Emily Dickinson’s poetry is abundant of nonhuman minute creatures as flowers, birds, insects and grasses, forming an idiosyncratic imagery, which shows Dickinson’s compound poetics and her imagination of eco-community from another aspect. Firstly, Dickinson’s nonhuman minute biological imagery is different from the wilderness depiction in American literature created by authors before her and by her peers, which in some way arouses more attention and thinking from literature. Secondly, Dickinson treats nonhuman minute creatures the equal counterparts to human beings, taking both as the inseparable subjects of nature, thus blurring or removing the boundaries between human and nonhuman creatures, and showing the de-anthropocentric nature notion as acknowledging the value of nonhuman life-forms, which reveals the revolt to anthropocentrism and ecocentrism and implies such post-humanistic thoughts as simple and transcendent environmental humility, environmental subjectivity, and eco-holism. Eco-holism and eco-community are with the same origin and the same aims, which deduce the essential and interdependent relations between human and nonhuman nature. The combination of nonhuman minute biological images explicit revelation and implicit imagination of eco-community reflects the new vision of human-nature relationship, displays human recognition about nature’s unspeakable otherness and the sense of mission to speak a word for nature and her biopoetics.