Existential Toolkit for Climate Justice Educators: How to Teach in a Burning World

An easy-to-use field guide for teaching on climate injustice and building resilience in your students--and yourself--in an age of crisis. As feelings of eco-grief and climate anxiety grow, educators are grappling with how to help students learn about the violent systems causing climate change while simultaneously navigating the emotions this knowledge elicits. This book provides resources for developing emotional and existential tenacity in college classrooms so that students can stay engaged. Featuring insights from scholars, educators, activists, artists, game designers, and others who are integrating emotional wisdom into climate justice education, this user-friendly guide offers a robust menu of interdisciplinary, plug-and-play teaching strategies, lesson plans, and activities to support student transformation and build resilience. The book also includes reflections from students who have taken classes that incorporate their emotions in the curricula. Galvanizing and practical, The Existential Toolkit for Climate Justice Educators will equip both educators and their students with tools for advancing climate justice.

Science & Math

Atkinson, Jennifer

Earth Sciences

University of California Press

Ray, Sarah Jaquette

Dogwood Tree (Alabama Poetry Series)

Literature & Fiction

Poetry

University Alabama Press

Drift Ice is a collection of poetry from a new Etruscan author, Jennifer Atkinson. The poems in Drift Ice view the natural world through a lens of ecological and spiritual concerns. They focus especially on Prince William Sound in Alaska fifteen years after the Exxon-Valdez oil spill, Long Island Sound at the estuarial mouth of the Connecticut River, and Sri Lanka before (and, in one poem, after) the tsunami. The poems address the myth of a once pristine wilderness and the indifferent, ever-changing nature of “nature” and our human place in it, as they also investigate the flexibility and lambency of lyric form.Jennifer Atkinson is the author of two collections of poetry—The Dogwood Tree, which won the University of Alabama Poetry Prize, and The Drowned City, winner of the Samuel French Morse Prize. Her poetry and nonfiction can be seen in many leading journals and have been honored with Pushcart Prizes. She taught in Nepal and Japan and at the University of Iowa and Washington University before joining the faculty of George Mason University.

Drift Ice

Etruscan Press

Review When anyone else describing the wind across snow would have told of its noise or its bitter cold, Jennifer Atkinson attends to its fragrance. Again and again in A Gray Realm the Ocean, Atkinson detects the more muted presence informing a scene through which busier presences bluster. Because her attention to experience is lush with her love of experience, Jennifer Atkinson’s exquisite poems consistently “override / the visible to sound the depths of the felt.”---H. L. HixLines under, lines over...lines after lines. So poetry goes, so painting. A chalkboard, a mountain, the tideline, an ocean. Look, look again, says Jennifer Atkinson in A Gray Realm the Ocean, a reading experience most worthy of repetition. 'Is it life catching up with form? Or vice versa' I don’t know, or I didn’t, but what carried me through felt beautifully infinitesimal and larger than life. at once. Again and again, I will return to this cherished book.---Sally KeithIn Jennifer Atkinson’s A Gray Realm the Ocean, an 'incognita' figure guides us through a sororal gallery of abstract visual art, donning with what Dickinson called 'Costumeless Consciousness' the work of each of the women makers (Martin, Frankenthaler, Asawa. . . ) to whom these poems pay homage. With peerless lyricism and a uniquely fluid ekphrastic sensibility, Atkinson creates as well a breviary for the imperiled earth, our island home―a world in which word and natural world are inextricably and spiritually connected. Clods of earth exposed when winter rye is turned become a 'source text'; the chalk staves a childhood music teacher sketches on the blackboard evoke the universe’s 'skelter, / skit-scatter notes, the quiver / like a twitched flank under horseflies.' As the poems body forth and honor the pieces they 'translate,' the reader comes to see that by giving a local habitation and a name to the airy nothings of 'abstraction,' Atkinson, like the artists she celebrates, grapples with our deepest, most ineffable hungers and fears―extinction, beauty, truth, God, meaning, death, and love.---Lisa Russ Spaar, author of Madrigalia: New & Selected PoemsAgnes Martin, Joan Mitchell, Maya Lin, Emmi Whitehorse, and Chakaia Booker are among the visual artists whose stunning work Jennifer Atkinson illuminates in her new book. Still, it is the gorgeous art of the poet herself that will most impress readers of A Gray Realm the Ocean. With the perspective of someone at home in that realm―'calm in the vastness, dreamin'”―Atkinson sings to us from the deep, meditating on 'the visible to sound the depths of the felt.'---Allison Funk, author of The Visible WomanIn this vigorous collection of tight yet sweeping lyric constructions, Atkinson continually turns our attention toward the work of a number of important women artists of the 20th and 21st centuries. And through this generous act of homage to figures such as Agnes Martin, Louise Bourgeois, and Emmi Whitehorse, she also implicitly points to the important poetic œuvre created by women during the same period by creating her own in the form of poems whose intricate webs juggle the concrete with the suggestive, the provocative with the pensive. And above all, rises her sound―Atkinson has an orchestral gift; somehow both delicate and dense, it’s an art that allows language to transcend meaning, and she is its consummate practitioner.---Cole Swenson Product Description The poems in Jennifer Atkinson’s A Gray Realm the Ocean were all written under the influence of art-specifically twenty-and twenty-first-century abstract visual art. All the art referenced in the poems was done by women. Although many of these painters, sculptors, performance artists, ceramicists, and fabric artists have earned international reputations, albeit late in their lives or even after their deaths, most have only recently been given the notice and gallery space they deserve.Composed in response to the artists’ multiplicity of forms, styles, modes, and moods, the p

A Gray Realm the Ocean (Poets Out Loud)

Arts & Photography

Fordham University Press

"What happens when belief-as artistic ambition, as a lover's devotion, as faith in divinity-is met with a staggering indifference? This is the question which Jennifer Atkinson's The Drowned City seeks variously to answer, and to which the poems themselves, finally, elegantly, unflinchingly become the only appropriate answer, one that does not offer closure to its questions so much as a means of fashioning a life inside them."-from the Foreword

The Drowned City: Poems by Jennifer Atkinson (Samuel French Morse Poetry Prize)

Northeastern University Press

Dean & Tyler 22-Inch Simplicity Plus Collar with One Matching Braidy Bunch 5-Feet Leash, Black (Blue Book Series)

Computers & Technology

Taylor, Lee

Programming Languages

Dean & Tyler, LLC

The poems in Jennifer Atkinson's Canticle of the Night Path, collected in alphabetical order from "Canticle of A" to "Canticle of Zed," are little songs of five--five lines, five sentences, five couplets, or five paragraphs--canticles to, for, with, and of all sorts of things. There are Canticles to Chipped Plates, to Dust, with Eyelashes, with Macaroons, of Rhymes, Rushes, Slippage, Stone, Shrapnel and Manna. Woven throughout the book, along with a series of Parables as if excerpted from her teachings, is the legendary figure of Mary Magdalene, as painted by Giotto and re-imagined as a teacher of embodied spiritual and intellectual practice. Some canticles are lyric improvisations quick with rhyme, allusion, and wordplay. Others are meditative investigations of darkness, pleasure, cruelty, or joy. All are acts of fierce attention to language, the musical possibilities of the lyric line, and the natural world, built and unbuilt.

Canticle of the Night Path

History & Criticism

Parlor Pr

The Thinking Eye

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Books by Atkinson, Jennifer