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Chapter II John Muir and Trees in the Time of Shallow and Deep ...........17
I. From Book of Nature to Nature as a Tree ..........17
II. Seeing Trees in the Time of Shallow and Deep.........19
III. Describing Trees in Wilderness Phonologically.......22
Chapter III Deakin’s Journey through Trees...........26
I. Cultural Perspective: A New Way of Seeing .....26
II. Deakin’s Perception of Trees in Various Temporal Axes ...........28
III. Depicting Trees in Heteroglossia............30

Chapter III Deakin’s Journey through Trees

The preceding two chapters set out to two perspectives from which people’s understanding ofand confines to trees are derived. One is sensory perception and the other is the ability of thinking,both of which, if seen in the broad meaning, belong to the cultural perspective. So, this chaptermoves to the piece of work across the ocean in the Old Continent Wildwood: A Journey ThroughTrees written by Roger Deakin.The late British nature writer, film maker and environmentalist Roger Deakin is best knownin Britain as the author of Waterlog. Waterlog unfurls in a frog’s eye view with the enchantingswimmer's tale, capturing Britain's wildest and most beautiful places. Wildwood, with which thisessay will deal, was narrowly finished before his death and compiled and published in 2006 a yearlater and received mixed comments among literary critics.

I. Cultural Perspective: A New Way of Seeing
“Woods, like water, have been suppressed by motorways and the modern world, and havecome to look like the subconconsious of the landscape. They have become the guardians of ourdreams of greenwood liberty, of our wildwood, feral, childhood selves, of Richmal Crompton’sJust William and his outlaws. They hold the merriness of Merry England, of yew longbows, ofRobin Hood and his outlaw band” (xii). This statement in “Introduction” is a concise summaryand guideline of Wildwood. It demonstrates that Deakin sees landscape as “an ideologicallycharged and very complex cultural product” (Cosgrove, 1998: 11). His aim, inferred from seeingthe “subconscious of landscape”, is to recall the lost and gone past and tradition of the germane ofEnglishness. He did it by emplotting his different experiences in different space as others. Beforedigging deeper into his spacial practices, it is important to explore first his belief of what ahuman-nature relationship is like and his vision of nature derived from his aesthetic andpsychological paradigms.Deakin based his definition of rural culture during the end of twentieth century on the corevalues of several circulates, including “Whole Earth Catalogue, Friends of the Earth, Cobbett’sCottage Economy and John Seymour’s The Fat of the Land” (2008: 5). The interpretations ofWilliam Cobbett cited in Deakin’s books are two-pronged.
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Conclusion

As the lines of Ella Wheeler Wilcox (1850-1919) go, “n[N]ature has many marvels; but a treeSeems more than marvelous. It is divine. So generous, so tender, so benign”. Wherever one meetsa tree, now outside the window, now along the road, now in a deep forest far away from wherehe/she normally lives, and reciprocates and transforms, there is an ecotone. With the treesbecoming “familiars” in this way, different writers appreciate different temporal bonds. Whitmanapprehends and sets out the provisionality we human be