Hana Ketley, Author at Hoopoe - A blog by nhbs

Author Interview with Angela Harding: A Year Unfolding

A Year Unfolding: A Beautifully Illustrated Guide to Nature Through the Seasons is a stunning book by much-loved printmaker Angela Harding, the first solely dedicated to her art. It is a celebration of Angela’s beautiful prints and a glimpse into her detailed and meticulous process.

A Year Unfolding is a journey through Angela’s year in nature, watching the seasons unfold in front of her studio in Rutland. This book shows how nature transforms and evolves over the course of the year, while also telling the stories behind some of Angela’s most popular images, giving context to her celebrated works, as well as new art created specifically for the book. The beautiful illustrations and evocative imagery of the prose make this the perfect book for readers and art lovers everywhere.

Angela Harding has kindly taken the time to answer a few questions for us below.

Could you tell us how you became interested in nature and printmaking?

Born in Stoke-on-Trent, the Potteries, one of the most industrial parts of the UK, it is perhaps surprising that I am more at home in the countryside than in towns. At school, I was the misfit teenager in socks rather than tights, whose bedroom was plastered with bird posters rather than popstars. So it has continued into my adult life, I have never lost my love of the natural world and in particular, birds still inspire my work. As a student of Fine Art at Leicester Polytechnic in the 1980s, I was first introduced to printmaking. My student home was a tiny cottage in the graveyard of St Marys church in Melton Mowbray. I would cycle the 18 miles to Leicester, collecting roadkill that I strapped to my handbags to draw at college. These drawings would then be turned into prints; at that time, I mainly worked in drypoint and etching. So my love of drawing moved easily into a love of printmaking. Today I work in a combination of block printing and silkscreen, but you can still see my love of line in the way I carve the blocks I make.

A Year Unfolding is a journey through the seasons. Why did you decide to give early spring and early summer their own chapters?

I love all the British seasons, but of all of them, it is the energy of spring and early summer that inspires many of my images. I always try to bring movement into my work, so there is a natural fit with the bursts of new growth and new life you get at these times of year. Also, the intensity of colour, the fresh greens of the garden and hedgerow. Birds become so much part of our day in spring and early summer, in the beauty of their songs and in their mad dashing flight to build nests and find mates.

The natural world takes centre stage in your prints; how important do you think art is in bringing awareness to the environment and how do you think it could be better used?

All of us have moved so far from a proper connection with the natural world—our comforts come high on what we need or what we think we need. So if my prints are a small reminder of the fact that we are very much part of the natural world, I am honoured. We all cherish those moments when we spot a kingfisher or come across a hedgehog in the garden. I hope, in my work, I communicate some of that joy. So if these wonders of experience with nature are to continue and grow, we need to be reminded how special they are and how much we value them.
You’ve created many beautiful and striking book covers, including English Pastoral, The Wild Isles and The Salt Path. What is the process of creating these? Do you approach each project differently?

Working with publishers over the years has given me wonderful opportunities to create new work and see my work published on a variety of themes. The advantage of being an older illustrator is that I come with a lifetime of experience. So when I was asked to do the cover for Raynor Winn’s The Salt Path, I could draw on the experience of having walked that coast path and spent a lot of my youth camping in Cornwall. I hope it is evident in the illustration I made for The Salt Path how much I love Cornwall and what great times I have had exploring its coastline.

The covers English Pastoral and The Wild Isles both used print that I had already made and luckily fitted with the themes of the books. English Pastoral featured a print call the Shippen Curlew—made after visiting my friends Mary and Hugh Elliot, who run the Twenty Twenty Gallery in Ludlow. Shippen is the Shropshire word for sheep shed and they live in a converted Shippen surrounded by farmland. Very sadly, Shropshire curlews are not as common as they were when I lived in Shropshire in my 20s, but they are still a bird I very much associate with the area. The Wild Isles shows a nightjar and moth against a seascape—this image is one of three prints made on the same theme. It was inspired by the trips my husband and I make on our small wooden boat—a lot of our summer months are spent sailing on the east coast of Britain.

What prompted you to make the jump from illustrator to author and create your own book?

I have always wanted to collect my work into a book. I work in themes and series so even though many of the images were made years apart, they fit together well. I hope the writing in the book is ok; I am, of course, more comfortable with a pen or chisel! I do come from a literary background; my father was an unpublished poet and a great influence. He studied English at Cambridge in the late 1940s under Professor F. R. Leavis. It is a shame my father is no longer here to see my book; I hope he would have approved. The poems that mark my chapter headings are ones we often shared together.

Finally, do you have any further projects planned that you’d like to tell us about?

I do have new projects in mind, but nothing definite that I can share with you at the moment. I am hoping to do a series of prints about the British coast that my husband and I visit on Wingsong, our boat. Travelling by boat and bike gives a different perspective on our landscape—we mainly spend time on the east coast moving from Suffolk up to Shetland, but we have both been around the whole coast by boat and by bike.

The NHBS Guide to UK Mustelid Identification

Mustelids are species in the family Mustelidae of the order Carnivora. They are medium to small mammals comprising around 56-60 species worldwide, eight of which are found in the UK, including feral ferrets. While the conservation status of most is considered Least Concern in Great Britain, several of these species are considered Critically Endangered or Near-Threatened in individual UK countries. This is mainly due to historical and current persecution and habitat loss. Pollution, however, has also impacted mustelid species, such as the otter, which was particularly affected by pesticides, such as organochlorines. Thankfully, many of the most harmful pesticides have been banned in most European countries since 1979, allowing populations to begin to recover. Other conservation efforts, such as legislative protection, habitat restoration and relocations, are also helping to restore mustelid populations.

Mustelids, other than badgers, are characterised by their long, thin body shape, which allows them to enter burrows and tunnels used by their prey. These mainly include rabbits and small mammals, but also some birds, bird eggs, invertebrates and fish. Several species resemble one another, particularly the stoat and the weasel, but several key identification features can help you to correctly identify the species. Colouration, body size and distribution within the UK can be helpful, as well as other features such as tail size, shape and colour, snout shape and even their running gait. Binoculars or a scope can help you to identify these features from a distance.

