Echoes of Nature: An Ecofeminist Reading of
Sorayya Khan’s Noor
Neelam Kedia
PhD Research Scholar, EFL
Central University of South Bihar, Gaya, India
&
Dr. Archana Kumari
Professor, Department of EFL
Central University of South Bihar, Gaya, India
Abstract: An ecofeminist
approach combines ecocriticism and feminism into a unified conceptual
framework and presents the joint oppression as well as the interconnectedness
of women and nature. Ecofeminism emerged as an individual theoretical stream in
1974 with Francoise d’Eaubonne’s coining of the term in her book Le Feminism Ou
la Mart (Feminism or Death). Amidst any crisis, natural or human-induced, women
and non-human nature bear the brunt of the repercussions and emerge as the most
susceptible and impacted. Nature is not a passive entity; time and again, it
has proclaimed its own individuality. Furthermore, nature assumes the dual
roles of a comforter and a devastator depending on prevailing conditions.
Through their interdependence, women demonstrate their care for the environment
drawing on their personal experiences and create unique identities in relation
to the natural world. The present paper focuses on Sorayya Khan’s
novel Noor, which sheds
light on, reflects on, and critiques the relationships between women,
nature, and power within the context of the Bhola cyclone, the 1971 Liberation
War and its aftermath. Using textual analysis grounded on ecofeminism, this
study employs frameworks like women-nature connection, Dona Haraway’s theory of
“sympoeisis”, “tentacular thinking”, and “string figures”. The paper aims
to explore how natural imagery within the narrative mirrors and influences
human experiences, illustrating how Khan portrays characters’ emotional
landscapes and internal struggles through the natural world. Additionally, this
paper highlights how the artistic impression of a disabled child, Noor, serves
as environmental activism. The paper will also emphasize how Noor’s painting
talent not only contributes to her self-discovery and identity formation but
also facilitates the emotional recovery of other characters from their
concealed wounds.
Keywords: Ecofeminism, Nature, Interconnectedness,
Identity, Healing
Introduction
Sorayya Khan is a Viena-born Pakistani-Dutch
writer, who grew up in Islamabad, Pakistan.
She has written three novels: Noor (2004), Five
Queen’s Road (2009), and City of Spies (2015). She is
also the author of We Take Our
Cities with Us: A Memoir (2022), which she wrote after her mother’s
death. Khan received the US Fulbright Award, which helped and enabled her
to conduct research for Noor. In “Silence and Forgetting
That Wrote Noor”, she elaborates on her experience of interviewing the soldiers
who took an active part in the Liberation War of 1971 and witnessed its
brutality. She mentions a soldier who waited for a long time to answer and
confront through his answers the thing that he had kept hidden inside him for
a long period. Once he expressed these long-suppressed feelings, he felt
relieved. Taking inspiration from her experiences of the interviews, Sorayya
Khan began her writing career with her debut novel, Noor, which is the
result of prolonged research and deals with the Liberation War, the Bhola
Cyclone and their aftermaths. She created the character of Noor, a girl with
Down’s syndrome, who has a special talent for painting. Through her art, Noor
brings memories of the past, especially those related to war and the
cyclone into the present and helping each character face hidden traumas and
accept the things wholeheartedly.
Previous
works done on Noor primarily focused on psychological study (Baloch
2024), narrative techniques (Ishtiyaque), exposing characters through colours
(Khalid),themes of silence and resistance (Alam), memory (Katariya and
Chaudhary), and vernacular landscape (Rahman). However, none of the work
prominently explored the women-nature connection and or the role of nature
imagery in achieving individualism. This paper will examine how the narrative echoes elements of the
natural world and how nature influence human experiences. It will also
emphasize how a deformed child Noor’s painting talent serves as a form of
ecofeminist activism, contributing to her self-discovery and identity formation
and aiding other characters in recovering from their hidden emotional wounds.
