Poetic Reading Research Articles

Psalm 72 in light of the psychological theories of poverty

Prior to the 1980s, various theories of poverty have been proposed by psychologists, ranging from, but not limited to, ‘naturalizing perspective’, ‘constitutionally inferior perspective’, or ‘nativist perspective’; to the ‘McClelland approach’ (McClelland 1961, 1965, 1973); to the ‘attribution theory’; and to Lewis’ (1975) culture of poverty theory. The theories tease out issues of the accumulated environmental deficits and psychiatric disorders, such as depression as well as the lack of ambition and mental drive to achieve success. However, from the 1980s, psychologists returned to the Lewis’ culture of poverty theory. The World Bank Development Report for 2000–2001’s expansion of Sen’s (1999) theory, which placed emphasis and/as three-pillars on ‘security’, ‘empowerment’ and ‘opportunity’ led for one, among other psychological bodies, the American Psychological Association to consider various conceptualisation of the theories of poverty. The paper tests the psychological theories of poverty against the background of the historical-literary read poetic text of Psalm 72. Does a poetic reading of Psalm 72 bear a psychological meaning when read within the framework of psychological theories of poverty? Firstly, the paper investigates psychological theories of poverty prior to 1980s to the present. Secondly, in a poetically and historically read Psalm 72, the psychological presuppositions are teased out. In the end, the paper submits with caution that when read within the framework of psychological theories of poverty, the poetically read Psalm 72 produces psychological meaning, which contributes value to the reading of Biblical poetic texts.Intradisciplinary and/or interdisciplinary implications: The article draws on the discipline of psychology, employing the psychology theories of poverty to read an Old Testament poetic text of Psalm 72. The meaning of Psalm 72 is derived from the psychological reading of the historical-literary critically analysed poetic Hebrew Bible text.

Didactic discourse in the poetry of the Turkic peoples

Relevance. The stone inscriptions written even in the V-VIII centuries, testify to the ancient development of the literature and culture of the Turkic peoples. From the essence and content of the works of the Turkic peoples living in Central Asia, we see commonalities, such as being a conscious person, escaping from ignorance, defending the country, becoming a nation. Purpose. The article deals with the issue of didactic discourse in the works of the great thinkers of Turkic literature N. Ganzhaui, A. Nauai, A. Kunanbayev. Methodology. The issues of reading, comprehensive education and intellectual development of poets, the acquisition of moral qualities have been compared and analyzed. Results. Instructive ghazals, philosophical thoughts aimed at educating the younger generation of society with such moral qualities as diligence, humanism, patriotism, kindness, truthfulness, justice, honesty are defined. Conclusions. The genius poet Abai Kunanbayev, the pinnacle of Kazakh poetry, recognized the statesmen and genius thinkers of Azerbaijan and Uzbekistan N. Ganjaui and A. Nauai as his teachers. In Kazakh literature, Abai's “Words of edification” and poems are examples of the traditional continuation of oriental didactic works.

Different Together: A Poetic Reading of Arts-Inspired Creations as Embodied Explorations of Social Cohesion

We, a diverse group of South African academics, study embodied reflexivity through poetry, and this article is an account of poetic inquiry inspired by assemblages created by the participants in a symposium, Object Inquiry for Social Cohesion in Public Higher Education. As the symposium’s cofacilitators, we wondered how and what we might learn from reading the assemblages poetically as embodied explorations of social cohesion. We describe the symposium before demonstrating how we used poetry to represent, analyze, and synthesize our responses to the assemblages. Through the presentation of dialog pieces derived from our discussions, we articulate the collective growth and development of our understanding. Then, we share a final poem, which encapsulates our learning. Finally, we consider how this poetic study could help us and others in higher education seeking to understand and strengthen social cohesion and social justice.

