In an attempt to respond to the West’s general obliviousness to nonhuman semiosis, this article proposes a method for appreciating nonhuman poetics. By combining the critical tools of poetics and literary theory with insights from ethology and biosemiotics, Stuart Cooke outlines a method of criticism for nonhuman creative compositions. Drawing on the work of Gerald Bruns, Elizabeth Grosz, and Gilles Deleuze and Félix Guattari, Cooke begins by theorizing a poetics that attends to the ecology of forces that produce, and are produced by, a work rather than the intentions of a single artist. Cooke proposes that an ethological poetics emphasizes the expressive capacity of materials across a range of written, musical, visual, and performative structures. By studying these expressive forces, Cooke argues, we can extend our appreciation of art and poetics into multispecies domains. The challenge is not to focus on the “meaning” or intention of nonhuman artworks but to study their disruptive, and exciting, forces. The third part of the essay is a case study of an Australian songbird, the Albert’s lyrebird, whose remarkable performance Cooke reads in terms of an ethological poetics. Producing an operatic complex of song, instrumentation, dance, and stage design, the male lyrebird’s composition is thoroughly entangled with the flora and fauna of his umwelt. Resistant to categorization by any generic label, Cooke argues that the lyrebird’s composition is best approached in the terms of transgressive, avant-garde performative and sound poetics—although it escapes such terms, thinking about the bird’s composition in this way compels us into a relation with its territory.