There are two approaches to nature writing, which double as the two approaches to nature in general and two approaches to being in the world; either we attempt to explain it, or let it explain itself. The latter digs deep into the essence of things (objects), while the former makes a cursory pass over the surface to pick up whatever it finds. We could call the latter art and the former science.
Literary and aesthetic mode of a Theory of Everything, discussion of art and beauty in an attempt to unify science and mysticism.
The Recovery of Time
one of experience, so that one’s experience becomes that of writing. Of setting down and interpreting phenomena at the expense of having new experiences, so the writer’s existing experiences are all that he/ she has to draw upon. Continually examined and re-examined for universal truths that apply to all experience.
The Phenomenology of Reading Brilliantly
The way culture mimicks nature is against all rules and laws of nature, because it is not nature it is mimicking, but its particular interpretation of nature, which has been Naturalized and emptied of its mystery. Nature can’t break any laws, because it is ruled by them. It is the law. We will not know nature until we begin to live naturally within it, by its rules, not ours, which operate more like dreams than conscious waking life.
On the Strangeness of Natural Things and the Naturalness of Strange Things
The distinction between nature-with-a-small-n and Nature-with-a-capital-N is confined mostly to literary theory and eco-criticism, where capital N represents the Naturalization of phenomena, while small n maintains its rightful place beneath and beyond our human categories as a thing-in-itself, or at least the thing itself: the strange in the familiar and the familiar in the strange.
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