Polecat (Mustela putorius)

Distribution: Found throughout Wales, parts of Scotland and central and southern England.
Body length: 32–45cm
Tail length: 12–19cm
What to look for: This species has dark brown guard hairs, the top or outer layer of the coat, and buff-coloured underfur, giving them a two-tone appearance. They have a dark face with a white stripe across it, similar to a ferret. They can produce hybrid offspring with ferrets that can be difficult to identify, but the hybrids usually have a lighter appearance and more white on their faces.

Pine Marten (Martes martes)

Distribution: Mainly found in Scotland and Ireland, although fragmented populations are found in northern England and North Wales.
Body length: 46–54cm
Tail length: 18–27cm
What to look for: The pine marten has a chestnut-brown colouration with a pale yellow patch on its chin and throat that resembles a bib and a long, bushy tail. The ‘bib’ is uniquely shaped on each pine marten, meaning individuals can be identified by the pattern.

Stoat (Mustela erminea)

Distribution: Widespread throughout the UK, although absent on the Isles of Scilly, most of the Channel Islands and some Scottish islands.
Body length: 17–32.5cm
Tail length: 6.5–12cm
What to look for: This species is orangy-brown with a cream-coloured underside and throat. They have a very similar appearance to the weasel but there are some key differences: the stoat is larger, with a longer, black-tipped tail and a distinctive bounding gait compared to the run of the weasel.

Weasel (Mustela nivalis)

Distribution: Widespread in England, Wales and Scotland but is absent from Ireland and most islands.
Body length: 11.4–26cm
Tail length: 1.2–8.7cm
What to look for: The weasel is the smallest species of Carnivora in the UK, with a russet-brown coat that can appear more orange in certain lights, and a cream underside and throat. Their tails have no black tip and are much shorter compared to the stoat’s tail, and they run with a straight back, rather than the arched, bounding gait of the stoat.

American Mink (Neovison vision)

Distribution: Widespread across the UK, thought to be absent from the far north of Scotland and some Scottish Islands.
Body length: 31–45cm
Tail length: 13–23cm
What to look for: The mink has dark brown fur with a white chin and throat and a narrow snout. They can resemble otters but they can be distinguished by their smaller size and face, as well as their darker fur.
Did you know? The American mink is an invasive species, introduced into the wild in the 1950s and 1960s as a result of fur farm escapees and deliberate releases. Accurate population estimates are difficult but many areas are attempting to control numbers as American mink are a serious threat to the endangered water vole (Arvicola amphibius).

American Mink by Kary Nieuwenhuis via Flickr

Eurasian Otter (Lutra lutra)

Distribution: Rare but widespread throughout the country, although absent from areas in central and southern England, the Isles of Scilly, the Isle of Man and the Channel Islands.
Body length: 60–80cm
Tail length: 32–56cm
What to look for: This species has brown fur with a grey tint, a paler chest and throat and a broad snout, which can be used to distinguish it from the mink.
Did you know? In the UK, otter populations were in severe decline in the second half of the 20th century, due to hunting, pollution from pesticides and habitat loss. Conservation efforts have allowed populations to start to recover, with otters returning to every county in England.

European Badger (Meles meles)

Distribution: Widespread throughout England, Wales, Scotland and Northern Ireland. Absent from far north Scotland, Scottish Islands, the Isles of Scilly, the Isle of Man and the Channel Islands.
Body length: 75–100cm
Tail length: 15cm
What to look for: This is a distinctive species, with a grey back, black underside and paws, a fluffy, short tail and an unmistakable black-and-white striped face.

European Badger by caroline legg via Flickr

(Feral) Ferret (Mustela furo)

Distribution: Feral populations throughout Britain, but thought to survive best on offshore islands, such as Shetland, Mull, Harris, Islay, Rathlin Island and North and South Uist. There is also a population in North Monaghan.
Length: 48–56cm (including tail)
What to look for: This species has multiple colour variations, including white, brown, black or mixed fur. Their nose is usually pink, although they can have darker blotches, and they have a thin white band across the face with darker eyes, giving it a bandit-like appearance. They can be hard to distinguish from the polecat, from which it is descended. Where there is an established population of both species, hybridisation can occur. Patches of white on the fur, particularly the paws, can indicate either a ferret or a hybrid.

Author Interview with Roy Dennis: Mistletoe Winter

Mistletoe Winter is a collection of essays on our environment, covering biodiversity, habitat conservation, rewilding and individual species.

Similarly to his companion volume, Cottongrass Summer, author Roy Dennis expresses his alarm at the crisis currently confronting the natural world while balancing this with his sense of optimism about the younger generations and their fight for the crucial changes needed for the future. Drawing from his considerable experience of working in nature conservation, his essays are full of insight and originality, providing inspiration and ideas for everyone who cares about our planet and its species.

Roy Dennis has kindly taken the time to answer a few questions for us below.

Mistletoe Winter and its companion Cottongrass Summer are collections of essays on our environment and the challenges it faces. How did you find the response to your first collection and what motivated you to write this one?

I received such a lovely response to Cottongrass Summer from so many people, and such encouraging reviews, that I wanted to cover a range of other nature topics in a similar way. People remarked that they liked the storytelling way of explaining some of the real issues to do with nature in our ever-changing world and this allowed me to cover some bigger ideas in Mistletoe Winter.

In your essay ‘Deep snow, predators and prey’ you noted how the choice of language and terminology may have an impact on the rate at which the general public learns about environmental crises. Could you talk a little bit more about this here?

I was talking about the fact that there is so much excellent science being done on wildlife and ecological issues, but so much is ‘hidden’ to ordinary folk because it is in scientific journals, some of which are not open access, and often written in a formulaic way. We need much better availability of the results written by the scientists involved in plain language, which everyone can understand.

What do you think are the most important and urgent steps that we need to take in the UK to protect our wildlife and endangered species, such as the lapwing?

The most important step is to raise ecological recovery to much higher levels. I would compare it to the major recognition of timber shortages at the end of the First World War, which created the Forestry Commission; and the shortage of food in the Second World War, which created a much enhanced Agriculture Department. In the present crises, we need greatly expanded Nature Recovery government departments with really substantial budgets to restore nature. I’d recommended that 50% of our land and seas is principally for ecological restoration, and budgets need to be in line with the £45 billion we spend on military defence.