Jeffrey Pulse. Figuring Resurrection: Joseph as a Death and Resurrection Figure in the Old Testament and Second Temple Judaism

Jeffrey Pulse. <i>Figuring Resurrection: Joseph as a Death and Resurrection Figure in the Old Testament and Second Temple Judaism</i>

Taming Eschatology: The Case of Silja Walter OSB

This paper examines the eschatological themes in the series of poems, The Dance of Obedience or the Straw Carpet, written by the Benedictine nun Silja Walter (1919–2011) — Sr. Hedwig OSB from the Swiss monastery of Fahr. This series of poems is particu- larly representative for the poet’s work as it combines her monastic experience with her personal poetic reading of the Bible in the spirit of lectio divina. These two sourc- es give the analyzed poetry a particular theological quality, originally combining spiritual and dogmatic elements. Having presented the biographical and monastic context of the set in question, the authors show the form, connections and dynamism of the eschatological themes present in the discussed poetry. In conclusion, referring generally to the entirety of Walter’s work, they show the anthropological value of her approach to eschatology, which, in accordance with the title of the article, can be defined as bringing eschatological themes closer to everyday existential experience. This effect is possible thanks to the original use of poetic language.

Poetic Listening in Pastoral Care: Listening to the Poems that People Are

Abstract Can listening as one listens to or reads poetry complement narrative approaches in pastoral care? The fragmented, open ended, metaphorical and episodic character of what people tell in pastoral encounters is often more like poetry than story. Applying instruments of poetic analysis to what people tell, opens new insights into those texts, whether originally written or oral. That experimental, heuristic practice in poetic reading finds a complement in reflections on characteristics of poetry and on narrative and poetic modes of practical theology. That results in a congeniality of theological and poetic reading in attention to metaphor, fragments, framing and reframing.

The Erotics of Materialism: Lucretius and Early Modern Poetics by Jessie Hock

Reviewed by: The Erotics of Materialism: Lucretius and Early Modern Poetics by Jessie Hock Robert J. Hudson Jessie Hock, The Erotics of Materialism: Lucretius and Early Modern Poetics. Philadelphia: University of Pennsylvania Press, 2021, 234 pp. In the face of the common assumption that Neoplatonist idealism constituted the de facto ideological framework behind the early modern lyric, with The Erotics of Materialism, Jessie Hock adeptly recasts Lucretian thought as a persuasive foundational system in the development of the era's poetics. Tracing the reception of De rerum natura from Pierre de Ronsard and the Pléiade in [End Page 180] late-Valois France to Lucy Hutchinson, Margaret Cavendish and the culture wars of interregnum England, Hock establishes a poetic lineage of Lucretian influence. With John Donne bridging the gap between national/linguistic traditions and the century's worth of poets she examines, Hock enables the reader, in light of the politics of the age, to reconsider Renaissance Petrarchism in terms of Lucretian simulacra and fantasy, then witness the atomist, female-led epistemological alternative to scientific inquiry, where fancy and the imagination are proffered over rational empiricism. Admittedly concerned with matters beyond the lyric, Hock still focuses primarily on close readings of canonical poets to demonstrate how Lucretius informed early modern poetics. One most notable and welcome extra-lyrical element she includes is the publication and popular reception history of Lucretius. Indeed, Hock's study opens with three provocative accounts—the drowning and suicide of two early modern Lucretius editors and Saint Jerome's sensational, apocryphal version of Lucretius's own lovesick suicide—which coalesce to present De rerum natura as a dangerous and scandalous text. Premodern Europe was ill-prepared to accept the perceived impious materialism and hedonistic atheism of Lucretius's brand of Epicurean thought, which led to humanistic anxiety and seduction surrounding the pagan poet. Thus, to frame her study, Hock borrows Lisa Robertson's articulation of Lucretian verse being a "supple snare," one that drew poets near and engaged their pens with its erotic flights. Seduction, after all, was at the heart of the design of De rerum natura, whose wormwood philosophy needed the honey-rimmed delivery method of poetry to entice and mystify readers. Still, far more than merely philosophy's handmaiden or an unwanted nuisance in Plato's ideal republic, poetry is as much a sweetening agent as it is a contiguous part of Lucretian thought. Perhaps ostensibly lured by Lucretius's wanton reputation, all the poets Hock explores ultimately subscribe to his materialist enterprise as a heuristic for their own poetics. In her five individual chapters on Ronsard, Rémy Belleau, Donne, Hutchinson and Cavendish, Hock emphasizes three primary passages from De rerum natura—namely, the incipit hymn to Venus, the honey/wormwood analogy and especially the end of Book 4, where the poet-philosopher expounds on passionate love—as these excerpts succinctly illustrate Lucretian erotics and are often reprised by her chosen poets. Ronsard, first in Hock's genealogy, disruptively introduces a Lucretian paradigm to Pléiade poetics, which seemed—then and now—inseparable from Ficinian Neoplatonism. Examining "Les petitz corps" from the 1552 Amours, Hock demonstrates the conflation of the [End Page 181] Lucretian and Petrarchan poetic idioms and how amorous simulacra is more germane to Petrarchan lyricism than is traditional idealism to account for both the poetic absence and sexual dissatisfaction in Ronsard. Likewise identifying dialogue between Lucretius's hymn to Venus and Ronsard's "Hynne de l'Autonne," Hock answers the longstanding frustrations of Simone Fraisse and responds to the excellent work of Philip Ford, decisively fleshing out examples of the Pléiade's engagement with Lucretius. Lest one assume Ronsard a Lucretian outlier in the imagined group of Parisian poets for whom he served as chef de file, Hock confirms that Marc-Antoine Muret knew De rerum natura well, recognizing its interplay in Ronsard's verse. In fact, her subsequent chapter shifts to the later Ronsard of the Sonnets pour Hélène (1578) alongside fellow Pléiade poet Belleau and his 1576 Pierres précieuses in order to demonstrate the former's multi-decade commitment to Lucretius and the attentive reading of De rerum natura of the latter...

