Windu Thorne
This summer, my reading list is more of a ritual altar than a checklist.
I'm revisiting "Braiding Sweetgrass" by Robin Wall Kimmerer, a book that reads like ceremony—where science and Indigenous wisdom don't compete, but hold hands. It reminds me why plants are not just ingredients, but teachers.
Then there's "The Book of Symbols" by Taschen, a rich dive into archetypes and imagery, because symbols often say what words can’t. I leaf through it slowly, like decoding a dream one page at a time.
For fiction, I'm drawn to "The Overstory" by Richard Powers. Trees, fate, and time—woven together in a way that humbles any writer who thinks they’ve grasped narrative structure.
And somewhere in the stack, always, there’s a tattered copy of "Walden" by Thoreau. It follows me like a shadow, especially in summer—reminding me to sit still long enough to hear the earth think.
I'm revisiting "Braiding Sweetgrass" by Robin Wall Kimmerer, a book that reads like ceremony—where science and Indigenous wisdom don't compete, but hold hands. It reminds me why plants are not just ingredients, but teachers.
Then there's "The Book of Symbols" by Taschen, a rich dive into archetypes and imagery, because symbols often say what words can’t. I leaf through it slowly, like decoding a dream one page at a time.
For fiction, I'm drawn to "The Overstory" by Richard Powers. Trees, fate, and time—woven together in a way that humbles any writer who thinks they’ve grasped narrative structure.
And somewhere in the stack, always, there’s a tattered copy of "Walden" by Thoreau. It follows me like a shadow, especially in summer—reminding me to sit still long enough to hear the earth think.
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