FAUNA 2024

F A U N A

T

A B L E O F C O N T E N T S

Front Cover: Maine 2024 Eclipse, Lainie Dee ‘27

Table of Contents: Katherine McManus '27

Page 3: Student Advisory Board

Page 4: Letter from the Editor, Portia Hardy

Page 5: Rory Hallowell ‘24

Page 6: Ava Stotz '24

Page 7: Alayna Blier '26

Page 8: Maggie Haran '27

Page 9 - 10 : Charles Pantelick ‘27

Page 11 - 12: Maggie Haran '27

Page 13 : Cole Burkhart ‘24

Page 14: Isadora Wells ‘26

Page 15: Professor Luis Millones, Professor Justin Becknell

Page 16 - 17: Professor Luis Millones

Page 18: Katherine McManus ‘27

Page 19: Sophie Shanae Gould Dulabaum ‘26

Page 20: Kathryn Mechaley ‘26

Page 21: Sophie Shanae Gould Dulabaum ‘26

Page 22: Emma Rothwell ' 26

Page 23: Kalyan Khatiwada ‘26

Pages 24: Anna Rosenfeld ‘ 27

Page 25: Oliver Beardsley ‘ 27

Page 26: Sara Holden ‘26

Page 27: Michelle Bechtel ‘25

Page 28: Kate Jaffee ‘25

Page 29: Ari Raschid Farrokhi ‘27

Page 30: Rachel Hernandez ‘27

Page 31: Audrey Palmer ‘25

Page 32: Nate Dunn ‘27 and Rory Hallowell ‘24

Page 33: Rory Hallowell ‘24

Page 34 - 35: Student Advisory Board

Page 36: Get Involved with EH

Page 37: Upcoming EH courses

Back Cover: Maine 2024 Eclipse, Lainie Dee ‘27

Island Time

Katherine McManus '27

S T U D E N T

A D V I S O R Y B O A R D

Kate Jaffee '25

Hunter Mawn ‘27

Kathryn Mechaley '26

Sophie Shanae Gould Dulabaum '26

Eden Mayer '25

Rory Hallowell '24 Student Chair

Anya Babb-Brott '25

Nate Dunn ‘27

L E T T E R F R O M

T H E E D I T O R

Dear Readers,

Thank you for picking up the sixth edition of Fauna, an environmental humanities literary and art magazine. Fauna is a labor of love crafted by the Center for the Arts and Humanities Student Advisory Board (SAB) and myself as both the Editor and Staff Advisor. Fauna would not be possible if it weren’t for the students of the Colby Campus who are dedicated to the environmental humanities and who share their wonderful pieces with us. Whether it be prose, poetry, photography, or artwork, we are grateful for the contributions of the Colby community To introduce you to this issue of Fauna, I invite you to read a letter from the SAB Student Chair, Rory Hallowell ‘24, who has been a dedicated member of the club since joining in 2020 with his older brother Pen Hallowell ‘21, back when the environmental humanities initiative (EH) at Colby was first forming.

I hope that within these pages you will find your own passion for EH and join us in spreading the importance of its study throughout the Colby community and beyond

Happy reading!

Portia

F A R E W E L L

T O F A U N A

When thinking about this year ’ s edition of Fauna, I found no topic more relevant and profound than this year ’ s Arts and Humanities theme, Play My history with play begins, and continues to this day, with my role as a little brother My brother, Pen Hallowell ‘21, taught me the basics of play, from building with sticks to playing rock tag in the woods I was lucky, and honored to join him at Colby my freshman year, where we lived only one lawn apart. Together, my brother and I have seen the Center for the Arts and Humanities (CAH) through 7 years of progress, change, and success. As this is my final entry in our beloved magazine, I thought it sensible to provide an account of these changes- a history of sorts. When my brother arrived in 2017, Ayla Fudala, longtime Fauna and Student Advisory Board (SAB) coordinator, headed the group as they hosted events and built the magazine. One aspect of being part of the CAH that we have always enjoyed, and has consistently served as a guiding and supportive force, has been the group ’ s leadership, with Ayla and Portia being without a doubt, the glue keeping everything in place. If there were anyone to thank for Fauna and our Environmental Humanities (EH) events, it would be Ayla and Portia.

