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This study analyzes the centrality of peace and place in Wendell Berry's environmental poetry. It harbors on their intersection in order to construct a feasible argument about Berry's vision of sustainability as constituted by peace and place. It further links the theoretical premises of ecocomposition to practice through critically analyzing Wendell Berry's selected peace poems: "The Peace of Wild Things," "The Want of Peace," "Window Poems," and "A Standing Ground." Adopting an environmentally holistic approach, this article presses for a unitary act of shared responsibility in order to protect and preserve our ecosystems. It thematically investigates the outcomes that environmental sustainability would have on the human identity. Importantly, the poet in these poems exhibits an alarmingly detrimental rift in his relationship to the human society due to his lack of any bioregional belonging there. However, his awareness of his ecological identity--that is much strengthened while being in the natural world--sustains peace and equilibrium into his life. Berry's poetic diagnosis of such ecologically critical issues actually highlights the indispensable role of ecocompositionists and locates the dynamics of peace and place as environmental tropes necessary for sustaining nature. [ABSTRACT FROM AUTHOR]

In "The Thousand-and-Second Tale of Scheherazade," Edgar Allan Poe presents his criticism of the Orientalist discourse of his time, explaining ultimately the conditions that empowered and sustained this discourse for a long time. This authorial standpoint is traced and reconstructed in the process of three stages. First, Poe introduces an Orientalist narrator who constructs a typical Orientalized text by creating a sequel to the frame story of the "Arabian Nights." Second, the narrator's text is deconstructed in a way that renders Poe clearly dissociated from the multiple narrators within his story and attracts attention to his counter-Orientalist attitude. Third, the complex structure of the tale, composed of different narratives within a frame story, and the gaps and contradictions within these narrative levels reflect necessarily how the Orientalist discourse of Poe's time is based upon a process of simulations that makes the whole system of Orientalism devoid of any truth. [ABSTRACT FROM AUTHOR]