Blossoming from a correspondence between Luce Irigaray and Michael Marder, Through Vegetal Being is an intense personal, philosophical, and political meditation on the significance of the vegetal for our lives, our ways of thinking, and our relations with human and nonhuman beings. The vegetal world has the potential to rescue our planet and our species and offers us a way to abandon past metaphysics without falling into nihilism. Luce Irigaray has argued in her philosophical work that living and coexisting are deficient unless we recognize sexuate difference as a crucial dimension of our existence. Michael Marder believes the same is true for vegetal difference. Irigaray and Marder consider how plants contribute to human development by sustaining our breathing, nourishing our senses, and keeping our bodies and minds alive. They note the importance of returning to ancient Greek tradition and engaging with Eastern teachings to revive a culture closer to nature. As a result, we can reestablish roots when we are displaced and recover the vital energy we need to improve our sensibility and relation to others. This generative discussion points toward a more universal way of becoming human that is embedded in the vegetal world.

The margins of philosophy are populated by non-human, non-animal living beings, including plants. While contemporary philosophers tend to refrain from raising ontological and ethical concerns with vegetal life, Michael Marder puts this life at the forefront of the current deconstruction of metaphysics. He identifies the existential features of plant behavior and the vegetal heritage of human thought so as to affirm the potential of vegetation to resist the logic of totalization and to exceed the narrow confines of instrumentality. Reconstructing the life of plants "after metaphysics," Marder focuses on their unique temporality, freedom, and material knowledge or wisdom. In his formulation, "plant-thinking" is the non-cognitive, non-ideational, and non-imagistic mode of thinking proper to plants, as much as the process of bringing human thought itself back to its roots and rendering it plantlike.

Covert Plants contributes to newly emerging discourses on the implications of vegetal life for the arts and culture. This stretches to changes in our perception of 'nature' and to the adapting roles of botany, evolutionary ecology, and environmental aesthetics in the humanities. Its editors and contributors seek various expressions of vegetal life rather than the mere representation of such, and they proceed from the conviction that a rigorous approach to thinking with and through vegetal life must be interdisciplinary. At a time when urgent calls for restorative care and reparative action have been sounded for the environment, this essay volume presents a range of academic and creative perspectives, from evolutionary biology to literary theory, philosophy to poetry, which respond to the perplexing problems and paradoxes of vegetal thinking. Representations of vegetal life often include plant analogies and plant imagery. These representations have at times obscured the diversity of plant behavior and experience. Covert Plants probes the implications of vegetal life for thought and how new plant science is changing our perception of the vegetal - around us and in us. How can we think, speak, and write about plant life without falling into human-nature dyads, or without tumbling into reductive theoretical notions about the always complex relations between cognition and action, identity and value, subject and object? A full view of this shifting perspective requires a 'stereoscopic' lens through which to view plants, but also simultaneously to alter our human-centered viewpoint. Plants are no longer the passive object of contemplation, but are increasingly resembling 'subjects, ' 'stakeholders, ' or 'actors.' As such, the plant now makes unprecedented demands upon the nature of contemplation itself. Moreover, the aesthetic, political, and legal implications of new knowledge regarding plants' ability to communicate, sense, and learn require intensive, cross-disciplinary investigation. By doing this, we can intervene into current attitudes to climate change and sustainability, and hopefully revise, for the better, human philosophies, ethics, and aesthetics that touch upon plant life. TABLE OF CONTENTS// Baylee Brits and Prudence Gibson, "Introduction: Covert Plants" - Prudence Gibson and Michael Marder, "Art Expresses Its Own Appearance: A Conversation with Michael Marder" - Prudence Gibson, "The Colour Green" - Baylee Brits, "Brain Trees: Neuroscientific Metaphor and Botanical Thought" - Dalia Nassar, "Metaphoric Plants: Goethe's Metamorphosis of Plants and the Metaphors of Reason" - Stephen Muecke, "Mixed up with Trees: The Gadgur and the Dreaming" - Monica Gagliano, "Eco-psychology and the Return to the Dream of Nature" - Suzanne Anker, "The Blue Rose" - Susie Pratt, "Trees as Landlords and Other Public Experiments: An Interview with Natalie Jeremijenko" - Tessa Laird, "Spores from Space: Becoming the Alien" - Jennifer Mae Hamilton, "Gardening After the Anthropocene: Creating Different Relations between Humans and Edible Plants in Sydney" - Lucas Ihlein, "Agricultural Inventiveness: Beyond Environmental Management?" - Andrew Belletty, "An Ear to the Ground" - Ben Woodard, "Continuous Green Abstraction: Embodied Knowledge, Intuition, and Metaphor" - Lisa Dowdall, "Figures" - Poems by Luke Fischer, Justin Clemens, Paul Dawson, and Tamryn Bennett.