The CAH’s experience during the Covid Pandemic was hardly unique Most Colby clubs experienced a significant decline in participation, leaving at one point, myself and our then new coordinator, Portia Hardy, to run the magazine and host events alone In the Spring of 2021, Pen printed magazines from home, and distributed them when we all returned the next Fall Needless to say, this endeavor was not without labor, nor was it fruitless Some communities collapsed, Fauna adapted In 2022, Lucia Hope-McCarthy joined Fauna, and together as a team of 3, we maintained the magazine, hosted events, and expanded the group in a world still grappling with the pandemic Today, the SAB is comprised of 9 members, with two members studying abroad this semester Our work this year, from our Annual Wreath Making event, to our “Go for It” arts project, garnered significant and novel interest from the student body. A first in our memory, we needed a “bouncer” at our holiday event. Admittedly, the Wreath Making event has always been a favorite for the student body, not to mention the board. To characterize Fauna as simply, an environmental magazine, would be a gross misjudgment. Fauna is in fact, the college’s oldest continually running, and nowadays, the only, environmental magazine. What makes this fact so special, is not the extent of its history, but the consideration with that fact, that Colby Students are for the most part, so environmentally engaged and driven. Many of us were lucky to be admitted, and chose Colby not for its academic prominence or housing, but for its unusual scenic beauty, and the “divine” Maine identity. In my sophomore year, when the SAB had been reduced to a rather small team, we still received, as Fauna always does, far more entries than we could accept for our seasonal editions a testament no doubt, to Colby students’ relationship with nature, and the CAH’s priority in giving students an outlet for developing that relationship, in an academically rigorous environment

As a double major and minor in the Humanities, I feel fortunate and indebted to the CAH Throughout our ever changing lives, the ways in which we “play”, seems to change without warning Gone are the days of Lincoln Logs and Lego, in are the late evenings on the quad, throwing frisbees and engaging in “college-activities” Many of us however, have always been drawn to the woods, to the oceans, and the skies With a central component of college being its fundamentally social nature, the CAH has provided students with an outlet, to engage with the wonderful Maine wilderness, to play, and importantly, to do so as part of a social community. I am so proud of this group, and cannot wait to read the next edition.

M u r m u r a t i o n

FATHER PINE

For my dad Alayna Blier '26

The creaking calls Everywhere I turn. Wooden veins wrap my wrists.

You drag me along, Evergreen, everlong, Ever lifting me higher.

You grow in the desolate frosts, And in the scalding summer heat, And you whisper life into seasonal death.

I wander deeper into the mist in the midst of the trunks

And you hide me from the Sun, And hold my hand in the dark.

Light can barely pierce the ceiling of needles

Needles sharp but not piercing, Poking my hands and my feet with a pinch and

You are the itch in the corner of the eye, And the beauty I glimpse along the skyline, And the roots of life in this old, cold place.

Maggie

Hymn to Dionysus

Haran '27

DECENTRALIZATION: THE FUTURE OF CLEAN ENERGY?

Less than two and half months ago was the first-ever International Day of Clean Energy. This important day – January 26th, 2024 – ordained by the United Nations General Assembly (UNGA), is intended to encourage the transition to clean energy and ultimately inspire a transformation of the world as we know it. However, as we mark this milestone on the calendar, it is clear that the world is failing at this task. The global community remains mired in “unclean” energy, which creates emissions that warm the Earth. Because of the complacency surrounding this issue, the world has fallen behind in the UN’s Sustainable Development Goal 7 (SDG7): affordable and clean energy for all by 2030. While the global community is lagging in its efforts, there is still hope. By implementing decentralized energy infrastructure, such as solar and wind systems, the possibility of achieving SDG7 by 2030 still exists.

Decentralized energy, also known as an autonomous energy grid (AEG), generates energy near the point of consumption and eliminates the energy lost in transport. However, with centralized energy, energy use can take place up to 300 miles (480 km) from production, squandering up to five percent of produced energy. From the late 1800s – beginning with Nikola Tesla’s implementation of the alternating current – to the 2000s, centralized energy was the most efficient and cost-effective energy production to serve as many people as possible. This efficiency came from the idea that “bigger is better”, so having one large plant or station for a large geographic area made it easy to maintain and monitor. However, as populations grew and spread out geographically, efficiency decreased. Energy that is produced but not consumed emits carbon. Technology in the late 1800s was limited, making decentralized energy unobtainable. However, decentralized energy has become an efficient and attainable alternative. In our world today, bigger is not always better.

