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The Beauty of Nature

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Published: Mar 16, 2024

Words: 727 | Pages: 2 | 4 min read

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The aesthetic appeal of nature, the healing power of nature, the importance of biodiversity, the role of nature in human creativity.

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A Summary and Analysis of Ralph Waldo Emerson’s ‘Nature’

By Dr Oliver Tearle (Loughborough University)

‘Nature’ is an 1836 essay by the American writer and thinker Ralph Waldo Emerson (1803-82). In this essay, Emerson explores the relationship between nature and humankind, arguing that if we approach nature with a poet’s eye, and a pure spirit, we will find the wonders of nature revealed to us.

You can read ‘Nature’ in full here . Below, we summarise Emerson’s argument and offer an analysis of its meaning and context.

Emerson begins his essay by defining nature, in philosophical terms, as anything that is not our individual souls. So our bodies, as well as all of the natural world, but also all of the world of art and technology, too, are ‘nature’ in this philosophical sense of the world. He urges his readers not to rely on tradition or history to help them to understand the world: instead, they should look to nature and the world around them.

In the first chapter, Emerson argues that nature is never ‘used up’ when the right mind examines it: it is a source of boundless curiosity. No man can own the landscape: it belongs, if it belongs to anyone at all, to ‘the poet’. Emerson argues that when a man returns to nature he can rediscover his lost youth, that wide-eyed innocence he had when he went among nature as a boy.

Emerson states that when he goes among nature, he becomes a ‘transparent eyeball’ because he sees nature but is himself nothing: he has been absorbed or subsumed into nature and, because God made nature, God himself. He feels a deep kinship and communion with all of nature. He acknowledges that our view of nature depends on our own mood, and that the natural world reflects the mood we are feeling at the time.

In the second chapter, Emerson focuses on ‘commodity’: the name he gives to all of the advantages which our senses owe to nature. Emerson draws a parallel with the ‘useful arts’ which have built houses and steamships and whole towns: these are the man-made equivalents of the natural world, in that both nature and the ‘arts’ are designed to provide benefit and use to mankind.

The third chapter then turns to ‘beauty’, and the beauty of nature comprises several aspects, which Emerson outlines. First, the beauty of nature is a restorative : seeing the sky when we emerge from a day’s work can restore us to ourselves and make us happy again. The human eye is the best ‘artist’ because it perceives and appreciates this beauty so keenly. Even the countryside in winter possesses its own beauty.

The second aspect of beauty Emerson considers is the spiritual element. Great actions in history are often accompanied by a beautiful backdrop provided by nature. The third aspect in which nature should be viewed is its value to the human intellect . Nature can help to inspire people to create and invent new things. Everything in nature is a representation of a universal harmony and perfection, something greater than itself.

In his fourth chapter, Emerson considers the relationship between nature and language. Our language is often a reflection of some natural state: for instance, the word right literally means ‘straight’, while wrong originally denoted something ‘twisted’. But we also turn to nature when we wish to use language to reflect a ‘spiritual fact’: for example, that a lamb symbolises innocence, or a fox represents cunning. Language represents nature, therefore, and nature in turn represents some spiritual truth.

Emerson argues that ‘the whole of nature is a metaphor of the human mind.’ Many great principles of the physical world are also ethical or moral axioms: for example, ‘the whole is greater than its part’.

In the fifth chapter, Emerson turns his attention to nature as a discipline . Its order can teach us spiritual and moral truths, but it also puts itself at the service of mankind, who can distinguish and separate (for instance, using water for drinking but wool for weaving, and so on). There is a unity in nature which means that every part of it corresponds to all of the other parts, much as an individual art – such as architecture – is related to the others, such as music or religion.

The sixth chapter is devoted to idealism . How can we sure nature does actually exist, and is not a mere product within ‘the apocalypse of the mind’, as Emerson puts it? He believes it doesn’t make any practical difference either way (but for his part, Emerson states that he believes God ‘never jests with us’, so nature almost certainly does have an external existence and reality).

Indeed, we can determine that we are separate from nature by changing out perspective in relation to it: for example, by bending down and looking between our legs, observing the landscape upside down rather than the way we usually view it. Emerson quotes from Shakespeare to illustrate how poets can draw upon nature to create symbols which reflect the emotions of the human soul. Religion and ethics, by contrast, degrade nature by viewing it as lesser than divine or moral truth.

Next, in the seventh chapter, Emerson considers nature and the spirit . Spirit, specifically the spirit of God, is present throughout nature. In his eighth and final chapter, ‘Prospects’, Emerson argues that we need to contemplate nature as a whole entity, arguing that ‘a dream may let us deeper into the secret of nature than a hundred concerted experiments’ which focus on more local details within nature.

Emerson concludes by arguing that in order to detect the unity and perfection within nature, we must first perfect our souls. ‘He cannot be a naturalist until he satisfies all the demands of the spirit’, Emerson urges. Wisdom means finding the miraculous within the common or everyday. He then urges the reader to build their own world, using their spirit as the foundation. Then the beauty of nature will reveal itself to us.

In a number of respects, Ralph Waldo Emerson puts forward a radically new attitude towards our relationship with nature. For example, although we may consider language to be man-made and artificial, Emerson demonstrates that the words and phrases we use to describe the world are drawn from our observation of nature. Nature and the human spirit are closely related, for Emerson, because they are both part of ‘the same spirit’: namely, God. Although we are separate from nature – or rather, our souls are separate from nature, as his prefatory remarks make clear – we can rediscover the common kinship between us and the world.

Emerson wrote ‘Nature’ in 1836, not long after Romanticism became an important literary, artistic, and philosophical movement in Europe and the United States. Like Wordsworth and the Romantics before him, Emerson argues that children have a better understanding of nature than adults, and when a man returns to nature he can rediscover his lost youth, that wide-eyed innocence he had when he went among nature as a boy.

And like Wordsworth, Emerson argued that to understand the world, we should go out there and engage with it ourselves, rather than relying on books and tradition to tell us what to think about it. In this connection, one could undertake a comparative analysis of Emerson’s ‘Nature’ and Wordsworth’s pair of poems ‘ Expostulation and Reply ’ and ‘ The Tables Turned ’, the former of which begins with a schoolteacher rebuking Wordsworth for sitting among nature rather than having his nose buried in a book:

‘Why, William, on that old gray stone, ‘Thus for the length of half a day, ‘Why, William, sit you thus alone, ‘And dream your time away?

‘Where are your books?—that light bequeathed ‘To beings else forlorn and blind! ‘Up! up! and drink the spirit breathed ‘From dead men to their kind.

Similarly, for Emerson, the poet and the dreamer can get closer to the true meaning of nature than scientists because they can grasp its unity by viewing it holistically, rather than focusing on analysing its rock formations or other more local details. All of this is in keeping with the philosophy of Transcendentalism , that nineteenth-century movement which argued for a kind of spiritual thinking instead of scientific thinking based narrowly on material things.

