The Narrative Of Disaster

The edited collection, Eco Culture: Disaster, Narrative, Discourse, opens a conversation about the mediated relationship between culture and ecology. The dynamic between these two great forces comes into stark relief when a disaster—in its myriad forms and narratives—reveals the fragility of our ecological and cultural landscapes. Disasters are the clashing of culture and ecology in violent and tragic ways, and the results of each clash create profound effects to both. So much so, in fact, that the terms ecology and culture are past separation. We are far removed from their prior historical binaric connection, and they coincide through a supplementary role to each other. Ecology and culture are unified.

The 2004 Indian Ocean tsunami caused immense destruction and over 170,000 deaths in the Indonesian province of Aceh. The disaster spurred large-scale social and political changes in Aceh, including the intensified implementation of shari‘a law and an end to the long separatist conflict. After the Tsunami explores Acehnese survivors’ experiences of the deadly waves and the subsequent reconstruction process through the stories they tell about the disaster. Narratives, author Annemarie Samuels argues, are both a window onto the process of remaking everyday life and an essential component of it. Building on long-term ethnographic fieldwork, Samuels shows how the everyday work of recovery is indispensable for any large-scale reconstruction effort to succeed. Recovery is an ambiguous process in which grief remains as life goes on, where optimism and disappointment, remembering and forgetting, structural poverty and the rhetoric of success are often intertwined in individual and social worlds. Such paradoxes are key and form a thread through the five chapters of the book. Addressing post-disaster reconstruction from the survivors’ perspectives opens up space for criticism of post-disaster governance without reducing the discussion of recovery to top-down interventions. Individual histories, emotions, creativity, and ways of being in the world, the author argues, inform the remaking of worlds as much as social, political, and cultural transformations do. After the Tsunami is a provocative and highly significant contribution to studies of humanitarian aid and disaster, psychological anthropology, narrative studies, and scholarly studies of Indonesia and Southeast Asia. Its elegant style, pointed theorizing, and moving ethnographic descriptions will draw readers into Acehnese lifeworlds and politics. Its narratives attest to Acehnese ways of living with loss, within and across a history of colonial and postcolonial violence and suffering and a present of political uncertainty and hope.

This volume deals with natural disasters in late medieval and early modern central and southern Italy. Contributions look at a range of catastrophic events such as eruptions of Mount Vesuvius, floods, earthquakes, and outbreaks of plague and epidemics. A major aim of this volume is to investigate the relationship between catastrophic events and different communication strategies that embraced politics, religion, propaganda, dissent, scholarship as well as collective responses from the lower segments of society. The contributors to this volume share a multidisciplinary approach to the study of natural disasters which draws on disciplines such as cultural and social history, anthropology, literary theory, and linguistics. Together with analyzing the prolific production of propagandistic material and literary sources issued in periods of acute crisis, the documentation on disasters studied in this volume also includes laws and emergency regulations, petitions and pleas to the authorities, scientific and medical treatises, manuscript and printed newsletters as well as diplomatic dispatches and correspondence.

Papers presented at a conference held at the Univ. of Munich in May 2003.

The calamitous impacts of climate change that are beginning to be felt around the world today expose the inextricability of human and natural histories. Arguing for a more complex account of such calamities, Kate Rigby examines a variety of past disasters, from the Black Death of the Middle Ages to the mega-hurricanes of the twenty-first century, revealing the dynamic interaction of diverse human and nonhuman factors in their causation, unfolding, and aftermath. Focusing on the link between the ways disasters are framed by the stories told about them and how people tend to respond to them in practice, Rigby also shows how works of narrative fiction invite ethical reflection on human relations with one another, with our often unruly earthly environs, and with other species in the face of eco-catastrophe. In its investigation of an array of authors from the Romantic period to the present—including Heinrich von Kleist, Mary Shelley, Theodor Storm, Colin Thiele, and Alexis Wright— Dancing with Disaster demonstrates the importance of the environmental humanities in the development of more creative, compassionate, ecologically oriented, and socially just responses to the perils and possibilities of the Anthropocene. Under the Sign of Nature: Explorations in Ecocriticism

Postcolonial Disaster studies literary fiction about crises of epic proportions in contemporary South Asia and Southern Africa: the oceanic disaster in Sri Lanka, the economic disaster in Zimbabwe, the medical disaster in South Africa and Botswana, and the geopolitical disaster in India and Pakistan. Pallavi Rastogi argues that postcolonial fiction about catastrophe is underpinned by a Disaster Unconscious, a buried but mobile agenda that forces disastrous events to narrate themselves. She writes that in disaster fiction, a literary Story and its real-life Event are in constant dialectic tension. In recent disasters, Story and Event are tied together as the urgency to circulate information and rebuild in the aftermath of the disaster dictates the flow of the narrative. As the Story acquires temporal distance from the Event, such as the seventy-three years since the partition of India in 1947, it plays more with form and theme, to expand beyond a tale about an all-consuming tragedy. Story and Event are in a constant dance with each other, and the Disaster Unconscious plays the tune to which they move. Rastogi creates a narratology for postcolonial disaster fiction and brings concepts from Disaster Studies into the realm of literary analysis.

