The Antarctic Treaty of 1959, which dedicates the continent to peace and international scientific cooperation in the face of rising east–west tensions, is informed in part by a shared scientific imaginary created by the UK and other nations which maintained scientific bases in Antarctica at the time. In this article, the poet offers works extracted from her longer sequence “Met Obs,” based on meteorological reports and journals from the UK station at Port Lockroy written in advance of the 1957–1958 International Geophysical Year (IGY). The poems engage with the work and circumstances which helped foster such an imaginary, as well as with the nexus of Antarctic “values” endorsed by the Treaty, and the later Madrid Protocol. The commentary further contextualises these literary responses in terms of the attitudes of the men working there as well as the “wilderness and aesthetic values” recognised by the later Protocol on Environmental Protection. The world of the poems may belong to 1950s Antarctica, but their observations reach beyond that experience, making a case for the continued relevance of Treaty values, and for the importance of artistic, as well as scientific, responses to the environment in a world under threat from accelerating climate change and competition for resources.