Emerson, along with Henry David Thoreau, was the most famous writer to belong to the Transcendentalist movement, and ‘Nature’ is fundamentally a Transcendentalist essay, arguing for an intuitive and ‘poetic’ engagement with nature in the round rather than a coldly scientific or empirical analysis of its component parts.

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Orion Magazine

America's Finest Environmental Magazine

The Greatest Nature Essay Ever

. . . WOULD BEGIN WITH an image so startling and lovely and wondrous that you would stop riffling through the rest of the mail, take your jacket off, sit down at the table, adjust your spectacles, tell the dog to lie down , tell the kids to make their own sandwiches for heavenssake, that’s why god gave you hands , and read straight through the piece, marveling that you had indeed seen or smelled or heard exactly that, but never quite articulated it that way, or seen or heard it articulated that way, and you think, man, this is why I read nature essays, to be startled and moved like that, wow.

The next two paragraphs would smoothly and gently move you into a story, seemingly a small story, a light tale, easily accessed, something personal but not self-indulgent or self-absorbed on the writer’s part, just sort of a cheerful nutty everyday story maybe starring an elk or a mink or a child, but then there would suddenly be a sharp sentence where the dagger enters your heart and the essay spins on a dime like a skater, and you are plunged into waaay deeper water, you didn’t see it coming at all, and you actually shiver, your whole body shimmers, and much later, maybe when you are in bed with someone you love and you are trying to evade his or her icy feet, you think, my god, stories do have roaring power, stories are the most crucial and necessary food, how come we never hardly say that out loud?

The next three paragraphs then walk inexorably toward a line of explosive Conclusions on the horizon like inky alps. Probably the sentences get shorter, more staccato. Terser. Blunter. Shards of sentences. But there’s no opinion or commentary, just one line fitting into another, each one making plain inarguable sense, a goat or even a senator could easily understand the sentences and their implications, and there’s no shouting, no persuasion, no eloquent pirouetting, no pronouncements and accusations, no sermons or homilies, just calm clean clear statements one after another, fitting together like people holding hands.

Then an odd paragraph, this is a most unusual and peculiar essay, for right here where you would normally expect those alpine Conclusions, some Advice, some Stern Instructions & Directions, there’s only the quiet murmur of the writer tiptoeing back to the story he or she was telling you in the second and third paragraphs. The story slips back into view gently, a little shy, holding its hat, nothing melodramatic, in fact it offers a few gnomic questions without answers, and then it gently slides away off the page and off the stage, it almost evanesces or dissolves, and it’s only later after you have read the essay three times with mounting amazement that you see quite how the writer managed the stagecraft there, but that’s the stuff of another essay for another time.

And finally the last paragraph. It turns out that the perfect nature essay is quite short, it’s a lean taut thing, an arrow and not a cannon, and here at the end there’s a flash of humor, and a hint or tone or subtext of sadness, a touch of rue, you can’t quite put your finger on it but it’s there, a dark thread in the fabric, and there’s also a shot of espresso hope, hope against all odds and sense, but rivetingly there’s no call to arms, no clarion brassy trumpet blast, no website to which you are directed, no hint that you, yes you, should be ashamed of how much water you use or the car you drive or the fact that you just turned the thermostat up to seventy, or that you actually have not voted in the past two elections despite what you told the kids and the goat. Nor is there a rimshot ending, a bang, a last twist of the dagger. Oddly, sweetly, the essay just ends with a feeling eerily like a warm hand brushed against your cheek, and you sit there, near tears, smiling, and then you stand up. Changed.

Brian, Thank you for sharing. I moved with your words through each paragraph. And surprisingly at the end, I really felt as though I had been reading a truly great nature essay, almost simultaneously with your essay. I very much enjoyed the imagery.

Thank you for this, brilliantly done. I feel this way when I read Annie Dillard’s essays.

Who made the b/w photographic image at the head of your column? When you wrote “image” I thought you were referring to this epigraphic view, which is lovely but not forceful enough to do what your written image purported to accomplish.

In other words, the greatest nature essay ever moves like a poem? Imagery and metaphor, showing and not telling, all in as tight and concise a space as possible given the form and genre?

Ah yes, changed. What all us nature mystics aspire to do and how skillfully you worked the other side of the mirror, seeing us seeing you writing to us turning on a dime, change changing indeed . . . .

The Greatest Comment Ever on ‘The Greatest Nature Essay Ever’ would begin with a compliment on the author’s deft use of words, words like flowing water, organic sentences sprouting one from the other like vines climbing up and over a wall and into the sunlight. The compliment would be short, just a sentence or two, complimentary of course, ending with a quiet phrase such as, ‘nicely done Brian Doyle.’

Reminds me of Abbott’s Waste-land Wonderings. Though it must belong to conservatives, I see something fresh and new. Thanks.

Brian, congratulations on a finely constructed piece. I liked it to much I’m going to feature it in my December newsletter and will mention it on my blog (www.pagelambert.blogspot.com) With credits to Orion, of course, whose link is already on my blog. I lead outdoor writing adventures and look forward to sharing your piece with clients.

I nominate David Quammen’s “The Same River Twice”

Seth Zuckerman’s The Same River Twice should be in the running too.

I don’t know why I was led down the path that led to Portland Magazine Brian Doyle but I followed it today on the day that I needed to find it. Thank you.

Very, very beautiful and inspirational.

As what I expect is becoming usual, for me, when I read an essay of You: Yeah! When I read your Essays it feels like my grandmother has just offered me a magnificent bowl of fruit. There’s not a duplicate in the basket. I just heard you speak at In Praise of the Essay, and I was the one, with my daughter at my side, who was overcome with both laughter and tears, a shaken, not stirred mixture of the two. When you’d waltz our way with your emphatic delivery of your heart on that delicate platter, I got a real sense of you. And then, as soon as you were through, and not a moment later, I opened up the issue of your Portland review, and there, on the inside cover you delivered again that same heart on the same delicate platter, when you gave me “All Legs and Curiosity.” And I thought, this man has the power to make Women Burst into tears! And I did, right there at that table. And as I tried to compose myself, my daughter at my side, age 17 having visited Fordham in the Bronx not some 15 hours before, I hand the issue over to the woman at my side. She’s told me her daughter will soon be to school, but she has serious peanut allergies, and the delicacy of finding the right roommate for that situation has her beside herself, knowing there are things she can’t control.

I think to myself, I need to talk to this guy. What and how he says it and What he writes are delivered the Very same. But, I shy a way.

I go home and I find a Brevity Gem: the one you wrote about your children, and you being a stone. I’m filled up again, and I post it on My facebook, and one of my more sensitive man friends, who’s really a real friend, leaves a sensitive comment, and I realize then, This Man has the Power to Make Men cry too! And I decide there and then, He needs to be my mentor too. Will You?

What on earth is this all about? Was ist das?

