Other animals, in a constant and mostly unmediated relation with their sensory surroundings, think with the whole of their bodies.

Sensory perception is the silken web that binds our separate nervous systems into the encompassing ecosystem.

...along with the other animals, the stones, the trees, and the clouds, we ourselves are characters within a huge story that is visibly unfolding all around us, participants within the vast imagination, or Dreaming, of the world.

There are so many unsung heroines and heroes at this broken moment in our collective story, so many courageous persons who, unbeknownst to themselves, are holding together the world by their resolute love or contagious joy. Although I do not know your names, I can feel you out there.

Does the human intellect, or reason, really spring us free from our inherence in the depths of this wild proliferation of forms? Or on the contrary, is the human intellect rooted in, and secretly borne by, our forgotten contact with the multiple nonhuman shapes that surround us on every hand?

It was a though we’d been living for a year in a dense grove of old trees, a cluster of firs, each with its own rhythm and character, from whom our bodies had drawn not just shelter but perhaps even a kind of guidance as we grew into a family.

As nonhuman animals, plants, and even 'inanimate' rivers once spoke to our oral ancestors, so the ostensibly “inert” letters on the page now speak to us! This is a form of animism that we take for granted, but it is animism nonetheless - as mysterious as a talking stone.

To describe the animate life of particular things is simply the most precise and parsimonious way to articulate the things as we spontaneously experience them, prior to all our conceptualizations and definitions.

Humans are tuned for relationship. The eyes, the skin, the tongue, ears, and nostrils-all are gates where our body receives the nourishment of otherness.

Entranced by the denotative power of words to define, to order, to represent the things around us, weve overlooked the songful dimension of language so obvious to our oral [storytelling] ancestors. Weve lost our ear for the music of language -- for the rhythmic, melodic layer of speech by which earthly things overhear us.

We like to assume that language is a purely human property, our exclusive possession, and that everything else is basically mute.

The world we experience with our unaided senses is fluid and animate, shifting and transforming in response to our own shifts of position and of mood.

We are human only in contact, and conviviality, with what is not human.