You mention young people’s role and engagement in the fight against climate change, as well as your own childhood experiences with nature. How do you think we can best encourage environmental awareness in young people?

I think young people are often fully aware of the climate and biodiversity crises – in fact, more so than their parents. The important step forward is for older people to recognise their worries and do something about it – urgently – for it’s the young that will have to suffer the consequences of our inaction.

Mistletoe Winter will be your second book published in 2021, following the
brilliant Restoring the Wild, published earlier this year. Do you have plans for any further books or other exciting projects?

Yes, I have a couple of interesting book ideas I’m mulling over, and we have wildlife projects we wish to carry out – but I’m a great believer in working up ideas quietly without fanfare and then getting on with them.

Author Interview with Stephen Littlewood: Wild Mull

Wild Mull: A Natural History of the Island and its People guides the reader through the world of the Isle of Mull in its glory, considering every facet of the island’s natural history, diverse species and stories of past, present and future.

Mull is a seaborne landscape off the west coast of Scotland, displaying uncommon biodiversity and full of rare wildlife experiences, but today it faces some of its greatest challenges. With superb illustrations and illuminating text, Wild Mull is testimony to the power of wild places and the duty we have to protect and learn from them.

Stephen Littlewood kindly agreed to answer some of our questions below.

Mull mountainscape across Loch na Keal by Martin Jones

Could you tell us what inspired you to write this natural history of the Isle of Mull and its people?

We live in an era when wildlife is being pushed more and more into the margins, and many people are starved of the experience and understanding of wild places. In this context, there is a consensus that Mull is formidably equipped to display a concentration of land and marine species that is very rare today. It is also a relatively accessible destination. Consequently, the island and its surroundings have become significant attractions for a burgeoning population of wildlife tourists and, it must be said, for the tourism industry which has prospered on the back of a fascination with the so-called ‘wild’. Today, Mull’s reputation for delivering outstanding and intimate associations with many iconic British species draws people from far and wide. However, until now there has been no single resource that explains how Mull came to this position, or what it is about its aggregation of species and habitats that makes it so outstanding. I felt that it was high time to rectify that, but in doing so it was important to address some of the questions that are often overlooked during the pursuit of the profound pleasure to be gained from embracing nature in cherished land and seascapes. The book was always intended to be as much a history, an explanation and an exploration of this special place, as it was a guide to its species and habitats.

Visitors typically arrive on Mull with a wish-list of species to see. That list is invariably topped by eagles (white-tailed and golden), otters, puffins, and cetaceans. What people tend to be less appreciative of, or often not at all interested in, is the backstory both to these species and of the multitude of supporting flora and fauna. All of them are equally beautiful and extraordinary in different ways, and it is the sum of their parts that enables the headline species to thrive. I wanted to encourage the reader to explore as much of Mull’s complex biodiversity as possible, whilst also explaining how, in such an apparently injury-free landscape, it is constantly under pressure and subject to continual interventions by people, in the same way as anywhere else. To do so the book had to be factual but at the same time attractive and not overbearing. This meant that it would have to deliver a visual thrill; to make all of it, even the smallest elements, tangible and exciting. I also knew that Martin could sprinkle that magic, embroider the broad design concept, and embellish the text with the kind of high-quality photo images that would prove irresistible to the potential readership. He has done this wonderfully well.

You mention that human intervention has had a profound effect on Mull. Could you tell us a little more about the historical relationship between humans and the environment on the island?

Mull’s environment isn’t perfect, or unblemished. Most of that is down to the fact that people have been surviving on, profiting from, and ‘improving’ it for 10,000 years. If we were going to tell an honest story of the island’s natural history, it had to include the role of people, for better or worse, in shaping it. To begin with, I thought that this would be a tale largely of land use, of subsistence arable farming, grazing by domestic animals, wholesale planting and harvesting of cash-crop conifer plantations and so on. Of course, these are significant elements in the story, but only when I started to examine the historical record did I realise the extent to which species have been manipulated, consciously and unconsciously, by human interventions that have fundamentally impacted the flora and fauna over time. The picture of what we think of as a natural biodiversity, not only on Mull, isn’t necessarily as we perceive it. An extraordinary proportion of our flora and fauna has been introduced, exterminated, or tampered with. What I find interesting is that each time these actions have occurred they have been judged by the social, moral or economic expediency of the age. Today, we may feel confident that we know the right and wrong ways of addressing biodiversity issues, but one wonders if future generations will have a different perspective again.

The pine marten is flourishing on Mull, which is considered by some to be a success story, given their critical status in England and Wales. However, you highlight their potential negative impact on many of Mull’s endangered bird species. How does Mull plan to tackle this conservation conundrum?

In short, Mull doesn’t plan to tackle it at all nor, I think, is it a topic that is widely discussed. The pine marten is a very recent arrival on the island, and although it was not ‘formally’ introduced, it is generally accepted that it is here to stay. Its presence is mostly felt by the inhabitants to be desirable, so hopefully, its impact upon other species will not be to drive them beyond sustainable populations. Its role as a new predator does raise interesting questions, however. It is certainly thriving, but nobody is monitoring the impact of its reintroduction, nor the size of its population. It is a protected species in Scotland, so, therefore, cannot be deliberately trapped, whilst at the same time, the Scottish Environment Protection Agency (SEPA) have said that, because its introduction was never officially sanctioned, if it is accidentally caught in mink traps, for example, it should be removed from the island as an illegal immigrant and liberated elsewhere. We don’t really know if its migration is good or bad for Mull’s wildlife, and we don’t have any inclination to find out. I find this a confused response and a fascinating conundrum in the light of current approaches to the restoration of our damaged environments.

Pine Marten, an ‘accidental’ introducation by Nathen Steggles Briggs

Tourism, particularly ecotourism, contributes a large proportion of the island’s economy. However, negative aspects of ecotourism, such as overuse of areas, can lead to environmental damage. What measures are being taken to keep tourism sustainable?

