Fans pick 100 books like Queer 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.” 

This is an exciting and important poetry anthology.

Spanning the history of black poetry in America, the editor Camille T. Dungy has collected one hundred and eighty poems by ninety-three poets. Her introduction radically enlarges the realm of eco-poetry as she considers the exclusion of African-American poets from the nature poetry genre while also exploring the complexity of their relationship with the land that witnessed or abetted centuries of racist subjugation.

Thought-provoking essays by Alice Walker, Marilyn Nelson, and others, introduce each of the ten sections in which I found a treasure trove of poets I’ve long admired, such as Rita Dove and Ross Gay, and poets I’ve never come across before, such as Kamilah Aisha Moon.

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. 

While this book of poems, first published in 1964, does hark back to a past era, the poems themselves are timeless. There’s an underlying sense of peace, which gives me solace when I feel bleak and filled with a nameless anxiety. Despite the sorrows, there’s grace in these poems, and in the world Berry speaks of — a simpler world than the one we live in today. Yet, each time I read them, I’m enriched with comfort and hope that frees me from the melancholy of living in a modern world that appears to be losing its way.

Like Daniel, young kids may have heard the word “poetry,” but what exactly is a poem? 

The collage illustrations will draw you in as Daniel takes a walk through the park asking creatures, “what is poetry,” the spider answers, saying, "to me poetry is when morning dew glistens.” Or maybe it’s “moonlight on the grass.” Daniel finds that poetry is different things to different animals, and he learns that to find his poem all he has to do is look around and listen. A perfect introduction to poetry!

I’d grown frustrated with the way some modern poets romanticize mental health issues, often glossing over the real impacts of trauma to lean into some weird chronic optimism. When I read it, I felt like I had finally found something that explored highly triggering trauma in a very realistic way.

Pastor doesn’t shy away from the messy parts of change and self-discovery, and I find Pastor’s voice to be refreshingly authentic. I loved how the poems felt like entries in a journal: raw, real, and familiar. Pastor is an openly queer poet, and I recommended it immediately to friends who I knew were searching for a voice like Pastor's.

I love pretty packaging, so it's no surprise that Mans' Black Girl, Call Home stopped me in my tracks. The cover art, an over-the-shoulder shot of a young Black girl, her head bedazzled in a rainbow assortment of brightly colored barrettes. For me and Black women across the globe, the image evokes instant nostalgia. Luther on the radio. Me between my mama's legs. And the smell of Blue Magic hair grease slathered on the back of her hand.

Both painful and empowering, Mans' candid approach to feminism, race, and LGBTQ+ identity is wrapped in undeniable realness. Whether readers identify as Black and queer or simply as women on the path to healing, Mans' rhythmic collection of truths inspires self-acceptance and sisterhood. Do yourself a favor — order the audiobook and be blown away by Mans' heartfelt spoken word!

Oof, this book is heartbreaking/heartmaking.

I love hearing Andrea read it because of the feeling conveyed in their voice and the way it brings out the musicality in their incredible words. There is also something mesmerizing about reading it on the page, having the time to taste the words and all the space in between the lines.

Andrea’s writing is raw, visceral, and bittersweet-hurts-so-good kind of writing. Their poetry goes right to the quick. This is a book for the ages that, every time I read it, distills for me what matters in my life. 

The poems in this book made me feel glad to be alive in a world that feels like it’s ending. I loved how Jones situated personal grief within disasters of national and international scale; grieving a mother is as monumental as grieving a world. 

I also found it compelling how Jones consistently maintains a musical quality to the poems’ language. The first two lines of, 'Saeed, How Dare You Make Your Mother into a Prelude', are: "And then, night neons itself inside me / and I begin missing you in loud new ways.”

Multisensory with pleasing consonance, these lines are a small sample of Jones’s linguistic verve. Full of wit and sincerity, these poems made me want to write my own defiant love letter to the apocalypse.