American community activism, then this book will make you think again. African Americans were excluded from schools, libraries, and most of the usual publishing outlets—but they still developed a vibrant culture that produced newspapers, pamphlets, and books, and they developed libraries and literary societies committed to reading these and other productions. McHenry expertly guides us through this relatively unknown but central culture of reading, tracing the rise of African American literary societies, the work of the Black Press, and the vital connection between reading, writing, and social reform efforts. These efforts were supported by broader African American organizational efforts, the creation of churches and mutual aid societies that provided refuge for readers and forums for writers, and McHenry explores the social and intellectual networks that developed from these efforts, as African Americans read their way to new visions… show more.

Drawing upon her expertise in African American literature, Katherine Clay Bassard writes about the ways Black women poets, novelists, preachers, and orators from the 1700s through the 1900s used biblical themes and images to challenge the dominant culture’s oppression of women and people of color. African American women used a variety of scriptural images, including the Queen of Sheba and the “black but comely” female speaker in the Song of Songs, to argue for Black women’s dignity. Bassard celebrates African American women’s creativity and their shrewd employment of scriptural passages to engage in resistance to racism and sexism.   

Although her father died when she was only nine, the great scholar of African American life and literature, Farah Jasmine Griffin has never forgotten his admonition to her: “Read until you understand.” In this beautiful book, Professor Griffin guides us to an understanding of the U.S. Constitution, Malcolm X, Marvin Gaye, and Stevie Wonder, the artist Romare Bearden, and writers as different as the enslaved 18th-century poet Phillis Wheatley and Nobel Prize winner Toni Morrison. As educators, we have read and re-read and read again. Every read reveals a new level of understanding and we are grateful for the journey on which Professor Griffin leads us.

Kevin Young’s anthology is the latest in a long line of Black poetry anthologies; the first was James Weldon Johnson’s Book of American Negro Poetry (1922), which Young duly acknowledges. Most of Young’s choices I agree with; some I don’t (at least one of Paul Laurence Dunbar’s great sonnets should have been included); but in the main it is a terrific anthology of poets historical up to the present day. I counted almost 40 sonnets among the poems included. Readers who are interested in the dates the poems were published can turn to an extensive set of notes in the back, which are really helpful.