Living and Dying as Compost in the Torne Valley Mires
Kokkola, Lydia (2024-04-26)
Kokkola, Lydia
European Association for the Study of Literature, Culture and the Environment
26.04.2024
Kokkola, L. (2024) Living and Dying as Compost in the Torne Valley Mires. Ecozon@, Vol. 15 No. 1, 90-106, https://doi.org/10.37536/ECOZONA.2024.15.1.5243
https://creativecommons.org/licenses/by-nc/4.0/
© Ecozon@ and the Authors 2024.
https://creativecommons.org/licenses/by-nc/4.0/
© Ecozon@ and the Authors 2024.
https://creativecommons.org/licenses/by-nc/4.0/
Julkaisun pysyvä osoite on
https://urn.fi/URN:NBN:fi:oulu-202404293014
https://urn.fi/URN:NBN:fi:oulu-202404293014
Tiivistelmä
Abstract
This article takes Donna Haraway’s claim that “We are compost” as a literal statement. Combining Human-Plant Studies (HPS) with the study of children’s literature, the article examines a novel set in the European Arctic as starting point for imagining what it means to live as compost. In the novel, Som om jag inte fanns [As though I wasn’t there] by Kerstin Johansson i Backe, a grieving girl, Elina, seeks out her father’s spirit in a sphagnum bog. The article draws parallels between Elina’s actions and storying activities in the mire and human-moss relationships. These relationships are reflected against indigenous ways of understanding the meshing of the worlds of the living and dead, as well as the meshing of humans with other living organisms. In doing so, it opens up a richer understand of human-plant relations, but also points out the risks of becoming one with the world
This article takes Donna Haraway’s claim that “We are compost” as a literal statement. Combining Human-Plant Studies (HPS) with the study of children’s literature, the article examines a novel set in the European Arctic as starting point for imagining what it means to live as compost. In the novel, Som om jag inte fanns [As though I wasn’t there] by Kerstin Johansson i Backe, a grieving girl, Elina, seeks out her father’s spirit in a sphagnum bog. The article draws parallels between Elina’s actions and storying activities in the mire and human-moss relationships. These relationships are reflected against indigenous ways of understanding the meshing of the worlds of the living and dead, as well as the meshing of humans with other living organisms. In doing so, it opens up a richer understand of human-plant relations, but also points out the risks of becoming one with the world
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