Black Nature Poetry: A Study in Silthood

黑人诗人有着将自然世界融入他们作品的悠久传统，但它通常被解读为政治、历史或抗议诗歌，而不是自然诗歌“(Dungy 2009)。直到2005年，在英国出版的诗人中，只有不到1%的人是黑人(自由诗/传播世界)，自然诗歌尤其被白人中产阶级男性“殖民”(杰米2021)。英国黑人自然诗人驾驭这一文学流派的方式，尽管出版业被种族主义，批评接受方面存在无意识的偏见，但这是我的项目通过以下研究问题回应的首要问题。英国黑人生态诗人和自然作家在这部“几乎普遍存在的白人”(Barkham 2021)经典著作中发表作品时，面临着哪些批评和意识形态方面的挑战？如何将这些挑战重构为独特的创造性和关键干预措施的负担能力？关于后殖民、非裔美国人和土著生态批评主义的学术研究比关于英国黑人自然写作的学术更多。因此，这项研究的意义在于对经典、意识和批判性凝视的非殖民化，从而推动了围绕英国黑人创作的自然诗歌作为一个有价值的研究领域的学术，深化了种族研究和环境批评之间的对话，并在挑战经典本身的偏见的同时打开了经典。

Black poets have a long tradition of incorporating the natural world into their work, but it is often read as political, historical, or protest poetry, anything but nature poetry" (Dungy 2009). Until 2005, less than 1% of UK published poets were black (Free Verse/Spread the Word), with nature poetry especially "colonised" (Jamie 2021) by white middle-class men. The way in which UK black nature poets navigate this literary genre, despite racialisation of the publishingindustry and unconscious bias in critical reception, is the overarching issue to which my project, through the following research questions, responds. What critical and ideological challenges face UK black eco-poets and nature writers publishing in this "almost universally white" (Barkham 2021) canon? How are such challenges reframed as affordances for uniquely creative and critical interventions? There's been more scholarship on postcolonial, African American, andIndigenous ecocriticism than on black British nature writing. Therefore, significance of this research is rooted in the decolonisation of canon, consciousness and critical gaze in a way that furthers scholarship around UK black-authored nature poetry as a valuable field of study, deepens the dialogue between race studies and environmental criticism, and opens up the canon while challenging the biases of canonisation itself.