Ecotourism is probably now the largest contributor to the economy of Mull, but again this isn’t a question that is really generating much deliberation about the future or consideration of potential interventions. There are parking issues, particularly in the centre of Tobermory, which have been the subject of debate and are likely to result in the community and local authority trialling solutions to excess traffic in urban areas. However, in terms of ameliorating traffic growth on the roads, the impact of ‘wild’ camping, or the increasing pressures on species such as puffins and otters by wildlife photographers and so on, there is little formal debate and very little coming forward by way of attempts to make tourism more sustainable to protect the environment. It was interesting, whilst writing the book, to reflect upon the significant behavioural responses of wildlife during the Covid-19 lockdowns. There were many discernible changes, both as a response to restrictions upon tourism and the subsequent lifting of those restrictions.

Do you have any future projects planned that you can tell us about?

Mull could be likened to an accessible ‘mini laboratory’ with the potential to explore many environmental issues which are being played out on a much bigger stage. I would like to use the prism of Mull to address some of the big questions that arose in writing the book, although unpacking and making sense of the many wicked issues that come to mind is a complex and hazard-strewn path which would be a wholly different kind of journey. In the meantime, perhaps Martin and I will further develop some of the core themes of this book, which continue to fascinate and engage an ever-increasing number of interested individuals.

Wild Mull: A Natural History of the Island and its People
Stephen Littlewood (Author) and Martin Jones (Photographer) | October 2021

Climate Challenges: 3. Fossil Fuels

In the lead up to the 26th UN Climate Change Conference of the Parties (COP26) in November of this year, we are writing a series of articles looking at some of the toughest global climate crisis challenges that we are currently facing. This article looks at the use of fossil fuels and their contribution to climate change.

What are fossil fuels?

Fossil fuels include coal, natural gas, heavy oils and petroleum. They are formed from the decomposition of carbon-based organisms that were buried millions of years ago. This created carbon and hydrogen-rich deposits below the earth’s surface, which can be extracted and burned for energy. Fossil fuels are non-renewable, a finite resource that is being used much faster than can be replenished, but this type of fuel currently supplies around 80% of the world’s energy.

How are they extracted and what are the impacts?

There are several methods of extracting fossil fuels, depending on the type, amount and surrounding area. The main method for extracting solid fossil fuels, such as coal, is mining, where buried resources are exposed by digging or scraping. This can be underground, on the surface or even at sea. Land-use changes associated with mining, such as the construction of access roads, processing plants and other facilities, and the mining itself, have a wide range of environmental impacts. The extraction of coal can pollute local water sources with toxic chemicals and heavy metals, reduce the quality of soil, involve excess dumping of rock and soil and strip the land of vegetation. There are also some very destructive techniques such as the use of explosives, which can have a widespread impact on the local wildlife.

For liquid or gaseous fuels, the method most often used is drilling. This has similar land-use change impacts to mining, but drilling also involves pipelines, the building of which can cause thousands of miles worth of damage. There is also the threat of spillage, such as recently occurred in North Dakota, where nearly 41,000 gallons of wastewater was spilt from a broken pipeline. Oilfield wastewater, also called produced water, contains saltwater and drilling chemicals, including heavy metals. It is not drinkable and can have serious environmental consequences when it’s spilt.

Fracking is another method used to extract gas. The environmental impacts from this method include the release of carcinogenic chemicals into water sources, earthquakes and reduced water availability due to the high volume needed for the fracking process.

Oil pumps in California by CGP Grey via Flickr

What happens when we burn fossil fuels?

Burning fossil fuels generates energy, which is converted to electricity and used for industrial processes and transportation. Since the industrial revolution, our use of fossil fuels has been steadily increasing. The use of fossil fuels is thought to be the primary cause of climate change. Burning these fuels releases carbon dioxide and other greenhouse gases into the atmosphere at a much faster rate than it can be removed by the carbon cycle. These gases accumulate in the atmosphere, intensifying the greenhouse effect and increasing global average temperatures.

Burning fuels also increases the acidity of precipitation, causes ocean acidification and emits air pollutants, causing respiratory disease.

What are the alternatives?

There are many different alternatives to fossil fuels, each with their own benefits and drawbacks. From hydrogen gas, tidal energy, wind energy, geothermal power, biomass energy, biofuels to wave and solar power, there are several options that companies and countries can use to reduce their carbon footprint. The benefits are reduced direct emissions, the potential for lower fuel prices and that they are renewable energy sources. However, some have their own negative impacts on the environment. For example, wind farms can be harmful to birds, some solar panels are manufactured using heavy metals and are difficult to recycle, and hydrogen gas is mostly produced from fossil fuels. Therefore, simply switching over from fossil fuels to renewable is not an easy process.

However, a higher percentage of the UK’s electricity was powered by renewable energy than fossil fuels in 2020. Renewables powered 43% of our electricity compared to the 38.5% powered by fossil fuels. Together with nuclear power, 59% of the UK’s electricity was powered by low carbon sources. This demonstrates that large-scale use of renewable energy is possible and that we are taking steps on our way to becoming a net-zero country.

Protests in 2015 against the use and funding of fossil fuels by John Englart via Flickr

What is net zero and is it really the solution?

Net zero is the balance between the amount of carbon dioxide and other greenhouse gases produced and the amount removed from the atmosphere. This can refer to the emissions of individual people, companies, countries and the world. It does not mean that fossil fuels will no longer be used however, it instead means that the amount of emissions released is the same as the amount removed. This can be achieved without completely cutting out our emissions output by increasing the removal of greenhouse gases through techniques such as planting trees or capturing carbon during industrial processes. While finding a balance is an important step in tackling climate change as it will reduce global warming, it is not the final solution. The continued use of fossil fuels will have other negative environmental implications, even if our emissions are balanced.

True zero refers to the complete removal of carbon-emitting fuel types from our energy supply or carbon offsetting when using these fuels when renewable energy supplies fall short. This also includes cutting all greenhouse gas emissions, including from sources other than fossil fuels. Carbon negative refers to a carbon footprint that is less than neutral and therefore is removing more carbon dioxide from the atmosphere than it is adding. Only two countries are thought to have reached net zero, Bhutan and Suriname, and both claim to be carbon negative. However, both countries still use fossil fuels.

