The Atlantic and Everything After

As a reader, I am drawn to pieces that flirt with the boundaries between prose and poetry and I believe these preferences are evidenced in my own work, which not only encompasses creative nonfiction and poetry, but which also teases its way along the line separating the two. In The Atlantic and Everything After, I have worked with both prose poetry and the lyric essay, two styles that combine and highlight the different strengths of creative nonfiction and poetry.I created this work to explore the transformation I embarked upon when I first boarded that plane to Nova Scotia in August 2009. I created it to pay homage to the people and places that have moved or changed me. I created it to acknowledge the many similarities of travel and writing, both of which are often ugly, uncomfortable, a bit frightening, and terribly frustrating.In the process of its creation, I was forced to confront painful and delightful memories, to realize the significance of those memories within my own heart. I exercised the modes of poetry and nonfiction (and a few in between) in order to bring the many complicated aspects of travel together in a way that does its discomfort and enchantment equal justice. I have filled the pages of The Atlantic and Everything After with my poems and my prose, my own life-cherishing force. I am pleased to welcome you to it.

Toward a Global Organic Culture: Ethnographic Perspectives on Wwoofing Practices in Peru and New Zealand

In this thesis, I explore the meaning behind sustainable living among organic farmers and their families in two countries. It is based on original, ethnographic research that I conducted in New Zealand in fall 2012 and Peru in summer 2012 with support from the Department of Sociology and Anthropology Meerwarth Undergraduate Research Fund. In carrying out my research I relied on participant-observation, semi-structured interviews, focus groups, and writing ethnographic fieldnotes. Drawing on contemporary scholarship in the anthropology of food and the environment, my thesis contributes to cross-culturally understandings of sustainability and local and global foodways. Specifically, I will interpret the meaning and significance of my informants’ decision to live sustainably through their participation in wwoofing. The global network of wwoofing aims to connect volunteers interested in learning about organic farming techniques with farmers looking for labor assistance. Volunteers exchange work for food, accommodation, knowledge, and experience. As a method of farming and a subjective ideological orientation, this global movement allows travelers from all over the world to experience organic lifestyles worldwide. In my thesis, I connect my experiences of organic living in Peru and New Zealand. In comparing wwoofing practices in these two field sites, I argue that despite observable differences in organic practices, a global organic culture is emerging. Here I highlight some shared features of this global organic culture, such as food authenticity, sustainability of the earth, and a personal connection of individuals to the land. The global organic culture emphasizes a conscious awareness of what is going into one’s body and why. Using food as an expression of values and beliefs, organic farmers reconnect to the land and their food in attempts to construct an alternative identity. By focusing on food authenticity, my informants develop vast relationships with the land, which shapes their identity and creates new forms of self-enhancement.