The 2013 INSPIRE Lecture on Literature and Sustainability

Reading with the Grain:
Sustainability and the Literary
Imagination
Dr Jayne Elisabeth Archer
Professor Richard Marggraf Turley
Professor Howard Thomas
23 May 2013 at 7pm
Hay on Earth Stage

About INSPIREINSPIRE (Institute of Sustainable Practice, Innovation and Resource
Effectiveness) at the University of Wales Trinity Saint David is
directed by Jane Davidson. INSPIRE is a key component in the
University’s mission to embed sustainability into its own practices
and to provide its students with the knowledge, skills and attitudes
that will equip them for their future contribution to the economy,
community and environment. INSPIRE won the 2013 Guardianaward for the most effective sustainability initiative in higher education in the UK.
Prior to her role with INSPIRE, Jane Davidson was Minister for Environment andSustainability in Wales (2007-2011). She was responsible for the Welsh Government
agreeing to make sustainable development its central organising principle, for the
introduction of the Welsh charge on carrier bags, for the establishment of the
Welsh Climate Change Commission and for legislation on recycling.

About ASLE-UKI
The Association for the Study of Literature and Environment, UK &Ireland (ASLE-UKI) was founded in 1998. Its aim is to represent andsupport scholars and writers, in the Atlantic archipelago and beyond,
who are interested in the environment and its expression in the cultural
imagination. ASLE-UKI’s current chair is Dr Adeline Johns-Putra.
Adeline Johns-Putra is Reader in English Literature at the University of Surrey. She
is an expert in environmental criticism, Romanticism (especially women’s writing),
epic literature and genre theory. Her published volumes include The History of the
Epic (Palgrave, 2006) and Heroes and Housewives: Women’s Epic Poetry and Domestic
Ideology in the Romantic Age (1770-1835) (Peter Lang, 2001).

Hay Festival is the beautiful location for the first reading of this winning lecture andone that provides a good fit with the aims and ethos of both ASLE-UKI and INSPIRE.
Hay Festival is a world leading arts and cultural festival, running events in over elevencountries. The Festival’s sustainability programme, ‘Hay on Earth’ has been running forsix years with three key aims, to reduce its own impacts, to help visitors reduce theirown impacts when visiting the Festival and thirdly to organise debates, discussions
and lectures around a sustainability theme. For more information go to hayfestival.org
The cost of producing this publication has been kindly funded by The Faculty of
Humanities, University of Wales Trinity Saint David.
Front cover image: People Silhouette Stock Photo by Kongsky

2

The 2013 INSPIRE Lecture on Literature and Sustainability

The 2013 INSPIRE Lecture
on Literature and Sustainability
Introduction
The question of how we engage with the physicalenvironments in which we live and work is one of
the greatest of the many challenges that we face inthe contemporary world. Specifically, what it asks
us to consider is this: how can we live on our planet
in a way which provides appropriately for ourselves
but which also ensures that we leave behind us anenvironment that can support not just future
generations of human beings but also the rich arrayof non-human lives that exist alongside us? This, inshort, is the challenge of sustainability – a notion
which, in the words of the UN’s 1987 report Our
Common Future, can be defined as ‘developmentthat meets the needs of the present withoutcompromising the ability of future generations tomeet their own needs’.
It is this challenge that ultimately lies behind today’s event. The
lecture which is presented here – written and researched by thethree Aberystwyth University scholars Dr Jayne Archer, Professor
Richard Marggraf Turley and Professor Howard Thomas – is a
dynamic attempt to address the question of what sustainability
might mean within the context of our own cultural heritage. And
what their lecture reveals is nothing less than the politics ofsustainability at play in the creation of some of our most iconic
literature.

