2. solace in soil
Masters thesis 2023To find solace in soil: exploring the connection between an embodied ecopoetic practice and eudaimonic wellbeing.
Acknowledgment of Country
I wish to acknowledge that much of the research and writing that makes up this thesis was done on the sovereign land and waters of the Kulin Nation, around the area now known as Melbourne, on this forcibly settled land of so-called Australia. I pay my respects to their Elders, past and present, and recognise them as the traditional and rightful custodians of the land. The connection of Indigenous Australians and Indigenous peoples globally to nature and storytelling is one of mutual trust and respect, and one that we should all attempt to emulate. Sovereignty was never ceded.
Abstract
Communing with nature and expressing one’s emotions through poetry have long been recognised as valuable tools for self-therapy, however the eudaimonic benefits of an ecopoetic practice is relatively unexplored through academic research. Building a better understanding of how immersing oneself in an embodied ecopoetic practice can influence connection to purpose, values and vitality could be useful for developing an accessible therapeutic tool for everyday use.
By combining scholarly, non-scholarly and experiential knowledge of nature connectedness alongside the development of an ecopoetry anthology, a research diary and a contextualising exegesis, I analysed changes in eudaimonic markers through an auto-ethnographic practice. These elements created the framework to develop an understanding of the eudaimonic benefits of an embodied ecopoetic practice, while expanding on a hybrid knowledge base for future use.
In order to develop a holistic and embodied practice of ecopoetry for the purpose of improving eudaimonic markers, my research builds upon existing scholarly and non-scholarly knowledge frameworks of ecofeminism, ecopoetry and nature connectedness from thinkers such as Val Plumwood, John Zelenski, Stacy Alaimo and Jonathan Skinner. All the while, new connections and ideas are synthesised through the generation of the creative artefact.
The outcome of my research showed an increase in eudaimonic wellbeing, through connectedness to nature, pro-environment behaviour, enhanced feelings of peace and meditation, connection to womanhood, self-realisation and agency. These findings provide a new framework for accessible self-therapy and eudaimonic wellbeing, while expanding the genre of ecopoetry to further include pro-environmental sentiment and enhance scholarly, non-scholarly and experiential research in the field of ecopoetry and wellbeing.
‘I quickly found for myself two such blessings—the natural world, and the world of writing: literature. These were the gates through which I vanished from a difficult place.’
— Mary Oliver, Staying Alive, p.14
solace in soil
upon a stone
i plant my hand
to soft green—
the woolly shroud
of rock and tree
dampened
with morning dew
trapped within a micro forest
living cloud gives beneath your weight
as delicate sprouts
surround your fingers in a cool embrace
bouncing back like a sponge
if i let them,
they grow around me
inviting me to stay
in an eternal bond
huddled on the forest floor.
mothering
each morning
i wake to the motherly intuit
and, barefoot, tread across damp grass
to the cooing
cooing that matches a vibration,
a frequency in my chest
and i let the chooks out—
and they experience their corner
of the clear-skied day.
solstice waltz
dandelions wedge
between hostile stalks
and thorns
shivering at the
touch of prancing air
a solstice waltz begins,
with i as the observer, a shadow
in the crowd, fated
to play witness to these seasonal balls.
dysbiosis
here,
nature meets machine
in a raw collage of textured vines
less politely than
shaking hands.
technology lumbers slowly
behind fast-growing pandanus
and banyans, sprawling legs
of soft wood seek to dislodge
tired structures
the earth growing impatient.
frida
vines hung like the
ringlets of a swedish child, but a deep
and humid green, adorned
with bursts of pink flowers
like fireworks.
on such a grand scale like
an overwatching deity
thinking “oh, these buildings will be lost
to erosion”
evening melt
sunset floods the rock pools like light through a prism, melting down from the sky like candle wax, spotted with spear fishermen who bob up and down, disturbing the soft orange to spike one fish or another, the moon cut into a smile in the inky blue that soon will devour the last tropical light.
tides
waves fall like honey over rockpools
submerged for now beneath the tug,
the push and pull
(and this is how the starfish end up stranded.)
vegetable soul
being surrounded
by such saturated greenery
and leaves like the hearts of giants
awakens the vegetable soul (see aristotle)
i am attuned to the world worms around me,
the cows and cacti and fires.
please, please, plant me here, and let me expand.
blood bending
i like to stand at the point in the wave where it starts to turn around,
and it yanks on my blood to follow in either direction.
july
july has brought rain,
heavy drops that ripple
on wide leaves as
they siphon water to the ground
translucent pearls adorn frangipani
and my question of greenery is promptly answered.
day empty
weather-induced stress
a pounding of nature
beating us down into submission
words of encouragement float overhead,
dampened and flooded.
but now, from the steam of the bath
the storm has calmed, quieted.
softening the tone with which it speaks to me,
like a mother after scolding her child.
beside me at the wooden table facing nothing,
the scratch of charcoal like my chickens
at home scratch through grass,
searching for gold.
the birds here make soft otherworldly sounds
combined with flute and sitar in an unfamiliar chorus.
clouds gather like seafoam collecting
at the lip of the shore,
i watch them grow darker as i have
in the sun,
it is my last day here and i cant stop purging.
ether
as i traverse mountain ridges with ease
my breath thins and cools
as i ripple through slates of snow
and the dense fur of a leopards coat
garden//body
garden as body: see vegetable soul, a maze in my mind, flourishing / blooming / wilting / weeping.
body as garden: cultivation, clipping, coveting, neglecting, making the home for little bugs.
bacterium vitae
thinking about bacteria
my therapist says it builds us, unlocks our helix
nature is not out to get you.
it is here to hold me,
cushion the world with soft tones of blue and green,
of fur and feather,
soil nurses these bugs
they take up temporary residency in my blood
building their own strength—
before moving back to earth,
go nourish some fungus, leave me alone.
the earth offers solutions,
herbs and roots and tinctures
easing my pain and nursing me back to health.
komerobi
komorebi, noun (japanese)
if i lie on the ground
in the paddock next to the creek, seasonal
i can watch the eucalyptus sway
as afternoon sun dances across my skin
and through the tall grass
it’s spring
and the cattle haven’t been in here for a while
i remember collecting tadpoles as a child
watching the sun point refractions toward the moving water.
yaruck//river
back paddock
low light
gums towering overhead
and soon, a blanket of stars
the soft weight of the milky way
will fall over the dancing light of dusk,
rabbits and foxes play tag
their pelts flashing between tall grasses,
golden and brittle from a long summer spent idle
their husks burnt and dry like my skin
as crickets jump between bushes of nettle,
hopping to tunes of hidden cicadas that echo through the valleys
and the psithurism of late summer heat and death.
soft sky
the sun rises over distant hills, the ridged spine of sleeping spectre, whose fur glows golden and it parts and waves with the northerly wind—
walwalün of nearby creek, flowing, alien-like through cracked earth after the heat storm—lightning that cracked like a whip, spreading light through the sodden night, ripping through the dark, responding to the distant call of ancient forests logged and felled, with a soft timber to be heard from orion.
