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Quote by John Halstead

“The multiplicity of human identity is not just a spiritual principle, it’s a biological fact—a basic ecological reality. ... only 10% of the cells in your body belong to you. The rest are the cells of bacteria and microorganisms that call your body home, and without these symbionts living on and within your physical self, you would be unable to digest and process the nutrients necessary to keep you alive. Your physical body is teeming with a microscopic diversity of life that rivals a rainforest. The insight of the Gaia Theory—that “the Earth system behaves as a single self-regulating system comprised of physical, chemical, biological and human components”—is as much a statement about our own physical bodies as it is about the planet. If we imagine the Earth as the body of a goddess, we can also imagine our own bodies as a sacred home to an ecologically complex and diverse array of microscopic life." -- Alison Leigh Lilly, "Naming the Water: Human and Deity Identity from an Earth-Centered Perspective”

Quote by John Halstead

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John Halstead

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“When we came out of the cookhouse, we found the boy's father, the Indian man who had been grazing the horses in the pasture, waiting for us. He wanted someone to tell his troubles to. He looked about guardedly, afraid that the Señora might overhear him. 'Take a look at me' he said. I don't even know how old I am. When I was young, the Señor brought me here. He promised to pay me and give me a plot of my own. 'Look at my clothes' he said, pointing to the patches covering his body. 'I can't remember how many years I've been wearing them. I have no others. I live in a mud hut with my wife and sons. They all work for the Señor like me. They don't go to school. They don't know how to read or write; they don't even speak Spanish. We work for the master, raise his cattle and work his fields. We only get rice and plantains to eat. Nobody takes care of us when we are sick. The women here have their babies in these filthy huts.' 'Why don't you eat meat or at least milk the cows?' I asked. 'We aren't allowed to slaughter a cow. And the milk goes to the calves. We can't even have chicken or pork - only if an animal gets sick and dies. Once I raised a pig in my yard' he went on. 'She had a litter of three. When the Señor came back he told the foreman to shoot them. That's the only time we ever had good meat.' 'I don't mind working for the Señor but I want him to keep his promise. I want a piece of land of my own so I can grow rice and yucca and raise a few chickens and pigs. That's all.' 'Doesn't he pay you anything?' Kevin asked. 'He says he pays us but he uses our money to buy our food. We never get any cash. Kind sirs, maybe you can help me to persuade the master . Just one little plot is all I want. The master has land, much land.' We were shocked by his tale. Marcus took out a notebook and pen. 'What's his name?'. He wrote down the name. The man didn't know the address. He only knew that the Señor lived in La Paz. Marcus was infuriated. 'When I find the owner of the ranch, I'll spit right in his eye. What a lousy bastard! I mean, it's really incredible'. 'That's just the way things are,' Karl said. 'It's sad but there's nothing we can do about it.”

“Like the burning of the ancient library at Alexandria or the supremely ignorant incineration of stacks of invaluable Mayan codices, the loss of knowledge we are experiencing as the last of the traditional elders pass from this physical plane of existence without heirs to their knowledge- as well as the very environment in which sacred plants grow- is a tragedy occurring right now as you read these lines, one that could well be beyond redemption.”

“to the Pygmy it is one of the most important differences between the people of the forest and the people of the village that the latter do not know “how to walk”. Walking, to the Pygmy, means being able to run swiftly and silently, without slipping, tripping, or falling. Every day he depends for his food on his ability to “walk,” and more than once his life will be saved by the same ability, when he has to run from a charging buffalo or creep away unnoticed from a sleeping leopard.”

“If science is defined or understood as a mode of seeking knowledge, a means of interpreting nature in a way that can be demonstrated to others, then the plant-medicine traditions of the Amazon as they have been practiced constitute an authentic scientific discipline.”

“More often than not, the wolves showed themselves in other ways—a track etched in the mud, a few scats here and there, the well-chewed, moss-covered bones of a Sitka blacktailed deer, and, most frequently and possibly most grand of all, a late-evening chorus of howls heard from the deck of our boat at a lonely anchorage. The sound echoed softly off the high granite walls of some slope or side hill, somewhere where the wolves hunted in the vast sea of verdant rain forest.”

“Book Descriptions: Amazon Rainforest Magic: The Adventures of Namowë, a Yanomami Boy, Volume 1 The magic of the Amazon rainforest enchanted artist Barbara Crane Navarro as she spent the winter months with the Yanomami communities in Venezuela and Brazil over a period of twelve years and inspired her to write her children's book series. The vividly illustrated stories in this series evoke daily life in the rainforest and the magical quality of the Yanomami's relation to the plants and animals around them. The first book, "Amazon Rainforest Magic: The Adventures of Namowë, a Yanomami Boy", recounts the journey of Namowë, a thirteen year old Yanomami boy living in the rainforest, as he seeks a cure for his baby sister. Amazon Rainforest Magic: The Adventures of Meromi, a Yanomami Girl, Volume 2 The second volume recounts the surprising voyage of Meromi, a 9 year old Yanomami girl who is swept into an unexpected adventure in the rivers and jungles of the Amazon. With the help of improvised allies, she seeks a way to discourage intruders and make them leave the forest. Aspects of traditional Yanomami life in the Rainforest are woven into the fanciful story. The author’s enchanting illustrations transform readers into fellow travelers on Meromi’s magical quest.”