The 2013 INSPIRE Lecture on Literature and Sustainability

3This evening’s event is the result of a competition that was
launched in collaboration between the University of Wales Trinity
Saint David’s Institute of Sustainable Practice, Innovation andResource Effectiveness (INSPIRE) and the Association for the Studyof Literature and Environment, UK & Ireland (ASLE-UKI). The aim of
the competition was to give literary scholars the chance toengage with the idea of sustainability – that most pressing ofchallenges – by writing a public lecture which would pursue
literary study in the light of sustainability issues.
Of course, there is a strong tradition of literary scholarship which
addresses environmental questions, with the field ofenvironmental literary criticism (‘ecocriticism’, as it is called) having
flourished – particularly in the USA – since the mid to late 1980s. It
is this field and its practitioners that ASLE-UKI exists to support in
the United Kingdom and Ireland. However, it is perhaps the casethat the concept of sustainability – with its own complex historyof meanings and applications – has received less attention from
ecocritics than might be expected. So the INSPIRE/ASLE-UKI
competition was an attempt to draw sustainability more actively
into the environmental debates of literary criticism. Dr Adeline
Johns-Putra, Reader in English at the University of Surrey, is thecurrent chair of ASLE-UKI. As she observes, ‘Perhaps ecocritics takefor granted the concept of sustainability, since it is built into
everything that we, as ecologically aware individuals, do. But if
ecocriticism seeks, among other things, to interrogate thetextuality of the concepts and ideals that comprise ecologicalawareness, then sustainability, with its “taken-for-grantedness” isjust the kind of word we should be unpacking.’
For INSPIRE, the competition represented the chance to expand
and deepen the sustainability agenda at the University of Wales
Trinity Saint David. Under the leadership of Jane Davidson, former
Welsh government minister for sustainability, INSPIRE has set
about making sure that principles of sustainability are not justembedded into the working practices of the University itself butthat sustainability also becomes part of the learning experiencethat every one of the University’s students receives. As part of this4

The 2013 INSPIRE Lecture on Literature and Sustainability

programme of development, in 2011, the University’s School ofCultural Studies began to deliver teaching at undergraduate levelthat sought to fuse literary studies with sustainability. And thisproved to be the springboard for further initiatives, as INSPIRE
sought to support two key platforms over 2013 that specifically
aimed to foster literary sustainability scholarship: an ASLE-UKI
one-day symposium on literature and sustainability (which took
place on the University’s Lampeter campus in March), and thecompetition whose winners are speaking today. For JaneDavidson, herself an English literature graduate, this was all achance for the University to help support scholarship in the area
more widely. As she explains, ‘Applying a sustainability lens to a
subject almost always throws up new insights. So it seemed aperfect opportunity to link up with ASLE-UKI to see if together we
could provide a platform for literary scholars who are interested inlooking anew at environmental questions.’
It is such ‘looking anew’ that our winning lecture this evening
clearly represents. From the basis of its exemplary scholarship, thisis work that manifestly rises to the challenge of understanding thecomplex web of issues that sustainability itself involves – and in sodoing, offers key reconfigurations of our cultural history. INSPIRE
and ASLE-UKI are thus proud to present The 2013 INSPIRE Lecture
on Literature and Sustainability here at the Hay Festival: Jayne
Archer, Richard Marggraf Turley and Howard Thomas’s ‘Readingwith the Grain: Sustainability and the Literary Imagination’.

The 2013 INSPIRE Lecture on Literature and Sustainability

5

The Authors
Jayne Elisabeth Archer is lecturer in Medieval andRenaissance Literature in the Department of English and Creative
Writing, Aberystwyth University. She is an Associate Fellow of theCentre for the Study of the Renaissance, University of Warwick,
where she spent four years as AHRC postdoctoral Research Fellow
on the John Nichols Project. She is co-editor of The Progresses,
Pageants, and Entertainments of Queen Elizabeth I (Oxford
University Press, 2007), editor of Volume 3: The Verse Treatises in
OUP’s Complete Works of Sir Fulke Greville, and has publishedarticles on Elizabethan and Jacobean masques, early modern
women’s receipt books, and alchemy in early modern literature.