on ‘braiding the knoll’
bracken cleared,
straw as hair, yet dead
sap leaks, stains fingers,
grass stains on pants,
the meadow a child, resistant to kneeling mother
pulling against calloused hands
as daffodils and wild daisies weave
between strands of green and gold
as late sun glints across our manicured hill
woman’s need to tame,
desire for an ordered beauty, with the care taken of a young girl
before bed
87, 88, 89…
gums glow red
a sky completely still
even the clouds pose quietly
there is a high gum
and it’s swaying
so subtly, that you wonder if
it’s even moving or it is just being
manipulated by your ever moving mind
a psychedelic vision of leaning
leaves bounce lightly
a baby on the knee of the long limbed beast
i let my hens out, it glows red
but it is only feeling
the warmth of the morning sun,
like me it is listening
to the morning birds.
and as i write the wind picks up
and my wind chimes play two timid notes
in the afternoon, it sways
gently to a sometimes imperceptible
breeze, moving in liquid strokes, the
give of its branches, the slack of its line
for the leaves to dance.
at this time, she is touched by golden light, exalting
the day and digging roots deeper
as the sun sets.
daucus carota
blooming queen anne’s lace
scattering white like snowflakes
latticed at the canopy of a tiny forest
friend of the free woman
daucus carota or wild carrot
womb sealer, gate keeper
practitioner of botanical intervention
yaruck/mother
i am mother
strong, wide arms
envelope fever with
cool, with blanketing
wetness, whisking you
away, enter my
stream, come to
mummy, let me
have a look
and clean your
wound, i stretch
my wiry arms
through your forests,
keeping you alive.
urtica dioica
nettle—not thistle,
urtica dioica
stings and inflames to touch
stirring blood, ruled by mars
hot heads and soft heads
soothes when ingested;
softening its spikey façade
to apologise, to grovel
at your swollen, prickling feet
to close your wounds
and drop your blood pressure—
a true hypocrite.
rainbow lorikeet, kerbside
a mess of feathers, splattered roadside.
the flowers at closing time outside the grocers
the deep reds painting streaks across dusk.
actinotus minor
little flannel flower, actinotus minor
emphasise little
i always loved little things—
trinkets animals, filled
my pockets as i turned about
through the world,
an inciter of spontaneous joy
in serious children
who grow up too quickly
nurturer of the small,
the tiny glowing candle
vulnerable to any gust,
but these gusts aren’t that minor,
are they?
a cyclone to someone so small.
battling the elements with nothing to show but a small
melted ring in the snow.
but the snow isn’t snow—it is a blanket
of tiny white flowers, reflecting
light and padding the bush,
protecting little feet.
herbal smoke
soft,
and soft
and cloudy moss
warms with light
morning
brings herbals dreams of a field
barley fluffs at harvest
sponges of honey-sunshine
spagyric elixirs green and gentle
medicine
a tree hollow for rest
wind ripples through brush
embody the garden
sit with physics.
spring soundscape
it’s the end of winter
every bird has a pair
dancing through air like koi in a pond
yin and yang
every cow has a calf
they run together
in the delights of childhood
until mother calls them home
their sweet faces covered in milk
a soundscape at the billabong
frogs clicking, echoing one another
their croaks the sole signifier
of their hidden existence
whim of the water
what am i doing?
today, i am sitting with uncertainty
and letting the river take me—
i am at the whim of this water.
white-necked heron
you ask me what bird that is,
or rather exclaim,
i wonder what bird that is!
as if my knowledge is unfathomable
but these hills, meadows
and streams
are covered in my soil-soaked fingerprints.
(it’s a white-necked heron)
i’ve spent my life
in a state of soft fascination
in the wetlands, the
billabongs with their
frog sounds,
the dry, drought-cracked
clay a hiding place for yabbies.
this has always been my sanctuary.
chrysalis
swirling colours and spirals
spiritual scapes of light
and perimeters of cosmic forms
through warmth of aural melody
and loops and cursive connections
i journey further inward,
past, beyond the green
and the visceral
until there is just the pastel drawings
of totems and floating talismans
the deeper i go, the brighter it becomes.
timber
a tree went down
in the valley of giants,
a tree that lived above the mist,
the cold of the tangible world
a tree, centuries old,
holding wisdom of black lines
tied to the back of a truck,
weighing it down
as the forest cries
pleads for her life
and in the time it takes
to read this far,
a tree went down
in the valley of giants.
yards//gardens
picking flowers this morning
for a bee who landed
on my jacket
suede, treated with patchouli oil
did it smell like home to her too?
my neighbourhood is full of lawn
my landlord wont let me tear ours up
to make home to more welcoming sprouts
lawn, i think, a curse of the colony!
dream chasm
a dark street like a chasm
drenched in red light of neon signs
telling me where to eat
as a mist makes mirrors of sidewalks
and slicks my hair to my face;
i don’t know the year,
but vines burst
through cracks in concrete walls,
moss lines the kerb
stars fill the sky, projecting
street lamps
and im hurting my neck
looking up into the inky darkness.
warimoo sky
late august breeze
similar to a wind of change
in my mind;
a change of seasons
looms, filling the sky
with bees and blue
dust unsettled as a car drives
up the gravel road.
plant food
valleys of lavender fill dreams of spring
as buds dawn on lifeless branches
bursting forward with the touch of sun
i bloom alongside,
chlorophyll fills my skin
blooming into daffodils in sidewalk cracks
body solid and rooted into the earth
as moss grows over my still spirit
symbiosis of the heart
to disturb
following a certain bereavement,
i thought to myself:
‘where might i find some solitude?!’
i just want some peace and quiet!
i turned to my left,
to my right,
and found i was yelling to myself,
as caterpillars and other little bugs
were rudely disturbed
from their tiny dreamings.
recently
i find myself solely wanting to ride my bike around in the sun. i listen to classical music inspired by bird sounds and get up from my desk to do some stretching. sometimes, i read, or write a poem. i think a lot about all of the mountain streams i have sat by, and dipped my fingers in, closing my eyes to hear the trickle, and correlate it to my blood trickling to the submerged fingers. i want to return to them after i ride my bike because the handle leaves a sticky black residue on my hands. i settle for the hose in the backyard.
thoughts of serendipity
the sun pours into my living room
it pours and pours, and sometimes it’s rain
and everything is perfect;
everything is tao;
all the time,
this is nature turning and cycling
there is no cause and effect,
just a series of happy accidents as
atoms swirl and bump into each other like flies.
for example,
bees like to use pollen
to fortify their homes, and they like
to rest in a flowers cocooning embrace
the flower is clearing out some dust
spring cleaning with intent of rebirth
our world is give what you can
take what you need,
a heart pouring
a community garden and a pantry
and me, dawdling with my face
turned upward toward the trees.
love letter to spring
spring sun
and the freedom
afforded to the dandelion,
whose heavy head transforms
into a crown of wispy tendrils
carried away by the lightest breeze;
saying ‘take a weight off, friend!’
o, how fortunate is she
to find a clear head
an enviable lightness of mind
for the coming months of windy warmth.
Introduction
At the beginning of 2023, I found myself navigating an acute response to stress. It was a period of my life where all normalcy was lost, and I was left to pick up the pieces of my life. The most organic route back to equilibrium was to turn back to nature, back inward. I began incessantly writing poetry and prose about my environment to make sense of my feelings. Having grown up surrounded by nature, nothing symbolises sanctuary to me like a stream, or the panoramic view from the top of a mountain at sunrise.
