This dissertation consists of three parts: a collection of poetry called The Mesh: A Hyperballad, followed by a critical dissertation in two chapters, and concluded by an afterword which discusses the poetics of the creative work. The creative work engages with the work of pop musician Björk Guðmundsdóttir and the philosopher Timothy Morton, paying particular attention to their correspondence drafted during the curation of Björk’s mid-career retrospective at MOMA, and more specifically to both Björk and Morton’s interest in object-oriented ontology. The poems engage with Björk’s oeuvre, and also with Morton’s philosophical writings. Divided into four sections, The Mesh includes poems that are often experimental in form but which also owe a debt to lyric poetry traditions in both the US and the UK. Each section, referred to as ‘sides’, as in the sides of a record and in conversation with the recorded medium Björk typically works in, explores what Morton refers to as ‘the mesh of interconnected life-forms’ which ‘does not constitute a world. Worlds have horizons: here and there, inside and outside; queer ecology would undermine worlds’. The Mesh: A Hyperballad invokes a poetics that is steeped in queer ecological considerations which are explored in the critical work. The critical work, which explores and offers a definition of queer ecopoetics, identifies a poetic tradition of queer pastoral poetry which is concerned with breaking down the binary between subject and object, urban and rural, and life and death via canonised poets such as Walt Whitman, Stephen Spender, and Frank O’Hara, but also explores contemporary poets, such as Mícheál McCann, Seán Hewitt, Tommy Pico and others.