Richard Marggraf Turley is Professor in Romantic andVictorian Literature and has recently been appointed Aberystwyth
University’s first Professor of Engagement with the Public
Imagination. He has published widely on Romantic literary culture
and is author of three monographs, the most recent: Bright Stars:
John Keats, Barry Cornwall and Romantic Literary Culture (LUP, 2009).
He has also published three volumes of poetry and in 2007 won
the tenth-anniversary Keats-Shelley Prize for poetry. Wan-Hu's
Flying Chair, published by Salt, won the 2010 Wales Book of theYear ‘People’s Choice’ award (sponsored by Media Wales).

Howard Thomas

is Emeritus Professor of Biological,
Environmental and Rural Sciences at Aberystwyth University. He
has held visiting professorships at universities in Switzerland andthe United States. His research interests include how and why
plants die and what are the agricultural and ecologicalimplications. He has a long-standing commitment to exploring thecultural significance of scientific research and promotion of links
between science and the arts. He was one of the first recipients in1997 of support under the Wellcome Sci-Art Scheme, followed by a
NESTA pioneer award to develop imaging methodology incollaboration with the artists Heather Ackroyd and Dan Harvey.
Subsequently he received a Leverhulme Emeritus Fellowship to support work on
music and evolutionary thought, and ongoing research on literary responses toagricultural and ecological change. He is a co-author of the recently publishedtextbook The Molecular Life of Plants (Wiley, 2013).

6

The 2013 INSPIRE Lecture on Literature and Sustainability

Reading with the Grain:
Sustainability and the
Literary Imagination
The intricacy of biological and physical systems on our planet means that any effective
approach to sustainable development must be attuned to daunting levels ofcomplexity. Such is the unpredictability of these systems that some commentators warn
us to treat ‘any new plan’ that involves claims of sustainability as immediately ‘suspect’.
For John P. O’Grady, the concept of sustainability itself may be unsustainable. But foranyone committed to embedding sustainability in public policy – including those,which is to say all of us, who are invited to respond to the Welsh Government’s 2013
White Paper on Sustainable Development – the challenge needn’t prompt us tocounsels of despair. On the contrary, the White Paper presents a welcome invitation topoets, writers and literary critics – for whom the uncertain, ineffable and numinous arein fact familiar ground – to make a transformative contribution to debates aroundsustainability. Human motivations and responses are at least as complex and
unpredictable as the ecosystems we aim to manage, and it is, as O’Grady insists,‘incumbent upon scientists and managers, when compiling taxonomies and generating
data sets for environmental decision-making, to take into account the full expanse of
the human mind, with all its curious flora and fauna’.
How might the ‘curious flora and fauna’ of the human mind, then, be deployed to help
reimagine the relationship between literature and sustainability? How might we movebeyond studies of the representation of the environment in literature and instead fostera two-way conversation between these categories? How might we conceive of a
relationship that holds the genuine possibility of enabling the creative arts to help shape
the contours of increasingly important aspects of public policy? Mathematician andzoologist Donald Ludwig together with co-authors Ray Hilborn and Carl Waters offer
something intriguingly suggestive, though it might at first seem counter-intuitive towriters and readers. They assert that it is more appropriate to ‘think of resources as
managing humans than the converse’ – that, in short, a self-sustaining environment
authors its own writers.
Let us consider one historical example of a creative response to the drive for sustainable
futures that allows us to navigate the tangled relationship between literature andsustainability. The ‘Golden Age’ of Renaissance English literature, the years 1575-1625,