Upon learning that ecotherapy and poetry therapy are relatively unknown by everyday people through my discussions with friends, colleagues and family, I kept returning to a yearning to help people expand their understanding of how nature can help them—of how it is begging to help us! Reflecting upon my own experiences, I thought I could work towards forming a stronger case for the use of ecopoetry, which had been my first port of call for recovery, as a tool for improving wellbeing. Specifically eudaimonic wellbeing: being connected to our purpose, aligning with our values and increasing our vitality.
Not only is this area unknown to many folks who may be struggling in their everyday lives, but the extent of research is limited, in part due to the limitations of academic research. So much knowledge of ecopoetry and the benefits of a strong connection to nature are available beyond the walls of universities and traditional research—which is something that became increasingly apparent to me throughout this project. Alongside my desire to build a case for the use of ecopoetry as a complementary therapeutic tool, the importance of expanding academic, non-academic and experiential research of embodied ecopoetry and wellbeing was emphasised as I embarked on this project, and as I made discoveries about how I was impacted by the practice. This research is valuable as we are seeing high levels of stress in our current society, and the areas of nature and poetry therapies are underused as a complementary form of stress relief and increased connection to self.
This project will be centred around my developing anthology of ecopoetry, titled solace in soil, written throughout the duration of this thesis. solace in soil will be contextualised by an exegesis that will review current literature in each major region of the intersection being studied, outline relevant methodologies and explore the findings drawn from the poetry and research diary, with commentary on how the project impacted my experiences of eudaimonic wellbeing. The findings, in short, analyse my connection to self, meditation, trans-corporeality, agency and increased connection to purpose. solace in soil will hopefully serve to demonstrate the benefits of an embodied practice of writing ecopoetry for an individual’s feelings of eudaimonic wellbeing.
Literature review
The literature on this subject branches outward from a central intersection, the impact of nature writing on wellbeing, in multiple directions: the theory and uses of ecopoetry, nature connectedness and wellbeing and the benefits of poetry therapy. Ecopoetry has many broad and complex definitions but is defined here as poetry based in ecopolitical perspectives that highlights the convergence and consequent relationship between humanity and nature (Bryson 2002). solace in soil is a representation of this definition, exploring and expanding like branches of a tree, from nature appreciation and reflections of my own relationship to nature, to issues of social justice and environmental degradation, always with the roots grounded firmly in ecopoetic embodiment. This concept of embodiment, which is referred to frequently throughout this thesis, is defined as a ‘way to describe the sensorial and redemptive experience conveyed through creative writing, inspired by direct immersion in nature, and informed by empathy for and awareness of the nonhuman world’ (Gigot 2022). There are two more essential definitions to make at the outset of this literature review. Nature connectedness is defined by Capaldi, Dopko and Zelenski as ‘a stable individual difference in cognitive, affective, and experiential connection with the natural environment’ (2014), and eudaimonic wellbeing is defined as experiencing the positive mental function required for the pursuit of virtue, living in accordance with your values and having purpose in life (Nelson-Coffey & Schmitt 2023). Ecopoetic embodiment is crucial to my project as a whole as well as in solace in soil,l as the immersion in nature and consequent compassion for the nonhuman world are linked with the understanding of ties between eudaimonic wellbeing and nature connectedness.
Ecopoetics: definitions and uses
J. Scott Bryson describes three pillars that distinguish ecopoetry from nature poetry: ‘an ecological and biocentric perspective recognizing the interdependent nature of the world; a deep humility with regard to our relationships with human and nonhuman nature; and an intense scepticism toward hyperrationality, a scepticism that usually leads to condemnation of an overtechnologized modern world and a warning concerning the very real potential for ecological catastrophe’ (Schuster 2018). Bryson makes an important distinction between the impact of humanity and progress on the natural world, the value of looking inward at our human nature, and outward, at the natural world outside of ourselves. The importance to my research of making this distinction is that emphasis is placed on more than just descriptive poetry of natural foci—I will be engaging in a more critical manner with the natural world, as well as the past, present and future of our environment, and our place within it.
Jonathan Skinner describes ecopoetry as ranging from the making and study of pastoral and wilderness poetry to the intersection of poetry and animal studies, from the poetics of urban environments to poets’ responses to disasters and matters of environmental justice (Hume 2012). With Skinner’s definition placed alongside that of Bryson, the scope of ‘ecopoetry’ in the context of this project is more clearly defined. Skinner defines ecopoetry through more tangible products of the poetry, such as subject matter, imagery and moral. Bryson leads us in a different direction, toward a more nuanced understanding of the purpose and uses of ecopoetry. These definitions complement one another, rounding out the definition of ecopoetry that will be followed in this project.
Changing with the seasons: the shifting uses of ecopoetry
When nature poetry of the Romantic period is considered retroactively, it is common to find that it has been written in a way in which the ‘human’ is set in a position of superiority. We view a tableau of the other, of ‘nature’ as separate from ‘human’ (Skinner 2018). This can be categorised as ecophenomenological poetry, described as poetry with the ‘aim to evoke or celebrate the non-human, be it a landscape, plant or animal, in ways that do justice to its remoteness from anthropocentric conceptions or from human social meanings’ (Clark 2017). Ecophenomenological poetry has an important place in the understanding and synthesis of ecopoetry, however its production will not be my primary intention for this project. It is, however, important to contextualise the history the production of ecopoetry.
While ecophenomenological poetry remains important branch of nature poetry and ecopoetry, the ecopoetic lens has, in recent times, become more focused on concerns such as decolonisation, environmental degradation, climate change and environmental justice (Clark 2019). The increased exposure of ecopoetry from Indigenous poets globally emphasises this transition. Postcolonial ecopoetry shines a light on different subjectivities of environmental destruction, on criticism of Western and colonial views of nature (Magrane 2018 citing Perez 2015), on poetry serving as a world-making tool, and on the connectivity of traditional knowledge and relationship to land, expanding the aperture of ecopoetics (Magrane 2018). This lens of ecopoetics resonates with the perspective I will be taking in this project. I hope to provide a well-rounded study of ecopoetry, seen through both an appreciation of the beauty of nature, but also the devastation and hopelessness that can be associated with deep consideration of nature and its destruction.
Ecopoetry remain valuable to strengthening one’s connection to nature and improve their wellbeing, and I will be exploring it in an embodied way, as someone who has a regular practice of nature writing and ecocriticism. As outlined earlier, the embodiment of ecopoetry explores the immersion of the senses, mind, spirit and body into nature, allowing for further empathy and awareness of the environment and the nonhuman (Gigot 2022). With the foundation of this definition, the concept of ‘embodied ecopoetics’ in the context of this project will encapsulate an integration of self into the environment, extending my awareness into all aspects of the natural world, including the degradation and destruction of nature. As this will be an all-encompassing experience, my sense of spirituality will be infused into the embodiment of the practice. Involving spirituality and mindfulness in the process of nature writing, in particular poetry, can elicit feelings of wellbeing and self-reflection, that could be somatically and emotionally effective as a therapeutic strategy (Gigot 2022). By attaching this idea of embodiment to my practice, I hope to understand whether this framework for poetry will provide eudaimonic benefits.
Nature connectedness and wellbeing
The healing potential of time spent in nature (also known as ecotherapy) is an area of research that is incredibly valuable and is becoming subject to more extensive investigation (Gigot 2022). There is a plethora of research supporting the positive correlation between one’s connection to nature and their eudaimonic wellbeing. Eudaimonic wellbeing can be broadly defined as the feelings associated with the pursuit of virtue, living in accordance with values and having purpose in life (Nelson-Coffey & Schmitt 2023). In this definition of eudaimonic wellbeing lies the heart of this project, which is to discover if writing embodied ecopoetry can contribute to eudaimonic feelings Within this boundary of embodied ecopoetry, this includes a lived alignment with the protection and valuing of the natural world, and a desire to contribute positively to the environment.