A massive loss in natural disaster is afoot if you don’t stop writing essays so nobody will remember the images anyhow. So something helpful. Dreamers dream, ideas create ideologies.

brian ilove u very much for a beautiful poem . i delivered the ur nature essay & i got 1’st prize thank u a lot brian

Can someone tell me what a nature essay is about? Particularly this one

I’m trying to answer some questions for my school assignment.

(Eng.Comp 101)

Thank you, Cliff G

wonderful essay

What’s with the goat?

I just want to make sure this is the same Brian Doyle who wrote Joyas Volardores. Both beautifully written!

Yes, Vince, the same Brian Doyle. Here’s just a few of the other essays of his that Orion has published:

http://orionmagazine.org/index.php/mag/contributor/65/

Many more have only appeared in the print edition. He’s a real favorite of ours, and our readers!

Erik, Orion

I agree with @melvin, The Same River twice is my favorite essay of all time.

Very helpful and informative article. If you do not mind then I will share it. Thank you !

When we choose to simply sit in nature together, we are writing it’s great essay.

Brian, I just read this. I haven’t yet read anything that brought me to the near tears situation but yours made me feel things I hadn’t felt in a while. At one point, minor goosebumps too.

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The Problem of Nature Writing

By Jonathan Franzen

The Bible is a foundational text in Western literature, ignored at an aspiring writer’s hazard, and when I was younger I had the ambition to read it cover to cover. After breezing through the early stories and slogging through the religious laws, which were at least of sociological interest, I chose to cut myself some slack with Kings and Chronicles, whose lists of patriarchs and their many sons seemed no more necessary to read than a phonebook. With judicious skimming, I made it to the end of Job. But then came the Psalms, and there my ambition foundered. Although a few of the Psalms are memorable (“The Lord is my shepherd”), in the main they’re incredibly repetitive. Again and again the refrain: Life is challenging but God is good. To enjoy the Psalms, to appreciate the nuances of devotion they register, you had to be a believer. You had to love God, which I didn’t. And so I set the book aside.

Only later, when I came to love birds, did I see that my problem with the Psalms hadn’t simply been my lack of belief. A deeper problem was their genre. From the joy I experience, daily, in seeing the goldfinches in my birdbath, or in hearing an agitated wren behind my back fence, I can imagine the joy that a believer finds in God. Joy can be as strong as Everclear or as mild as Coors Light, but it’s never not joy: a blossoming in the heart, a yes to the world, a yes to being alive in it. And so I would expect to be a person on whom a psalm to birds, a written celebration of their glory, has the same kind of effect that a Biblical psalm has on a believer. Both the psalm-writer and I experience the same joy, after all, and other bird-lovers report being delighted by ornithological lyricism; by books like J. A. Baker’s “ The Peregrine .” Many people I respect have urged “The Peregrine” on me. But every time I try to read it, I get mired in Baker’s survey of the landscape in which he studied peregrine falcons. Baker himself acknowledges the impediment—“Detailed descriptions of landscape are tedious”—while offering page after page of tediously detailed description. The book later becomes more readable, as Baker extolls the capabilities of peregrines and tries to understand what it’s like to be one. Even then, though, the main effect of his observations is to make me impatient to be outdoors myself, seeing falcons.

Sometimes I consider it a failing, a mark of writerly competition, that I’d so much rather take private joy in birds, and in nature generally, than read another person’s book about them. But I’m also mindful, as a writer, that we live in a world where nature is rapidly receding from everyday life. There’s an urgent need to interest nonbelievers in nature, to push them toward caring about what’s left of the nonhuman world, and I can’t help suspecting that they share my allergy to hymns of devotion. The power of the Bible, as a text, derives from its stories. If I were an evangelist, going door to door, I’d steer well clear of the Psalms. I would start with the facts as I saw them: God created the universe, we humans sin against His laws, and Jesus was dispatched to redeem us, with momentous consequences. Everyone, believer and nonbeliever alike, enjoys a good story. And so it seems to me that the first rule of evangelical nature writing should be: Tell one.

Almost all nature writing tells some kind of story. A writer ventures out to a lovely local wetland or to a pristine forest, experiences the beauty of it, perceives a difference in the way time passes, feels connected to a deeper history or a larger web of life, continues down the trail, sees an eagle, hears a loon: this is, technically, a narrative. If the writer then breaks a leg or is menaced by a grizzly bear with cubs, it may even turn into an interesting story. More typically, though, the narrative remains little more than a formality, an opportunity for reflection and description. A writer who’s moved to joy by nature, and who hopes to spread the joy to others, understandably wishes to convey the particulars of what incited it.

Unfortunately, no matter how felicitous the descriptions may be, the writer is competing with other media that a reader could be turning to instead, audiovisual media that actually show you the eagle or let you hear the loon. Ever since the advent of color photography and sound recording, lengthy descriptions have become problematic in all genres of writing, and they’re especially problematic for the evangelizing nature writer. To describe a scene of nature well, the writer is hard pressed to avoid terminology that’s foreign to readers who haven’t already witnessed a similar sort of scene. Being a birder, I know what a ruby-crowned kinglet sounds like; if you write that a kinglet is chattering in a willow tree, I can hear the sound clearly. The very words “ruby-crowned kinglet” are pregnant and exciting to me. I will avidly read an unadorned list of the species—black-headed grosbeak, lazuli bunting, blue-gray gnatcatcher—that a friend saw on her morning walk. To me, the list is a narrative in itself. To the unconverted reader, though, the list might as well say: Ira the son of Ikkesh of Tekoa, Abiezer of Anathoth, Mebunnai the Hushathite . . .

If birds are the writer’s focus, there do exist good stories about individual birds (the red-tailed hawks of Central Park) and individual species (the non-stop trans-Pacific flight of bar-tailed godwits), and I can tell, from the new-story links that nonbirding friends are forever forwarding to me, that reports of astonishing avian feats can overcome the public’s indifference to birds, at least momentarily. Whether such stories make converts—and I’ll say it here explicitly: my interest is in making converts—is less clear. The science of birds and their conservation should be interesting to anyone with a modicum of intellectual curiosity, but the world abounds with things to be curious about. The bird-science writer is painfully aware that he or she has only a few hundred words with which to hook a lay reader. One tempting approach to this challenge is to begin in medias res, by a campfire at some picturesque or desolate location, and introduce us to the Researcher. He will have a bushy beard and play the mandolin. Or she will have fallen in love with birds on her grandfather’s farm in Kentucky. He or she will be tough and obsessive, sometimes funny, always admirable. The danger with this approach is that, unless the Researcher emerges as the true subject of the piece, we readers may feel bait-and-switched—invited to believe that we’re reading a story about people, when in fact the story is about a bird. In which case, it’s fair to ask why we bothered getting to know the Researcher in the first place.

