Ostendorf-Rodríguez, Y. 2023. Let's Become Fungal!—Mycelium Teachings and the Arts. Valiz: Amsterdam. ISBN: 9789493246287 (Paperback). 320 p. € 27.00

Let's Become Fungal! Mycelium Teachings and the Arts by Yasmin Ostendorf-Rodriguez is a uniquely collaborative text that brings together art, nature, history, and activism, incorporating the author's own experiences as well as experiences gathered from diverse people and sites, primarily from Latin American women and indigenous communities. The book covers a wide range of subjects, not all directly linked to fungi; however, fungal facts constantly appear throughout the text, and parallels between the fungal world and humans are frequently drawn. The book's introduction outlines its structure by summarizing the main subjects of its 12 teachings (chapters). These teachings are presented in a non-linear chronology and cover diverse subjects that are meant to be interconnected, in which the author aims to resemble the dynamic and interconnected properties of fungal networks. Stunning illustrations and artwork photos are spread throughout the book.

Teaching 1 describes the author's personal journey, changing her job from the Natural Research Department in the Netherlands to a shiitake mushroom farm in Minas Gerais, Brazil, where her connection with fungi grew stronger. The teaching also shares various experiences from the author, artists, and scientists from Brazil, Chile, Colombia, and Peru. In Teaching 2, colonialism and its effects on people and nature are explored. This teaching begins with discussing colonialism in Barbados and its lasting impact on the local population and environment. Other topics explored in this teaching include introducing pine trees in Brazil and their potential alteration of soil fungi.

Teaching 3 emphasizes the significance of collectivism to promote change. The author shares her involvement in the 2019 Chilean protests and describes the protest as a kind of mycelium activist network that brought together various social groups and causes. I found the discussion in this teaching regarding the disproportionate variations in the consequences of climate activism worldwide to be particularly striking, ranging from fines in the Netherlands to persecution and even fatalities in Brazil and other Latin American countries. Teaching 4 talks about death from various perspectives. It explores decomposition, highlighting the vital role fungi play in this process. However, it also confronts the harsh reality of femicides in Mexico and sheds light on the disproportionate impact of violence on low-income individuals. Additionally, this teaching shares artistic projects centered around the theme of death.

Teaching 5 delves into toxicity, examining the impact of pesticides and fungicides on fungi and people, with examples from Latin American movements advocating against their use. It also explores the significance of swamps to local Latin American communities and emphasizes the threats these ecosystems face. Teaching 6 highlights the importance of people's imagination and shares creative projects in Puerto Rico to avoid mono-cropping and promote innovative agricultural solutions for resource-limited communities. The teaching also explores intriguing theories proposing that Homo erectus' ingestion of psilocybin-containing mushrooms may have boosted their artistic, cultural, and linguistic development.

Teaching 7 addresses the challenges of categorization, particularly for fungi. For instance, highlights the non-binary nature of fungal sex, some fungi with more than 20,000 mating types! Challenging conventional human sexual preference categorizations. Moreover, it discusses the difficulty of labeling fungi due to their interconnectedness within fungal networks. The teaching also brings awareness of the origins of scientific language terms such as “fungal kingdom” in contrast with “queendom” and highlights the term gender and geographic biases. Teaching 8 delves into how to work with natural resources without being extractive. The teaching discusses the relationship between art and nature, addressing the need for changes in artistic practices to mitigate environmental impacts, such as being mindful of the materials used. The author also examines several art projects, including one related to peatlands and the Selk'nam culture in Chile and Argentine Patagonia, and explores various conservation projects in Latin America.

Teaching 9 primarily focuses on valuing and being aware of non-linear notions of time. For instance, it includes a note on fungi spores, which can remain inactive for years and only become active when the right conditions are met. The teaching also delves into spore diversity and dispersal strategies, including the fascinating fungal air jet method. Teaching 10 aims to discuss how to deal with insecurity; however, I could not fully link the subjects in this teaching with this subject. Nevertheless, the teaching includes an interesting note of the author's experience on a nocturnal exploration in the Amazon rainforest to find a particular bioluminescent fungal species. It also shares experiences from the FIBRA collective regarding art exhibitions in Peru, as well as insights into Mazatec people's ceremonies in Mexico involving the consumption of mushrooms containing psilocybin.

Teaching 11 proposes the (re-)introduction, correction, and reclamation of terms, drawing insights from interviews conducted during the book's process. For instance, it highlights the importance of using the term “funga” alongside fauna and flora to underscore the significance of fungi, which has historically been overlooked and understudied. Teaching 12 concludes the book by discussing how to implement each teaching in one's life. Moreover, this final teaching provides readers with a guideline to identify their own fungal alter ego in order to enhance a deeper connection with funga. My fungal alter ego ended up being Psilocybe mexicana and Bridgeoporus nobilissimus.

The author does an excellent job of transmitting and sharing experiences throughout the book. The book consistently offers recommendations such as movies, podcasts, books, art, videos, museums, research projects, and fascinating people. While readers will need a basic understanding of scientific terms, especially in biology and ecology to fully connect with the book, it also explores non-scientific topics like art and activism and their connections to science, providing a fresh perspective for those in the scientific field. Although limnology and oceanography are not the main subjects covered, topics from these fields are presented. The book also discusses the ongoing and historical relationship between nature and humans and sheds light on the limited knowledge we still have about fungi, which I found relevant to limnology and oceanography. Following a non-conventional linear structure, each teaching (book chapter) covers multiple and diverse subjects. While occasionally losing track of the main point while reading the teachings, I enjoyed the dynamism and became easily engaged with the various subjects presented.