Nature relatedness has been linked to eudaimonic wellbeing factors such as vitality, personal growth, purpose in life and the soothing of ecological grief (Murphy, Nisbet & Zelenski 2010)(Harvey, Richardson, Sheffield & Wells 2023). Engaging with nature can help people feel safe, unjudged and connected (Capaldi et al. 2015)and can help improve mental stability, focus and productivity. People who are connected to nature report high motivation (Capaldi et al. 2015) and are more likely to be functioning well psychologically (McEwan, Pritchard, Richardson & Sheffield 2020). Connectedness and exposure to natural environments is shown to alleviate cognitive fatigue and improve focus (Capaldi, Dopko & Zelenski 2014). When implemented in a personalised way, nature connectedness can holistically improve wellbeing, infuse feelings of contentment into broader life (Murphy, Nisbet & Zelenski 2010) and have a positive effect on a range of human functions (Capaldi et al. 2015). A study on the impact of urban green spaces inCities has shown that exposure to mundane urban nature or natural experiences can enhance wellbeing and perspective (Dobson et al. 2021). Despite available research, the lack of diverse critics is a limitation. These understandings and experiences of personal growth, function and purpose are critical markers of progress and the development of my results in this investigation. The uses of nature exposure lack comprehension considering the evidence of its promotion of health and wellbeing (Capaldi et al. 2015). The link between the two is not definite, and other variables could be having an effect on both nature connectedness and wellbeing, and this link deserves further investigation (Capaldi, Dopko & Zelenski 2014).
Poetry and wellbeing
As someone who has spent many years suffering from mental illness, poetry is something I have come back to time and time again catharsis of intense emotions—prompting my investigation into how poetry can affect wellbeing on a larger scale. Poetry writing guided by emotion and self-expression finds therapeutic value through its concern with human nature and consciousness (Byrt & McArdle 2001), promotion of self-knowledge and consequent acceptance of others (Carvalho, Fonseca & Tavares 2021). Writing poetry can allow individuals to be mindful and enter a flow state, of being absorbed in the present moment (Bower 2022). The reading of poetry and reflection or discussion of the individual's own poetry or the poetry of others can support self-expression, which cultivates feelings of connection and wellbeing (Haraldsdottir, Gilmour & Riccobono 2020). Poetic practice and poetry therapy have proven to support teenagers suffering from depression and trauma as well as other groups experiencing hardships such as cancer patients (Bower 2022).
There is still a lack of empirical studies exploring the potential of a poetic practice on mental wellbeing and as a distinct therapeutic modality. The current strategies do not provide enough information regarding what kind of poetry should be used in a therapeutic setting, and how effective different themes and genres are (Grewal & Peterkin 2017). Studies are generally conducted in a clinical or medical setting, and there is a lack of research on the impact of poetic practice or therapy in regular life (Bonde & Jensen 2018).
Nature writing and wellbeing
Nature writing combines engagement with nature with an individual’s poetic practice. In studies conducted with groups of children and adults practising regular nature writing, it was found that writing about nature produces more instances of transcendence in poetry, and a higher sense of nature connectedness and care for the natural world (Turner 2020). It was found that practising nature writing for a longer period of time increased the reporting of nature connectedness, mindfulness and life satisfaction (Harvey, Richardson, Sheffield & Wells 2023).
In one study, it was found that mood increases were found in all writing styles, not significantly for nature writing (Turner 2020), and it was suggested in another study that an exploration into the effects of nature writing in autumn and winter (as the study was conducted in spring and summer) would be valuable to determine a holistic and complete conclusion (Harvey, Richardson, Sheffield & Wells 2023). Gigot suggests that further exploration of ecopoetics and wellbeing is necessary and could lead to innovation in both environmental humanities and mental health settings (Gigot 2022). Findings for the connection between nature writing and wellbeing were limited due to the inconclusive nature of previous studies. From my own love of nature and of poetry, as well as my consistent practice of poetry writing, comes a question of whether they influence my own wellbeing and expression of eudaimonic qualities, with the intention of expanding upon this research and solidifying this connection and its impact.
Research problem & questions
Research shows that there are serious risks associated with increased stress and decreased connection to ourselves and nature (McEwan, Pritchard, Richardson & Sheffield 2020). Poetry provides a creative outlet that engages us not only with the world around us, but with ourselves. The therapeutic value of a habitual, embodied practice of ecopoetic writing as defined earlier (Gigot 2022) (Turner 2020) is under-practised, and potentially has untapped benefits for our wellbeing. The benefits of ecopoetry in this project goes beyond the positive elements of the relationship, as it encompasses concepts that could have negative effects on my wellbeing, such as topics of environmental degradation, destructive urbanisation and climate change (Clark 2019), the effects of which are worth exploring.
While the therapeutic value of this investigation is important, equally so is the intention to provide literary value through my exploration. I hope to participate in the expansion of contemporary ecopoetry, incorporating concepts of Indigenous connection to land, climate change and environmental degradation. If writing ecopoetry has a perceived benefit to wellbeing, this could expand its practice and broaden the genre as well as increasing awareness of the issues it covers.
Of the studies and research I engaged with, it seemed apparent that connections of nature connectedness and wellbeing, and by extension nature writing and wellbeing, are in need for further research. I hope to address these relationships through a practice-based project of creating an ecopoetry anthology over a four-month period, while employing an auto-ethnomethodological technique and an ecopoetic framework. Regularly engaging with ecopoetry and thereby the natural world may have unidentified benefits for wellbeing, and I believe it is worth exploring. Not only for myself, but as an accessible self-administered enrichment for a broader global community and as a therapeutic tool in collaboration with traditional therapeutic practices.
These problems are underrepresented in scholarly research, and an identifiable gap in knowledge exists surrounding the connection of ecopoetry and eudaimonic wellbeing. This gap expands into the lack of integration of scholarly, non-scholarly and experiential research on the topic, being one of mind, body and spirit—and could benefit from a more holistic and expansive base of knowledge.
The key question I hope to address is:
Can a practice of embodied ecopoetry (in the form of four months of immersive ecopoetry writing) positively influence nature connectedness and mindfulness, and subsequently provide eudaimonic benefits?
Some sub-questions include:
Can writing ecopoetry on a regular basis have a short-term effect on my day-to-day experience of gratitude, mindfulness and wellbeing?
Could the field of research of ecopoetry and wellbeing benefit from non-scholarly and experiential voices?
Methodology
From the above literature review, it is clear that research is spread thin over the areas of interest for this project. We can see that ecopoetics must continue to expand beyond an admiration of beauty into criticism of and response to human-nature relationships and environmental disaster; there are therapeutic benefits to time spent in nature and writing about it; and poetry is beneficial for self-understanding and connection to consciousness. However, research is limited and confined by the need to be academic—much of the wisdom in the areas of nature, poetry and wellbeing lies beyond scholarly works, in non-scholarly and experiential systems of knowing. Here lies my gap, and it continues into the actual knowledge we have through research of the relationship between ecopoetry and wellbeing, and the ins and outs of ecopoetry as a tool for experiencing eudaimonic markers.
