"Symbiosis or Death": - Rhodes University
"Symbiosis or Death": - Rhodes University
"Symbiosis or Death": - Rhodes University
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123<br />
It [A Litt<strong>or</strong>al Zone] might with equal justice have been called ‘A Marginal<br />
Zone’. Often the characters are marginal … But m<strong>or</strong>e striking is the poet’s<br />
marginality, his loss of assurance in the w<strong>or</strong>ld. He is shown relatively powerless<br />
to comf<strong>or</strong>t <strong>or</strong> improve, at odds with other denizens of the sh<strong>or</strong>e – revellers,<br />
fishermen, vandals, desecraters – countering all this with, at best, a fatalistic<br />
ecological mysticism. (51)<br />
Du Toit’s coupling of ecology and mysticism in fact negates the scientific ecological<br />
insight which inf<strong>or</strong>ms Livingstone’s collection. Julia Martin offers a m<strong>or</strong>e accurate<br />
reading of the poet’s despair:<br />
The poems … offer tough, ironic, tender, compassionate observations of people,<br />
animals, and ecosystems, and recurrent demonstrations of human cruelty and<br />
ign<strong>or</strong>ance. The context in which these are situated is the ongoing w<strong>or</strong>k of an<br />
ecological scientist: relentless activity in ‘rapt attendance of the sea’s health’ (48).<br />
The w<strong>or</strong>k may be hopeless, yet it must continue… The poems resist the easy logic<br />
of dualism, speaking rather of an attitude situated somewhere between despair and<br />
dogged resilience, between loss of faith in religious discourse and an awed love of<br />
‘creation’. (1999: 237, my italics)<br />
The structure of A Litt<strong>or</strong>al Zone<br />
The sequence of poems in A Litt<strong>or</strong>al Zone represents, in Livingstone’s w<strong>or</strong>ds, “a<br />
mythical sampling run” (LZ 62). The “run” refers to his journey along the Natal coast<br />
where he collects water samples f<strong>or</strong> microbial analysis of water pollution. The sequence<br />
includes some of the sampling stations along the coast, other places, and three ‘traffic<br />
interludes”. These interludes remind the reader of Livingstone’s journey, which is framed<br />
by “Starting Out” and “Road Back”, the second and last poems in the collection. The<br />
journey can be read as a quixotic quest f<strong>or</strong> ‘truth’ and has links with the bi<strong>or</strong>egional<br />
narrative genre.<br />
The American bi<strong>or</strong>egional movement started in the mid-1970s, when Jim Cheney<br />
coined the term. Karla Armbruster argues that the nature-writing tradition is not adequate<br />
if literature is to show humankind how to live “with nature as a valued part of our local<br />
communities”. A middle ground needs to be found:<br />
One school of thought that demonstrates such a middle ground is the American<br />
bi<strong>or</strong>egional movement, which arose in the mid-1970s and has exhibited a deep<br />
concern, on both the<strong>or</strong>etical and practical levels, with how humans can live<br />
sustainably in collab<strong>or</strong>ation with their local natural environments. While the<br />
definitions of a bi<strong>or</strong>egion and bi<strong>or</strong>egionalism are somewhat contested, most<br />
bi<strong>or</strong>egionalists agree that a bi<strong>or</strong>egion is characterized by its natural and cultural<br />
attributes and that bi<strong>or</strong>egionalism is committed to the goal of ‘developing