The paradox of nature writing is that, to succeed as evangelism, it can’t only be about nature. E. O. Wilson may have been correct in adducing biophilia—a love of nature—as a universal trait in human beings. To judge from the state of the planet, however, it’s a trait all too rarely expressed. What most often activates the trait is its display by people in whom it’s already activated. In my experience, if you ask a group of birders what got them into birds, four out of five of them will mention a parent, a teacher, a close friend, someone they had an intense personal connection with. But the faithful are few, the unpersuaded are many. To reach readers who are wholly wrapped up in their humanness, unawakened to the natural world, it’s not enough for writers to simply display their biophilia. The writing also needs to replicate the intensity of a personal relationship.

One of the forms this intensity can take is rhetorical. Speaking for myself, I’m a lot more likely to read an essay that begins “I hate nature” than one that begins “I love nature.” I would hope, of course, the writer doesn’t really hate nature, at least not entirely. But look at what the initial provocation accomplishes. Although it risks alienating the already persuaded, it opens the door to skeptical readers and establishes a connection with them. If the essay then reveals itself to be an argument for nature, the opening salvo also insures that the writing will be dynamic: will move from a point A to a very different point B. Movement like this is pleasurable to a reader. Fierce attitudes are pleasurable, even in the absence of forward movement. Give me the blistering prose of Joy Williams in “ The Killing Game ,” a jeremiad against hunters and their culture, or “ The Case Against Babies ,” as ferocious an anti-birth statement as you’ll ever read, in her perfectly titled collection “ Ill Nature .” Indifference, not active hostility, is the greatest threat to the natural world, and whether you consider Williams hilarious or unhinged, heroic or unfair, it’s impossible to be indifferent to her work. Or give me Edward Abbey’s “ Desert Solitaire ,” an account of his years in the Utah desert, in which he fans a simmering Thoreauvian misanthropy into white-hot fire and wields it against American consumer capitalism. Here again, you may not agree with the writer. You may wrinkle your nose at Abbey’s assumptions about “wilderness,” his unacknowledged privilege as a white American. What can’t be denied is the intensity of his attitude. It sharpens his descriptions of the desert landscape and gives them a forensic purpose, a cutting edge.

A good way to achieve a sense of purpose, strong movement from point A toward point B, is by having an argument to make. The very presence of a piece of writing leads us to expect an argument from it, if only an implicit argument for its existence. And, if the reader isn’t also offered an explicit argument, he or she may assign one to the piece, to fill the void. I confess to having had the curmudgeonly thought, while reading an account of someone’s visit to an exotic place like Borneo, that the conclusion to be drawn from it is that the writer has superior sensitivity to nature or superior luck in getting to go to such a place. This was surely not the intended argument. But avoiding the implication of “Admire me” or “Envy me” requires more attention to one’s tone of written voice than one might guess. Unlike the evangelist who rings doorbells and beatifically declares that he’s been saved, the tonally challenged nature writer can’t see the doors being shut in his face. But the doors are there, and unconverted readers are shutting them.

Often, by making an argument, you can sidestep the tonal problem. An essay collection that’s dear to me, “ Tropical Nature ,” by Adrian Forsyth and Ken Miyata, begins by serving up a set of facts about tropical rain forests. The facts are seemingly neutral, but they add up to a proposition: the rain forest is more varied, less fertile, less consistently rainy, more insidiously hostile, than the drenched and teeming “jungle” of popular imagination. It’s a very simple proposition. And yet, right away, there’s a case to be made in the ensuing essays—further expectations to be upended, new astonishments to be revealed. Wedded to an argument, the scientific facts speak far more compellingly to the glory of tropical nature than lyrical impressionism, and meanwhile Forsyth and Miyata, as neutral bringers of fact, remain immune to the suspicion of seeking admiration. The premise of Jennifer Ackerman’s best-selling “ The Genius of Birds ” is likewise simple and sturdy: that “bird-brained” ought to be a compliment, not an insult. Richard Prum’s 2017 book, “ The Evolution of Beauty ,” reached a wide audience by arguing that Darwin’s theory of sexual selection, which mainstream evolutionary biologists ignored or denigrated for more than a century, can explain all sorts of non-adaptive traits and behaviors in animals. Prum’s book has its flaws—the prose is gluey, and Darwin’s theory was perhaps not quite as forgotten as Prum represents it to have been—but the flaws didn’t matter to me. The theory of sexual selection was an eye-opener, and I learned a lot of cool things about a group of tropical birds, the manakins, that I otherwise might never have known. Such is the power of a compelling argument.

For the nature writer who isn’t a polemicist or a scientist, a third avenue to intensity is to tell a story in which the focus is on nature but the dramatic stakes are emphatically human. An exemplary book in this regard is Kenn Kaufman’s “ Kingbird Highway .” Kaufman grew up in suburban Kansas in the nineteen-sixties, became an obsessive birder (nicknamed Kingbird), and conceived the ambition, after he dropped out of high school, of breaking the record for the most American bird species seen in a calendar year. The record is quickly established as the dramatic goal, the protagonist’s coördinating desire. And then, immediately, we’re presented with an impediment: the teen-aged Kaufman has no money. To visit every corner of the country at the right time of year, a birder needs to cover huge distances, and Kaufman decides he’ll need to hitchhike. So now, in addition to a goal and an impediment, we have the promise of a classic road adventure. (It’s important to note that, just as we don’t have to be pedophiles to connect with Humbert’s pursuit of Lolita, we don’t need to care much about birds to be curious about what happens to Kaufman. Strong desire of any kind creates a sympathetic desire in the reader.) As Kaufman makes his way around the country, he’s attentive to the birds, of course, but also to the national mood of the early seventies, the social dynamics of bird-watching, the loss and degradation of natural habitat, the oddball characters along the way. And then the book takes a beautiful turn. As life on the road exacts its toll on the narrator, he feels increasingly lost and lonely. Although seemingly a quest narrative, the book reveals itself to have been, all along, a coming-of-age story. Because we care about the teen-aged Kaufman, we stop wondering if he’ll break the record and start asking more universally relatable questions: What’s going to happen to this young man? Is he going to find his way home? What sets “Kingbird Highway” apart from many other “Big Year” narratives is that it ultimately ceases to matter how many species Kaufman sees in a year. It’s only the birds themselves that matter. They come to feel like the home that he’s been yearning for, the home that will never leave him.

Even if we could know what it’s like to be a bird—and, pace J. A. Baker, I don’t think we ever really will—a bird is a creature of instinct, driven by desires that are the opposite of personal, incapable of ethical ambivalence or regret. For a wild animal, the dramatic stakes consist of survival and reproduction, full stop. This can make for fascinating science, but, absent heavy-duty anthropomorphizing or projection, a wild animal simply doesn’t have the particularity of self, defined by its history and its wishes for the future, on which good storytelling depends. With a wild-animal character, there is only ever a point A: the animal is what it is and was and always will be. For there to be a point B, a destination for a dramatic journey, only a human character will suffice. Narrative nature writing, at its most effective, places a person (often the author, writing in first person) in some kind of unresolved relationship with the natural world, provides the character with unanswered questions or an unattained goal, and then deploys universally shared emotions—hope, anger, longing, frustration, embarrassment, disappointment—to engage a reader in the journey. If the writing succeeds, it does so indirectly. We can’t make a reader care about nature. All we can do is tell strong stories of people who do care, and hope that the caring is contagious. ♦

This is drawn from “ Spark Birds .”