This project combines practice-based research of poetry writing and concurrent autoethnography with this exegesis of theoretical research of ecopoetics, nature connectedness and eudaimonic well-being. Auto-ethnomethodology is defined in this project as the researcher analysing how they make sense of their creative practice in their daily lives, exploring underlying reasons for these acts of creative expressions. (Skains 2018). Practice-based research will be defined as the synthesis of knowledge from putting research into practice, and ‘learning by doing’. Through the exploration of concepts derived from my research question and the development of the creative artefact of an ecopoetry anthology, a holistic methodology has been developed for an in-depth study. The exegesis functions as a contextualising and grounding analysis for my creative artefact, solace in soil. It serves to place my research into the context of ecocriticism and literary practice, wellbeing, and art therapy, defining and emphasising these intersections. The exegesis incorporates reflections extracted from the research diary, analysis of my own poetry created through the project and expanded theoretical research.
Self as observer through practice-based research
Practice-based research of poetry for the improvement of wellbeing is an unexplored method that could lead to a valuable development of knowledge. The understanding of the problem from a personal and tangible perspective and the thinking that will be supported through this practice are recognised as a worthwhile way of creating and sharing knowledge (Sade 2021). Combining theory and practice, and having one inform the other and vice versa, creates a dynamic that can lead to enriched practice and the development of new theoretical knowledge (Candy 2021).
Garfinkel emphasises the creative practice being analysed by someone who is highly familiar with the content they are creating and are injecting a new element of investigation to their practice in order to increase ‘theoretic interest’ (Garfinkel 1967). Garfinkel explains that this causes the researcher to ‘start with familiar scenes and ask what can be done to make trouble’ (Garfinkel 1967). As mentioned earlier, my own writing practice is familiar and consistent enough to be second nature, and so adding this element of observing myself and commenting on my actions, and therefore being more aware of how I am influenced by my practice, will strengthen my findings and deepens the analysis of my project. So, adding this intention of observing my mental wellbeing to my already familiar poetry writing practice will be the ‘trouble’ Garfinkel mentions.
Analysis as human nature
Using ecopoetics as the creative framework for my project is something natural to me and that I am proficient in, but as Garfinkel explains (Garfinkel 1967), it is something that I can expand and create a more analytical interest in by pairing it with the analysis of my mental wellbeing alongside my writing practice. The significance of this is to shift my practice away from being comfortable and commonplace, including a more critical eye in my writing. Practice-based research allows for the exploration of ecopoetic thought and the authenticity of creating an artefact of the research that benefits and expands the literary field of ecopoetics. For me, practice-based research paired with ecopoetics allows me to explore a field I am sufficiently familiar with, giving me the space to make more nuanced and rich discoveries in the observation of my practice, and allows me to analyse my wellbeing, broadening my full attention beyond writing of ecopoetry. On the other hand, there is the concern of the diversion of intention due to the nature of practice-based research. As Sade explains, ‘Where creative practice is transformed into a research method for collecting data in pursuit of an instrumentally posed question, it is no longer mobilised by artistic or creative intentions. On the other hand, as research is transformed into creative practice, there is a risk it will no longer secure claims to knowledge as expected within an academic context.’ (Sade 2021). This is a consideration I have had to consistently keep in mind for the duration of this project.
Embodying nature
Creative practice in this project is the writing of embodied ecopoetry. The aim will be to engage in a regular and habitual practice, writing poems as frequently as possible, to collect into an anthology of ecopoetry at the end of the project. My intention is for the poetry to come naturally and be inspired by my surroundings, and so I will carry a notebook to write ideas, inspiration, reflections and poems. Extending beyond the writing itself, the concept of ‘embodied’ ecopoetics developed by Gigot (2022) will be something I immerse myself into. I will engage with a spiritual, emotional and physical connectedness and communion with nature. This will be reflected in my research diary, as well as the poetry itself.
Ecofeminism and trans-corporeality
Themes of ecofeminism and trans-corporeality appear through my poetry as well as in my findings and are frameworks through which the findings will be analysed. Nature has long been associated with femininity, although in earlier traditions, this was seen as an inferiority to man of women, animal and pre-human described as the human/nature dualism by Val Plumwood (Plumwood 2009). This dualism is a highly western and colonial perspective, viewing nature as ‘other’ and placing man in the superior position of power over the world, leading to a disconnect between man and the environment (Alaimo 2017). Ecofeminist thought brings together ecological and feminist struggles into a system of elements suffering at the hands of patriarchal society. However, beyond this, ecofeminism invokes ideas of the blending of human and nature, in what Stacy Alaimo calls ‘trans-corporeal feminisms’ (Alaimo 2017). Trans-corporeal feminism integrates our human state of both being and having a body, with that of our environment, rendering them inseparable, and therefore informing analysis of natural and cultural contexts (Alaimo 2017). Eleonora Federici, in her paper ‘Why Ecofeminism Matters’, expands upon Carolyn Merchant’s theory of this relationship, identifying nature as an agent with unforeseeable actions, rather than an object to be subdued (Federici 2022). Federici also links the responsiveness of nature to human action to the feminist ethics of care, implying that every act on the environment, or rather within this human-nature relationship is of value (Federici 2022).
Nature reflected
A key element of my research will be the consistency and habitual nature of the poetry practice. The importance of reflecting on the practice and the perspectives that these habits arise from is emphasised in the study of practice-based research (Sade 2021). This coincides with the concept of the research diary, which is an integral element of the development and construction of knowledge (Engin 2011). A research diary is beneficial to the research process in several ways—reflection, written account of the research journey, inner dialogue with an ‘expert other’, re-interacting with previous thoughts, reporting of decisions and effects of research and emotional support (Engin 2011).
Auto-ethnomethodology is a sub-form of ethnomethodology that will occur as the analytical tool of my creative artefact. It functions in the form of a research diary, in which I will record observations, insights and narratives that come up throughout the project, drafts in the form of revisions and hand-written pieces. This is cited by Skains as ‘creative analytical processes ethnography’ (Skains 2018), which links the creative and analytical processes and their artefacts, giving me an opportunity to analyse my writings, mental state and reflections during the project. By taking an analytical and self-observational perspective toward my writing and my mental state for the duration of this project, I will be able to ensure I have adequate and credible results that are substantiated in critical thought and creative expression.
Auto-ethnography leaves room for ethical issues to arise. As a middle-class, white woman in a developed Western country, my findings surrounding the benefits to wellbeing of the ecopoetic practice are heavily marked by privilege and access to resources. The results could be skewed in the other direction or impacted by the flux of my mental state for the duration of the research. There are also considerations surrounding colonial frameworks and socio-racial hierarchical dynamics (Magrane 2018) that encourage a positive relation between myself and ecopoetics. These will be considerations I will keep as a reference point for my project and the analysis of my writing.
The research diary, which will be compiled separately, will cover theoretical and reflective elements of the project. The research diary will serve as a commentary by which to compartmentalise my poetry into areas of discussion, supplementing the analysis of my findings. Every entry will be dated. The most important use of the research diary will be reflection. Each entry will reflect on my environment, read poetry and the poetry I am writing. The research diary will also contain research I conduct, including notes from articles, books and other media surrounding the research problem, in an attempt to expand the scope of my practice and delve further into my own understanding of ecopoetry, while simultaneously recording my own experiences throughout the project. I will read and annotate ecopoetry from a variety of time periods, geographies and intersections. Noting poems that inspire my own practice and motivate me to explore different forms, subjects and perspectives will be a crucial part of developing my own practice. This process of collating observations and inspiration is important to my project and the journey of reflecting on nature and wellbeing due its capacity for my own personal world expansion in the area of ecopoetry—to have a more concrete and expansive understanding of ecopoetry allows me to create my own in a more holistic way with more points of reference.