Theoretical framework:
Ecofeminism
as a theory centre on the portrayal of women and nature, their interactions
with each other and with other beings, and the exploitation and degradation
they experience due to anthropocentric forces. It serves as a critique of both
the environmental and feminist issues and calls forth liberation, empowerment and
justice. By exposing the harms inflicted upon women, nature and non-human
animals, and by portraying the interrelatedness of all, ecofeminism promotes
ethical behaviour among humans. With
Francoise d’Eaubonne’s coining of the term “ecofeminism” in 1974, it emerged as
an individual theoretical term. Like feminism, ecofeminism comprises several
strands like liberal ecofeminism, cultural ecofeminism, social ecofeminism, and
socialist ecofeminism (Datar 10-12). There are many ways in which women connect
with nature and ecofeminist Karen Warren in her book Ecofeminist Philosophy
talks about it extensively. She outlines ten forms of women-nature
interconnections, including: historical (typically casual), conceptual,
empirical, socio-economic, linguistic, symbolic and literary, spiritual and
religious, epistemological, political, and ethical (21). Each strand of
ecofeminism and each type of interconnection in one way or another are drawing
on the interrelation of women and nature through their biological characteristics,
caring and nurturing qualities, and experiences of exploitation and degradation
due to anthropocentrism and technological development. These connections are
rooted in women’s daily experiences and collectively advocating for
empowerment, liberation and justice for both women and nature.
In
the South Asian context, nature plays a very crucial role in shaping the
lives of the people by acting as both saviour and destroyer. During any natural
calamity, it is often women, the poor, the vulnerable, children and
non-human animals that are disproportionately affected. Therefore, presenting
the connection between marginalised groups and nature is essential to unveil
both the positive and negative aspects of this relationship. We are living at a
time that is in Donna Haraway’s terms, the age of “Chthulucene”, when the
ecological crisis is at its peak and everywhere there is anarchy, destruction
and lack of unity among people. Barbara T. Gates emphasises the
interconnectedness of all living beings within ecofeminism extending beyond the
relationship between women and nature: “Inherent in ecofeminism is a belief in
the interconnectedness of all living things” (20). Like ecofeminists, Donna
Haraway speaks forcefully about the interconnectedness of all beings and the
importance of kinship not only with family and relatives but with all species,
as each plays a role in ensuring the smooth survival and fulfillment of life.
It is crucial to acknowledge the significance of each species, as this is the
only way to effectively address, mitigate and ecological challenges. Like
string figures, humans are intricately connected to other beings across the
world. Haraway invites us to create tentacular webs and make assemblages with
other species. According to Alex Prong,
Tentacular thinking is a dissolution of neat
classification, which invokes the search for connections where they may have
been hidden in anthropocentric pasts and presents. Tentacular thinking creeps
fluidly over, under, and between boundaries, across disciplines, species, and
borders (7).
Haraway
also asserts that the relationship is the amalgamation of both the positive and
negative experiences: “Symbiosis is not a synonym for ‘mutually
beneficial’” (Haraway 60). This suggests that collaborations might also be
damaging, toxic, and contagious. But in any case, the interrelationship
remains vital. In contrast to biological symbiosis and symbiogenesis which is
simply found in the natural world, sympoiesis means an active “making with”
with other species, which is understood as a way to counter both
anthropocentrism and the capitalocene.
This concept implies that nothing exists independently; everything is
mutually interconnected.
The
above-mentioned theories will illustrate the interrelatedness of events and
beings, showing how Noor’s paintings of nature serve as “string figures” to
present the hu(wo)man connection and destruction of humans and nature.
The Women-Nature Connection
in Noor:
Sorayya Khan’s Noor is set against the backdrop of
the 1971 Liberation Warand the Bhola Cyclone of the 1970s and explores the
horrific experience and the destruction that those events brought to both the
living and the non-living. The 1970s were a time of tremendous loss and
disaster for both East and West Pakistan,as the Bhola cyclone and the 1971
Liberation War left the country and its people devastated. These events claimed
countless lives, left everyone feeling helpless and shattered and left an
indelible mark on those who experienced the horrific atrocities firsthand.
Within this context, the novel delves into the diverse relationships that three
female characters, Noor, her mother Sajida, and Nanijaan, have with nature.
They all perceive nature from unique perspectives, shaped by their experiences
and circumstances. Whereas for Nanijaan, nature serves as the healing
and relaxing force; for Sajida, it is the destroyer as she lost her entire
family in the floods due to the Bhola Cyclone of 1970s; and for Noor,
nature serves as a bridge between the past and present, allowing her to
forge her identity and individuality.
Noor as A Part of Nature:
“Noor
was Sajida’s secret” (Khan1) - the very first line of the novel, Noor introduces
the reader to the titular character and her mother Sajida. Sajida sensed that Noor would be unique from
the moment of her conception. Her dreams of her long-dead mother emerging from
under the ocean and memories of her past that have been stored in her
sub-subconscious mind made Noor a link between the two worlds: the past and the
present.