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Nature Writing Examples

by Lisa Hiton

From the essays of Henry David Thoreau, to the features in National Geographic , nature writing has bridged the gap between scientific articles about environmental issues and personal, poetic reflections on the natural world. This genre has grown since Walden to include nature poetry, ecopoetics, nature reporting, activism, fiction, and beyond. We now even have television shows and films that depict nature as the central figure. No matter the genre, nature writers have a shared awe and curiosity about the world around us—its trees, creatures, elements, storms, and responses to our human impact on it over time.

Whether you want to report on the weather, write poems from the point of view of flowers, or track your journey down a river in your hometown, your passion for nature can manifest in many different written forms. As the world turns and we transition between seasons, we can reflect on our home, planet Earth, with great dedication to description, awe, science, and image.

Journal Examples: Keeping Track of Your Tracks

One of the many lost arts of our modern time is that of journaling. While keeping a journal is a beneficial practice for all, it is especially crucial to nature writers. John A. Murray , author of Writing About Nature: A Creative Guide , begins his study of the nature writing practice with the importance of journaling:

Nature writers may rely on journals more consistently than novelists and poets because of the necessity of describing long-term processes of nature, such as seasonal or environmental changes, in great detail, and of carefully recording outdoor excursions for articles and essays[…] The important thing, it seems to me, is not whether you keep journals, but, rather, whether you have regular mechanisms—extended letters, telephone calls to friends, visits with confidants, daily meditation, free-writing exercises—that enable you to comprehensively process events as they occur. But let us focus in this section on journals, which provide one of the most common means of chronicling and interpreting personal history. The words journal and journey share an identical root and common history. Both came into the English language as a result of the Norman Victory at the Battle of Hastings in 1066. For the next three hundred years, French was the chief language of government, religion, and learning in England. The French word journie, which meant a day’s work or a day’s travel, was one of the many words that became incorporated into English at the time[…]The journal offers the writer a moment of rest in that journey, a sort of roadside inn along the highway. Here intellect and imagination are alone with the blank page and composition can proceed with an honesty and informality often precluded in more public forms of expression. As a result, several important benefits can accrue: First, by writing with unscrutinized candor and directness on a particular subject, a person can often find ways to write more effectively on the same theme elsewhere. Second, the journal, as a sort of unflinching mirror, can remind the author of the importance of eliminating self-deception and half-truths in thought and writing. Third, the journal can serve as a brainstorming mechanism to explore new topics, modes of thought, or types of writing that otherwise would remain undiscovered or unexamined. Fourth, the journal can provide a means for effecting a catharsis on subjects too personal for publication even among friends and family. (Murray, 1-2)

A dedicated practice of documenting your day, observing what is around you, and creating your own field guide of the world as you encounter it will help strengthen your ability to translate it all to others and help us as a culture learn how to interpret what is happening around us.

Writing About Nature: A Creative Guide by John A. Murray : Murray’s book on nature writing offers hopeful writers a look at how nature writers keeps journals, write essays, incorporate figurative language, use description, revise, research, and more.

Botanical Shakespeare: An Illustrated Compendium of All the Flowers, Fruits, Herbs, Trees, Seeds, and Grasses Cited by the World’s Greatest Playwright by Gerit Quealy and Sumie Hasegawa Collins: Helen Mirren’s foreword to the book describes it as “the marriage of Shakespeare’s words about plants and the plants themselves.” This project combines the language of Shakespeare with the details of the botanicals found throughout his works—Quealy and Hasegawa bring us a literary garden ripe with flora and fauna puns and intellectual snark.

• What new vision of Shakespeare is provided by approaching his works through the lens of nature writing and botanicals?
• Latin and Greek terms and roots continue to be very important in the world of botanicals. What do you learn from that etymology throughout the book? How does it impact symbolism in Shakespeare’s works?
• Annotate the book using different colored highlighters. Seek out description in one color, interpretation in another, and you might even look for literary echoes using a third. How do these threads braid together?

The Living Mountain: A Celebration of the Cairngorm Mountains of Scotland by Nan Shepherd : The Living Mountain is Shepherd’s account of exploring the Cairngorm Mountains of Scotland. Part of Britain’s Arctic, Shepherd encounters ravenous storms, clear views of the aurora borealis, and deep snows during the summer. She spent hundreds of days exploring the mountains by foot.

• These pages were written during the last years of WWII and its aftermath. How does that backdrop inform Shepherd’s interpretation of the landscape?
• The book is separated into twelve chapters, each dedicated to a specific part of life in the Cairngorms. How do these divisions guide the writing? Is she able to keep these elements separate from each other? In writing? In experiencing the land?
• Many parts of the landscape Shepherd observes would be expected in nature writing—mountains, weather, elements, animals, etc. How does Shepherd use language and tone to write about these things without using stock phrasing or clichéd interpretations?

Birds Art Life: A Year of Observation by Kyo Maclear : Even memoir can be delivered through nature writing as we see in Kyo Maclear’s poetic book, Birds Art Life . The book is an account of a year in her life after her father has passed away. And just as Murray and Thoreau would advise, journaling those days and the symbols in them led to a whole book—one that delicately and profoundly weaves together the nature of life—of living after death—and how art can collide with that nature to get us through the hours.

• How does time pass throughout the book? What techniques does Maclear employ to move the reader in and out of time?
• How does grief lead Maclear into art? Philosophy? Nature? Objects?
• The book is divided into the months of the year. Why does Maclear divide the book this way?
• What do you make of the subtitles?

Is time natural? Describe the relationship between humans and time in nature.

So dear writers, take to these pages and take to the trails in nature around you. Journal your way through your days. Use all of your senses to take a journey in nature. Then, journal to make a memory of your time in the world. And give it all away to the rest of us, in words.

Lisa Hiton is an editorial associate at Write the World . She writes two series on our blog: The Write Place where she comments on life as a writer, and Reading like a Writer where she recommends books about writing in different genres. She’s also the interviews editor of Cosmonauts Avenue and the poetry editor of the Adroit Journal .

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Your third essay, like the second essay, should explore a question or problem that has emerged from your reading. You may not be able to arrive at an answer or a solution, but over the course of your essay, you should at least be able to refine the central question or identify a range of solutions for your problem. By the end of your third essay, your readers should be able to see what they have gained by exploring this question or problem with you. Stay close to the texts as you explore your chosen issue. Do not wander through the theoretical stratosphere.