So, how does decentralized energy production help reach the UN’s clean energy goals? Clean energy technology is suitable for small-scale implementation. By implementing clean energy like solar and wind turbines on a decentralized basis, efficiency will be close to one hundred percent with zero emissions. The energy lost in distribution is eliminated.

Many countries in the Global North will vehemently oppose the transition from centralized energy because of their deeply ingrained, well-established systems, which would have an enormous cost and effort to uproot. Inversely, the Global South, which has less developed energy systems, is positioned well to transition to decentralized systems to satisfy the energy needs of all citizens, especially rural ones who are not connected to the grid. Ultimately, to be successful, governments cannot be solely responsible, particularly in the Global South. Private organizations and NGOs can play a vital role by prompting and creating trusting relationships by demonstrating successful decentralized clean energy systems.

In Morocco, the High Atlas Foundation (HAF), in conjunction with Germanwatch, successfully implemented a decentralized energy system of solar panels in the province of Youssoufia, specifically El Kdirat village in the rural Jnane Bouih commune. The residents reached out to HAF because they saw that their village and land held the potential to flourish. However, they faced socio-economic challenges as a rural and lowincome community. Coming together, the community followed HAF’s Imagine Program to determine their highest priority needs. The El Kdirat village determined that a decentralized system would be the most useful in powering irrigation for a tree nursery and providing running water in their school for drinking and bathrooms. The residents followed HAF’s directive of adopting a participatory labor model, where the residents successfully constructed the solar system that fed energy into a pump system connected to the tree nursery and pipes in the school to the irrigation system. This decentralized solar system has given El Kdirat village true sustainability, bolstering the community and improving the village’s economy.

As a whole, Africa has the potential to change the climate surrounding decentralized energy while helping all rural Africans with energy-related insecurities. Rural Africans comprise 60-80 percent of the African population; by turning to decentralized clean energy, African countries can become global leaders in clean energy. According to Statista and the World Bank, Africa has the world’s highest solar potential, making this leadership possible. While Africa is spearheading this new economic energy model, the Global North must commit to transitioning away from the centralized systems they have relied on for decades to reach the attainable goal of affordable and clean energy for all.

G R O W I N G A B E T T E R F U T U R E C o l e B u r k h a r t ‘ 2 4 1 2 3 4 5 6

THE COLOR PURPLE

Growing a Better Future is a project to document Maine farms that are showing us what a better food future can look like. It's easy to feel overwhelmed, looking at the environmental (and social) crises of our time. I think these farmers are growing more than just food – they're raising hope, and cultivating an inspiring example to follow. Watching them work, I'm reminded that nothing can really come close in value to real, direct action.

In a Row - At Dorolenna Farm, the chicken pens are moved onto fresh grass every day The chickens add fertility to and stimulate microbial life in the soil, giving a boost to crops planted in the following season.

Caring for Dirt - Andrew Marshall inspects the soil in a cover-cropped field at Dorolenna farm Cover cropping protects soil structure and moisture, blocks weeds, and helps regenerate fertility 2

Big Puddle - A large percentage of the produce sold in the US is shipped from agricultural regions such as California where water resources are severely strained However, at Six River Farm, water is more than plentiful

Fresh Roots - Ginger, normally grown in warm climates, flourishes in a greenhouse at Six River Farm Providing a wide variety of produce helps local farms serve as a viable alternative to long-distance shipping and supermarkets.

Kelp Lab - The Atlantic Sea Farms cultivation facility Compared to conventional agriculture, or even fish aquaculture, farming seaweed causes virtually no harm to the marine ecosystem In recent years, Atlantic Sea Farms has significantly expanded the kelp industry in Maine

Rinsing the Tub - At Atlantic Sea Farms, Colby graduate Carlin Schildge grows spools of kelp seed that are distributed to farmers all along the Maine coast Most kelp farmers are lobstermen or fishermen, for whom kelp provides extra income during the offseason If you’d like to see the full project, visit https://cole11burkhart.wixsite.com/growabetterfuture.

