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The term eco-poetry has come into recent, popular use as a means of denoting poetry that talks about nature. Poetry and nature have always had a close relationship, and Canadian literature has always been distinguished by its relationship to nature, be it the wilderness or the urban jungle. In this research, the rich tradition of Canadian eco-poetry and Canadian poets' representations of nature over the past 150 years is traced. There is a focus on Canadian eco-poets’ development from the early panting over natural resources to sheer a sense of terror in confrontation with the natural world to expressions of amazement and delight at the beauty and strangeness of nature as well as humbled love and care for what is actually quite delicate. The Canadian relationship with the land starts with an expression of indescribable awe and deep, burning hatred. In the Seventies and Eighties, poets such as Alfred Purdy, (1918 -2000), Milton Acorn (1923 -1986),, Alden Nowlan (1933 -1983) and many others attempt to contextualize themes like death by nature, nature as monster and nature as dangerous woman or ice goddess. At the end of Survival, Dennis Lee, (1939-) and bill bissett (1939- ) move from ideas of nature as monster to nature as a potential home. The intervening years have seen clear-cuts visible from the moon, remote lakes and rivers poisoned with mercury, the extinction or near extinction of numerous species and global wanning. Nature poetry has also been political in the deepest sense of the word in that it explores the epistemological groundwork for a politics that is flexible enough to encompass the complexity of what it is to be human. Finally, in this study William Wordsworth’s (1770 - 1850) influence on Canadian nature poets is highlighted.
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