Kerber's scholarly examination of Canadian prairie literature should serve as a founding text in regional ecocriticism. Her postcolonial position—challenging racist and imperial assumptions that have led to the environmental crisis in the prairies—informs a large purpose. Kerber (English, Univ. of Toronto) hopes that understanding 20th-century prairie novels, nature memoirs, and poetry will lead to sustainable dwelling practices in the 21st century. Interdisciplinary at heart, this study fills historical and geographical gaps in literary criticism and nicely bring the ‘dust’ to life.... Highly recommended.

Jenny Kerber's Writing in Dust: Reading the Prairier Environmentally is an important contribution from a critic who promises to be integral to the future of our conversations about Canadian literature and the environment. It is a successful, succinct, and intelligent book that reads a selection of prairie literature in order to generate an environmentally focused understanding of its focal region. Published in Wilfrid Laurier Press's Environmental Humanities series, it demonstrates a seamlessly interdisciplinary approach that crosses literary and environmental studies.... Ultimately Kerber's even-handed approach to her texts enables her to move in a different direction than Jon Paul Fiorentino and Robert Kroetsch in their recent anthology Post-Prairie and to put Edenic and Apocalyptic narratives to another purpose than Marlene Goldman does in Rewriting Apocalypse in Canadian Fiction. One notes the depth of her research, particularly evident in the apparatus of the text, which manages nevertheless not to disturb the focus of her writing. That she balances her argument against the hefty existing scholarship with ease demonstrates that Kerber is a critic who is comfortable with her assertions about what we might do, as readers and as humans, to improve life on the prairies. Kerber proposes a sort of therapy through narrative for those who believe that the prairie can be an endpoint, eith a return to Eden, or the final reckoning: ‘we cannot begin to comprehend the myriad ecological challenges that the prairies face today,’ she argues, ‘without first examining the impact that particular environmental stories have had on perceptions of the region.’ She reasonably proposes that the prairie is an idea, a process, and a space. Untangling these threads through the stories that we have told about the prairie, however, proves to be a rather more important challenge, one that Kerber is very much up to.

Kerber places her reading of ‘prairie’ literature within histories that saw the prairies as Edenic, as site for economic gain, or as blighted wasterland. The book is well researched in geography, history, government policy, corporate intervention, and literature. It is also openly partisan and supposes that to tell ‘the right stories’ can profoundly alter our lives. To be ‘a citizen’ of the prairies ‘means taking responsibility’ for ‘an alternative future.’ Kerber advocates ongoing reciprocity between place and inhabitants, whatever their ethnicity, gender, region, or status as ‘non-human.’ Against a view of the prairies as agricultural, male, post-European, and guided by faith in technological or economic progress, she advances a claim for an ecological response.

This is the right book at the right time. Writing in Dust convincingly demonstrates the importance of including the arts in discussions of sustainability. Jenny Kerber's scholarship, sensitive and rigorous, rereads familiar texts in fresh ways and makes the field of prairie literary scholarship newly relevant.