Review: Bible and Poetry in Late Antique Mesopotamia: Ephrem’s Hymns on Faith, by Jeffrey Wickes

Review: <i>Bible and Poetry in Late Antique Mesopotamia: Ephrem’s Hymns on Faith</i>, by Jeffrey Wickes

Word and memory of Ivan Drobnyi

The author of the article explores the individual linguistic style of Ivan Semenovych Drobnyi, a writer of the Sixties from Cherkasy region, in particular the language of his poetic texts. It is determined that the poet’s style represents the linguistic aesthetics of Ukrainian literature of the second half of the twentieth century, and the stylistic feature of I. Drobnyi’s language thinking reveals the connection of verbal associative images with realities, phenomena of Ukrainian nature, history of the native land, environmental problems and the inner world of a person in love with his land. There is a renewal of traditional poetic metaphors (the book of nature). The poet reads the book of the farmer, and compares the grains of poetry to the golden grains of the field. A conversation with nature always ends with a clear aphoristic thought that reveals broader, sometimes unexpected connections between words and concepts that acquire symbolic meaning. The contexts of aestheticization and symbolization of such individual linguistic images as rainbow, rain, willow, path are highlighted, the associative field of which is expanded by the author with the concepts of modern reality. The author interprets the meaning of the original poeticized image of winter crops as a symbol of the dying and resurrection of nature. The tradition of the Ukrainian poetic word combines the concepts of the rainbow and the Dnipro, but only in the poetry of Ivan Drobnyi the entire rainbow is «according to Vasyl Symonenko». The author emphasizes the simple, uncomplicated rhythmic and intonational structure of the poem, the song folk rhythms in the poetry of I. Drobnyi and at the same time records the transitions in it from the high poetic word to the lyrical confession, from philosophical reflections to evaluative, witty statements filled with colloquial phrases. The article concludes that the poetic language of the Cherkasy region writer Ivan Drobnyi is a grateful source of research on the problem of STYLE AND MEMORY. With his lyrical texts, the poet draws attention to the richness of the Ukrainian literary language, makes us think about the historical variability of the lexicon of human civilization and about eternity, the value of the fundamental connection between man and the «eternal writings» of nature. His philosophical reflections on the agricultural culture of Ukrainians, the history and nature of his native land, often embodied in a perfect aphoristic form, enrich the vocabulary of linguistic and aesthetic signs of Ukrainian culture, and actualize precedent names and precedent lexemes, phrases of the Ukrainian language. Ivan Drobnyi’s individual style preserves the memory of the folk style of Ukrainian poetic language, which organically combines the linguistic aesthetics of folk songs and the philosophy of folk conversation.

Metaphor, magic, and mental disorder: Poetics and ontology in Mexican (Purépecha) curanderismo.