The 2013 INSPIRE Lecture on Literature and Sustainability

7coincided with what is now known as the ‘Little Ice Age’, a time of rapid coolingfollowing the ‘Medieval warm period’. During this half century, England, Scotland andWales experienced climatic disturbances as disconcerting as those we are familiar within the present. It was – as it is now in parts of the world – an age of heightenedawareness of food insecurity. Sharp winters followed by wet summers resulted in many
consecutive poor harvests. For large swathes of the population, existence wasprecarious: people lived, quite literally, on the breadline. Government attempts tomanage this crisis targeted the production, price and distribution of arable crops within
and without the nation’s borders, but anger at the failure of these regulatory measures,
coupled with sheer desperation, led to riots erupting across many regions. Not since theGreat Rising of June 1381 had food been such a pressing – and potentiallyrevolutionary – political issue.
For most people, it was a time of dearth. For those with ready cash, however, it was atime of opportunity. One Warwickshire man, son of a butcher, money-lender and wool
trader, saw his chance. Over a fifteen-year period, he purchased and stored grain, malt
and barley for resale at inflated prices to neighbours and local tradesmen. In February
1598 he was prosecuted for holding 80 bushels of malt or corn during a time ofshortage. This man pursued those who could not (or would not) pay him in full for thesestaples and used the profits to further his own money-lending activities. In July 1604 hesued an apothecary, Philip Rogers, for 35 shillings and 10 pence plus 10 pence damages,
seeking to recover the unpaid balance on a sale of 20 bushels of malt and a small loan
made in March of that year. Profits were channelled into a programme of land purchase,comprising in 1602 not just bricks and mortar (or, rather, timber and thatch, wattle anddaub), but 20 acres of pasture and 107 acres of land suitable for the cultivation of arable
crops. In addition, and looking to the longer term, he acquired tithes on local produce,
including ‘corn, grain, blade, and hay’, thereby allowing him to cream off the profits fromthe manual work of others.
Combining both illegal and legal activities, this Warwickshire man was able to retire in
1613, after a working life of approximately 24 years, as the largest property owner in his
home town, Stratford-upon-Avon. His two daughters, who inherited their father’s leases,
land and property, married well and lived in sizeable town houses nearby. This man was
William Shakespeare.
It might come as a shock that the Shakespeare we thought we knew considered himself
a manager of land and commodities first and playwright second. To return to ourstarting point, he allowed natural resources to manage his life choices – and profited as aconsequence. In other words, the need to ensure a sustainable future for himself and his
family informed his literary career. It turns out that the evidence for seeing Shakespearein the way he saw himself has been there all along. Nicholas Rowe, Shakespeare’s firstbiographer, got it right when he imagined the bard, a couple of years before he moved

8

The 2013 INSPIRE Lecture on Literature and Sustainability

to London and started writing, as an unemployed father-of-three so desperate for foodthat he poached rabbits and deer in the grounds of the Charlecote Park, Warwickshire.
But the most arresting evidence for the importance of sustenance in Shakespeare’s life
really has been all but staring us in the face for years.
The Shakespeare funerary bust in Holy Trinity Church, Stratford-upon-Avon, hasperplexed generations of artists and scholars. (Fig. 1, below) Derided by Thomas
Gainsborough as a ‘silly smiling thing’ and by the critic and biographer J. Dover Wilson as
bearing the likeness of ‘a self-satisfied pork butcher’, it may indeed seem better suited tothe top of a barrel organ than a church chancel. The bust now on view is not, though,the original. The earliest funerary monument to Shakespeare was installed before 1623
(the precise date is unknown), having been commissioned by Shakespeare’s son-in-law,
John Hall. It was carved by the German sculptor Gheerart Janssen – a fellow client of
Shakespeare’s patron, the Earl of Southampton. Made by and for those who knew
Shakespeare well, the original monument – there is every reason to assume – depicted
him faithfully. A sketch made in 1634 by William Dugdale, historian of Warwickshire,
together with an engraving taken from that sketch by George Vertue allow us to see themonument as it appeared to its first viewers. (Figs 2 and 3, below)
The original funerary bust remembers a businessman who is clutching a sack of corn,
approximately a bushel’s worth, holding it safe and ready to sell to the highest bidder.
Shakespeare scholars have dismissed the evidence afforded by Dugdale’s sketch, in avery real sense concealing it from public view. Perhaps they are anxious that it provides
ammunition to those who deny that the man from Stratford-upon-Avon – a mere
tradesman – could also have been the creative genius behind the poems and plays. A
similar prejudice was presumably shared by the eighteenth-century renovators who
replaced the bushel of grain clearly discernible as such in Vertue’s sketch with a velvet
cushion and quill. Shakespeare the grain-hoarder has been redacted from history so that
Shakespeare the creative genius could be born. With that act of silencing – an act ofomission in which literary historians have been complicit – we lose evidence of thesymbiotic relationship between the drive for sustainability and literary creativity. Like thewise Pharaoh of the Old Testament who, following the advice of Joseph, stores surplus
grain during the good years so that his people can eat during times of famine,
Shakespeare could also justify his grain-hoarding as ultimately being in the public
interest, since unlike the local authorities he had a ready store of food available forpurchase when supplies ran low. This prudent response to an unpredictable supply ofnatural resources, the first funerary monument perhaps suggests, was something to be
proud of and remembered for. Like Joseph the favoured son, however, Shakespeare was
not averse to profiting from that same public need.
London playhouses closed during the summer months which meant that in the ‘offseason’ periods Shakespeare had the coin, time and freedom to pursue the serious