The Endangered Sounds of the Colby Forest

| The Allen Family Professor of Latin American Literature

Introduction

In the Fall semester of 2023, a group of twelve students took the course “Deep Ecology in the Human Imagination,” an environmental humanities lab taught for the first time by professor Luis Millones with the support of the Center for the Arts and Humanities. A main objective of the course was to experience the Colby Forest from the frame of mind of deep ecology ideas: as the habitat of animal and earth beings to be appreciated for their inherent value, a perspective that questions the predominance of anthropocentrism. To that end, the class included several visits and activities in the Colby Forest and required that each student created a soundscape

The process of creating a soundscape started with understanding the basics of the biology of the forest Our first step was a guided walk and characterization of the forest provided by biology professor Justin Becknell. A second step was to spend uninterrupted and attentive time alone in the forest paying attention to all sounds present at that moment. We had learned that a soundscape has three basic sound sources: geophony (non-biological sounds,) biophony (generated by living organisms,) and anthrophony (generated by humans.) Next, we had the collaboration of music professor José Martínez who shared a few concepts about sounds and our perception of sounds from the point of view of sound studies, and who taught the group how to use a specialized recorder (for capturing close-by sounds in detail,) and the basics of sound editing Once ready, each student chose the right moment in time to go to the Colby Forest to record, and then finally create a soundscape

As the students’ reflections that follow show, the experience of the Colby Forest and creating a soundscape within the course framework had a diverse, profound, and transformative impact. Students speak about their feelings of connecting with nature and the emotions provoked by the different sounds, but also noticed sound pollution that interferes with that experience. That is why we end up naming the project “Endangered Sounds of the Colby Forest,” to call attention to sounds –and their sources– that, if we are not careful with how we treat the neighboring environment, may not be there for future generations of Colby students

Luis Millones

Photos by Justin Becknell | Associate Professor of Environmental Studies

Student Reflections

For my project, I decided to record sounds during dawn I woke up at 5:30 in the morning and went to the Colby Forest at 6:00 The air was cold, but the light was beautiful; colors of pink, orange, and violet Immediately I felt calm and content The bird’s calls were so loud and complicated, and during the hour I spent in the forest I was free of anthropocentrism and completely submerged in nature.

– Leila Iredell

‘26

During my experience in the forest, I felt a little nervous because I went near night time. But when I used the recorder and raised the volume my experience changed. My ears focused on every sound. It sounded like an orchestra. I could hear the sounds of birds and the steps of a squirrel. Although I am bigger than these animals, their sounds in the headphones made me feel small It was also very fun to change the volume levels of the recorder It permitted my audio experience to become more personal When the sounds were loud, I felt like I was in another world

– Emily Jeon

‘25

When I got out of bed and looked at the clock, I groaned. ‘Why am I waking up at six thirty to go record sounds in the forest?’ At first, I felt like a scientist, there to observe, take notes, and explain what I found. But as I continued walking through the woods, I began to feel part of it. As some light stretched across the sky and the sounds of animals around me grew louder, I started to feel like this ecosystem was inviting me to be a part of it. I remember stopping in one place for probably ten minutes, before realizing that I hadn’t even moved It was at first an unsettling feeling, but then a comforting one, because in that moment I felt like I was part of a world I had previously been separate from - Oliver Riordan ‘26

This project was very unique, I have never done anything like it before so I really had to think about how to do it effectively The project started with a walk through the Colby Forest where I searched for areas with a wide variety of natural sounds This was a very impactful part of the project because I have never walked through nature with the sole purpose of listening to all of the activity happening around me. Listening closely to all the sounds of the forest, big and small, which I normally don’t hear, made me aware of how the forest is a being itself similar to me. It is full of life, and much more complex than I have ever understood in the past.

– Alex

Moretti ‘25

As a Colby student, creating a soundscape in the Colby Forest was a transformative experience. As I delved deeper into the project, I couldn’t help but think about the principles of deep ecology The process of capturing the essence of the Colby Forest through sound allowed me to empathize with the interconnectedness of all living things within the ecosystem This new biocentric lens broadened my understanding of nature’s intrinsic value and reinforced the importance of preserving it for its own sake.

