In her recent volume on The Natural World in the Exeter Book Riddles, Corrinne Dale argues that the collection provides “an ethics of human-nature interaction,” rather than any explicit attempt at nature poetry, as Stopford Brooke once suggested. Whereas Aldhelm's Anglo-Latin enigmata, a nearcontemporaneous collection of riddles, “may show the careful attention to nature of a naturalist,” Dale suggests that the Exeter riddle collection reveals instead “a particular interest in the natural origins of [human]- made objects.” Reading the riddles alongside modern ecotheological texts, as I have done with the wisdom poems, Dale identifies a “programme of resistance to anthropocentrism in the Exeter Book riddle collection.” Acknowledging the long tradition of anthropocentric readings of the riddles, Dale's book seeks “to negotiate these readings, understand their reasoning, and seek alternative methods of understanding […] in order to examine what is usually overlooked”—that is, the other-than-human actors in these riddles. Jennifer Neville has suggested that early medieval English audiences, too, sought multiple simultaneous readings for their riddles: she shows that “continuing the interpretive process past an initial answer” was an essential part of the Old English riddling tradition in and beyond the Exeter Book. Neville suggests that, for the original early medieval English audience of Riddle 7, for instance, “recognizing the cuckoo is merely the beginning of the story,” the first step in identifying a broad “interpretive space that is not necessarily bound to be filled.”