You will need to choose two texts to consider in this paper (see below guidelines for a list of works that you may select from), but you should not write an open-ended comparison of the two texts; instead, you should choose an issue or theme that emerges in both of them. Most of you will end up working with writers who share many basic values; you will need to read and think carefully to uncover meaningful distinctions between them.

Purpose of assignment:

• To focus your attention as you read and think about a particular work.
• To help you distinguish between observed details and the ideas that emerge from those details.
• To ensure that your own ideas are rooted in specific textual evidence.

William Cronon's "The Trouble with Wilderness; or Getting Back to the Wrong Nature"

Select one or two paragraphs from Cronon’s essay and examine the full range of connections to one other reading from our syllabus. Your own commentary should be 200-300 words long. Be sure to include textual evidence from “The Trouble with Wilderness” and the other work that you consider in your commentary

Thoughts on the Readings for Session 2

Imagine that Berry was asked to explain his reservations about Thoreau’s essay. What differences in perspective would he emphasize in his remarks?

Introductory Exercise

Search your memory for an encounter with a particular bird (it does not need to be a close encounter). Devote one page of your exercise to your description of the bird and its action. Do not include your thoughts or your feelings about the encounter on this page, but do try to evoke the entire sensory experience.

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• NATURE INDEX
• 29 November 2023

Why is China’s high-quality research footprint becoming more introverted?

• Brian Owens 0

Brian Owens is a freelance writer in New Brunswick, Canada.

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Travel restrictions during the COVID-19 pandemic are among the factors that have altered China’s patterns of international research collaboration. Credit: Greg Baker/AFP via Getty

When China overtook the United States in the Nature Index for contributions to natural-sciences research articles last year, it marked a watershed moment for the database and for Chinese science. Since the index was launched in 2014, China’s ‘Share’ — a Nature Index metric that takes into account the percentage of authors from a particular location on each paper — has been rising. In 2022, for the first time, China led the world, with a Share of 19,373, an increase of more than 21% from the previous year, well ahead of the US Share of 17,610.

Digging into the data, however, confirms another stark trend in global science. When China’s Share is divided by its ‘Count’ — a Nature Index metric that counts every article that has at least one author from a certain country — it becomes clear that, although the country is contributing more to high-quality research than ever before, much less of that research is being conducted with collaborators from other countries. In 2022, China’s Share/Count ratio reached 82% (a ratio of 100% would indicate no international collaboration at all). This number has been rising steadily for several years: in 2015, China’s ratio was 72%, for instance. At the same time, the ratio for most other major science nations has been falling. For example, the US ratio was 75% in 2015 and 70% in 2022, and for Germany, the ratio fell from 56% to 50% over the same period . In some scientific journals and fields, the trend is even more pronounced (see ‘Minimal collaboration’ and ‘Opposite directions’). China’s Share/Count ratio in the journal Analytical Chemistry , for example, was 96% in 2022.

Pandemic hangover

China’s decline in international collaboration in journals tracked by the Nature Index has been under way for several years, although it was exacerbated by the COVID-19 pandemic.

“The trend began prior to the pandemic, but you can’t dismiss COVID-19 as having an impact on anything and everything,” says Denis Simon, former executive vice-chancellor of Duke Kunshan University in Suzhou, China.

Global science is splintering into two — and this is becoming a problem

China had some of the strictest and longest-lasting travel restrictions in the world, making it more difficult for scientists to meet potential collaborators. That led to policy changes in China that made international collaboration less important to researchers’ careers. For example, many Chinese institutions had required international collaborations for a researcher to be considered for promotion, but this was dropped during the pandemic, says Fei Shu, a consultant on research assessment at the University of Calgary in Canada. “I’m not sure if it will be brought back, but for now it’s not a requirement, so there is less motivation,” he says.

The Chinese Scholarship Council, a non-profit organization run by the Chinese Ministry of Education, which pays for many Chinese academics to spend time as visiting scholars abroad, also paused funding during the pandemic, says Shu. It will take time for the number of Chinese scholars visiting the West to recover.

Although ways of facilitating virtual collaboration took off during the pandemic, Caroline Wagner, who studies international scientific collaboration at the Ohio State University in Columbus, says that face-to-face meetings are still crucial for bringing researchers together in the first place. “My research shows that 90% of international collaborations begin face-to-face, when people meet at conferences, research centres, or during visiting professorships,” she says. “Hardly any partnerships begin completely virtually.”

The importance of these kinds of personal relationship is especially apparent in US–China collaborations, says Richard Freeman, an economist at Harvard University in Cambridge, Massachusetts. One analysis shows that 78.5% of collaborative US–China papers have at least one Chinese author who either works as a scientist at a US institution or has returned home after studying in the United States 1 . It is clear that the disruption of the pandemic will have a notable effect on collaborations for some time, says Wagner.

Larger trends

Both Wagner and Freeman also noticed a pre-pandemic drop — particularly in US–China collaboration — in their own research, which uses much larger databases than the Nature Index.

Freeman says that some of this is simply owing to relative shifts in domestic and international publishing. His work found that, despite the drop in US–China collaboration, there was a rise in the total number of international collaborative papers published between 2018 and 2022. But there was a much larger increase in the number of papers with only China-based authors — often people who had been educated solely in China and who had little or no international experience. “China has ramped up domestic science so much, and international collaborations are not keeping pace,” says Freeman.

That increase, and the high quality of the country’s domestic publications, means that international collaboration might be becoming less necessary. “As China makes more progress, the need for collaboration could diminish in some fields,” says Simon. “They have enough options within the country to produce good partners.”

Domestic collaborations tend to go more smoothly than international ones during times of pandemic disruption and political tensions, he adds.

Certain policies in Chinese academia might also be driving the trend. In many cases, says Shu, only the first author of a paper gets credit for a publication in China’s evaluation and promotion systems. So China-based researchers might be less motivated to collaborate internationally if they will end up in the middle of the author list. “They will focus on their own projects, and may be less likely to join others’ projects,” he says.

The Chinese government has also been trying to encourage scientists to publish more of their work in Chinese journals, rather than international publications, says Simon. More collaborative research might gradually be appearing in local journals.

‘A new cold war’

Political tensions between China and many Western nations are also taking a toll on collaboration. Many Western governments have become more suspicious of Chinese scientists in the past five to six years, with fears that they might be part of attempts to steal technology and cutting-edge research.

The US China Initiative, launched under former US president Donald Trump in 2018, led to fraud cases being brought against researchers who failed to disclose ties to China on grant applications, although many of those charges were later dropped. Earlier this year, Canada banned government funding for research collaborations involving scientists with connections to the defence or state-security entities of foreign countries that it deems a risk to Canada’s national security. Germany is developing a similar policy.

The heightened suspicion has led to lengthy and complex visa processes, which are starting to discourage some Chinese scientists from visiting Western countries. “I have colleagues who spent six months waiting to get a visa for a conference,” says Shu. “This side effect of these political issues is having a heavy influence on scientific collaboration. The last four to five years have been like a new cold war.”

