How to Be a Lichen: Adaptive Strategies for the Vulnerabilities of Being Human from Nature’s Tiny Titans of Tenacity
https://fed.brid.gy/r/https://www.themarginalian.org/2026/03/16/lichen/
How to Be a Lichen: Adaptive Strategies for the Vulnerabilities of Being Human from Nature’s Tiny Titans of Tenacity
https://fed.brid.gy/r/https://www.themarginalian.org/2026/03/16/lichen/

In Thomas Hardy's poem "The Bridge of Lodi", in "Poems of the Past and the Present" (1901), about a visit to the site of Napoleon's early military success in Lodi, Lombardy, the speaker discovers that nobody there seems to know anything about that battle: "[...] wherefore should I be here, / Watching

For one session in my course "The Grateful Dead: Lyrics, Music, Culture" this term, I'll focus on Jeffrey Harrison's poem "Elizabeth Bishop and The Grateful Dead", but we'll also look at Denise Levertov's "Happiness" (which mentions dancing to "Workingman's Dead", Joyce Peseroff's "Zeno's Paradox, or My Mother's Forsythia" (which mentions
Five times—always five— the present President begs and begs. King George with Queen Mary —which Mary? Aunt Mary?— is like what we imagine, escaping endless intersecting circles littered with old correspondences like an egg of fire inside of a volcano. The music doesn’t quite come through. Useless for
Alarms for the expected are straight from Chirico, already out of style. In the dark environs, somebody loves us all, whatever you believe. Why, why do we feel wasted, wasted, wobbling and wavering, watched through binoculars. Whatever the landscape had of meaning, the dust hid the people’s faces because
Artlessly rhetorical, Norway’s hare runs south. We must admire this morning’s glitterings. Round and round and round at the same height, a wretched flag tried and tried to confirm it, like a semaphore, the poorest postcard of itself. I want to tell you half is enough. A senseless
For tomorrow's discussion of Elizabeth Bishop's 1972 poem "The Moose", I asked the students to read J. T. Welsch's 2019 article "‘The Moose’ as Movie: Elizabeth Bishop as Screenwriter". Following Welsch's discussion of cinematic techniques in "The Moose", I have broken the poem into four parts: the establishing shots (lines