– Ema O’Neil

‘26

The exercises that we did in the forest in order to complete this project were very transformative for me and my perspective regarding the natural world. Although it is very difficult to fully accept and practice treating all beings according to their inherent value, I think that this project has made me much closer to seeing the world through a biocentrist view Due to the work on the soundscape and my experience waking in the Colby Forest, I have found myself thinking in certain moments as a biocentrist would, which is something I am very happy with - Richard Petrocelli ‘26

Student Reflections Contiued

Nature does not depend on human beings to keep its balance: it can do it by itself That is why I attempted to create a product that went against human expectations I tried to accomplish this goal throughout my whole soundscape, but it is especially evident in the end of my audio with the use of crickets In human society, it is common to think that the sound of crickets signifies silence and the end of something big; however, I ended my soundscape with water because all beings are connected through water. If I want to be on the same plane as all other earthly beings and destroy the hierarchy, I have to recognize my connections.

– Jack Brenner ‘26

It was very interesting to incorporate different aspects of the Colby Forest and create a piece of art that captures the sounds of the forest The sounds that I found consisted of many birds, wind from the trees and the stream of the water These sounds are important to me and my relation with the Colby Forest The water in the forest is a very unique aspect because it provides a constant sound and can occur in many different forms

– Avery Rappaport ‘26

One of my observations while recording my soundscape was that although I was immersed in nature, I could still hear man-made noises such as buildings close by, cars, and construction. Because of this, I found it difficult to concentrate on the sounds of nature.

– Tati Clinton ‘25

I visited the forest during different times in the day in hopes of finding less “anthrophony” (sounds generated by human activity ) I noticed the differences in activity, especially in birds, and I think I have more appreciation for the natural sounds now I heard the call and response of the different birds

The birds never interrupted each other's calls, and I think this is an example of cooperation between the species Plus, insects make sounds in a way I'd never noticed before Usually, if I hear these sounds, I focus on how they affect me For example, a fly in my ear has bothered me in the past, but while recording, I loved the sounds of insects

– Catherine Santos ‘25

There exists a strong difference between the practice of walking in the forest to experience the scenery and walking in the forest with the intention of listening to your surroundings. When I pay attention to the sounds of the forest, I can experience more of the forest because I feel that I can hear more than I can see. When I only look at the trees above the forest trail, I only see what my eyes can see, which is only so much However, when I look and listen, I can hear the animals in the parts of the forest that I cannot see from the trail When I don’t pay attention to the sounds of the forest, I can’t appreciate the harmony and chaos of all the forest’s organisms One of my favorite experiences in the Colby Forest was listening to the sounds of the falling leaves and acorns, the flow of the stream, and the birds many of these sounds I couldn’t always see, but could definitely hear.

– Shane Baldwin ‘25

When I was walking through the forest, I didn’t hear much at first, but when I stopped and really listened, there were many different sounds. I was alert to everything going on around me, and felt much more of a connection with all of the creatures that were making these sounds This reinforced the idea that there are many different beings in the forest, but the forest itself is also a being When I was recording, and was still and in silence, I also felt like a part of the being

– Brigid Woelfel ‘25

THE NATURE OF NAMIBIA

Kathryn Mechaley ‘26

I took these photos over JanPlan this year for a course called Wildlife Conservation in Namibia. In the class, I had the amazing opportunity to earn about community-based natural resource management and get hands-on experience with the different stakeholders involved in conservation. In addition to engaging in discussions about a variety of conservation topics, our class was able to go out and observe the wildlife of Namibia Throughout our game drives that month, I was repeatedly struck by the sheer diversity and beauty that is present in the natural world. Experiencing such biodiversity flourishing in its natural habitat reaffirmed my belief in the intrinsic value of nature.

UNTIL NEXT TIME

Sophie Shanae Gould Dulabaum

‘26

When freckles populate my face in the summer, Thoughts of you populate my mind, As I imagine how solar rays have kissed your skin just as they have mine

I cannot help but admire the same Sun as you. And though billions have documented this unifying phenomenon, I do not find comfort in it.

Instead I find great anguish in that we must nevertheless be so distant in place and in thought, With separate realities that diverge more and more every passing day.

At least I am able to revel in how our uncertainty regarding the meaning and movement of The Universe Is always squashed by Our mutual, defiant confidence that One day We will meet again.

Emma Rothwell ‘26

IF EARTH’S BLOOD WAS LIKE OURS

Kalyan Khatiwada

‘26

APRIL 8TH, 2024 Oliver

NEW JERSEY SOIL

Sara Holden ‘26

We are anything but few and far between. Take a number, and double it. Write the product, and double again. That is how life grows life grows life. 2 sisters, and 26 kids between them. 26 kids between 2 sisters. I do not remember your name. Yes, I have grown. It is Christmas. It is the 18th year – the 18th time – of me in this house, soda tingles numbing my grip. So nice to see you!