The tense political climate is having a chilling effect on collaboration, says Simon. “Chinese scientists don’t know if they are going to get fingered for doing something nefarious, even when they are not,” he says. “They may decide it’s not worth the risk.”

Earlier this year, Simon resigned from his job at the University of North Carolina at Chapel Hill in protest against what he saw as the university’s restrictive policies on Chinese collaborations. He told Times Higher Education ( THE ) that he had faced undue bureaucracy when organizing research trips to China, had been stopped from taking students to visit the country, and that the university had tried to shut down an informal policy discussion that he had arranged between colleagues and Chinese embassy staff. The university would not comment on personnel matters, but told THE that it had had a “steadfast commitment to maintaining the integrity of research” and “take[s] very seriously legitimate concerns about the need to safeguard US academic research from improper foreign influence”.

There are still many countries that would welcome collaboration with China, however. The balance might be shifting away from the scientific powerhouses of the West to other countries, such as those taking part in China’s Belt and Road Initiative — a global infrastructure-development strategy aimed at improving trade — most of whose members are countries in Asia, the Middle East, Africa and South America. The results of these collaborations might be published in a broader variety of journals, but this might not be of concern to China if its ultimate goal is wider scientific influence. “China is expanding its collaborative footprint around the world. For example, they have signed science and technology cooperative agreements with 116 countries,” says Wagner. China has also made agreements with middle- and low-income nations in South America and Africa. “So, perhaps there is less focus on the elite journals.”

It is important not to extrapolate an irreversible trend from these data. Relations between China and the West might slowly begin to improve in the future: the China Initiative was discontinued in February, and the United States and China renewed their science and technology cooperation agreement in August, although only for six months. Wagner and Simon both say that their colleagues in China remain keen to work with international peers. A forum on open innovation in China in May, that Simon attended, featured a letter from Chinese President Xi Jinping, stressing the importance of international collaboration.

“My sense is that China is still very highly engaged in international science,” says Simon. “Even if the US relationship is in decline, China wants to maintain its relationship with other countries.”

doi: https://doi.org/10.1038/d41586-023-03762-4

Xie, Q. & Freeman, R. B. NBER https://doi.org/10.3386/w31306 (2023).

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Donna L. Long

The earth is good., nature writing themes and expanding your journaling.

Nature writing is about the environment, the care and respect of the land, living with beings that share the land with us and the spiritual aspects of existing in a living universe.

The natural history genre written in English has a long history in North America. From the late 1600s and early 1700s to the present day, written works celebrating the land have found a ready audience. The lush abundance of the American continents and the wise management of land by indigenous Americans enthralled the European newcomers. Even if at the time the Europeans didn’t understand the wisdom, knowledge and sacrifice if took to keep a land abundant and healthy.

In This Incomparable Land , Thomas J. Lyon categorizes the genre into a wide range of themes and styles:

• field guides and professional papers
• natural history essays
• escape: from cities and towns, solitude and back country living
• travel and adventure
• humanity’s role in the environment (see Land Ethics and Sustainable Living )
• and I add fiction

Nature writing is how we can express not just what we see or hear, but how we feel. How we feel about events, the weather, our mood, and so on. What we write doesn’t have to be thousands of words, sometimes a few sentences are enough.

These themes are not neat. An field guide can have elements of the personal experience of the writer. A essay on land ethics can contain a ramble. A theme can have elements of other themes within it.

The Natural History Essay

With the exception of field guides and professional papers, nature writing is most often published in the form of the personal natural history essay. Henry David Thoreau is considered the originator of the form. The essay often consists of natural history information and personal and philosophical ideas in response to the natural world.

Places to Observe in Your Nature Journal

The ramble ian essay in which the author goes on a walk, usually close-to-home, and writes about the pleasures of being outdoors, the feel of place, and closely observes the happenings of plants and animals.

Essays of Experience

In this type of essays the writer shares their experience walking, building, living in a place. An example is Thoreau building his cabin in Walden , or Henry Beston beachcombing in The Outermost House .

Travel and Adventure

These essays focus on the excitement of danger, novelty of the new, and discovery of new places. Imagine if you stayed in a camp deep in a rainforest, and you wrote about it.

Working a farm, being outdoors, caring for land, plants, and animals has its’ own beauty. As a person works with the land a deep satisfaction and affection for the land can be developed and shared through writing.

Humanity’s Role in the Land

This topic takes up the topics of land ethics, philosophy, religion, economics, and human relations to our world and each other. How are we to live on planet Earth? The genre often issues challenges and calls to environmental activism, like in Rachel Carson’s Silent Spring .

Not just nonfiction but fiction too has focused on the land and the wider universe. The land herself, is often a character in a story and shapes people and events.

The Elements of Nature Writing

Descriptive passages.

The genre is distinguished by descriptive passages, interwoven with scientific facts. There is an art to reading scientific articles and elegantly incorporating the information into an essay. It is very pleasing when it is done well.This writing form is called creative nonfiction.

Descriptive passages describe time and place and what is experienced by the senses. In reading a natural history essay, the reader has a sense of actually being there. Of being able to see, smell and feel the place in their mind’s eye.

The Nature Journal

The nature journal is an important piece of equipment for the writer. The nature journal often serves as a place to record thoughts, feelings and facts. A journal can provide a rich source material for further work. From the journal, full-blown essays, articles, op-ed pieces and stories are written.

Nature Writing Journal Prompts

• Write a field guide page. Choose a plant or animal and draw them using arrows to point out important identification marks. Are there differences between male and female? Juvenile and adult?
• Write and experience essay. Have you built a outbuilding or layed out a garden? What was the experience like of being outdoors? Was the shine shining? Were your hands freezing cold?
• Write a ramble. Take a walk in a familiar place, close to home or work. Try to describe that place using the four of the five senses of sight, sound, feel and smell. Be careful of tasting.
• Write of an escape from city or suburbs. Have you visited rural or remote areas lately? How was it different from the built up artificial environments of city and suburbs.I could write about driving fast along deserted country roads and the sense of freedom I felt.
• Or do you live in rural or remote areas. What does it feel like to visit city and towns?
• Write of travel and adventure. Have you climbed mountains or hiked backcountry trails. I could write of my adventure of climbing Hawk Mountain or walking along a stream in the Smoky Mountains. If you haven’t had adventure maybe its time to go on one.
• Farm Life has its own rhythms. I grew up going to my grandparents farms and market gardens. I feed chickens and hogs. I loved the smell of new hay. I loved being outdoors. Share your farm experiences.
• Land Ethics essays help to clarify who you think you are and your responsibility to the land. I write about land ethics often on this blog. Who do you think you are?

See my booklet  Nature Journal Prompts (pdf) for more inspiration.