This article offers an epistemological, poetic, and ontological reading of the ways of knowing regarding mental disorders that are characteristic of the traditional healers (curanderas and curanderos) of an Indigenous group in Mexico. The study is based on ethnographic interviews with traditional Purépecha (Tarascan) healers in rural Michoacan. Interviews focused on local conceptions of emotional and mental illness, especially Nervios, Susto, and Locura (nerves, fright, and madness). We discuss the conceptual structure of these Indigenous illness notions, the nature of the associated imagery and notions of the soul, as well as the general sense of meaningfulness and reality implicit in Purépecha curanderismo. The highly metaphorical modes of understanding characteristic of these healers defy analysis in purely structuralist terms. They do, however, have strong affinities with the Renaissance "episteme" or implicit framework of understanding described in The Order of Things, Michel Foucault's classic study of modes of knowing and experiences of reality in Western thought-a work profoundly influenced by Heidegger's interest in the historical and cultural constitution of what Heidegger termed "Being." After examining the individual illness concepts, we explore both the poetic and the ontological dimension (the foundational sense of reality or of Being) that they involve, with special emphasis on supernatural concerns.

Writing The Otherworld Revolution

In The Fantastic: A Structural Approach to a Literary Genre (1970), Tzvetan Todorov argues that the self-reflexive nature of poetry, which is characterised by figurative interpretation and an absence of narrative, excludes it from the possibilities of the fantastic: poetic reading constitutes a danger for the fantastic. If as we read a text we reject all representation,

Apostrophe

Research Article| May 01 2021 apostrophe Natasha Sajé Natasha Sajé Natasha Sajé is professor of English at Westminster College in Salt Lake City and poetry faculty at the Vermont College of Fine Arts MFA in Writing program. She is the author of three books of poems, most recently Vivarium (2014); a postmodern poetry handbook, Windows and Doors: A Poet Reads Literary Theory (2014); and a memoir, Terroir: Love, out of Place (2020). Search for other works by this author on: This Site Google the minnesota review (2021) 2021 (96): 36–37. https://doi.org/10.1215/00265667-8851324 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation Natasha Sajé; apostrophe. the minnesota review 1 May 2021; 2021 (96): 36–37. doi: https://doi.org/10.1215/00265667-8851324 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter Books & JournalsAll Journalsthe minnesota review Search Advanced Search The text of this article is only available as a PDF. © 2021 Natasha Sajé2021 Article PDF first page preview Close Modal You do not currently have access to this content.

In Memoriam J. Hillis Miller (1928–2021)

In Memoriam J. Hillis Miller (1928–2021) Charles Altieri and Jahan Ramazani Editorial note: Our Editorial Board Member J. Hillis Miller passed away on February 7, 2021, at the age of ninety-two, at his home in Sedgwick, Maine. Below we would like to honor him with two personal testimonies by fellow Board Members Charles Altieri and Jahan Ramazani about how they remember the man and the influence exerted by his work. We kindly invite the reader to turn also to the Editor’s Column, the second half of which is likewise taken up by personal recollections. The bibliography there contains an overview of Hillis Miller’s copious writings on Wallace Stevens over a period of more than fifty years. Memories of J. Hillis Miller J. Hillis Miller’s passing away provokes vivid reminders of the difference he made in my life, although I was never his student. The first reminder directs me to a time long before I ever met him. I had thought myself lucky that my philosophy program at Le Moyne College emphasized phenomenology rather than scholastic thinking. But when I went to graduate school at Chapel Hill, then an intensely historicist school, I feared that how I liked to think about poetry would be a considerable distance from how I was being trained to analyze texts. Then, one day in 1966, I came upon a review that led me to read Miller’s Poets of Reality, and then re-read it. I was not quite convinced that Williams was obsessed by modes of nothingness nor that Stevens was so clearly phenomenological, especially given how I was learning to register the impact of the voices he had heard at Harvard. What mattered more, however, was that I now knew I could use a philosophical language in which I felt relatively at home. And, even more important, thanks to Miller’s example I was able to push my imagination as far as I could, using historical concerns as shaping pressures but allowing myself to be fascinated by what poetic imaginations could do with those circumstances. Thank you, Hillis, for facilitating what allowed my mind to discover what it could do in the reading of poets’ confrontations with this history. The second reminder dates to my time at SUNY Buffalo between 1968 and 1976. Hillis was close with two of his ex-students there, Ed Dryden and Roy Roussel, and had become friends with Joe Riddel. These colleagues had become my friends as well, although I never got over my terror at how quick their minds were to leap on errors. And I endowed Hillis with an even more intensified version of those powers. Then we were both [End Page 275] invited to a conference on Whitehead at the University of British Columbia. Hillis was assigned as a respondent to a sweet and very intelligent person who had written the classic book on birdsong. He had actually done some work on birdsong himself and completely departed from his own familiar language in order to see where that mode of dwelling might lead. The event was inspiring, and I could not help contrasting it with how I imagined that many leading philosophers might have engaged the topic. My final memory derives from another academic event, about six years ago, a modernist studies conference in Irvine where Hillis was one of the main speakers. I do not remember his speech very well, but I clearly recall the rapt attention with which the audience listened to what he was saying. This is probably the most compelling evidence of esteem that a professor of literature can receive. Yet what I most remember from the conference was a different experience. I was stunned that he came to my paper, giving me a pleasant greeting before the talk. Maybe almost fifty years in the academy were producing rewards. I was even more delighted by what happened after the session concluded. After complimenting me graciously, Hillis went directly to a then-graduate student at Berkeley, Michelle Ty, who had given a terrific, dense talk on forms that modern fiction felt compelled to pursue. Hillis’s response to her combined the roles of sage...

