Empire and Environment argues that histories of imperialism, colonialism, militarism, and global capitalism are integral to understanding environmental violence in the transpacific region. The collection draws its rationale from the imbrication of imperialism and global environmental crisis, but its inspiration from the ecological work of activists, artists, and intellectuals across the transpacific region. Taking a postcolonial, ecocritical approach to confronting ecological ruin in an age of ecological crises and environmental catastrophes on a global scale, the collection demonstrates how Asian North American, Asian diasporic, and Indigenous Pacific Island cultural expressions critique a de-historicized sense of place, attachment, and belonging. In addition to its thirteen chapters from scholars who span the Pacific, each part of this volume begins with a poem by Craig Santos Perez. The volume also features a foreword by Macarena Gómez-Barris and an afterword by Priscilla Wald.
Fig. 2.1. Image of live Cycas wadei specimen reviewed for the 1936 Philippine Journal of Science. Series 1, Series 3 (Oversized), Elmer D. Merrill Papers. Archives of the New York Botanical Garden, The Bronx, New York. 28 October 2019. Reproduction permission courtesy of the Archives of the New York Botanical Garden.
Fig. 2.2. Original image of herbarium sheet with C. wadei cones, ovules, and seeds. These structures were photographed and published in the 1936 Philippine Journal of Science. Series 1, Series 3 (Oversized), Elmer D. Merrill Papers. Archives of the New York Botanical Garden, The Bronx, New York. 28 October 2019. Reproduction permission courtesy of the Archives of the New York Botanical Garden.
Fig. 7.1. The dome on Runit Island with a crater left behind by another nuclear test. Photograph by Greg Nelson, 2017, in “A Poison in Our Island” by Mark Willacy. Reproduction permission courtesy of Mark Willacy.
Fig. 10.1. Scanned image of a skywalk footpath in Taipei with text on page 82 and 83 of Fang, Hui-chen 房慧真 Heliu 河流 (River), Yinke wenxue, 2013. Reproduction permission courtesy of the author, Fang Hui-chen 房慧真.