We are already seeing the effects of climate change and the increased average global temperatures. At the 1.5°C increase that the Paris Agreement aims to limit the rise to, we will see even more serious consequences (you can read more about this in our blog: Climate Challenges: What is COP26 and Why is it Important?). One way to truly tackle climate change is to begin reducing atmospheric carbon and greenhouse gases to pre-industrial revolution levels, hopefully allowing average global temperatures to also reduce to pre-industrial revolution levels. To achieve this, more countries must become either true zero or carbon negative.

Summary

• The extraction and burning of fossil fuels have serious negative environmental consequences, including temperature increase, air pollutants and water contamination. The amount of greenhouse gases in the atmosphere has steadily been increasing since the industrial revolution.
• There are multiple alternative energy sources, including renewables, but these can also have negative impacts on the environment. They powered more electricity in the UK than fossil fuels in 2020.
• Net zero is the balance between greenhouse gases produced and the amount removed from the atmosphere. True zero refers to cutting all carbon and greenhouse gas emissions. Carbon negative means removing more carbon dioxide from the atmosphere than is being added. One way to tackle climate change is for countries to aim for true zero or carbon negative to reduce the amount of greenhouse gases in the atmosphere.

Useful resources

• Martins, F., et al. (2019). Analysis of Fossil Fuel Energy Consumption and Environmental Impacts in European Countries. Energies, 12(6): 1-11
• This article on renewable energy generation in the UK in 2020: https://www.offshorewind.biz/2021/03/25/renewable-energy-outperforms-fossil-fuels-in-uk/

The Fate of Butterflies and Moths

Across the world, there have been significant declines in butterfly and moth populations. Since 1976, 76% of UK butterfly species have seen a decrease in abundance or distribution, with the abundance of larger moths declining by 33% since 1968. This trend is echoed across UK biodiversity, with 41% of all UK species declining since the 1970s. Butterflies and moths are clear indicators of the broader health of the environment; their decline is a stark warning about our natural world.

The UK has 59 butterfly species, 57 of which are resident. There are around 2,500 species of moths in the UK, split into two groups: larger macro-moths and smaller micro-moths. Almost 70 species of butterfly and moth have become extinct in the last 100 years. A variety of threats have contributed to these extinctions and the general decline of other species, including the destruction of habitats and major land-use changes, such as the intensification of agriculture. Climate change, chemical pollution and artificial light at night have also all be identified as threats to UK populations.

Butterflies and moths have an intrinsic value in their own right, but they are also an important component in many ecosystems. They provide environmental services, including pollination and pest control and are prey for many other species, such as birds, bats and other insectivores. Butterflies and moths are also important ‘model’ organisms, used for centuries to investigate different areas of biological research and are key to understanding many diverse fields, such as pest control, mimicry, genetics and population dynamics.

The Big Butterfly Count 2021

Butterfly Conservation, a UK nonprofit environmental charity, is determined to reverse this decline. Their vision is a world where butterflies and moths thrive and can be enjoyed by everyone, everywhere. To help with the assessment of the health of our environment, Butterfly Conservation runs an annual nationwide citizen science survey, the Big Butterfly Count. Launched in 2010, it is the world’s biggest survey of butterflies.

Big Butterfly Count 2021 ran between 16th July and 8th August (read our blog to see how our NHBS staff got on this year). The results of this count showed that the overall number of butterflies recorded per count is at its lowest since the event began. Over 150,000 counts were registered this year, more than ever before, but the results showed that the populations of some of our most-loved species, such as the peacock butterfly (Aglais io), are suffering. Luckily, it’s not all bad news, as some species, such as the marbled white (Melanargia galathea), appear to be bouncing back from last year’s low numbers. But the significant, long-term decline of many butterfly and moth species in Britain is alarming.

Butterfly Conservation’s new strategy

In their new 2021-2026 strategy, launched in October 2021, Butterfly Conservation outlines a bold, ambitious road map to bringing abundance back to nature. After 16 months of reviewing their position in butterfly and moth conservation, they have defined three new strategic goals:

Reduce the number of threatened species of butterflies and moths by half,
Improve the condition of 100 of the most important landscapes for butterflies and moths,
Transform 100,000 wild spaces in the UK, not just for butterflies and moths, but also for people.

Sussex Emerald by Ilia Ustyantsev via Flickr

To help them deliver their strategic goals, Butterfly Conservation have five initiatives. The first initiative is focused on recovery, through refocusing their science program to increase the understanding of why species are declining and how to recover their populations. They will also establish a new Threatened Species program, which will target conservation action for 65 species at serious risk. Butterfly Conservation will also expand their monitoring program to follow species recovery and gather data on a country-wide level. By 2026, they hope to have increased their species recovery actions by 65%.

The second initiative aims to inspire and enable more people to enjoy the natural world by improving access to learning, particularly for younger audiences. The third initiative is focused on uniting for wildlife, and the fourth is to tackle the threats species face, such as artificial light at night. They’ll achieve these goals by collaborating with a network of supporters and increasing their investment in research by 80% to establish five habitat quality indicators to better understand the impact of conservation work or policy changes. The final initiative focuses on managing land sustainably, by creating a land management advisory hub and delivering and demonstrating best practice land management for butterflies and months across landscapes.

Hummingbird Hawk-moth by Ian Watson-Loyd

Butterfly Conservation believes that the next five years are key and, through their bold new steps to conserve butterflies and moths, they can help to restore biodiversity, mitigate the climate crisis and start to rebuild the relationship between us and the natural world.

Useful resources

These Butterfly Conservation publications on The State of Britain’s Larger Moths 2021 and The State of the UK’s Butterflies 2015, as well as Butterfly Conservation’s new strategy.
The Butterfly Red List for Great Britain, produced by Butterfly Conservation and Joint Nature Conservation Committee (JNCC).

September Top 10

NHBS’s Top 10 bestsellers September 2021

We love looking back at our bestsellers from the month before and are very excited to share our Top 10 list for September.

This month, our bestsellers include exciting new works such as Europe’s Birds and Habitats of the World, as well as several ever-popular titles you may recognise from previous Top 10s, such as Secrets of a Devon Wood and Britain’s Insects.

