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Full Description
In Climate Lyricism Min Hyoung Song articulates a climate change-centered reading practice that foregrounds how climate is present in most literature. Song shows how literature, poetry, and essays by Tommy Pico, Solmaz Sharif, Frank O'Hara, Ilya Kaminsky, Claudia Rankine, Kazuo Ishiguro, Teju Cole, Richard Powers, and others help us to better grapple with our everyday encounters with climate change and its disastrous effects, which are inextricably linked to the legacies of racism, colonialism, and extraction. These works employ what Song calls climate lyricism-a mode of address in which a first-person "I" speaks to a "you" about how climate change thoroughly shapes daily life. The relationship between "I" and "you" in this lyricism, Song contends, affects the ways readers comprehend the world, fostering a model of shared agency from which it can become possible to collectively and urgently respond to the catastrophe of our rapidly changing climate. In this way, climate lyricism helps to ameliorate the sense of being overwhelmed and feeling unable to do anything to combat climate change.
Contents
Introduction. The Practice of Sustaining Attention to Climate Change 1
Part I. Scope
1. What is Denial? Kazuo Ishiguro's Never Let Me Go, Teju Cole's Open City, and Sally Wen Mao's "Occidentalism" 19
2. Why Revive the Lyric? Claudia Rankine's Citizen and Craig Santos Perez's "Love in a Time of Climate Change" 38
3. Why Stay with Bad Feelings? Ilya Kaminsky's Deaf Republic and Tommy Pico's IRL 65
4. How Should I Live? Inattention and Everyday-Life Projects 80
Part II. Breath
5. What's Wrong with Narrative? The Promises and Disappointments of Climate Fiction 101
6. Where Are We Now? Scalar Variance, Persistence, Swing, and David Bowie 121
Part III. Urgency
7. The Scale of the Everyday, Part 1: The Keeling Curve, Frank O'Hara, and Bernadette Mayer 141
8. The Scale of the Everyday, Part 2: Ada LimÓn, Tommy Pico, and Solmaz Sharif 159
9. The Global Novel Imagines the Afterlife: George Saunders, J.M. Coetzee, and HanKang 180
Conclusion. The Foreign Present-Who Are We to Each Other? 201
Acknowledgments 213
Notes 217
Bibliography 233
Index 243
