Plath demonstrates a combined interest in the texture of the natural world and the texture of language, which in her poems enacts and does not merely represent that world. Her unfortunate categorization as a “confessional” poet as well as critics’ obsession with her biography have resulted in, on one hand, an underestimation of Plath’s engagement with the “real world” beyond her subjectivity, and on the other hand, an insufficient consideration of the craft and formal properties of her poems. She was, from an early age, drawn to the natural world, although she was equally fascinated by the sounds of language. Plath’s sense of irony and linguistic awareness, that is, puts her in a different category from that of a mere nature lover. Her poetry derives its power from the generative friction between speakers and a nonhuman world that resists figurative appropriation. For Plath, this resistance is itself to be figured forth, creating the formal reverberations with which her poems still startle us.

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This article explores the ecoformalism of country music and the so-called old-time music. It explains that country music, especially in its traditional and alternative forms, offers rich soil for the growth of environmentalist sensibilities that transcend stereotypes of style and taste that people habitually associate with political positions. Like country music, old-time music also exudes a sense of place, long considered an important starting place in thinking and behaving ecologically. This article also discusses some lyrics in old-time music that express environmental sentiments.