The 2013 INSPIRE Lecture on Literature and Sustainability

9business of sustenance. As the original bust shows, Shakespeare responded to thisopportunity both by writing plays and by dealing in commodities, feeding the wants aswell as the needs of his fellow countrymen. Far from pulling in opposite directions, thesetwin businesses of plays and food were inter-related and mutually supporting.
Appropriating the means of production as well as the produce itself, he acquired amonopoly in the only thing no one could do without: food. With his profits – minus a few
fines for illegal hoarding and tax evasion – Shakespeare bought up land in around theplace of his birth, finally returning there on a permanent basis some time before 1616 as
one of the most powerful property owners in the region, a purveyor of bread, beer andplays. Having ensured a comfortable, sustainable future for himself and his family,
Shakespeare stopped writing.
With one eye on the arable fields and pastures of Warwickshire and another set on thebarren, overpopulated sprawl of the City of London, Shakespeare – it should come as no
surprise – placed sustenance at the centre of his revisioning of Britain and her people. He
used his writing not only to fund his grain-hoarding, but also to represent and reimagine
the contemporary battle of sustainability. Reflecting on his plays with this new
perspective, it quickly becomes clear that the politics of sustenance is written into thefabric, into the very grain, as it were, of Shakespeare’s characters, language and plots. It is
desperation for cheap grain that results in the nadir of English fortunes, the lifting of thesiege of Rouen, in Henry VI Part 1, where French forces lead by Joan of Arc hide withinsacks of adulterated corn. (Adulteration of the food chain – how fortunate such acalamity could never happen in our time!) Treason, whether it takes the form of a ‘lean
and hungry’ (1.2.194) Cassius in Julius Caesar or the plebeian ‘cockle’ that threatens to
spoil the patrician ‘corn’ (3.1.70) of Coriolanus’ Rome, is figured as a crisis of sustenance.
Falstaff, a man who, unlike Cassius, can hardly be accused of thinking ‘too much’ (Julius
Caesar, 1.2.195), is equally threatening to the stability of the state – and precisely
because he is unable to moderate his appetite. The France of Henry V is, in the Duke of
Burgundy’s estimation, defeated as much by her own inadequate agricultural methods
as by the English army at Agincourt: her ‘husbandry doth lie on heaps’, the French
nobleman laments, ‘Corrupting in its own fertility’ (5.2.39-40). The same is true of theworld of King Lear, in which a monarch’s political errors – errors symbolized by his crownof ‘idle weeds’, which he plucks from unharvested fields of ‘sustaining corn’ (4.4.6) – resultin an all-consuming ‘dearth’ (1.2.6).
This politico-environmental discourse, requiring sophisticated knowledge of arable
plants and farming techniques, would have been immediately recognizable to
Shakespeare’s first audiences, many of whom, like the man from Stratford-upon-Avonhimself, had come to London from farming families and regions. For them, thecontemporary crisis of sustainable food supply, encompassing ownership of land, foodpurity and supply routes, as well as regulation of measures and prices, was one of – if not
the – most pressing political issues. The word ‘sustainability’ was unknown to