The Moldy Avocado: Shame, Failure, and the Future in Mary Dorcey's "Daughter"

Why are the private lives of lesbian poets read for their universality rather than celebrated for their difference? A universal reading of the private movements of lesbianism from the sexual to contemplating conception, reinforces the social othering of lesbianism as a deviance, a moral flaw in character. Universalist readings interrupt anti-normative poetic responses. Criticism surrounding Mary Dorcey's poetry, particularly in the 1990s, is an example of this partiality to universalize the lesbian experience. A key to undoing universalizing readings of lesbian poets like Dorcey and to undoing false universalism generally is to establish an emphasis on queer futurity and a refusal of heteronormative futurity. Dorcey's heteronormative universal future is made in the early 1990s at the price of her past, her body, and her lesbianism being erased. Dorcey's poetry displays the possibility of alternative queer futures that require a different way of being, thinking, and writing.

Pre-Islamic Features in the Poetry of Al-Raei Al-Nawmiri

This research is dedicated to study Al-Ra’ee Al-Numayri, a distinctive poetic character, to find out the most important (artistic) pre-Islamic features that contributed to its formation. It is further dedicated to know the influence of these features on his literature in the literary arena. After surveying his poetic texts and reading them according to the analytical and investigative methods, the art of the researcher was limited to the field of traditionalists. He was following the footsteps of the ancients by adhering to the traditional Arabic poetry style and the traditional poetic image. Despite that, he had his own imprints and unique style of interrogating times and places with its people, animals and plants. He drew creative, sensual, and artistic poetic images.He bestowed movement and life to his talismanic and flirtatious images by describing the journey and the camel that won the honor of the poet’s eternal participation in all his poetic texts. Consequently, his camel became his legendary animal that accompanies him in his solitude and travels. The participation of the camel in his poetry was an emotional participation of his hopes and pains as well as a test to his patience and dream as it is his partner in his endeavors to praise and obtain the giving and dew of what is desired by him. In the midst of all these events, the effectiveness of the poet's imagination ranked him among the pioneers of Islamic poets. The research falls into an introduction and four axes that clarify the most important of features of his poetry. The study proved his superior poetic ability despite his commitment to the traditionalists.

Tempo e gravidade: emprestar da dança um léxico poético

O artigo propõe uma forma de leitura de poesia concentrada em seus efeitos corporais, aproximando-a, mesmo na modalidade silenciosa, da experiência da performance, em que encontramos o outro, materialmente. Proponho, como introdução, uma aproximação entre o advento da poesia moderna e o surgimento da dança moderna, concentrando-me em seus conflitos com os limites de seus meios de expressão – linguagem e corpo. Aproximo teoria poética e teoria da dança moderna, emprestando desta reflexões acerca de elementos como movimento, espaço e, sobretudo, peso e tempo. Por fim, realizo uma leitura experimental de dois poemas portugueses modernos, de Camilo Pessanha e Mário de Sá-Carneiro.