More on Nature Writing

Start a Nature Blog

Nature Journal Writing Prompts

Writing and Blogging Tips: A No Nonsense Guide

What is a Naturalist? (journal prompt)

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Blog > Essay Advice , Personal Statement , Supplementals > Writing a College Essay About Nature? 5 Questions to Ask First

Writing a College Essay About Nature? 5 Questions to Ask First

Admissions officer reviewed by Ben Bousquet, M.Ed Former Vanderbilt University

Written by Kylie Kistner, MA Former Willamette University Admissions

Key Takeaway

Writing an effective college essay about nature requires a focus on outcomes and personal growth. Ask yourself questions about what you've gained, whether it relates to your field of study, and how it presents your interdisciplinary interests.

Working in admissions at a college in the Pacific Northwest, I can’t tell you how many essays I read that were about nature. It can be a great topic, especially if you’re applying to a school that prides itself on its outdoor opportunities.

But you can’t just write any old essay about nature. It still has to serve the purpose of a personal statement .

In this post, we’ll go through five questions that will help you assess whether to write about nature and, if so, how to approach it. Plus, stick around until the end to see a few examples of college essays about nature.

A quick word

I want to start with a quick refresher on why you write college essays in the first place.

Each part of your application works together to form a cohesive application narrative . Your personal statement anchors this narrative, and your supplementals add to and diversify it.

Remember that admissions officers are strapped for time and overwhelmed with applications. Your application has to make a good first impression and keep your admissions officers’ attention.

It also has to tell admissions officers something distinctive about you that will make them want to offer you one of their limited spaces on campus. Everything must connect back to who you are.

Whether you’re writing a personal statement or a supplemental about nature, never lose sight of this question: what do I want my admissions officers to learn about me from this essay?

Let that question guide your topic selection.

5 Questions to Ask Yourself When Writing a College Essay About Nature

Alright, with that quick note out of the way, let’s move on to these questions. College essays about nature can take on endless shapes and sizes, but these questions should get you started out on the right foot.

1. What is the outcome of my time in nature?

There’s no point in writing about a topic in your college application if it’s not clear what the outcome was. Is your story related to an internal, contemplative hobby? Or did you build something, hike a challenging trail, or go on some sort of distinctive outdoor adventure?

What were the intangible outcomes? In other words, what did you learn, how did you grow, how did it change who you are today?

And what were the tangible outcomes? Did you improve yourself or the world around you? Did you clean up a park? Feel physically empowered after climbing a mountain you thought you couldn’t?

Writing with an eye toward outcomes will keep your essay focused on what matters most.

2. What new knowledge have I gained through my interactions with nature?

The outcome of your time in nature can also be about what you learned.

Whether your big takeaways were academic, intellectual, creative, or personal, exploring the knowledge you gained while interacting with nature can be a compelling way to emphasize the personal meaning nature has in your life.

Let’s pretend you want to take a more academic approach. You might choose to write about how looking through your telescope was the first time you felt like a physicist. Or maybe you did fieldwork for your biology class and it made you realize you actually hate the outdoors and want to be in a lab all day.

Or perhaps the way a sunset reflected on the water inspired a painting you created. Or a walk you took resulted in the biggest epiphany of your life. The possibilities are endless.

3. Is nature related to my field of study?

Your essay doesn’t have to relate to your intended major, but finding a connection is one way to approach writing about nature.

If you want to go into biology or environmental studies, for example, then writing about your love of nature, a conservation project you worked on, or a special outdoor skill you have might make a lot of sense.

In these cases, focusing on outcomes is especially important. You want to show admissions officers that your academic interest is also something deeply and personally meaningful to you. You aren’t just interested in it as an academic matter. You’re ready to step out into the real world and make it happen.

4. If not, how does nature show my interdisciplinary interests?

If your topic doesn’t relate to your intended major, then you might also consider how you can relate the idea of nature to any interdisciplinary interests you have.

Whether you’re applying for a major in the humanities or the sciences, interdisciplinary thinking skills are always good to demonstrate.

Taking this approach can help you tie together your application narrative. Maybe you want to study public health but are also an avid rock climber. Your personal statement about rock climbing could lead into the idea that everyone has a right to access outdoor recreation as a public health matter.

5. Am I writing a supplemental essay?

Of course, how you approach your college essay about nature will depend on whether you’re writing a personal statement or a supplemental essay.

A personal statement should be a meaningful representation of who you are, while a supplemental essay should show strong school or academic fit.

If you’re writing a supplemental essay about nature, think about what kinds of connections to the school you might be able to make. Are there relevant natural features nearby, like mountains, wetlands, or lakes? Are there co-curricular clubs that you can reference, like ecology club or backpacking club?

In supplemental essays, making specific connections between your interests and what the school has to offer can show admissions officers that you’re a natural fit.

College Essay About Nature Examples

Ready to read some great examples of college essays about nature?

Our first example, Gone Fishing , talks about the writer’s journey learning to love nature.

Kayaking the Missouri shows a student’s leadership in nature, and Ski Patrol dives into the lessons the writer learned while working on ski patrol.

Key Takeaways

Nature is a common college essay topic, but that doesn’t mean you shouldn’t write about it. The topic can lead to really impactful personal statements and supplemental essays, as long as you keep your focus on outcomes and meaning.

Ask yourself these questions before you get started on your college essay about nature to make sure you’re keeping your attention on what will have the greatest effect on admissions officers.

And when you’re ready to take your college essays to the next level, consider signing up for the Essay Academy, our all-in-one digital college essay course.

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Ralph Waldo Emerson

Ask litcharts ai: the answer to your questions.

Welcome to the LitCharts study guide on Ralph Waldo Emerson's Nature . Created by the original team behind SparkNotes, LitCharts are the world's best literature guides.

Nature: Introduction

Nature: plot summary, nature: detailed summary & analysis, nature: themes, nature: quotes, nature: characters, nature: terms, nature: symbols, nature: literary devices, nature: theme wheel, brief biography of ralph waldo emerson.

Historical Context of Nature

Other books related to nature.

• Full Title: Nature
• When Written: Mid-1830s (in November 1833, he gave a lecture called “The Uses of Natural History” in Boston, which contained many of the ideas that he’d later flesh out in his essay “Nature”).
• Where Written: Concord, Massachusetts
• When Published: September 1836 (Emerson also has a later essay called “Nature,” published in 1844, which is a separate work from his better-known 1836 “Nature” essay).
• Literary Period: Transcendentalism
• Genre: Essay
• Point of View: First Person

Extra Credit for Nature

Dear Diary. Emerson was a prolific diarist, with his personal journals spanning from his junior year at Harvard College up through his elderly years. His journals served as a major source of inspiration for fellow Transcendentalist writer Henry David Thoreau and were eventually published in 16 volumes.

The Buddha of the West. Emerson was revered as an orator as well as an author, giving as many as 80 philosophical lectures in a year throughout the United States. (He gave his first lecture, “The Uses of Natural History,” in 1833, outlining some of the points that he would later refine and build on in “Nature.)  Many of his contemporaries regarded him as a brilliant and wise thinker whose lectures inspired people to see the world’s underlying beauty and mysticism.