Findings
Following the four months of poetry writing, reflection and recording, I have categorised what I have discovered about the link between an embodied ecopoetic practice and eudaimonic wellbeing into five subsections. Each section explores an idea or theme of the poetry I have written for solace in soil and how I have found it has influenced my wellbeing and provided eudaimonic benefits. These sections are as follows:
- the embodied garden
- materia medica
- forest spirit, quiet spirit
- growth/decay
- mothering
It is worth noting that, while there is somewhat adequate academic research surrounding the connection between poetry and wellbeing, and the connection between nature and wellbeing, the findings I have articulated below occasionally veer away from academic thinking. There is an inadequate supply of academia surrounding the more emotional and spiritual benefits of the ecopoetic practice, and therefore some thinkers from other fields, including more alternative practices such as herbal medicine, spirituality and philosophy are consulted as support throughout this section.
the embodied garden
A major theme carried through solace in soil is the embodiment of nature: the integration of the environment into my body, and the integration of my body into the environment. These ideas present as contemplations of Aristotle’s vegetative soul, my place as part of nature and nature as an extensive body that requires my nurturing, as if it were my own. This aligns with the concept of trans-corporeality, which is explored by Val Plumwood and Stacy Alaimo (Alaimo 2008), among others. Trans-corporeality explores the blending of human consciousness and nature, blurring the lines of where our own consciousness ends, and that of the world around us begins.
garden/body
garden as body: see vegetable soul, a maze or labyrinth, flourishing / blooming / wilting / weeping.
body as garden: cultivation, clipping, coveting, neglecting, making home for little bugs.
Research diary excerpt 20.6.23: Aristotle describes the ‘vegetative’ or ‘nutritive’ soul—a soul possessed by plants, with capacity for growth and reproduction. I am able to be a part of the world in a way that places focus on my own growth and my own expansion. Tapping into my vegetative soul.
Aristotle’s understanding of the primal level of the soul, that drives survival and instinct, influenced many of the poems in solace in soil, with the exploration of internal systems of nature (mental and biological), the viewing of my body as part of nature, and appreciation of my place as a conduit for life. These concepts drew me closer to the natural world and gave me the opportunity to experience the world as a medium for my own growth as an individual. The vegetative soul also became something of my own, expanded beyond Aristotle’s original definition into the idea of body as garden, and garden as body.
body as garden
Excerpt from bacterium vitae:
soil nurses these bugs
they take up temporary residency in my blood
building their own strength—
before moving back to earth,
go nourish some fungus, leave me alone.
In July 2023 I contracted Typhoid while away in Indonesia. Beyond feeling awful, it allowed me time to contemplate how this illness interacted with my poetry, and it ended in my understanding of my body as a garden, a place for organisms to temporarily take up residence. I began to view myself as a part of the greater whole of nature, an extension of the natural world. This immersion brought me a level of peace in a time that was incredibly uncomfortable physically and has had a continued effect on my idea of health and my place in nature.
By seeing myself as part of the garden, I become more affected by my environment, which can result in positive and negative changes to my mood and wellbeing—the beauty of nature, and of my body by extension, brings me more joy when seen as a vessel for life. However, enhanced empathy for the natural world can be depressing when considering her destruction and an attitude of hopelessness can be difficult to avoid. Despite moments of despair, the practice of admiring the beauty and strength of nature through writing this ecopoetry has improved the resilience of my hope, allowing me to quickly shift my perspective to one of peaceful optimism.
rainbow lorikeet, kerbside
a mess of feathers, splattered roadside
blood smeared across a cheek.
the flowers at closing time outside the grocers
the deep reds painting streaks across dusk.
The use of natural concepts as a metaphor for human nature or the soul is not new, and has been discussed by philosophers such as Kant, Aristotle and Goethe (Miller, 2002).
garden as body
The reversal of the idea of my body as a garden, is the viewing of the garden, or nature, as a body. In some cases, an extension of my own body, and in other cases, its own living, breathing organism. As my ecopoetry practice developed, I found myself drawn more to the personification of the natural world, where I addressed ‘her’ as another being that I am able to communicate with or interact with on a deeper level. This meditative connection to the land and her inhabitants broadened my mind in a way that has very profound impacts on my journey toward wellbeing. Improving my relationship with nature from an external avenue has developed into my improved treatment of the environment I am surrounded by, and a gentler view of nature.
Research diary excerpt 23.8.23: Asia Suler on embodying nature—greet the plants, speak to them, introduce yourself, and then you will see nature in a new way, like it’s the first time.
Asia Suler, an herbalist from the United States, discusses often the personal relationship we can build with plants on a spiritual level (Suler 2022). Upon listening to her speak about this, I became more open to encouraging this communion with nature, which in turn allowed me to feel more connected with the world, and more grateful and satisfied with each day. My writing reflected this, as I began writing about nature as if it were a friend, and something I had the duty to protect.
Excerpt from upon a stone
as delicate sprouts surround your fingers
in a cool embrace
bouncing back like a sponge
if i let them,
they grow around me
inviting me to stay
in an eternal bond
huddled on the forest floor.
materia medica
Since beginning this project and exploring the range of subject matter of ecopoetry, I have developed an intense passion for herbal medicine, and the expanses of poetry that intertwine with this practice. As someone who has suffered from health concerns for much of my adult life, using poetry as a vessel for my learning about the uses of herbs for healing has brought me great satisfaction. Finding a sense of autonomy over my health through this exploration has given me a redefined purpose in the sphere of how I can help people using nature and has been positively influential on my mental health.
daucus carota
blooming queen anne’s lace
scattering white like snowflakes
latticed at the canopy of a tiny forest
friend of the free woman
daucus carota or wild carrot
womb sealer, gate keeper
practitioner of botanical intervention
By recognising the power of herbal medicine through my poetry, a spark was ignited that has drawn me deeper into the world of natural medicine. When considering eudaimonic wellbeing markers, finding purpose and aligning with your values are two primary factors. Therefore, this realisation has been beneficial to my eudaimonic wellbeing, helping me to align with my passion in life through the exploratory nature of writing ecopoetry about medicinal herbs.
Excerpt from actinotus minor
battling the elements with nothing to show but a small
melted ring in the snow.
but the snow isn’t snow—it is a blanket
of tiny white flowers, reflecting
light and padding the bush,
protecting little feet.
The investigation of these plants and their uses was also beneficial as part of my journey toward healing some childhood wounds. In pieces such as actinotus minor, the understanding of this flower’s meaning and uses complemented contemplation of parts of my life that are painful, making them more accessible through the practice of ecopoetry. Through metaphor, deeper self-exploration is possible, and for my experience, using the intersection of metaphor and herbal medicine gave me a greater sense of agency over my health and my response to potential stressors.
forest spirit, quiet spirit
the whim of the water
what am i doing?
today, i am sitting with uncertainty
and letting the river take me—
i am at the whim of this water.
