This book focuses on how the the scientific discovery of "plant sex" unfolded due to cultural biases, beliefs, and perceptions about plant reproduction. "Flora Unveiled" is a deep history of perceptions about plant gender and sexuality, from the Paleolithic to the nineteenth century. The evidence suggests that a plants-as-female gender bias both prevented the discovery of two sexes in plants until the late 17th century, and delayed its acceptance for another 150 years.

Plants are silent, still, or move slowly; we do not have the sense that they accompany us, or even perceive us. But is there something that plants are telling us? Is there something about how they live and connect, how they relate to the world and other plants that can teach us about ecological thinking, about ethics and politics? Grounded in Thoreau's ecology and in contemporary plant studies, Dispersion: Thoreau and Vegetal Thought offers answers to those questions by pondering such concepts as co-dependence, the continuity of life forms, relationality, cohabitation, porousness, fragility, the openness of beings to incessant modification by other beings and phenomena, patience, waiting, slowness and receptivity.

In 1866, when the ballet La Source debuted, the public at the Paris Opera may have been content to dream about its setting in the verdant Caucasus, its exotic Circassians, veiled Georgians, and powerful Khan. Yet the ballet's botany also played to a public thinking about ethnic and exotic others at the same time-and in the same ways-as they were thinking about plants. Along with these stereotypes, with a flower promising hybridity in a green ecology, and the death of the embodied Source recuperated as a force for regeneration, the ballet can be read as a fable of science and the performance as its demonstration. Programmed for the opening gala of the new Opera, the Palais Garnier, in 1875 the ballet reflected not so much a timeless Orient as timely colonial policy and engineering in North Africa, the management of water and women. One Dead at the Paris Opera Ballet takes readers to four historic performances, over 150 years, showing how-- through the sacrifice of a feminized Nature-- La Source represented the biopolitics of sex and race, and the cosmopolitics of human and natural resources. Its 2011 reinvention at the Paris Opera, following the adoption of new legislation banning the veil in public spaces, might have staged gender and climate justice in sync with the Arab Spring, but opted instead for luxury and dream. Its 2014 reprise might have focused on decolonizing the stage or raising eco-consciousness, but exemplified the greater urgency attached to Islamist threat rather than imminent climate catastrophe, missing the ballet's historic potential to make its audience think.

This book introduces the reader to the exciting new field of plant philosophy and takes it in a new direction to ask: what does it mean to say that plants are sexed? Do 'male' and 'female' really mean the same when applied to humans, trees, fungi and algae? Are the zoological categories of sex really adequate for understanding the – uniquely 'dibiontic' – life cycle of plants? Vegetal Sex addresses these questions through a detailed analysis of major moments in the history of plant sex, from Aristotle to the modern day. Tracing the transformations in the analogy between animals and plants that characterize this history, it shows how the analogy still functions in contemporary botany and asks: what would a non-zoocentric, plant-centred philosophy of vegetal sex be like? By showing how philosophy and botany have been and still are inextricably entwined, Vegetal Sex allows us to think vegetal being and, perhaps, to recognize the vegetal in us all.