Shopping Cart -

Your cart is currently empty.
Continue Shopping
This website use cookies and similar technologies to improve the site and to provide customised content and advertising. By using this site, you agree to this use. To learn more, including how to change your cookie settings, please view our Cookie Policy
Pocketmags Digital Magazines
Pocketmags Digital Magazines
   You are currently viewing the Italy version of the site.
Would you like to switch to your local site?
Digital Subscriptions > Boston Review > What Nature (Spring 2018) > it looks like driftwood but, really, it’s an apocalypse

it looks like driftwood but, really, it’s an apocalypse

A single grain a second. This ice cream kind of night, the horizon the softest flavor I can imagine and explaining to Dylan that beach glass actually isn’t sharp, it’s actually incredibly smooth because this whole place is actually sandpaper without the paper.

The beach glass a jellyfish fragmented, or a cut-away lamp abandoned on the shore, or maybe given to the drowned to hang around and listen. Bird track trails for hours, we were following them and I was looking for a piece of beach glass to show Dylan,

Purchase options below
Find the complete article and many more in this issue of Boston Review - What Nature (Spring 2018)
If you own the issue, Login to read the full article now.
Single Issue - What Nature (Spring 2018)
Or 1299 points
Annual Digital Subscription
Only € 7,00 per issue
Was €27,99
Now €27,99

View Issues

About Boston Review

The poems in What Nature were not written on Walden Pond. They were not written because poetry can save the Earth. If they are a far cry from last century's nature poetry, it is because "nature" today is a far cry from sanctuary or retreat. These poems are not at ease and there is no place left to retreat. They are themselves far cries: urgent calls for rethinking our place on an imperiled planet.