Snow isn't just pretty. It also cleanses our world and our senses, not just of the soot and grime of a Fife mining town but also of a kind of weary familiarity, a taken-for-granted quality to which our eyes are all too susceptible.
John Burnside
Anyone who has ever stopped to watch a hawk in flight will know that this is one of the natural world's most elegant phenomena.
This is a truth that should be repeated like a mantra: to have any chance of a ful - filling life, we require not only clean air and a steady climate, but also an abundance of meadows and woodlands, rivers and oceans, teeming with life and the mass existence of other living creatures.
High Alpine meadows, like their near relatives prairie, desert and certain varieties of wetland, teach us to consider the world from a fresh perspective, to open our eyes and take account of what we have missed, reminding us that, in spite of our emphasis on the visual in everyday speech, we see so very little of the world.
What the flamingo teaches a child, at that subliminal level where animal encounters work, is that gravity is not just a limitation, but also a possible partner in an intriguing, potentially joyful game.
There is a red sandy beach in the Minas Basin in Nova Scotia that is unlike any other shore landscape I have ever seen. The world's highest tides wash its shores, and the soft cliffs of Blomidon Provincial Park are constantly crumbling away; whole trees will occasionally slide down to the sea to decay slowly in the wind and brine.
In many traditions, hawks are sacred: Apollo's messengers for the Greeks, sun symbols for the ancient Egyptians and, in the case of the Lakota Sioux, embodiments of clear vision, speed and single-minded dedication.
It's important to have quiet time and isolation.
We do not need to be heroes to save the world; all we need is humility, a critical view of the commercial and political interests of those who would mislead us into wrongdoing, and a sense of wonder.
I love long sentences. My big heroes of fiction writing are Henry James and Proust - people who recognise that life doesn't consist of declarative statements, but rather modifications, qualifications and feelings.
Growing up, I lived in a house without art: no picture books on the shelves, no visits to museums, no posters on the bedroom wall.
If nature offers no home, then we must make a home one way or another. The only question is how.
As a child, I read a great many books in which animals and birds played significant roles, not only in the narrative itself, but also in creating the emotional and psychological atmosphere of that narrative - the imaginative furniture, as it were, in which any story unfolds.
It is common knowledge now that we depend on insects for our continued existence; that, without key pollinators, the human population would collapse in less than a decade.
As a child, I was always intrigued by the question: what is it that distinguishes a city from a town? Is it size? Population? Location? When I asked grown-ups, the confident answer was that a city has to have a cathedral - which, to a child raised in a devout Catholic setting, made sense.
Hunted for sport by the rich, then driven from large tracts of its natural habitat by agricultural and housing development, the giant panda deserves better than to be scrubbed from conservation's ledger books through false accounting.
The poem builds in my mind and sits there, as if in a register, until the poem, or a piece of a longer poem, is finished enough to write down. I can hold several lines in my head for quite some time, but as soon as they are written down, the register clears, as it were, and I have to work with what is on the paper.
I don't want to suggest that matrimony was necessarily a tragic affair - some of our neighbours' marriages seemed quite functional, if somewhat routine; nevertheless, in the workaday world, it is wedlock that is most likely to offer the occasion for life-threatening disappointment.
The animal encounter poem is now so distinct a genre that it would be possible to create a full-length anthology from deer encounter poems alone, and many varieties of experience would emerge from such an exercise.
A modern arboretum brings us that ancient forest and, with it, a changed apprehension of time, a renewed appreciation of the elegance of natural form and a renewed sense of wonder at the variety of the world we inhabit.
Many of the birds Audubon painted are now extinct, and still we go on killing them, more or less casually, with our pesticides and wires and machinery.
For a bird, especially for the more musically inventive, song is the defining characteristic, the primary way by which it knows itself and is known by others. To lose its species song is to lose not just its identity but some part of its presence in the world.
The son of a Fife mining town sledder of coal-bings, bottle-forager, and picture-house troglodyte, I was decidedly urban and knew little about native fauna, other than the handful of birds I saw on trips to the beach or Sunday walks.