Or, rather, I have known you my whole life. My whole life, I have known you. You have not known me the same. There are too many battles, too many years. 104. The years run down my family like grab-bag gifts. History is an open book, but ink rubs off the pages and blackens my hands. I know Ireland, New York, my hand-me-down dorm. What do you remember?

I taste a hand-sewn angel like chocolate cake. I didn’t know about this, somehow: rich icing washing up on a plate like a white handkerchief. My uncle, out there. There is a sweetness in the bite of a bullet. There is a mother in the stomach of a son. Envelopes smudge the rain.

There is a stain of clean on my Nana’s house. Dust swept away and away and away and away and I wonder what life will be without her home-grown tomato seeds pitted between my gums.

A house for 5 feels empty with 3. With 2. A house for 2 can grow a garden.

There are many seeds, here.

1. Cold Turkey 2. Amaranth

3. Guts 4. Palms

Michelle Bechtel ‘25

1. A tattoo on your wrist two weeks after you turn 18

2. The artist asks what it symbolizes- you tell him that you really like frogs. He asks why the teacup has to be cracked. You shrug, and he accidentally pulls a line too thick with the unexpected motion. He doesn’t try to speak to you again

3. Ranoidea caerulea- Australian green tree frog AKA dumpy frog. They’re called that for their being perpetually chubby. They never know when their next meal is, so they eat dozens of bugs in one sitting. They can change color. This one lives on your wrist, purposefully flipped upside down so that he can look right at you whenever you look at your arm. The slightly overblown lines are slightly raised above your skin, and you can feel him with your thumb when you nervously trace your tendons.

4. Spring peepers at night- you never see them- you think they may remember your childhood days of catching them and racing them down the stream, unwillingly named after olympic swimmers

5. You absolutely will not get warts if you touch them. Please be mature.

6. Atelopus zeteki- Panamanian golden frog. The first animal you fell in love with. Critically endangered, extinct in the wild Informed your life trajectory You could likely still recite the entire page on them in your amphibian field guide. You had the whole thing memorized as a kid.

7. Frog in your throat- you don’t understand where that phrase comes from. You suppose it must be that sick, mucusy feeling you get, but to you, it’s the dry, scraping silence of a tongue that won’t move, a fist enclosed around the sinew of your trachea It’s really more of a snake in your throat, isn’t it?

8. A speech at your grandpa’s funeral. He was a science teacher who taught you everything you know about caring for the world. He taught you how to stand tall (though at 6’9, he had it easier). Frogs were his favorite too. You rub the frog on your wrist. You feel the frog in your throat. They give you comfort. You speak.

Kate Jaffee ‘25

The piece is a photograph of a tidepool in Bermuda that is home to snails including the West Indian Topshell which endangered. The shells are highly coveted, but I think they are even more beautiful in their natural habitat which in this case is a tidepool.

S P I N Y S U R R O U N D I

G R E A T E S T C O M F O R T

Greatest comfort in my moment of utter despair, i take peace in the fact that i am capable of rooting around in the dirt until i find a pink worm. of handling it gently and placing it in a tub of vile, rotten food, where it will blindly writhe and taste heaven.

Audrey Palmer ‘25

Hans they say

Is a German raccoon

Big Sweet Plump, hungry and smelly I feed him fish

For his hungry hungry belly

He lives in an old oak tree

In the valley behind the loft

I know his heart will be

Awfully awfully soft

Hans likes trouble

He likes to commit crime

Messing with my mother

He never serves time

Quick he is

Steady on his feet

Climbing, kissing, snarling

Never ever facing defeat

Long has he lived

Legends say

Since the Great War

Skillful he remains

Minesweeping galore

You won’t find Hans

Hans will find you

Easily you’ll scare

He likes to say Boooo

Hans is a drinker

a Juniper lover I know

No mixer, just straight

No he doesn’t use playdough

No he doesn’t care for drama

No he hasn’t the time

He’s a family to support

So oft I give him pie

So oft I leave him fish

On the stump where he knows I’ll be sitting equipped

I won’t drink alone

H A N S O H H A N S

Rory Hallowell '24

G O F O R I T :

C H I L D H O O D W O N D E R !