10

The 2013 INSPIRE Lecture on Literature and Sustainability

Shakespeare, coiner of so many words. But ‘sustenance’ and the concept we now
understand as ‘sustainability’ – namely, ‘human activity… in which environmental
degradation is minimized’ – was certainly not. Of the twenty-one allusions to ‘sustenance’and its variants in Shakespeare’s plays, five appear in King Lear, and it is this mature workthat realises most fully the fraught intertwining of limited resources and unpredictableand ungovernable natural systems, and also the role of the ‘curious flora and fauna’ of
the human mind when attempting to manage those systems. The play reveals thisfascinating, most urgent, dynamic in its very first scene. Positioned suggestively next to amap of Britain, an enraged Lear declares that he will divide his retirement between the
courts of his two eldest daughters, Goneril and Regan:… Ourself, by monthly course,With reservation of an hundred knights,
By you to be sustained, shall our abode
Make with you by due turn: (1.1.126-9)
Goneril and Regan, of course, don’t play ball. Having accepted their father’s bequests ofland, they do not agree to ‘sustain him and his hundred knights’ (1.4.282). This isn’t simply‘sustain’ as ‘endurance’ or ‘putting up with’. This is ‘sustain’ as resource management and assuch it conforms to our current understanding of ‘sustainability’: the socio-environmental
concept defined in the UN’s Brundtland Commission report of 1987 as ‘development thatmeets the needs of the present without compromising the needs of future generations tomeet their own needs’. In the first act of King Lear the ability of ‘future generations’ tomeet their own needs – including the long-term security of the ‘bastard’ Edmund – isprecisely what is at stake, and this ability is being compromised by the actions of thepresent ruler. Goneril and Regan, who have their own courts to run, cannot
accommodate, feed and maintain Lear – who expects the trappings of kingship without
the inconvenient responsibilities – and his retinue for six months out of every twelve.
When one’s father is (or, rather, was) king, the domestic politics of sustainability segues
into national and international politics. The ‘bounty’ awarded to Goneril and Regan aspayment for their declarations of love at the beginning of the play are portions of landthat are not self-sustaining. Here, as in the 2013 Welsh Government White Paper,
sustainability is central to the politics of devolution, the division of the kingdoms.
Goneril, receiving Scotland and the North, and Regan, taking Wales and the WestCountry, are assigned, in Lear’s own estimation, very similar lands: ‘shadowy forests…
and wide-skirted meads’ (1.1.55-6). Forests and pasture do not produce corn. For
Cordelia, Lear reserves the corn-rich lands of central and southern England.
Shakespeare’s first audiences would have recognized this filial spat as a resource war anda struggle for the long-term sustainability that alone ensures national security. In theestimation of the Tudor historian William Harrison, England was believed to be more‘fruitfull’ than Wales and both more ‘bountifull’ than Scotland. Scotland/the North and