Despite their conceptual allergy to vegetal life, philosophers have used germination, growth, blossoming, fruition, reproduction, and decay as illustrations of abstract concepts; mentioned plants in passing as the natural backdrops for dialogues, letters, and other compositions; spun elaborate allegories out of flowers, trees, and even grass; and recommended appropriate medicinal, dietary, and aesthetic approaches to select species of plants. In this book, Michael Marder illuminates the elaborate vegetal centerpieces and hidden kernels that have powered theoretical discourse for centuries. Choosing twelve botanical specimens that correspond to twelve significant philosophers, he recasts the development of philosophy through the evolution of human and plant relations. A philosophical history for the postmetaphysical age, The PhilosopherÕs Plant reclaims the organic heritage of human thought. With the help of vegetal images, examples, and metaphors, the book clears a path through philosophyÕs tangled roots and dense undergrowth, opening up the discipline to all readers.

We barely talk about them and seldom know their names. Philosophy has always overlooked them; even biology considers them as mere decoration on the tree of life. And yet plants give life to the Earth: they produce the atmosphere that surrounds us, they are the origin of the oxygen that animates us. Plants embody the most direct, elementary connection that life can establish with the world. In this highly original book, Emanuele Coccia argues that, as the very creator of atmosphere, plants occupy the fundamental position from which we should analyze all elements of life. From this standpoint, we can no longer perceive the world as a simple collection of objects or as a universal space containing all things, but as the site of a veritable metaphysical mixture. Since our atmosphere is rendered possible through plants alone, life only perpetuates itself through the very circle of consumption undertaken by plants. In other words, life exists only insofar as it consumes other life, removing any moral or ethical considerations from the equation. In contrast to trends of thought that discuss nature and the cosmos in general terms, Coccia’s account brings the infinitely small together with the infinitely big, offering a radical redefinition of the place of humanity within the realm of life.

Green Mass is a meditation on—and with—twelfth-century Christian mystic and polymath Saint Hildegard of Bingen. Attending to Hildegard's vegetal vision, which greens theological tradition and imbues plant life with spirit, philosopher Michael Marder uncovers a verdant mode of thinking. The book stages a fresh encounter between present-day and premodern concerns, ecology and theology, philosophy and mysticism, the material and the spiritual, in word and sound. Hildegard's lush notion of viriditas, the vegetal power of creation, is emblematic of her deeply entwined understanding of physical reality and spiritual elevation. From blossoming flora to burning desert, Marder plays with the symphonic multiplicity of meanings in her thought, listening to the resonances between the ardency of holy fire and the aridity of a world aflame. Across Hildegard's cosmos, we hear the anarchic proliferation of her ecological theology, in which both God and greening are circular, without beginning or end. Introduced with a foreword by philosopher Marcia Sá Cavalcante Schuback and accompanied by cellist Peter Schuback's musical movements, which echo both Hildegard's own compositions and key themes in each chapter of the book, this multifaceted work creates a resonance chamber, in which to discover the living world anew. The original compositions accompanying each chapter are available free for streaming and for download at www.sup.org/greenmass

The Plant Contract argues that visual and performance art can help change our perception of the vegetal world, and can return us to nature and thought. Via an investigation into the wasteland, robotany, feminist plants, and nature rights, this phytology-love story investigates how contemporary art is mediating the effects of plant-blindness, caused by human disassociation from the natural world. It is also a gesture of respect for the genius of vegetal life, where new science proves plants can learn, communicate, remember, make decisions, and associate. Art is a litmus test for how climate change affects human perception. This book responds to that test by expressing plant-philosophy to a wider public, through an interrogation of plant-art.