“A sinister version of The Perfect Storm. Thrilling.”—Sunday Times (UK) For readers of The Perfect Storm, Between a Rock and a Hard Place, and Into the Wild There’s nothing that armchair adventure lovers relish more than a gripping true story of disaster and heroism, and Last Man Off delivers all that against a breathtaking backdrop of icebergs and killer whales. On June 6, 1998, twenty-three-year-old Matt Lewis had just started his dream job as a scientific observer aboard a deep-sea fishing boat in the waters off Antarctica. As the crew haul in the line for the day, a storm begins to brew. When the captain vanishes and they are forced to abandon ship, Lewis leads the escape onto three life rafts, where the battle for survival begins.

This powerful account chronicles the human drama of the devastating earthquake that rocked Mexico City.

"Named after a hurricane, Camille is the rebellious 16-year-old daughter of a New Orleans bar-owner who grows up in the shadow of Bourbon Street, raised on stories of hauntings, lusty encounters and voodoo magic. And even though her family loses their home in a hurricane, she counts herself among the lucky until she discovers that her 18-year-old Creole neighbor whom she secretly loves died heroically in the storm. Devastated by Antwone's death, Camille begins taking unnecessary risks as if to prove she can be safe in an unsafe world. Her downward spiral is stopped by a spirit intercession. Based on the strength of her love and with the help of a dead voodoo queen, Camille wills Antwone back to earth. Because she is the only one who can see him--not his grandmother or his ex-girlfriend--she takes a kind of ownership of him in death that she never had in life. But gradually, she seeks something in their union beyond sex or love or passion--an understanding of the thin line between life and death itself and a need to find answers where none might lie. Camille's story unfolds as a Mardi Gras memoir, one girl's journey through the parties and parades as her community comes together and rises up from the chaos following the devastating storm. Like all good tales born of the bayou, hers involves the dead, the living, and the one trapped in the brackish waters between heaven and hell--a story of true love and true disaster."--

#1 NATIONAL BESTSELLER • The epic account of the storm on the summit of Mt. Everest that claimed five lives and left countless more—including Krakauer's—in guilt-ridden disarray. "A harrowing tale of the perils of high-altitude climbing, a story of bad luck and worse judgment and of heartbreaking heroism." —PEOPLE A bank of clouds was assembling on the not-so-distant horizon, but journalist-mountaineer Jon Krakauer, standing on the summit of Mt. Everest, saw nothing that "suggested that a murderous storm was bearing down." He was wrong. By writing Into Thin Air, Krakauer may have hoped to exorcise some of his own demons and lay to rest some of the painful questions that still surround the event. He takes great pains to provide a balanced picture of the people and events he witnessed and gives due credit to the tireless and dedicated Sherpas. He also avoids blasting easy targets such as Sandy Pittman, the wealthy socialite who brought an espresso maker along on the expedition. Krakauer's highly personal inquiry into the catastrophe provides a great deal of insight into what went wrong. But for Krakauer himself, further interviews and investigations only lead him to the conclusion that his perceived failures were directly responsible for a fellow climber's death. Clearly, Krakauer remains haunted by the disaster, and although he relates a number of incidents in which he acted selflessly and even heroically, he seems unable to view those instances objectively. In the end, despite his evenhanded and even generous assessment of others' actions, he reserves a full measure of vitriol for himself. This updated trade paperback edition of Into Thin Air includes an extensive new postscript that sheds fascinating light on the acrimonious debate that flared between Krakauer and Everest guide Anatoli Boukreev in the wake of the tragedy. "I have no doubt that Boukreev's intentions were good on summit day," writes Krakauer in the postscript, dated August 1999. "What disturbs me, though, was Boukreev's refusal to acknowledge the possibility that he made even a single poor decision. Never did he indicate that perhaps it wasn't the best choice to climb without gas or go down ahead of his clients." As usual, Krakauer supports his points with dogged research and a good dose of humility. But rather than continue the heated discourse that has raged since Into Thin Air's denouncement of guide Boukreev, Krakauer's tone is conciliatory; he points most of his criticism at G. Weston De Walt, who coauthored The Climb, Boukreev's version of events. And in a touching conclusion, Krakauer recounts his last conversation with the late Boukreev, in which the two weathered climbers agreed to disagree about certain points. Krakauer had great hopes to patch things up with Boukreev, but the Russian later died in an avalanche on another Himalayan peak, Annapurna I. In 1999, Krakauer received an Academy Award in Literature from the American Academy of Arts and Letters--a prestigious prize intended "to honor writers of exceptional accomplishment." According to the Academy's citation, "Krakauer combines the tenacity and courage of the finest tradition of investigative journalism with the stylish subtlety and profound insight of the born writer. His account of an ascent of Mount Everest has led to a general reevaluation of climbing and of the commercialization of what was once a romantic, solitary sport; while his account of the life and death of Christopher McCandless, who died of starvation after challenging the Alaskan wilderness, delves even more deeply and disturbingly into the fascination of nature and the devastating effects of its lure on a young and curious mind."