Sajida knew instinctively, “when Noor was nothing more than a dance inside her
that she was connected to some other world in a way that no one else was”
(122). Noor’s paintings brought to life several unsolved and hidden riddles and
secrets, some of which are even unknown to the characters and which gradually
surface throughout the novel.
Due to her Down syndrome and autism, Noor faced rejection and abandonment from
her father, who saw her as deformed unattractive, and chaotic. However, her
remarkable gift for painting ultimately paved the way for
establishing her own identity. Her paintings depict nature imagery, most of
which she has never seen in her real life and through these imageries, she
became the connecting thread between her mother and grandfather’s dark,
traumatic past and the present. Her connection with nature is mystical; through
her art, she brings to life and gives voice to nature’s sufferings and the
suppressed traumas experienced by women. Because of her disability, she mostly
used to stay in and around the boundaries of her home, but she possesses deep
knowledge of animals and nature, often revealed through her dreams. She brings
into life the things through her paintings that she has never witnessed in real
life. Only the sound of the running water can soothe her loud, anguished
cries, “Noor was calmed by the uninterrupted sound of running bath water” (38).
On the one hand, Sajida is reluctant to face the sea due to the memories of the
cyclone, on the other hand, Noor as a fraction of Sajida’s subconscious mind,
soothed by water, which her mother apparently can’t. She remains unaffected by
heat and cold, as if she were a part of nature itself:
When
temperatures soared outside and others dripped perspiration merely crossing the
courtyard, Noor did not require in her soft drink or a fan in her midst. When
temperatures dropped and others walked about with seaters and chaddars wrapped
around their shoulders, Noor dressed in a short-sleeved, cotton frock she wore
in the heat of summer (47).
Noor’s extremely dark
complexion reflects the dark memories, terror and horror of the 1970s, hinting at the mystery and suffering
she holds inside. As a child with a disability and dark complexion, Noor
represents all those oppressed and marginalised by the war. The arrival of Noor
and the colour of her skin remind Ali of the war, bringing back memories of muddy
water and rain. As if Noor herself carries traces of the cyclone and the war
and returns to bring back the cruelty and hostility towards women, people,
animals and nature. Through her paintings, she depicts the sufferings inflicted
on women, nature, the innocent and marginalised people, calling attention to
the need for environmental activism. Her choice to be a vegetarian reflects her
strong bond and oneness with nature. Noor connects life with the invisible and
unknown world in “Sympoetic,” which Donna Haraway defines as “making with” or
“worlding-with”. This shows how all of the earth's ecosystems, humans, animals,
and environment rely on one another to survive and offer sustenance. Noor connects
with non-human animals and nature beyond all limits of time through her dreams
and subconscious mind. Like “string figures”, she threads and weaves together
the past with the help of her paintings. She shapes and builds
interrelationality not only with humans but also with non-humans, nature and
even with other worlds. Despite being born with Down syndrome, which her father
and the entire world perceive as a disability, Noor is incredibly unique and
capable of doing things that most people couldn’t. Nature is something inherent
in Noor, she could feel it; she is inseparable. Stacy Alaimo emphasizes that
ecofeminism must challenge and reject the choices that arise from the
nature/culture opposition and “affirm multiple alliances and articulations,
deconstructions and reconstructions of this discursive terrain” (136). In a
sense, Noor combines both culture and nature through her art. Her paintings,
filled with images of nature and events, help her understand herself and allow
her to share this understanding with others, helping them face their hidden
pain. Noor also feels deep empathy for animals and birds: “every moulting
season, she empathized with the birds who, she worried, were shedding
unnecessary parts of themselves” (184-185). This reflects her sense of
belonging both to her associates and to nature.
Noor’s Paintings as Echoes
of Nature:
Noor
possesses both ecological knowledge and an understanding of the past, as her
paintings are incredibly detailed and intricate. “Pictures speak thousands of
words, bearing witness to unspeakable events and, in some cases, “envisioning”
a better future” (Mallot 199). Echoes of nature—as the title states—are present
in every painting by Noor because of their vibrant colours, which serve as a
reminder to the characters of the echoes of nature from their past. Since the
characters interpret events based on their personal experiences, these echoes
sometimes take the form of mishaps and incidents that they must deal with.
Noor’s association with colours began on her birthday when her Nanijaan gifted
her a set of colours. The very first colour she chose was blue and Nanijaan
observed,
Baby
Noor had a gift. Watching the same blue Islamabad sky emerge on page after
page, again and again, was enough to convince her that Noor, different as she
might be, was devoted to the vastness and complexities of colours (30).
