[2] Orenstein's Reweaving the World is considered a seminal ecofeminist text which has had "a crucial role in the development of U.S. ecofeminism as a political position".
[9] Reweaving the World, co-edited by Orenstein and Irene Diamond, posits an ecofeminist movement that brings together “the environmental, feminist, and women’s spirituality movements out of a shared concern for the well-being of the Earth and all forms of life that our Earth supports.”[10] In the book, Orenstein described “’ecofeminist arts’ function [as] ceremonially to connect us with the two powerful worlds from which the Enlightenment severed us—nature and the spirit world.”[11] She suggested such arts often invoked the symbol of the Great Mother (Goddess) to emphasize three levels of creation “imaged as female outside patriarchy: cosmic creation, procreation, and artistic creation.” Orenstein explored the work of artists, poets and authors such as Helène Aylon, Ellen Marit Gaup Dunfjeld, Ursula Le Guin, Rachel Rosenthal, Fern Shaffer, Vijali Hamilton, and Mierle Laderman Ukeles, who used ritual, ceremony, performance and writing to enact transformation, reconnection and restoration of harmony.
For her, storytelling is the key to transforming the cosmic mythos, and works created out of "the artistic culture inaugurated by the contemporary women's movement", reveal an already extant body of "feminist matristic" mythology providing a path to a new mythic paradigm that will save the planet.
She works to differentiate a neosurrealist theatre from the Dadaist Theater of the Absurd, out of which it grew, exploring a transnational collection of playwrights including: Elena Garro, Teofilo Cid, Octavio Paz, Robert Benayoun, Aimé Césaire and Leonora Carrington to combat the tendency to view affiliation with the Bretonist school as the main criteria in defining a work as surrealist.
Instead the oneiric vision, the invocation of a dream world, the breaking down of reality to reveal interior imaginative truths, becomes the defining criteria.