Europe’s Birds: An Identification Guide | Andy Swash et al
Hardback | August 2021

In top place this month is WILDGuides latest book Europe’s Birds. Covering more than 900 species and illustrated with over 4,700 photographs, this is the most comprehensive, authoritative and ambitious single-volume photographic guide to Europe’s birds ever produced. Birdwatchers of any ability will benefit from the clear text; details on range, status and habitat; and an unrivalled selection of photographs.

Collins Birds of the World: All 10,711 Species Illustrated | Norman Arlott et al
Hardback | September 2021

Collins Birds of the World is the complete collection of the Collins Field Guide‘s incredibly detailed, accurate and beautiful bird paintings, brought together for the first time in one comprehensive volume. All 10,711 of the world’s bird species are covered – this is the ultimate reference book for birdwatchers and bird enthusiasts.

Read our interview with Norman Arlott.

Bat Calls of Britain and Europe: A Guide to Species Identification| Jon Ross et al
Hardback | August 2021

Bat Calls of Britain and Europe is a comprehensive guide to the calls of the 44 species of bat currently known to occur in Europe, drawing on the expertise of more than 40 specialist authors. Aimed at volunteers and professionals alike, topics include the basics of sound, echolocation in bats, an introduction to acoustic communication and call analysis. Detailed information is provided for each species on their distribution, emergence, flight and foraging behaviour, habitat, echolocation calls – including parameters of common measurements – and social calls.

Secrets of a Devon Wood: My Nature Journal | Jo Brown
Hardback | October 2020

Secrets of a Devon Wood is a hymn to the intricate beauty of the natural world. Artist and illustrator Jo Brown started keeping her nature diary in a bid to document the small wonders of the wood behind her home in Devon. This book is an exact replica of her original black Moleskin journal, a rich illustrated memory of Jo’s discoveries in the order in which she found them.

Jo very kindly agreed to answer some of our questions for a Q&A. Read the full interview here.

The Handbook of Acoustic Bat Detection | Volker Runkel
Paperback | September 2021

A recent release, The Handbook of Acoustic Bat Detection provides an in-depth understanding of acoustic detection principles, study planning, data handling, properties of bat calls, manual identification of species, automatic species recognition, analysis of results, quality assurance and the background physics of sound.

Read our interview with the authors.

British Craneflies | Alan Stubbs
Hardback | July 2021

British Craneflies is a guide to the identification and natural history of 250 species in six families of cranefly. It describes the distribution and habitat of each one, with 128 pages of identification keys illustrated with thumbnail drawings and colour plates showing the wing venation and markings of 180 species. This guide also contains photograph examples of some distinctive and common craneflies, illustrations of the male genitalia for all species of Tipulidae and for most genera of other families, and introductory chapters including a full account of the enemies of craneflies.

Britain’s insects: A Field guide to the insects of Great Britain and Ireland | Paul D. brock
Flexibound | May 2021

Britain’s Insects makes the Top 10 list again this month! This field guide is an innovative, up-to-date, carefully designed and beautifully-illustrated field guide to Britain and Ireland’s 25 insect orders, concentrating on popular groups and species that can be identified in the field.

Featuring superb photographs of live insects, Britain’s Insects covers the key aspects of identification and provides information on status, distribution, seasonality, habitat, food plants and behaviour.

Silent Earth: Averting the Insect Apocalypse | Dave Goulson
Hardback | August 2021

Silent Earth is part love letter to the insect world, part elegy, and part rousing manifesto for a greener planet. Drawing on the latest ground-breaking research and a lifetime of study, Silent Earth reveals the shocking decline of insect populations that has taken place in recent decades, with potentially catastrophic consequences.

Read our extended review.

British Moths: A Gateway Guide | James Lowen
Spiralbound | September 2021

British Moths is a wonderful introduction to 350 species of the most common and eye-catching adult moths that you may encounter in the UK. Concise species accounts include information on key features, seasonality, and when and where to see them. Each account is also placed alongside photos that have been carefully chosen to aid identification with clearly marked top tips.

Habitats of the World: A Field Guide for Birders, Naturalists, and Ecologists | Iain D Campbell Et al
Flexibound | September 2021

Habitats of the World is the first field guide to the world’s major land habitats – 189 in all. Using the format of a natural history field guide, this comprehensive book features concise identification descriptions and is richly illustrated, including more than 650 colour photographs of habitats and their wildlife, 150 distribution maps, 200 diagrams and 150 silhouettes depicting each habitat alongside a human figure, providing an immediate grasp of its look and scale.

Geoffrey Kibby: Publisher of the Month

With the recent arrival of Autumn, the fungi season is now upon us. And so, NHBS is delighted to announce Geoffrey Kibby as our Publisher of the Month for October.

Geoffrey Kibby is one of Britain’s foremost experts on identifying mushrooms in the field, and his privately published books on how to identify British mushrooms pass on many of those skills. Kibby’s user-friendly books contain an enormous amount of information, are fully illustrated and are aimed at everyone, from the fungi enthusiast to the expert mycologist. The wealth of detail includes vital features to look for when identifying wild mushrooms and the important identification characteristics when using a microscope, often an essential tool in mycology.

These books are also an essential guide to identifying edible mushrooms and are valuable handbooks when mushrooming anywhere in western Europe.

We asked Geoffrey to tell us about how he originally became interested in mycology, and what he hopes to achieve with his wonderful books:

I was 13 when I first became aware of fungi: an intensely violet toadstool, unlike anything I had ever seen (Laccaria amethystina) and from that moment, I was hooked. I bought my first little mushroom guide, then another and another and more through the years until my bookshelves started to groan under the weight of books about fungi. Now, more than 50 years later, I am writing my own books, trying to produce the sort of works that I would have wanted as an aspiring young mycologist. My books are based on my years in the field, hopefully capturing the essence of each species. I have also made a conscious point of illustrating species not readily available in other guides and trying to give the most up-to-date names in what is an ever-changing science. Mycology is an inexhaustible field of study at whatever level your interest lies. With over 4000 species of larger fungi in Britain, you will never run out of species to find or new facts to discover.

Browse Geoffrey Kibby’s entire range below, including the fantastic Mushrooms and Toadstools of Britain & Europe series.

