The Radiant Life of Animals by Chickasaw novelist, poet, and essayist Linda Hogan is a gorgeous collection of poetry and prose about the tenor of our daily relationship with the more-than-human world -- including wolves, crows, foxes, bears, mountain lions and horses, as well as the land that sustains us all and nurtures us body and soul.

In the book's Introduction she writes:

"A geography of spirit, an individual and collective tribal soul, originates with the larger geography of nature, of the ecosystem in which we live. For tribal peoples, this has always been a constant. The animal realm, sacred waters, and surrounding world in all its entirety is an equal to our human life. We are only part of it, and such an understanding offers us the bounty and richness of our world, one to be cared for because it is truly the being of the human....

"Nature is even now too often defined by people who are separated from the land and its inhabitants. In our time, with our lives, we usually include primarily only a majority of the developed world. Such a life is one that carries and creates the human spirit with more difficulty. Too rarely do we understand that the soul lies at all points of intersection between human consciousness and all the rest of nature. With our bodies and selves, skin is hardly a container. Our boundaries are not solid; we are permeable; therefore, even as solitary dreamers we are still rooted in the greater soul outside of us. If we are open enough, strong enough, to connect with the surrounding world, we are capable of becoming something greater than what we are merely within our own selves."

Soul loss, Hogan explains, is what happens when our relationship with the nonhuman world becomes frayed: 

"In contemporary North American Latino communities, soul loss is called susto. It is a common condition in the modern world. Susto probably began when, as in many religions, the soul was banished from nature, when humanity withdrew from the world. There became only two things, extremes viewed from our point of understanding -- human and nature, animate and inanimate, sentient and not. 

"This was the moment when the soul first began to slip away and crumble. 

"In the reversal of and healing from soul loss, Brazilian tribal members who tragically lost their land and place in the world and now dwell in the city often visit or at least reimagine nature in order to become whole again and have their souls returned to them. Anthropologist Michael Harner wrote about the healing methods among Indian people who were forcibly relocated to urban slums, usually from the rain forests. The healing ritual most often takes place in the forest at night, as the person is returned, if only for a while, to the land he or she once knew. The people are often cured through their renewed connections, their 'vision of the river forest world, including visions of animals, snakes, and plants.' This connection brings back the soul that has returned to these places. Unfortunately, in our time, these homes in the forests may now only be ghosts of what they once were.

"The cure for susto, soul sickness, is not found in books. It is written in the bark of a tree, in the moonlit silence of night, along the bank of a river, and in the voice. This cure is outside our human selves, but it becomes the thread that connects the outer world with our own."

The marvellous, spirited sculptures today are by British ceramicist Sophie Woodrow. She graduated with a BA in Studio Ceramics from Falmouth College of Art in Cornwall, and is now based in Bristol. Woodrow's work is informed by her love of natural history and a fascination with the Victorians' relationship to nature: the ways they both embraced and feared new theories of evolution, while often misapprehending them. Her sculptures "are not visitors from other worlds, but the ‘might-have-beens’ of this world,"  as she seeks to "assemble creatures from the strange notions of what we define as ‘nature’ and of each other as people – as ‘other’."

To see more of her art, please visit Woodrow's Instagram page, and the Messums Wiltshire gallery site.

The text above is from The Radiant Lives of Animals by Linda Hogan (Beacon Press, 2020). All rights to the text and art in the post reserved by the author and artist. Some related posts: The language of the animate earth, On language and mystery, and The philosophy of compassion.

Come into Animal Presence
by Denise Levertov

Come into animal presence.
No man is so guileless as
the serpent. The lonely white
rabbit on the roof is a star
twitching its ears at the rain.

The llama intricately
folding its hind legs to be seated
not disdains but mildly
disregards human approval.

What joy when the insouciant
armadillo glances at us and doesn't
quicken his trotting
across the track into the palm brush.

What is this joy? That no animal
falters, but knows what it must do?