The experience of writing ecopoetry in a way that immersed me completely into nature made room for a very meditative and contemplative practice to emerge. The act of writing the poetry, and thinking deeply about nature, was often accompanied by a desire to seek out quiet, tranquil spaces to find inspiration and to write. This developed into a meditative practice that I looked forward to and could find in many different environments. Placing my focus on the sights, sounds and sensations that surrounded me calmed and quieted my mind, making me feel peaceful. Alongside this, the time I spent listening to and acknowledging the natural world was helpful in deepening my connection with the world around me.
Articulating these experiences through poetry allowed for an expansion of consciousness, of awareness of what rose inside me as well as what I experienced outside of me, and felt like the consolidation of the mind, body and spirit—being able to write lyrically about these experiences was not only peaceful and deeply spiritual for me, but I felt a sense of accomplishment and inspiration in being able to put these feelings that rose in me into words. These emotions surrounding the meditative outcomes of writing poetry and observing the world around me brought me closer to a feeling of purpose and passion, aligning me with ideas from Aristotle and Plato about happiness as ‘a life infused with a sense of meaning’, where we use our strengths to serve something larger than ourselves (Dhiman 2021).
Excerpt from chrysalis
i journey further inward,
past, beyond the green
and the visceral
until there is just the pastel drawings
of totems and floating talismans
the deeper i go, the brighter it becomes.
growth/decay
Exploring the relationship between humanity’s ‘world’ and nature’s ‘earth’ was another pathway that led to an expansion of consciousness through this project. This theme was perhaps the most challenging to my sense of eudaimonic wellbeing, as it led me to incorporate many of my feelings towards the destruction of nature, environmental degradation and the impact of the Anthropocene on natural systems. While I have long held an avid passion for the preservation of the environment on a larger scale, the writing of poetry about places and experiences on a smaller scale enhanced my awareness and emphasised the polarity of hope and despair over the effects of human development across the world.
Excerpt from dysbiosis
here,
nature meets machine
in a raw collage of textured vines
less politely than
shaking hands.
Increased nature connectedness, a concept outlined by many academics in this field, is proven to have a positive and significant impact on one’s commitment to pro-environmental behaviours (Abson, Klanieki & Leventon 2017). Over the course of writing solace in soil, I acknowledged a significant increase in the amount I researched and acted for the protection of the environment, which links again to the relationship between eudaimonic wellbeing and action for a greater purpose outlined in the previous chapter. The observation and documentation of the injustices faced by our natural environment fed my passion and made me more determined and fulfilled by environmental action, despite the perceived hopelessness in cases such as is discussed in timber, a poem reflecting upon the destruction of the old-growth forests in Tasmania.
timber
a tree went down
in the valley of giants,
a tree that lived above the mist,
the cold of the tangible world
a tree, centuries old,
holding wisdom of black lines
tied to the back of a truck,
weighing it down
as the forest cries
pleads for her life
and in the time it takes
to read this far,
a tree went down
in the valley of giants.
As discussed earlier in the review of the literature, ecopoetry is not solely for the appreciation of the beauty of nature and our love for the environment but is purposeful as a vessel for criticism of our current system and how the earth is betrayed by colonialism, capitalism and industrial development. By expanding my practice to the lamenting of these injustices, I achieve more than mere happiness for a flower on the footpath, but the deeper satisfaction of being a voice to the voiceless and advocating for the environment—using my strengths to serve something larger than myself.
mothering
Excerpt from Research diary 13.9.23: Vandana Shiva, an Indian ecofeminist, describes women as ‘safeguards’ of natural resources in ecological crises.
Ecofeminist theorists and academics throughout history have tossed and turned around the intrinsic link of ‘nature’ and ‘woman’. A thread that was important to my poetry in the context of this thesis was the joy and fulfilment I found by caring for animals and plants, understanding them and empathising with them, and through embodying natural phenomena as the mother.
Excerpt from Research diary 28.9.23: Stacy Alaimo identifies this alignment of woman and nature, and the prolonged struggle to disentangle the two (Alaimo 2008)—a concept fought against by ecofeminists such as Val Plumwood, who identifies a need to re-immerse ourselves as humans into the world of the animals, blurring these boundaries created through centuries of western thought.
yaruck/mother
i am mother
strong, wide arms
envelope fever with
cool, with blanketing
wetness, whisking you
away, enter my
stream, come to
mummy, let me
have a look
and clean your
wound, i stretch
my wiry arms
through your forests
keeping you alive.
In poems like yaruck/mother, named after the town, I grew up in, the personification of the river that runs through the landscape naturally formed into one of a woman, of a mother—the ability of a river to nourish and care for us. The association of woman and nature came first to my poetry, before my exploration of its importance to ecofeminist thought—which makes it all the more interesting that this connection was sustained. Connecting to my own womanhood through ecopoetry was an unexpected benefit of this practice, and one that has improved my understanding of myself and therefore my wellbeing and connection to purpose.
See this excerpt from white-necked heron:
you ask me what bird that is,
or rather exclaim,
i wonder what bird that is!
as if my knowledge is unfathomable
but these hills, meadows
and streams
are covered in my soil-soaked fingerprints.
Through my practice of ecopoetry, I was able to reframe perceived attacks on my femininity, exploring my pride for my understanding of the natural world—my connection to nature has become the source of my empowerment. Ecofeminism and ecopoetry have tangled into an amorphous source of joy and satisfaction, encouraging my further exploration of the intersection. I believe that, especially for women and gender non-conforming people, the opportunity to reframe negative experiences through poetry, especially about the natural environment that has historically been connected to womanhood, would be of benefit not only to the nature-connectedness of the individual but to their self-understanding.
Conclusion
‘Writers are amongst the foremost of those who can help us to think differently. Of course, artistic integrity, honesty and truthfulness to experience are crucial in any re-discovery of ‘tongues in trees’... It’s a matter of being open to experiences of nature as powerful and creative, making space in our culture for an animating sensibility and vocabulary.’ —Val Plumwood, Nature in the Active Voice (2009)
Through the production of solace in soil, I aimed to discover a link between an embodied, immersive ecopoetic practice and eudaimonic wellbeing. Second to this, I hoped to expand this field of knowledge available beyond scholarly research, into non-scholarly and experiential investigation. Through the continued contribution of ecopoetry and research diary entries, I was able to extract valuable changes to my own experience of eudaimonic wellbeing, showing that it is possible to use embodied ecopoetry to improve eudaimonic feelings of purpose, alignment with my values and vitality. This was demonstrated for me through deepened trans-corporeal understanding, a greater sense of agency over my health, increased alignment with my pro-environment beliefs, a more nuanced meditation practice and a better knowledge of my connection to womanhood and ecofeminism. The research I conducted in this project is subject to limitations, primarily relating to the incredibly narrow scope of the work, being auto ethnographic. The potential for biases to arise from being the only researcher and the only subject is significant, especially as someone with mental illness as discussed earlier in the thesis, as well as my already prominent love of nature and access to natural landscapes. However, I believe I have been as authentic and honest as possible when considering the impacts of my ecopoetic practice on my wellbeing. I was also constrained by the limit of time of four months and could benefit from a more extensive period to continue to monitor changes. I believe this research makes the contribution of demonstrating how the practice of immersing oneself in ecopoetic practice on a regular basis can help people to improve their eudaimonic wellbeing in an accessible way. Opening this area of knowledge leads to possibilities for further research as engaging in this project on a scale with more participants from different backgrounds and connections to nature could enhance or alter my results, as well as increasing the research timeframe as mentioned. Looking forward in the long-term, this research could expand the uses of ecopoetry as a complementary therapeutic tool. As previously mentioned, it could also work to expand the common understanding of ecopoetry to integrate issues of Indigenous connection to land, climate change and environmental justice. There is so much more to be learned about the benefits of nature connectedness and ecopoetry for our wellbeing, and hopefully sometime in the future these essential practices will be recognised for their powers for improving our lives.
