TY - JOUR
AU1 - Hunt, Richard
AB - ISLE immersion, salvage—representing the stages of shipwreck as “literary microgenre” (xxx): competitions between scientific empiricism and divine providence, irresolvable epistemological imbalances that struck without surety of salvation (such as the Sea-Venture’s wreck off Bermuda in 1609, Chapters 1–3); the personal narratives of Jeremy Roch (Chapter 4) and Edward Barlow (Chapter 5); poems by John Donne, William Diaper, and Phineas Fletcher (Chapter 6), and, finally, Daniel Defoe’s novel Robinson Crusoe (Chapter 7). Mentz, to his credit, never allows his book’s organization to betray its methodology. In fact, it productively splits: pithy accounts of seafarers’ lives, some lost at sea, pop up at the margins; Bob Dylan’s “Tempest” (2012) trades verses with Shakespeare’s play of the same name onboard the Titanic; the author imagines himself diving for pearls in the 1530s and muses on Ishmael’s philosophy from the masthead in two emotive interchapters; and three epilogues meant to be “short” (177) splinter even further into “seven shipwrecked ecological truths” (180–81). If a critical capacious- ness renders his writing important, it is Mentz’s own ecopoetical metis that proves it inspiring. The book washes our way, inviting us into intra-catastrophic “composture” without total composure, a wet–dry refashioning of inhuman alliances aswim in the 
TI - Piano Tide. By Kathleen Dean Moore.
JF - ISLE: Interdisciplinary Studies in Literature and Environment
DO - 10.1093/isle/isx058
DA - 2017-11-01
UR - https://www.deepdyve.com/lp/oxford-university-press/piano-tide-by-kathleen-dean-moore-0TESbJaOM4
SP - 606
EP - 607
VL - 24
IS - 3
DP - DeepDyve
ER -