In addition to her talent
with colour, Noor also demonstrates a deep devotion to connecting with her associates
‘past experiences and paths to redemption, which becomes clearer as she
continues to paint. Haraway’s idea that “Nobody lives everywhere; everybody
lives somewhere. Nothing is connected to everything; everything is connected to
something” (31) helps interpret and understand Noor’s painting. According to
Sehole, Noor uses her drawings to depict the characters’ psychological states.
She highlights the things that the characters themselves had been making a lot
of effort to keep hidden and repress (68). For Sajida, “Noor’s blue was a
movement” (31). Whereas for Nanijaan, the blue appeared to be Islamabad sky;
for Sajida, it was the movement of the ocean, “ripples of water running away
from the beach…. She could make out fishing nets swimming and bending below the
blue of Noor’s crayon” (31). The blue not only reminds Sajida of her early
years by the sea in East Pakistan, but also gives Nanijaan the impression of
being as open and free as the sky—a freedom she has long yearned for due to her
patriarchal husband. To Noor’s father, her painting reflects her chaotic and
disabled mind but for Nanijan those are invocations to God.
According to Katariya and Chaudhary, “Noor’s sketches of
her own fantasies and dreams are pivotal to the flow of not only individual
harrowing memory but complete revulsions of collective trauma” (13442). Abid et
al, note that “Traumatic incidents leave a long-lasting impact on the memories
and need to be treated” (85). Noor inherits knowledge of the war and cyclone as
a generational trauma and she acts as a bridge for others to process and move
beyond it. For instance, when Noor drew a boat, it reminded Sajida of the
fishing boat from her childhood, which indeed presents her attachment to her
birthplace, even though she moved to West Pakistan with Ali when she was only
five or six years old. Sajida’s traumatic past has been passed down to her
daughter, Noor and provided her with an unusual awareness of events. Like her
mother, Noor also dreams of the sea, the cyclone and the pathetic condition her
mother faced during that time. For Sajida, the cyclone that shattered her life
left an indelible and lifelong impact on her mind, causing her to avoid the sea
entirely. Once, Noor painted a buffalo that was “grotesquely bloated” (88),
using the same brown colour that was “exactly the right brown-black of the mud
after the cyclone” in which it had been sunk. This shows that Noor,
through her painting, on the one hand, wants to make the characters confess
their traumas, and on the other hand, presents the exploitation of non-human
animals too. Here buffalo serves as a metaphor for the devastation of the past,
and a doorway to another world. Noor’s painting of buffalo reminds Sajida of
that bloated and grotesque buffalo, holding whom, she was saved in that
cyclone. Also, the fat buffalo reminds Ali of the dead and bloated bodies he
saw during the war. Noor’s drawing of “torn, upside-down trees and shattered
boats” (93) on a brown and black background, with a misty grey effect,
evoke Ali’s memories of monsoons in East Pakistan during the war. He recalls,
“one had to be inside the rain, feel it beat down steadily to know the colour,
the length of the sheets” (93). Her
paintings show aspects of nature, and nature itself actively brings the past
into the present. Again, her painting of tilted, damaged, old and multicoloured
barrels under a dusty sky with broken electric wires and tree branches
indicates a meagre example of damage and destruction done due to war and
cyclone in East Pakistan. Sajida is brought back to her eerie past by this
sight, where she saw thirty-six of those barrels. After studying Noor’s oil
barrels, Sajida points out, “They were stacked like a pyramid against the dirty
white of the wall only slightly different from the hazy sky, a different white,
above. She wondered, more than ever, how Noor mixed colours so precise” (117).
The picture ignites a sense of fear as the painting transports her mind to East
Pakistan, where she had once witnessed the atrocities of war. Noor’s drawings
became “windows into another world, far away and distant, which might have
ceased to exist without Noor” (117).
Noor’s
drawing of a wide and black river is “divided into two parallel streams. Half
the river was pink and the other half gray” (139). This reminds Ali of burying
dead bodies in the Sitalakhya River which had also turned pink and gray.
