In this article, I examine the sustainability of employing Philosophy for Children (P4C) to address the ongoing ecological crises affecting Guam. I argue that although P4C aims to foster a more ecological form of living, its failure to cultivate contemplation and dialogue grounded in specific ecosystems renders it incapable of fostering generative and sustainable inquiry that pushes against the serializing forces of capitalism and colonialism. I further draw on Austronesian seafaring traditions and the works of Indigenous CHamorus to reconceptualize the (...) community of philosophical inquiry as a community of philosophical wayfinding. Within such a community, the participants navigate an ocean of harmful ideas in an empowering and sustainable manner by emphasizing the local mental, social, and environmental conditions of their inquiry. I begin by first motivating the question of P4C's ecological sustainability for Guam through the history of capitalism's and the Brown Tree Snake's co-colonization of CHamoru subjectivity. I specifically use Félix Guattari's The Three Ecologies to identify the semiotics of power through which capitalism pollutes CHamoru Ecology to further Americanize CHamoru existential cartographies. While P4C offers a potential pathway for creating new subjectivities, I argue that the community of philosophical inquiry's abstract nature turns it into a source of capitalist expansion on Guam. Finally, I draw from Austronesian seafaring and CHamoru ecopoetry to reimagine the community of philosophical inquiry as a more locally grounded and impactful practice, capable of addressing Guam's ecological crisis through the creation of invested subjectivities. (shrink)

Literary trauma theory has traditionally been a humanist concern, and the concept of witnessing, so central to the theorization of trauma, has focused on human experience and relationships. This article stages an interdisciplinary intervention by conceptualizing trans-“species” trauma testimony as a literary encounter involving a double-layered witnessing; the human artist witnessing nonhuman animals’ witnessing to the failings and crises brought about by human society. Focusing on a selection of contemporary Australian poems, a view emerges of poetic witnessing and testimony that (...) exceeds and complicates the sub-genre lenses of old such as “nature poetry,” “ecopoetry,” and “protest poetry.” I propose a new conceptual category that testifies to traumatic structures and consequences of human practices. I explore how this testimony proceeds through a two-way channel of witnessing in which nonhuman animals are active witnessing agents and not merely witnessed by humans. I concentrate on witnessing as primarily experiential, as a corporal, affective operation in which the senses figure centrally. I argue that when poets witness nonhuman animal experience in poetry, testimony advances as an ethical engagement in an act of solidarity and advocacy. Poetry offers productive potential in this respect due to its affinity for engagement with the senses, its capacity to communicate heightened affect, and its scope for expression, articulation, and evocations of meaning outside of conventional sense-making and the limits of rational understanding. (shrink)

John Kinsella’s poetry returns again and again to the landscape of the Western Australian wheatbelt. The wheatbelt is a region that was suddenly and violently re-made by capital in the service of cereal and fibre production during the course of the twentieth century. Despite this radical repurposing of land and the wholesale eradication of an ancient biome, the new farming zone quickly took on the halo of a natural landscape within state and nationalist ideologies. Against the backdrop of this event, (...) Kinsella’s wheatbelt can be viewed as a comprehensive deconstruction of the forces that have led the wheatbelt to where it is now and which still provide the material conditions of its existence. In this essay, Kinsella’s Divine Comedy: Journeys Through a Regional Geography is considered as exemplary of his wheatbelt poetry. The essay explores the basic conceits that animate Kinsella’s poetics of critique. It argues that Kinsella’s poetry offers a strategic intervention into the claims of “capitalist realism,” which is Mark Fisher’s term for the foreclosure of alternatives to profit-driven patterns of production and consumption. Capitalist realism, in the context of the wheatbelt, asserts that whether we like it or not, one cannot argue against the basic entitlement that productive imperatives have to use land as they see fit. This essay attempts to detail the kinds of ways that Kinsella’s poetry tries to fracture this claim to common sense that capitalist production monopolises. What it finds, somewhat counter-intuitively, is that Kinsella’s poetry draws together two things which are traditionally regarded as antinomies – the machine and the organism. In this respect, Kinsella’s poetry is distinctly different from conventional ecopoetry, which tends to uphold the distinction between an authentic nature and a corrupting technology. Kinsella’s Divine Comedy makes use of the tripartite layering of Dante’s eschatology to evolve new topologies of being in the wheatbelt, and indeed, being in the world. Further still, the essay makes the claim that Kinsella delivers us a “cybernetic wheatbelt,” which refigures nature as a communicative machine. (shrink)