S t u d e n t A d v i s o r y B o a r d

On March 18th the CAH Student Advisory Board hosted a program called “Going for it: Childhood Wonder!” This program welcomed all to share a space to encourage creative and child-like wonder. As a product of this space and event, a community collage "quilt" was created, with each participant adding piece of their own story to it. The students worked with Maine artist Devon Kelley-Yurdin to facilitate, guide, and provide artistic direction to this event. “Going For It”, featured a mixed collection of posters and materials collected from around the Colby campus – encapsulating moments on our campus, while keeping in-line with the our environmental goals to create more sustainable campus events.

G E T I N V O L V E D W I T H T H E

E N V I R O N M E N T A L H U M A N I T I E S !

Delve into the Environmental Humanities with the English with Literature and the Environment Concentration!

For those English majors with a passion for the environmental humanities, we would like to promote the major concentration, English with Literature and the Environment (ENLE). English majors at Colby have the opportunity to focus their research through the lens of the environmental humanities Colby is one of only a handful of colleges in the US to offer an environmental literature concentration, so being a part of this program is truly a unique opportunity. To learn more, visit the EH website at https://cah.colby.edu/initiatives/environmental-humanities/

Want to submit to FAUNA?

Email your environmentally-themed art and writing to Program Coordinator, Portia Hardy at phardy@colby.edu, and you could be published in our next edition. No writing submissions over four pages please. To learn more about our submission guidelines, and read previous editions, please go to the CAH website, and visit the FAUNA webpage under the Student Experience tab.

Want to join the EH Student Advisory Board?

Go to the Colby CAH website and click on Student Advisory Board under the Student Experience tab. Fill out the application there, and email it to SAB Program Coordinator Portia Hardy (phardy@colby.edu).

Another great way to get involved in the Environmental Humanities at Colby is to take one of our fantastic EH classes. See the list of upcoming EH classes on the next page.

To learn more about the Center for the Arts and Humanities, like us on Facebook, follow us on Instagram @colbycah, or visit our website at cah.colby.edu.

U P C O M I N G E N V I R O N M E N T A L H U

M A N I T I E S

C

O U R S E S

Fall 2024

AY364: Toxicity, Health, and the Pharmaceutical Self, Tate

BI118: Sustainable Agriculture and Food Systems, N. Marshal

EA120: Nature in East Asian Literature and Culture, Besio

EN283/ST283: Environmental Humanities: Stories of Crisis and Resilience, Walker

EN324: Creative Environmental Communication, Schneider-Mayerson

EN493N Seminar: 17th-century Literature and the Natural World Sagaser

GS111: Human Rights in the Global Perspective, Miller

HI131: Survey of US History to 1865, Jacobson

HI348: U.S. Environmental History, Jacobson

LA335/SP335: Interplay Between Speculative Fiction and Environmental Fiction, Millones

TD262A: Decolonizing Botany, Shanks

SP343: Indigenous Textualities, Decoloniality, and Land Sovereignty, Miller

WD115I: First-Year Writing: Landscape and Place, Megan

JanPlan 2025

EN237: Environmental Writing in the Himalayas: Practicing the Arts of Unmastery, Braunstein, Walker

Spring 2025

AY221: Of Beasts, Pets, and Wildlife: What Animals Mean to Humans, Menair

CL255/ST255: Greek and Roman Science and Technology, Miller

EC231/ES231: Environmental and Natural Resource Economics, Meredith

EC468 Seminar: Challenges of the Anthropocene: Views from the Global South, Nasim

EN120H: Language, Thought, and Writing: Animal/Human/Machine, Walker

EN283: Environmental Humanities: Stories of Crisis and Resilience, Schneider-Mayerson

EN344: Medieval Ecopoetics, Heide

EN357/ES357: Literature and Environment, Heide

ES118: Environment and Society, Becknell, Robinson, Schneider-Mayerson

ES234: International Environmental Policy, Robinson

ES243/PL243: Environmental Ethics, Peterson

ES366: Pollution and Human Health, Carlson

HI372/LA372: Environmental History of Latin America, Fallaw

WG338: Indigenous Storytellers: Gender and Sexuality, Fugikawa