For Ali, Noor’s drawings are a “manifestation of what he’d locked away so
carefully years ago in the cabinets of his mind” (141). Through this painting of
the double-coloured Sitalakhya river, Noor brings light on the
exploitation of innocent people and nature, revealing the brutalities and
destructions of wartime. Nanijaan, who had never questioned what her son Ali
might have done in East Pakistan during the war, began to wonder about his role
in any deaths as she looks at Noor’s painting. “Through Noor’s paintings, both
Ali and Sajida are stirred to excavate their lives in order to relocate their
pasts and mend their presents to make way for a fertile future” (Ishtiyaque
313). Thus, begins unfolding the hidden mysteries and silenced questions and
helping the characters come out of their silenced cell. After clearing
misconceptions, the family healed and united wholeheartedly without any doubts
and trauma. Through her painting, Noor also wins back her father’s love - the
same father who had once abandoned her because of her disability. When Noor
sticks the drawing of a shoe to Hussein’s car, “His instinct was to rip it from
the wall. But the shock of seeing a perfect replica of a shoe he’d once worn,
prevented him” (97). The artwork reminds him of his love and duty towards
Sajida and Noor, reawaking his true self. “Noor’s drawings compel the family to
remember the calamities that link them to each other and resolve the stories of
infidelity, devastation and mental injury with the help of forgiveness, care
and selfless love. Private memories are stirred to confront public
forgetfulness.” (Katariya 13443-13444). Noor not only brings justice to other characters,
both human and non-human but also she gains her own identity and sense of
individualism.
Relation of Sajida and
Nanijaan with Nature:
Sajida
is the adopted daughter of Ali, whom he brought from East Pakistan, just after
the cyclone and during the war. She lost her entire family and everything in
the Bhola Cyclone of the 1970s and experienced the devastating impact of
environmental destruction firsthand. Eaton Heather, in his work “Women, Nature,
Earth”, quotes a 1989 statement by The United Nations: “It is now a universally
established fact that it is the woman who is the worst victim of environmental
destruction. The poorer she is, the greater is her burden.” (7). For Sajida,
the trauma of losing everything in the flood makes her hate the ocean and not
to see it ever again. However, she still feels a connection to her homeland in
her dreams and her subconscious mind, where she imagines meeting her mother
from within the ocean. The dust and pollution of West Pakistan constantly
reminds her of the green and fertile lands of East Pakistan. In her childhood,
she was very fond of climbing the hills to watch the water of the ocean recede.
Although apparently, she was reluctant to think about or going to East
Pakistan, in her dreams, she visualises the landscapes of East Pakistan her
childhood in greens amidst rice paddies, banana leaves, palm trees, limes, and
the sails of fishing boats (6). As Katariya and Chaudhary note,
Noor
not only questions the ruthlessness and bloodshed of brotherhood but
vulnerability of women bodies who do not belong to any country; Sajida is
separated, uprooted, alienated at such a young age and then transplanted in a
new space leaves her in homing desire(13442).
Sajida was brought to West
Pakistan by Ali at the very early age of five or six, but still, Noor’s
paintings revive all the places and scenes of her past, showing that, willingly
or not, she still connects to the landscapes of her homeland through her
subconscious mind.
In
contrast, Nanijan shares a strong and nurturing connection with nature, which
serves as a source of peace and freedom that she lacked in her married life.
When her son, Ali, built their new house with its back towards the Marghalla
Hills, she felt disappointed and frustrated. The rooftop became her
sanctuary where she “would watch the stars rise and the moon and plants shine
above the fading outline above the hills” (41), along with her family. However,
rapid construction destroyed this peaceful view, her only solace, her “vista
was devoured”. She complained and chastised her son as greedy asking, “What do
you need a house so big for? Sitting on the edges of your property? Instead of
planting a vegetable patch or some flower gardens, you’ve gone and planted
excess in someone’s head.” (42). For Nanijaan, nature is the manifestation of
God and that is why Noor’s paintings appear to her as an “invocation to God”
(49).
Conclusion:
“Noor
may not paint her own war, but again and again her works testify to the
extremities of human behavior, forcing her elders to confront the past, and to
provide (their own) narrative elaboration” (Mallot 194). Through her painting,
Noor calls for environmental activism by bringing to the fore the suffering and
exploitation of both nature and human. Although she was looked down upon as
disabled, chaotic even by her own father, Noor befriends nature and makesit a
medium to gain her identity. By overcoming her own disability in a creative way
with the help of nature imagery through her paintings, she stands for all the
marginalised who are undermined and ill-treated. The relation of the various
characters with nature indeed presents the third-world scenario, where everyone
has their sweet and bitter experiences with nature. By visiting past tragedies
and devastations, the work draws attention to the brutalities and raises
awareness of the immoralities and hostilities. By directly and indirectly
aiding in the characters’ trauma treatment, comfort, and
individualism-building, nature affirms itself as an active agent. The
exploitation of women and the environment is a critical issue that has to be
addressed, and ecofeminist literary theory highlights how art and literary
writings raise awareness of these atrocities by showing their negative aspects
and advocating for women’s empowerment and environmental justice.
