exemplify Wenzell’s assertion that for each of these poets, “nature becomes a psychological necessity, an act of restoration that reveals itself in verse through close observations of nature” (196). In the final part, “The Literature of Irish Naturalists”, Wenzell highlights the works of Irish naturalists which extol, what he, coining the work of Scott Slovic, terms “rhapsody and detachment”; those which “walk a fine line [. . .] between aesthetic celebration and scientific explanations” (261). The inclusion of the full text of John Tyndall’s Belfast Agreement (1874), one of the first works to consider the issues of climate change, extracts from Robert Lloyd Praeger’s The Way That I went: An Irishman in Ireland (1934), a discussion on the importance of Ireland’s natural history and Tim Robinson’s Connemara: Listening to the Wind (2006) are welcome for their realistic rather than romanticised perspectives. Detracting from the overall excellence of this anthology are several minor quibbles. Many of the examples gathered under the term “Early Irish Nature Poetry”, are translations from Irish; however, the absence of poetry or prose written in Irish, both older and more recent, is a remarkable omission. Likewise, despite Wenzell’s note of AE’s The Living Torch (1937), its exclusion is puzzling. With reference to the notion of balance, the relatively small number of female authors in comparison to that of male authors is an issue that may strike many readers. This volume may have benefited from a more substantial “Preface”, or Introduction rather than a brief “Foreword” and “Introductions” which accompany each Part and are largely expositional in tone. Yet, readers familiar with Irish literature and ecocriticism will find this volume filled with familiar faces and materials, as well as a few more obscure and exciting ones. This anthology offers scholars a series of substantial pieces from which to expand and further consider Irish nature writing and Irish approaches to the natural world.

中文翻译：

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当代爱尔兰女性诗人

体现了温策尔的断言，即对于这些诗人中的每一位，“自然成为一种心理必需品，一种通过对自然的密切观察在诗歌中揭示自身的恢复行为”（196）。在最后一部分“爱尔兰博物学家的文学”中，温泽尔强调了爱尔兰博物学家的作品，这些作品颂扬了他创造的斯科特斯洛维奇的作品，术语“狂想曲和超然”；那些“精打细算[. . .] 在审美庆祝和科学解释之间”（261）。收录了约翰·廷德尔的贝尔法斯特协议（1874 年）的全文，这是最早考虑气候变化问题的作品之一，摘自罗伯特·劳埃德·普拉格的《我走的路：爱尔兰人》（1934 年），讨论了爱尔兰自然历史和蒂姆·罗宾逊 (Tim Robinson) 的康尼马拉 (Connemara) 的重要性：听风（2006）因其现实而非浪漫化的观点而受到欢迎。有几个小问题有损于这本选集的整体卓越性。在“早期爱尔兰自然诗歌”一词下收集的许多例子都是从爱尔兰语翻译而来的；然而，没有用爱尔兰语写的诗歌或散文，无论是较旧的还是较新的，是一个显着的遗漏。同样，尽管 Wenzell 对 AE 的 The Living Torch (1937) 做了说明，但它的排除令人费解。关于平衡的概念，与男性作者相比，女性作者的数量相对较少，这可能会引起许多读者的注意。本卷可能受益于更充实的“前言”或引言，而不是伴随每个部分的简短的“前言”和“引言”，并且在语气上主要是说明性的。然而，熟悉爱尔兰文学和生态批评的读者会发现这本书充满了熟悉的面孔和材料，以及一些更晦涩和令人兴奋的内容。这本选集为学者提供了一系列重要的文章，从中可以扩展和进一步考虑爱尔兰的自然写作和爱尔兰对自然世界的方法。