References
Abson, D.J., Klaniecki, K. & Leventon, J. (2018) ‘Human–nature connectedness as a ‘treatment’ for pro-environmental behavior: making the case for spatial considerations’ Sustain Sci, 13:1375–1388, doi:10.1007/s11625-018-0578-x
Alaimo S (2008) ‘Trans-corporeal Feminisms and the Ethical Space of Nature’, in Alaimo S & Hekman S (ed/s) Material Feminisms, Indiana University Press.
Angrosino M (2007) Doing Ethnographic and Observational Research, SAGE Publications, doi:10.4135/9781849208932
Bate J (2000) The Song of the Earth, Picador, London.
Bower V (2020) Poetry and the 3-11 curriculum : Enhancing the learning experience, Routledge,
doi:10.4324/9781003154174-11
Bryson, J. S (2002) Ecopoetry: A Critical Introduction, The University of Utah Press, Salt Lake City.
Candy L (2021) ‘Theory as an Active Agent in Practice-Based Knowledge Development’, in Vear C
(ed/s) The Routledge International Handbook of Practice-Based Research, Routledge,
doi:10.4324/9780429324154
Capaldi CA, Passmore H-A, Nisbet EK, Zelenski JM and Dopko RL (2015) ‘Flourishing in nature: A
review of the benefits of connecting with nature and its application as a wellbeing intervention’,
International Journal of Wellbeing, 5(4):1-16, doi:10.5502/ijw.v5i4.449
Capaldi CA, Dopko RL and Zelenski JM (2014) ‘The relationship between nature connectedness and
happiness: A meta-analysis’, frontiers in Psychology, 5(976), doi:10.3389/fpsyg.2014.00976
Carvalho JCM, Fonseca PIMN and Tavares CMM (2021) ‘Poetry as a way to express emotions in
mental health’, Journal of Poetry Therapy, 34(3):139-149, doi:10.1080/08893675.2021.1921474
Clark T (2019)The Value of Ecocriticism, Cambridge University Press, doi:10.1017/9781316155073
Dhiman S (2021) ‘Being Good and Being Happy: Eudaimonic Well-Being Insights from Socrates, Plato, and Aristotle’ in Dhiman, S.K.’s (ed/s) The Palgrave Handbook of Workplace Well-Being. Palgrave Macmillan, London. doi:10.1007/978-3-030-30025-8_1
Dobson J, Birch J, Brindley P, Henneberry J, McEwan K, Mears M, Richardson M and Jorgensen A
(2021) ‘The magic of the mundane: The vulnerable web of connections between urban nature and
wellbeing’,Cities, 108, doi:10.1016/j.cities.2020.102989
Engin M (2011) ‘Research Diary: A Tool for Scaffolding’, International Journal of Qualitative
Methods, 10(3):296-306.
Federici E (2022) ‘Why Ecofeminism Matters: Narrating/translating ecofeminism(s)’, Iperstoria, Fall/Winter 2022(20):66-77.
Garfinkel H (1967) Studies in Ethnomethodology, Prentice-Hall, Inc., Englewood Cliffs, NJ.
Gigot J (2022) ‘Nature Writing As Solace: The Embodied Ecopoetics of Barry Lopez and Mary Oliver’,
Ecopsychology, 14(4):279-281, doi:10.1089/eco.2021.0063
Grewal S and Peterkin A (2017) ‘Bibliotherapy: The Therapeutic use of Fiction and Poetry in Mental
Health’, The International Journal of Person Centered Medicine, 7(3):175-181.
Harvey C, Sheffield D, Richardson M and Wells R (2023) ‘The Impact of a “Three Good Things in
Nature” Writing Task on Nature Connectedness, Pro-nature Conservation Behavior, Life Satisfaction,
and Mindfulness in Children’, Ecopsychology, 15(1):26-36, doi:10.1089/eco.2022.0014
Hume A (2012) ‘Imagining Ecopoetics: An Interview with Robert Hass, Brenda Hillman, Evelyn Reilly, and Jonathan Skinner’, Interdisciplinary Studies in Literature and Environment, 19(4):755.
Hume A & Osborne G (2018) Ecopoetics: Essays in the Field, University of Iowa Press, https://doi.org/10.2307/j.ctt2111h7q
Jensen A and Bonde LO (2018) ‘The use of arts interventions for mental health and wellbeing in
health settings’, Perspectives in Public Health, 138(4):209-214, doi:10.1177/1757913918772602
Magrane E (2018) ‘“Healing, Belonging, Resistance and Mutual Care”: Reading Indigenous Ecopoetics and Climate Narratives’, Literary Geographies, 4(2): 156-170.
McArdle S and Byrt R (2001) ‘Fiction, poetry and mental health: expressive and therapeutic uses of
literature’,Journal of Psychiatric and Mental Health Nursing, 8:517-524.
Nisbet EK, Zelenski JM, Murphy SA (2011) ‘Happiness is in our Nature: Exploring Nature
Relatedness as a Contributor to Subjective Well-Being’,Journal of Happiness Studies, 12:303-322,
doi:10.1007/s10902-010-9197-7
Plumwood V (2009) ‘Nature in the Active Voice’, Australian Humanities Review, (46):113-129.
Popham S (29 June 2022) ‘HOW TO CONNECT WITH NATURE: A CONVERSATION WITH ASIA SULER’, The School of Evolutionary Herbalism, accessed 11 August 2023. https://www.evolutionaryherbalism.com/2022/06/29/how-to-connect-with-nature-a-conversation-with-asia-suler/
Pritchard A, Richardson M, Sheffield D and McEwan K (2020) ‘The Relationship Between Nature
Connectedness and Eudaimonic Well-Being: A meta-analysis’,Journal of Happiness Studies,
21:1145-1167, doi:10.1007/s10902-019-00118-6
Sade G (2021) ‘The Relationship Between Practice and Research’, in Vear C The Routledge
International Handbook of Practice-Based Research, Routledge, doi:10.4324/9780429324154
Schuster J (2018) ‘Reading the Environs: Toward a Conceptual Ecopoetics’ in Hume A & Osborne G Ecopoetics: Essays in the Field, University of Iowa Press, doi:10.2307/j.ctt2111h7q
Skains R. L (2018) ‘Creative Practice as Research: Discourse on Methodology’, Media Practice and Education, 19(1) 82-97.
Skinner J (2018) ‘Visceral Ecopoetics in Charles Olson and Michael McClure: Proprioception, Biology, and the Writing Body’, in Hume A & Osborne G Ecopoetics: Essays in the Field, University of Iowa Press, doi:10.2307/j.ctt2111h7q
Turner G (2020) The Roots of Wellbeing: Positive Effects of Nature Writing [Honors Thesis],
University of Mississippi, accessed 30 April 2023. https://egrove.olemiss.edu/hon_thesis/1464