Works Cited
Abid, Mehwish. “Impact of Ecological Disasters in
Pakistan from the Perspective of Ecofeminism on Women’s Physical and Mental
Health.” Pakistan Languages and Humanities Review, vol. 6, no. II, June
2022. DOI.org (Crossref), https://doi.org/10.47205/plhr.2022(6-II)07.
Alaimo, Stacy. Undomesticated Ground: Recasting Nature
as Feminist Space. Cornell University Press, 2000.
Alam, Khurshid. “Politics of Silence and Resistance: A
Critical Study of Noor .” Journal of Research in Humanities.
Baloch, Mohib. “Demystifying the Character of Noor: A
Psychoanalytic Study of Sorayya Khan’s Noor .” Original Research Journal of
Contemporary Trends in Linguistic and Literary Studies , vol. 1, no. 1,
2024, pp. 41–49.
Butt, Mohsin Hameed. “Unveiling Characters Through
Colors: A Critical Study of Sorayya Khan’s Noor.” PAKISTAN LANGUAGES AND
HUMANITIES REVIEW, vol. 3, no. 1, June 2019, pp. 1–9. DOI.org (Crossref),
https://doi.org/10.47205/plhr.2019(3-I)1.1.
Dātāra, Chāyā. Ecofeminism Revisited: Introduction
to the Discourse. Rawat Publications, 2011.
Eaton, Heather. “Women, Nature, Earth, in Religion,
Ecology and Gender: East-West Perspectives.” Studies in Religion and the
Environment, edited by Sigurd Bergmann and Yong Bock Kim, 2009, pp. 7–22.
Eaubonne, F. d’, Hottell, R. A., Merchant, C., Bahaffou,
M., Gorecki, J., & Ramadan, E. (2022). Feminism or death. London ;
Brooklyn: Verso.
Gates, B. T. “A root of ecofeminism: Ecoféminisme.” In
Greta Gaard & Patrick Murphy (Eds.), Ecofeminist Literary Criticism:
Theory, Interpretation, Pedagogy, Urbana: University of Illinois
Press.,1998, pp. 15-22.
Haraway, Donna Jeanne. Staying with the Trouble:
Making Kin in the Chthulucene. Duke University Press, 2016.
Ishtiyaque, Farah. “Suturing the Memories of the
Liberation War of 1971: The Narrative Poetics of Sorayya Khan’s Noor.” European
Journal of English Studies, vol. 19, no. 3, Sept. 2015, pp. 301–14. DOI.org
(Crossref), https://doi.org/10.1080/13825577.2015.1091226.
Katariya, Archana, and Priyanka Chaudhary. “Revisiting
History: Sorayya Khan’s Amorphous Noor and Memory.” International Journal of
Psychosocial Rehabilitation, vol. 24, no. 08, 2020, https://doi.org/10.37200/IJPR/V24I8/PR281336.
Khan, Sorayya. Noor. India: Penguin Books India,2004.
---. “The Silence and Forgetting That Wrote Noor.”
Journal of Narrative Politics, Vol. 1, no. 2, 2015, pp 121-132.
Mallot, J. Edward. “I Have Not Painted the War: Art and
Abiding in Roma Tearne’s Mosquito.” South Asian Review, vol. 33,
no. 3, Dec. 2012, pp. 193–215. DOI.org (Crossref), https://doi.org/10.1080/02759527.2012.11932903.
Prong, Alex. “3 Stories from the Chthulucene.” Intonations,
vol. 3, no. 1, June 2024, pp. 1–11. DOI.org (Crossref), https://doi.org/10.29173/inton86.
Rahman, Shazia. Place and Postcolonial Ecofeminism:
Pakistani Women’s Literary and Cinematic Fictions. University of Nebraska
Press, 2019.
Sadia, Riaz Sehole. “Landscape: Psychological,
Geographical and Cultural Nexuses.” International Journal of English and
Literature, vol. 5, no. 3, May 2014, pp. 67–70. DOI.org (Crossref), https://doi.org/10.5897/IJEL12.043.
Warren, Karen. Ecofeminist Philosophy: A Western
Perspective on What It Is and Why It Matters. Rowman & Littlefield,
2000.