The fabric of a garden is determined as much by its textures as by its tonal range and architectural flair.
I don't like the term 'mental illness.' I'd rather just say 'mad.' Just like I always say 'loony bin,' not 'mental hospital.'
Sometimes, when the wind hits hard and icicles form on the sea cliffs, we can all come together - and at those times, we are at our best.
For the Yupik, all life was continuous, animal with human with 'spirit', and recognising that continuum allowed them to undergo transformations that we, locked into our own disappointingly Cartesian skins, find impossible even to imagine.
All my life, I have been a celebrant of Halloween. For me, it is the most important day of the year, the turning point in the old pagan calendar.
With each passing decade, history becomes less real for us, less immediate and essential to our way of life, and so, like 'green' nature, more of a commodity or an advertising gimmick.
I went for a walk in the Arctic Circle without map or compass. Fortunately, I was only lost for hours, not days.
A forest - the word dates back to the Norman occupancy, when it meant an area set aside for England's violent new masters to hunt boar and deer - is necessarily larger than a wood. It belonged to the king and was a fit place for his recreation.
I remember how, back in the 1980s, the Scottish Flow Country became an object of bemused controversy as rich celebrities and businessmen from south of the border acquired great tracts of this vast wetland in the far north in order to plant non-native conifer plantations that attract hefty tax breaks.
Irrationality interests me more than anything: sometimes it's very dangerous, but it can be incredibly beautiful.
The great pleasure that comes from reading poets such as Mark Doty and Marianne Moore is the realisation that the essential virtues - compassion, wonder, humility, respect for the mysterious - are far from conventionally heroic.
The conventional, and painfully artificial, separation of the human realm from the natural other is bound to perish, albeit over a period of time, until we are obliged to learn how to cultivate our gardens under the most demanding conditions.
When I was ten years old, my family left a cold, damp prefab in West Fife and moved to Corby, Northamptonshire, where my father quickly found work at what was then the Stewarts & Lloyds steelworks.
The way I mainly use the Internet is keeping in touch with poets that live far away. My main interest is contemporary American poets and some Spanish language poets, and I keep in touch with their work through either their websites or email.
Worldwide, enormous areas of peatland are still being lost to agricultural development, drainage schemes, overgrazing, and exploitation-based infrastructure development projects such as roads, electricity pylons, telephone masts and gas pipelines.
Clearly, any well-kept garden will be a source of pleasure in the summer months; in the bleak urban midwinter, however, there are few activities more likely to energise the spirit than a botanical walk.
Sometimes, though only in my most unguarded moments, I can still think of Annette Winters as my first love. At fifteen, she was tall, slender, very dark: an intelligent, sly girl possessed of what I think of now, though I didn't think of then, as a kind of debatable beauty.
I really like to try my hand at everything, and I think it's probably dangerous to let oneself be pigeon-holed, not necessarily by other people, but in one's own mind.
What makes me write is the rhythm of the world around me - the rhythms of the language, of course, but also of the land, the wind, the sky, other lives. Before the words comes the rhythm - that seems to me to be of the essence.
I think humans have to learn a new way of dwelling on this earth. A way of living with their companions: animals, plants and fish.
I remember playing the Mad Hatter in a school play and feeling very comfortable in the character.
My editor, Robin Robertson, is one of this country's finest poets, so I listen to him when he offers advice.
What is essential - the one thing that could stop us being coarsened to other lives - is that we feel a great, living wave of animal life all around us, covering the earth.
With all the goodwill and local initiative in the world, we are not about to rewild anything until we change our way of thinking about our place in the creaturely world.
In time, we will have to recognise that it is not 'nature' that we need to protect, but ourselves, and we can only do this by abandoning the old, grandiose, profit-seeking schemes so beloved of our masters and learning to till the soil, live to scale, and live within our means.
One of the most beautiful objects I have ever seen was a Yupik wolf mask, made in Nunivak in around 1890.
For 10 years, I gave away my possessions every year and moved on to a new place.