The 2013 INSPIRE Lecture on Literature and Sustainability

11Wales/the West – the portions given to Goneril and Regan respectively – were thought
to be unable to produce sufficient food to feed their populations (Anglesey, Wales’s
breadbasket, was vulnerable to seige by sea). When Goneril and Regan are compared toserpents, wolves, ravenous carnivores and predators – as they are throughout the play –it is for a very good reason: neither one owns lands that can produce the arable crops
necessary to safeguard the long-term survival of their subjects. They must predate theresources of adjoining land – land reserved for Cordelia.
Sustainability forms a deep structure in King Lear. It works – imaginatively, emotionally aswell as intellectually, and strategically – because the family drama is so tightly folded
into the politico-environmental crisis. It, and other plays by Shakespeare, ask to be read –re-read and reimagined – in light of, and as a continuation of, his career as a grainhoarder, a dealer in commodities and the owner of food-producing land. We need toread his plays with the grain. To revise Ludwig et al.’s formulation in light of the insights
yielded by King Lear, resources manage humans and humans manage resources: therelationship is reciprocal. Mediating that relationship is literary creativity, through which
the environment authors its writers and those writers author their environment.
What, then, do we see when we view the Shakespeare funerary monument today?
Perhaps we see a middle-aged man resting his manuscripts on a tasselled velvet cushion;a man whose genius transcends time and place. A soul, to misquote Ben Jonson, of all
ages? But perhaps we now also see something more challenging, and ultimately morerevealing: a playwright who lived during a crisis of sustenance, who wrote about thatcrisis, shaped the ways in which it was imagined, contributed to public debates about its
management and amelioration, and who took smart measures to protect himself and his
family from its worst depredations? If the latter, then Shakespeare is a soul for our age,
too, and his life and works can teach us invaluable lessons about our own precarious
relationship with food.
The editors of the recent anthology, Ecocritical Shakespeare, ask whether ‘reading, writing
about, and teaching Shakespeare [can] contribute to the health of the planet’. We should
be sceptical of such claims. All the same, ‘reading, writing about, and teaching
Shakespeare’, as acts that encompass the stories Shakespeare told as well as the stories
told about Shakespeare, can certainly help us to think critically and creatively about ‘thehealth of the planet’. The original Shakespeare funerary monument remembers what wein the well-fed West have largely forgotten: namely, the insistent and urgent coupling offood and literature, sustenance and consumption; the continual digestion andtransformation of matter, energy, ideas and information. It memorializes the strange
alchemy by which literary manuscripts are translated into performance, playhousetakings are transmuted into natural resources, and commodities are converted into land

12

The 2013 INSPIRE Lecture on Literature and Sustainability

and property. If we recoil from this equation, then it is because we, unlike the young
Shakespeare and his contemporaries, believe we know where our next meal, ourwarmth, light, and our night’s sleep are coming from. Creativity is inspired by hungry
bellies just as much as by the satisfied paunch traced in the Holy Trinity effigy, and theperiodic crises of sustenance that have shaped the tumultuous history of these islands
have been fuel for poets and playwrights as much as for politicians. As readers andwriters, we are at the heart of that process.

Fig. 1. William Shakespeare’s funerary monument, Holy Trinity Church, Stratford-uponAvon, Warwickshire. Modern-day photograph.

The 2013 INSPIRE Lecture on Literature and Sustainability

13

Fig. 2. William Shakespeare’s funerary monument, Holy Trinity Church, Stratford-uponAvon, Warwickshire. This sketch was made in 1634 by William Dugdale for his 1656
publication The Antiquities of Warwickshire. The original autograph manuscript is
Dugdale’s Warwickshire (vol. 4, p. 933) in the Dugdale Library at Merevale Hall,
Warwickshire, residence of the present Sir William Dugdale.

14

The 2013 INSPIRE Lecture on Literature and Sustainability

Fig. 3. William Shakespeare’s funerary monument, Holy Trinity Church, Stratford-uponAvon, Warwickshire. The engraving was made by Wenzel [Wenceslaus] Hollar from thesketch by William Dugdale.

The 2013 INSPIRE Lecture on Literature and Sustainability

15

"Literature has a vital role to play in the ways weunderstand our relationship with the environment""Great literature of the past can be used to help us engage
responsibly with the future"- Jayne Archer, Richard Marggraf Turley, and Howard Thomas,
explaining the significance of their work which has won thefirst Literature and Sustainability lecture competition,organised in collaboration between INSPIRE at the University ofWales Trinity Saint David and ASLE-UKI.

The 2013 INSPIRE Lecture on Literature and Sustainability

Reading with the Grain:
Sustainability and the Literary
Imagination
The collaborative authors, Dr Jayne Elisabeth Archer, Professor
Richard Marggraf Turley and Professor Howard Thomas, willlecture on ‘Reading with the Grain: Sustainability and the
Literary Imagination’. Their work invites the audience at Hay toreconsider Shakespeare’s writing for imaginative insights into
how we might engage sceptically and stringently with the
future.