That the snake has no blemish,
that the rabbit inspects his strange surroundings
in white star-silence? The llama
rests in dignity, the armadillo
has some intention to pursue in the palm-forest.

Those who were sacred have remained so,
holiness does not dissolve, it is a presence
of bronze, only the sight that saw it
faltered and turned from it.

An old joy returns in holy presence.

The art today is by American ceramicist Caroline Douglas, who received a BFA from the University of North Carolina and has worked in clay for over forty years, inspired by mythology, fairy tales, dreams and the antics of animals and children. Since sustaining a serious injury in 2000, Douglas has been exploring the relationship between healing and creativity in her dual roles as artist and teacher:

"Our imaginations are sacred," she explains. "At the deepest level, they can put us in touch with the collective unconscious that we all share. I create in clay a version of my intentions and dreams. Making something real in physical form makes it real on many levels. In my classes we travel a journey of transformation and exploration through art to find a deeper place, a more fulfilling place -- that place where stillness reigns and time stretches out and magic has its way with us. It is an alchemy of sorts, a turning of lead into gold. "

Please visit the artist's website to see more of her deeply magical work.

The art above is by Caroline Douglas; all rights reserved by the artist. The names of the individual sculptures can be found in the picture captions. (Run your cursor over the images to see them.)

The poem above is by Denise Levertov (1923-1997), from Poems 1960-1967 (New Directions, 1983). All rights reserved by the Levertov estate.

Every time I announce I'm back in the studio, and back to a steady work schedule again, a cold wind tears right through my days and scatters all my careful plans....or at least that's what chronic illness feels like: a weather system rattling the windows...threatening to uproot the trees...then blowing over, leaving a hush and clear blue sky till the next storm comes.

Illness, like weather, is elemental. It strips us down to our animal selves: to the physicality of flesh and bone, the primacy of rest and food, and the mystery of healing processes flowing through the blood and psyche. When I'm too low to write, or paint, or even climb the hill to the studio, I take a deep breath and pray: Let me be a good animal today.

And then I bundle up warm, batten down the hatches, and wait for the storm to break.

I've been been repeating this little prayer for so long that I'd forgotten where it first came from: Let me be a good animal today. An American author, an essayist, someone in the SouthWest, but who? It took a bit of diligent searching to find the reference among my books...and here it is, from High Tide in Tucson by Barbara Kingsolver:

"For each of us -- furred, feathered, or skinned alive -- the whole earth balances on the single precarious point of our own survival. In the best of times, I hold in mind the need to care for things beyond the self: poetry, humanity, grace. In other times, when it seems difficult merely to survive and be happy about it, the condition of my thought tastes as simple as this: let me be a good animal today. I've spent months at a stretch, even years, with that taste in my mouth, and have found that it serves. [...]

"Every one of us is called upon, probably many times, to start a new life. A frightening diagnosis, a marriage, a move, loss of a job or a limb or a loved one, a graduation, bringing a new baby home: it's impossible to think at first how this will all be possible. Eventually, what moves it all forward is the subterranean ebb and flow of being among the living.

"In my own worst seasons I've come back from the colorless world of despair by forcing myself to look hard, for a long time, at a single glorious thing: a flame of red geranium outside my bedroom window. And then another: my daughter in a yellow dress. And another: the perfect outline of a full, dark sphere behind the crescent moon. Until I learned to be in love with my life again. Like a stroke victim retraining new parts of the brain to grasp lost skills, I have taught myself joy, over and over again. 

"It's not such a wide gulf to cross, then, from survival to poetry. We hold fast to the old passions of endurance that buckle and creak beneath us, dovetailed, tight as a good wooden boat to carry us onward. And onward full tilt we go, pitched and wrecked and absurdly resolute, driving in spite of everything to make good on a new shore. To be hopeful, to embrace one possibility after another -- that is surely the basic instinct. Baser even than hate, the thing with teeth, which can be stilled with a tone of voice or stunned by beauty. If the whole world of living has to turn on the single point of remaining alive, that pointed endurance is the poetry of hope. The thing with feathers.

