Nature writing engages in dialogue between the human writer and more-than-human plants, and animals, and their places and processes. Mikhail Bakhtin (1895–1975) is the leading critical theorist of the dialogic imagination celebrated and performed in what he called elsewhere the creative, carnivalesque, and intersubjective word and in the grotesque body and in the monstrous. It is distinct from the singular monologic and monotheistic conceptualization dictated in destructive, disembodied, and objective discourses (institutionalized practices producing significance) pronounced by the subject. Nature writing is dialogic as it engages in dialogue between humans and more-than-humans. It also celebrates the dialogue between nature and humans. Nature writing is also what Bakhtin called ‘polyphonic,’ or multi-voiced, and heteroglossic, mixed-tongued within one language. The nature writer listens to and hears the voices of nature and conveys them to the reader, often quite literally with animals, especially birds, such as Thoreau’s famous dialogue and play with a loon on Walden Pond. Nature writing also writes a word for nature that cannot speak itself, or only has a voice for those, such as nature writers, who can hear it and its plants, rocks, or waters speak. Thoreau’s views of water bodies throughout the course of his writing career.