“Da palavra à estética, a periferia é poética!”: a poesia marginal de Mel Duarte enquanto uma prática de resistência e reexistência

Neste estudo apresentamos análises de três poemas do livro Negra Nua Crua, da poeta e slammer paulistana Mel Duarte. A temática em debate suscita reflexões quanto à urgência de se pensar a poesia falada/escrita num contexto marginal-periférico, enquanto uma prática de resistência e reexistência. Trata-se de uma pesquisa inserida no escopo dos estudos literários e dos estudos culturais, de modo que o percurso metodológico se funda no estabelecimento de uma hipótese de leitura, a qual conduz todo o processo analítico de interpretação e de manejo/constituição do referencial teórico. Partimos da hipótese segundo a qual dos corpos-vozes do eu-lírico-poético-político emanam questões do universo subjetivo da mulher negra em sua relação com o mundo, ruindo os estereótipos historicamente impostos. O corpus analítico inclui os poemas Não desiste!, Menina melanina e Negra Nua Crua. A base teórica perpassa os estudos de Bosi (1977:1996:2002), Candido (2006), Nascimento (2006:2019), hooks (2019), Dalcastagnè (2006), Toni C. (2006:2009), dentre outros. Nossas conclusões evidenciam que Mel Duarte representa um todo muito maior de jovens poetas trovadoras da contemporaneidade, mulheres negras que transformam narrativas invisibibilizadas em arte-sujeito, formando um quilombo urbano de oralidade e oralitura poética, griôs na escrevivência de suas/nossas reexistências.

After actuality: ideality and the promise of a purified religious vision in Frater Taciturnus

ABSTRACT This article engages Frater Taciturnus’s ‘Letter to the Reader’ to argue for a religious aesthetics in Kierkegaard. This religious aesthetics is designed to purify the passions and help the believer ‘see’ the religious ideal, but also to confront the aesthetic spectator with the religious reality of her own situation. My claim for this revised reading of religious poetics in Kierkegaard derives from Taciturnus’s view of a superior form of religious ideality that comes ‘after actuality’. This ideality is not an envisioned ideal that is untested by actuality and thus ‘illusory’ but an ideal that is graspable only after the self has acknowledged the actuality of their sinful condition, rather than any specific actual sin. To appreciate this form of ideality, Frater Taciturnus repeatedly resorts to visual metaphors and the power of imagination, suggesting that the religious ideal must be ‘seen’ with a sort of synoptic vision capable of looking past both comedy and tragedy and resulting in the purification of our typical affective responses to aesthetic objects. Seeing in this way, the individual imaginatively engages in religious aesthetics and grasps the religious ideality by affirming the actuality of their own sinfulness and receiving forgiveness for that sinfulness.

Desaprendizaje e inestabilidad. Perspectivas para una teoría cognitiva de la lectura poética

La lectura poética explora técnicas que rescatan procesos cognitivos básicos y aún no automatizados que todo aprendizaje lector activa. Asimismo, la lectura poética sostiene e incentiva los estados de inestabilidad cognitiva por los que ha de pasar cualquier proceso mental. Se configuran así estrategias cognitivas de desaprendizaje de automatismos y de irresolución de interpretaciones que tienen como resultado el extrañamiento y la complejidad, y que se analizarán en el contexto de un poema de Baudelaire.This poetic reading explores techniques which rediscover basic cognitive processes which up to now have not been automated and which all readers draw upon. At the same time, the poetic reading sustains and incentivizes the state of cognitive instability through which every mental process passes. In this way the article shows cognitive strategies of unlearning of methods already learned and strategies of maintaining irreconcilable interpretations which result in estrangement and complexity, and which will be analyzed in the context of a poem by Baudelaire.

Atlantic exchanges: The poetics of dispersal and disposal in Scottish and Caribbean seas

ABSTRACTThis article offers a series of readings of poets from both sides of the Atlantic Ocean whose works make visible the otherwise invisible and offshore narratives of marine waste that currently circulate within the world’s oceans. Through a comparative archipelagic reading of Scottish and Caribbean poets, this article examines the different forms of cultural and material exchange that proliferate through what Elizabeth DeLoughrey has called the “heavy waters” of the Atlantic. From stones and bones to plastic dolls and rubber ducks, the poetic encounters with marine waste in the works of Édouard Glissant, Kamau Brathwaite, Derek Walcott, Kei Miller, Jen Hadfield and Kathleen Jamie provide a means through which to access and critique transoceanic networks of colonial and capital exploitation. The manifestation of waste across these works gives rise to a poetics of salvage and recycling that corresponds with a distinctly environmental ethics of relation as driven by the ocean.