Mushrooms and Toadstools of Britain & Europe, Volume 3: Agarics, Part 2
Hardback | £41.99

Volume 3 is the second to cover agarics in which over 680 common and rare species are covered, containing photographs and paintings to highlight important characteristics, including microscopic features.

Mushrooms and Toadstools of Britain & Europe, Volume 2: Agarics, Part 1
Hardback | £41.99

A total of 750 species and varieties illustrated with a key to major groups, dealing with the mainly white-spored agarics. The introduction to each section includes photographs, as well as useful illustrative paintings to highlight important characters that are sometimes difficult to ascertain from a photograph.

Mushrooms and Toadstools of Britain & Europe, Volume 1

Hardback | £44.99

Volume 1 illustrates the non-agarics, including puffballs, stinkhorns, earthstars, coral fungi, polypores, crust fungi, chanterelles, tooth fungi, boletes, Russula and Lactarius. A total of 650 species are illustrated via watercolour paintings, along with drawings of the spores and other useful microscopic features.

British Boletes: With Keys to Species
Spiralbound | £22.99

Boletes are some of the most popular fungi around the world, both because they are often choice edibles and because of their frequently exotic colours and large size. There are approximately 80 species in Britain and British Boletes provides user-friendly identification keys and descriptions to all the known species, along with colour photos of the majority of species.

British Milkcaps: Lactarius & Lactifluus
Spiralbound | £22.50

The Milkcaps, the species of Lactarius and Lactifluus, are a popular group of fungi distributed throughout the world and with over 70 species in Britain. This guide presents colour photographs of all these species, many with highly detailed photos of their spores, readily accessible keys and up-to-date information on their distribution and ecology.

The Genus Russula in Great Britain: With Synoptic Keys of Species
Spiralbound | £26.99

This guide provides an easy-to-use keying system to identify the nearly 160 species of the genus Russula found in Great Britain. Each species is fully described, including a further 29 from Continental Europe and Scandinavia that have not yet been found here but might be expected to, with over 120 full-colour photographs provided.

The Genus Agaricus in Britain
Paperback | £19.99

This guide describes all of the known British species in the genus Agaricus and provides easy to use synoptic/pictorial keys to the species and includes over 50 photographs illustrating the majority of British species

The Genus Amanita in Great Britain
Paperback | £19.99

This guide presents a broad view of the British species in the genus Amanita, plus some extra-limital species that might be found here. It contains photographs of many of the commoner species and some of the rarer and more obscure species that are normally rarely shown.

The Genus Tricholoma in Britain
Paperback | £16.99

This guide provides identification keys to the species of the genus Tricholoma known in Britain, plus others from mainland Europe which may be found here in the future. Full descriptions and discussion of the species are provided along with nearly 60 full-colour photographs of the majority of the British species.

All prices correct at the time of this article’s publication.

New Networks for Nature: Q&A with Amy-Jane Beer

Amy-Jane Beer talking with musician Feargal Sharkey about rivers © Holly Wilkinson

Amy-Jane Beer, a biologist, writer, editor and member of the steering group for New Networks for Nature, kindly took the time to talk with us about the work they do and the importance of their annual event, Nature Matters.

We discuss the role of the creative arts in engaging with the natural world, the political priority of wildlife and how best to get involved.

Firstly, could you tell us about the work that New Networks for Nature does?

Our entire focus is an annual event called Nature Matters: not quite a festival, not a conference, not a symposium, not an exhibition, not a variety show… but with elements of all these. It is two days and one evening of hugely varied dialogues, debates, readings, performances and displays about and in concert with nature. Our contributors are writers, artists, poets, filmmakers, activists, scientists, naturalists, musicians, photographers, conservationists and sometimes politicians and entrepreneurs. Our audiences contain many more of the same, plus publishers, journalists, producers, campaigners, representatives of major NGOs who use the opportunity to make new connections.

You are a relatively new charity, founded in 2009 and registering in 2016. How did the charity start and what are your hopes for its future?

The first event, held in 2009, was the brainchild of our founders: Jeremy Mynott, Mark Cocker, John Fanshawe and Tim Birkhead – four big thinkers who, in Jeremy’s words ‘shared the conviction that wildlife had a far richer role to play in the human experience than that defined by science or economics alone.’ They decided to try and reach more like-minded, creative souls and rapidly realised that an event offering both inspiration and social connection was a powerful way to build a network. By 2019, pre-COVID, that initial one-day event with 44 attendees had grown to a two and a half-day version with 30–40 contributors and an audience exceeding 250. This is about as big as we can manage on a voluntary basis with a minuscule budget funded purely by ticket sales. It’s rewarding but exhausting for the organisers, and the risk of burnout is very real. So the next phase for us as an organisation has to be sourcing funds that will allow us not only to offer an ever more diverse and accessible event but also to pay for some of the services that currently push us to our limits. It may be we offer a Friends of NNN subscription, seek carefully vetted sponsorship, or grant funding that doesn’t compromise our ethos or creative freedom.

One of your main aims is to challenge the low political priority that is placed on the natural world. Why do you think that there is so little importance placed on wildlife and nature nationally?

As a society we’ve come to take nature for granted, living lives so removed from the true sources of everything that sustains us we forget we’re not only dependent on nature, but part of it. That disconnect means that when we encounter problems, we often come up with solutions that target symptoms rather than the root cause. And the cause, almost every time, is that vast rapacious monster of global capitalism, to which politicians are wedded. Among the most toxic spawn of capitalism is a media that has reduced politics to a frantic minute-by-minute battle over the next headline. How can politicians possibly tackle the big issues when they’re doing that? In the current system, taking time to engage deeply with nature has become an almost subversive act, because it leads, inevitably, in my experience, to a recognition that we need a wildly different path.

Silk demonstration with arachnologist Sara Goodacre © Nick Williams

Your upcoming event, Nature Matters, is an annual creative celebration of nature. How important do you think the creative arts are for exploring and raising awareness about the environment?

