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• W4285242562 abstract "What Does Biodiversity Loss Feel Like?Realism in the Age of Extinction Adrienne Ghaly (bio) Abstract Where in the realm of the sensible can we locate the impact of large-scale anthropogenic processes on biodiversity? In this article I develop a critical approach I term biocultural phenomenology, focusing upon the intersection of ecological crisis and literary form. I read psychological and social realisms by Henry James and H. G. Wells for instances of small-scale, granular sensations of widening access to imperial and settler-colonial practices of consumption, prevalent forms of bourgeois sociality, and emerging patterns of feeling. I argue that everyday and often mundane feelings that are the focus of dominant strands of historical realism are inextricable from the biocide they produce. This article engages ongoing conversations in environmental humanities and novel studies, current styles of critique, and identifies new possibilities for the history of realism. First, biocultural phenomenology displaces affective responses of mourning and ontological accounts of absence governing conversations about literary form and anthropogenic impacts on nonhuman life. Second, I argue that realist logics in these highly anthropocentric texts that appear superficially unpromising for environmental thought nevertheless bind accounts of phenomenal experiences to emergent systemic behaviors across time. Third, I reframe the critical category of the everyday in the history of realism to encompass global multispecies impacts and accreting, complex causal structures across very long timescales. What does anthropogenic biodiversity loss feel like? An entire affective field of mourning and anxiety has arisen from our awareness of accelerating species extinctions and widespread biodiversity loss.1 Less clear are the felt experiences of specific, vanishing forms of life themselves. The question arises from a core concern of environmental humanities, to bring large-scale ecological crises into the realm of the sensible. The unavailability of emergent systemic behavior and multi-scalar patterns to immediate phenomenal experience, in Gabriele Dürbeck and Philip Hüpkes's words, has brought new urgency to the broader phenomenological turn in literary studies.2 Consequently, environmental humanists have called for literary forms that can phenomenalize a warming planet.3 The sense of phenomenology here does not operate strictly within the philosophical tradition, but rather through a more vernacular sense of locating environmental emergencies meaningfully within the small-scale textures of lived experience—the what it is like. To make such emergencies felt in this way, then, is to render them palpable and therefore graspable, an understanding that entwines the embodied and the conceptual. This essay takes up the phenomenological demand of environmental humanities by turning to historical realisms devoted to small-scale textures of everyday life to locate specific feelings of biodiversity loss and to ask what sorts of thinking those feelings make possible. In the decade since Dipesh Chakrabarty warned of the impossibility of a phenomenology on the scale of the human species and Rob Nixon encapsulated the quandary of environmentalists as how to convert into dramatic form … issues like climate change and species extinction that threaten in slow motion, the effects of the climate crisis are ever more widely and urgently felt.4 Climate fictions from J. G. Ballard's The Drowned World to Kim Stanley Robinson's The Ministry for the Future have woven embodied experiences of climate-induced heat, sea level rise, and wet bulb temperatures into their near-future imaginaries.5 But the most common feeling of declining biodiversity may be much [End Page 33] more modest, a fleeting awareness of an absence, or a peripheral perception of something disappeared from the landscape. The contours of what biodiversity's diminishment feels like are of course unevenly distributed as well as both culturally and ecosystem specific. In The Sixth Extinction, Elizabeth Kolbert poignantly reports that the disappearance of the Panamanian golden frog, her first case study of contemporary anthropogenic species loss, manifests in reactions of locals to ecoacoustic silence in El Valle: What happened to the frogs? We don't hear them calling anymore.6 The uneven distribution of biocide has led Ursula Heise and Nixon, among others, to argue that the consequences of climate change, pollution, and species loss that may yet seem distant to the average citizen of the global north are already all too manifest in..." @default.
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• W4285242562 date "2022-01-01" @default.
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• W4285242562 title "What Does Biodiversity Loss Feel Like? Realism in the Age of Extinction" @default.
• W4285242562 doi "https://doi.org/10.1353/nlh.2022.0001" @default.
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