Good human work honors God’s work. Good work uses no thing without respect, both for what it is in itself and for its origin. It uses neither tool nor material that it does not respect and that it does not love. It honors nature as a great mystery and power, as an indispensable teacher, and as the inescapable judge of all work of human hands. It does not dissociate life and work, or pleasure and work, or love and work, or usefulness and beauty. To work without pleasure or affection, to make a product that is not both useful and beautiful, is to dishonor God, nature, the thing that is made, and whomever it is made for. This is blasphemy: to make shoddy work of the work of God. But such blasphemy is not possible when the entire Creation is understood as holy and when the works of God are understood as embodying and thus revealing His spirit.
Peat Bog on Jæren (1900). Kitty Kielland.
In the very earliest time
When both people and animals lived on earth
A person could become an animal if he wanted to
and an animal could become a human being.
Sometimes they were people
and sometimes animals
and there was no difference.
All spoke the same language
That was the time when words were like magic.
The human mind had mysterious powers.
A word spoken by chance might have strange consequences.
It would suddenly come alive
and what people wanted to happen could happen—
all you had to do was say it.
Nobody could explain this:
That’s the way it was.
Inuit woman interviewed by ethnologist Knud Rasmussen in the early twentieth century.
Everything you are not stares back at what you are.
—The Mighty Dead: Why Homer Matters,
At eight of a hot morning, the cicada speaks his first piece. He says of the world: heat. At eleven of the same day, still singing, he has not changed his note but has enlarged his theme. He says of the morning: love. In the sultry middle of the afternoon, when the sadness of love and of heat has shaken him, his symphonic soul goes into the great movement and he says: death. But the thing isn’t over. After supper he weaves heat, love, death into a final stanza, subtler and less brassy than the others. He has one last heroic monosyllable at his command. Life, he says, reminiscing. Life.
— E. B. White, “Life,” in E.B. White: Writings from the New Yorker, 1925-1976, ed. Rebecca M. Dale (New York: HarperCollins, 1990), 3.