Passive in Nature: How May Swenson Approaches the Natural World

The poet May Swenson speaks frequently of the relationship of humans and the environment, as her speakers attempt connection with the natural world. Various studies in ecocriticism have argued whether humankind is \u27part of or apart from the natural world,\u27 and how the former association of which can lead to an unhealthy over-revering of nature (Orr). The latter viewpoint, \u27apart from,\u27 has become more prevalent now that our planet has entered the Anthropocene, described as \u27our contemporary geologic era, marked by humanity\u27s fateful emergence as a climatological force\u27 intent on obtaining the world\u27s resources (Marrs 201). Swenson places humankind\u27s reverence for nature at a level attaining the spiritual in her poems \u27Sunday in the Country\u27 and \u27Summer in New Hampshire,\u27 and pronounces humankind\u27s desire to capture and cultivate the natural world as they see fit in \u27The Red Bird Tapestry\u27 and \u27Another Spring Uncovered.\u27 Swenson\u27s approach to the natural elements within the poems, however, actually strive for a harmonious and equal relationship. Her speakers observe and interact with nature by taking a passive role, sometimes offering up or sacrificing their own ways of being in an attempt at connection focused on humility. As the separation of human and natural worlds becomes ever more apparent through over-reverence, and as the current ecological climate moves further into the Anthropocene, examining Swenson\u27s passive take on cohabitation provides a new approach of equality in connecting to the natural world we are each a part of