Michele Giacomini

“To walk attentively through a forest, even a damaged one, is to be caught by the abundance of life: ancient and new; underfoot and reaching into the light. But how does one tell the life of the forest? We might begin by looking for drama and adventure beyond the activities of humans. Yet we are not used to reading stories without human heroes. This is the puzzle that informs this section of the book. Can I show landscape as the protagonist of an adventure in which humans are only one kind of participant? Over the past few decades many kinds of scholars have shown that allowing only human protagonists into our stories is not just ordinary human bias. It is a cultural agenda tied to dreams of progress through modernization. There are other ways of making worlds. Anthropologists have become interested, for example, in how substance hunters recognize other living beings as persons, that is protagonists of stories. Indeed, how could it be otherwise? Yet expectations of progress block this insight. Talking animals are for children and primitives. Their voices silent, we imagine wellbeing without them. We trample over them for our advancement. We forget that collaborative survival requires cross-species coordinations. To enlarge what is possible we need other kinds of stories, including adventures of landscapes.”
― Anna Lowenhaupt Tsing, The Mushroom at the End of the World: On the Possibility of Life in Capitalist Ruins

“The heart is neither given nor stolen. The heart surrenders.”
― Steven Erikson, House of Chains

“Orcas may not be very intelligent humans, but humans are really stupid orcas”
― David Neiwert, Of Orcas and Men: Blend of science and activism arguing orcas reveal the cost of human exploitation.

“Dio promette la vita eterna” disse Eldritch. “Io posso fare di meglio; posso metterla in commercio.”
― Philip K. Dick, The Three Stigmata of Palmer Eldritch