"What a stroke of luck. What a singular brute feat of outrageous fortune: to be born to citizenship in the Animal Kingdom. We love and we lose, go back to the start and do it right over again."

We do indeed.

The beautiful imagery today is by Polish illustrator Joanna Concejo, who studied at the Academy of Fine Arts in Poznan and now lives in Paris. Her art has been exhibited in galleries across Europe, as well as at the Bologna Children's Book Fair and ILUSTRARTE  in Portugal; and her books have been published in France, Italy, Spain, Poland and South Korea. The Lost Soul, a children's book with text by Nobel Prize winner Olga Tokarczuk, was published in an English translation by Antonia Lloyd-Jones last year.

"Inspiration is not something I seek," she says, "it is more a state of availability in life, an openness to things that happen to me, to the encounters I have, to images, landscapes, to everything I can see, hear, touch....I am often surprised myself by what I do. It is often very unconscious." 

To see more of her work, visit the artist's Instagram page, or the Toi Gallery website.

The text above is from High Tide in Tucson: Essays from Now or Never (HarperCollins 1995); all rights reserved by the author. The pictures are by Joanna Conjo; all rights reserved by the artist. 

I'm starting the week with some favourite songs featuring animals and birds, in which our old friend Mr. Fox will certainly make an appearance....

Above: "Hare Spell," Fay Hield's wonderfully eerie ballad of animal-human shapeshifting. First created for the Modern Fairies project, Fay's lyrics are taken from an actual spell by a 17th century Scottish witch. "Isobel [Gowdie] was tried in 1662 during the witchcraft trials," she explains, "and her confession gives a clear account, seemingly uncoerced, into her activities with the devil and visiting the king of the fairie. She includes several spells and chants used to conduct her own magic, including this spell to turn the utterer into a hare to do the devil’s work." Go here to read about the creation of the song (and the magical way the music was formed); go here to listen to an answering song about shapeshifting from the hare's point of view (with gorgeous lyrics by poet Sarah Hesketh); and go here to read more about witch-hares in the folklore tradition. You can also listen to a radio play crafted around Fay's song: Hare Spell Part One and Part Two. 

Below: "Three Ravens" (a variant of "Twa Corbies," Child Ballad 26), performed by Dorset folk duo Ninebarrow (Jon Whitley and Jay LaBouchardiere). The song appeared on their album Releasing the Leaves (2016).

Above: "The White Hare," a traditional song performed by folk (and rock) musician Jack Sharp, from Bedfordshire. It comes from his solo album Good Times Older (2020).

Below: "I am the Fox," written and performed by Nancy Kerr (from London) and James Fagan (from Sydney, Australia). It's appeared on Myth & Moor before, but I never get tired of this one....

Above: "Daddy Fox," a traditional song performed by the a capella folk quartet The Witches of Elswick (Becky Stockwell, Gillian Tolfrey, Bryony Griffith and Fay Hield), from their album Out of Bed (2003).

Below: "The Fox," another variant of the same song performed by the Galway quartet We Banjo 3 (Enda Scahill, Fergal Scahill, Martin Howley, David Howley), with Sharon Shannon on accordion. This is another one I return to often. Surely the door in the video is one of the portals to Bordertown....

Let's end, as we began, with another song from Fay Hield's exquisite album Wrackline (2020): a re-working of an American ballad that gives the death of the Old Grey Goose its due. The performance is from the Wrackline album launch, with Sam Sweeney on fiddle, Rob Habron on guitar, and Ben Nicholls on bass. To read Fay's thoughts about the song and the folklore of anthropomorphism, go here.

The art today is by Vancouver-based illustrator Julie Morstad. To see more of her work, go here.

I'm working on another "fox" piece for you, but I wasn't able to complete in time for posting today. Let me leave you with this instead:  a poem I found in the leaf mulch of the woods. Stories come from the damnedest places.

Art by Adrienne Segur (1901-1981), from The Golden Book of Fairy Tales.