The creative arts have a critical role to play in bringing us home to nature. And I say that as a former scientist who ‘jumped the fence’. Creativity was an aspect of my education that was horribly neglected. It’s all well and good to absorb information – to document and analyse and theorise. But in order to know what to do with all that, we need wisdom, emotional intelligence. We need stories, and we need huge amounts of love because love motivates and emboldens us like nothing else. Art makes sense of knowledge. Art asks questions science cannot and is free to go where science cannot see its way. Art lights up some of the dark. And wow, it’s getting dark right now.

This event has a huge varied list of sessions, from nature writing courses to panels on plastics in the environment and a session on nature and spirituality. What are the main goals that you want to achieve through Nature Matters?

Folk singer Sam Lee performing at New Networks for Nature © Nick Williams

New Networks for Nature does what the name suggests. It is mycelial activism. It connects people, with nature and with each other. The events are entertaining but they are not entertainment. Attendees come to listen to and admire amazing people, but also to meet and link to them. We like to think that everyone in the room at a NNN event will go away inspired but also having inspired others. I started attending about 8 years ago, very shyly, but through a few mutual friends was introduced to others and now every year I go along with the express purpose of meeting more people. As the Irish saying goes – a stranger is a friend you haven’t met yet. At NNN, a stranger is a link to many more people, more voices for nature, more opportunities to disseminate, mobilise. Many of my NNN connections have become deep friendships – but they are also highly intentional and purposeful relationships. I cultivate them because, if we can take any lesson from the current political castes, we desperately need a chumocracy for nature.

For any readers interested in your charity and its aims, what are the best ways that people can get involved?

New Networks for Nature audience © Robert Fuller

Come along! The attendees are as much part of the network as those on stage at any event. We bust a gut to keep the cost of attending to a minimum and make it accessible. There are always opportunities to ask questions, to socialise and to connect. As a rule, we don’t invite applications to perform or speak. Each event is organised by a different team and the programmes are themes and very organic. There are always a few big names in the mix but increasingly we tend to feature up-and-coming contributors or less exposed specialists – and to be honest, those more niche sessions are often where the real ‘wow’ moments happen. Unlike other festivals, we’re not really part of the promotion round – no one will get rich or famous or achieve a bestseller by appearing, or achieve social media celebrity. But we hope that everyone will go away with fresh fire in the belly, new light in the mind, and a list of names and allies to add to their personal network for nature.

Nature Matters 2021 will be held in Bath on 19th-21st November and will feature an exciting list of contributors, including ecological activist Satish Kumar, popular ornithologist David Lindo, breakthrough nature writer Nicola Chester, musician and curlew campaigner David Gray and young environmental campaigners Kabir Kaul, Holly Gillibrand and Bella Lack. To see the programme and book a ticket visit https://www.newnetworksfornature.org.uk/2021-event/

You can find out more about New Networks For Nature from their website and by following them on Facebook and Twitter.

The NHBS Guide to UK Puffball Identification

Puffballs are a type of fungi in the division Basidiomycota. They are so named due to the dust-like spores that are emitted as clouds when the fruitbody bursts. They are characterised by their lack of an open cap with visible spore-bearing gills. The spores are, instead, produced internally within the gasterothecium, a spheroidal fruitbody. Stalked puffballs have, as the name suggests, a stalk to support this structure, which is tough, woody and made of infertile material, whereas true puffballs have no visible stalk. Some species, such as ones attached to the substrate by mycelial cords, may become unattached and roll with the wind.

Puffballs are saprotrophic, meaning they feed on non-living organic matter, known as detritus. They break down detritus into utilisable nutrients and minerals, which maintains soil health and aids plant growth. Puffball species can be identified by the shape and size of the fruitbody, any surface features and the presence and shape of a stem. Species can also be determined by the examination of spores using a microscope. When cut in half, young puffballs whose spores have not begun to develop will be pure white all the way through. Older species turn yellow or brown on the inside. This can help distinguish them from earthball species, which has a dark interior (or gleba), or other mushroom species, which have visible gills.

Most puffballs are not poisonous but can resemble young poisonous mushrooms such as the death cap. True puffballs are edible when immature but any spore can cause digestive upset if consumed and caution should always be taken as some fungi are highly poisonous. This blog is not meant to be used as a guide for foraging. This blog covers the key identification features, distribution, season and habitat preference of some of the puffball species known in the UK.

Common Puffball (Lycoperdon perlatum)

Distribution: Common and widespread in Britain and Ireland
Habitat preference: Deciduous and coniferous woodlands, grasslands and along roadsides.
Season: July to November
What to look for: This species usually has a pear-shaped fruitbody that is 3–6cm tall. Its surface is covered in pearl-like attachments, called pyramidal warts, that are different sizes. These warts begin as a cream colour before turning ochre and falling off to leave an olive-brown surface marked with scars. Older specimens will have a dark area at the apex, where the pore hole develops. The common puffball has a visible stem that resembles an often distorted inverted cone. The spore mass is olive-brown and turns dark brown when fully mature.

Giant Puffball (Calvatia gigantea)

Distribution: Widespread and fairly common
Habitat preference: Roadside verges, field edges, nettle and other rank vegetation, woodland edges and occasionally found in open woodland or woodland clearings
Season: July to November
What to look for: This species can achieve a massive size, typically 10–80cm across. They are initially white, with a lumpy and leathery appearance, connected to the substrate by a root-like mycelial cord. While the interior of the immature puffball is white, mature specimens have a greenish-brown gleba.
Did you know? This species is known to form fairy rings. The mycelium hyphae spreads horizontally in a radial pattern. The hyphae can then sprout fruitbodies on the surface, forming a circular pattern thought in folklore to be the dwelling places of fairies and other magical beings.

Peter O’Connor aka anemoneprojectors via Flickr

Pestle Puffball (Lycoperdon excipuliforme)

Distribution: Widespread and fairly common
Habitat preference: Woodland and short grassland
Season: August to November
What to look for: The pestle puffball is initially white but turns ochre as it ages, and grows to between 10–20cm tall. The globe-shaped head grows between 4–10cm wide. The stem-like section, called a stipe, is often wrinkled in appearance and usually around half the diameter of the head. It is covered in pointed warts that fall off, leaving a smooth surface.
Did you know? After the head has ruptured and released the spores, the stipe will grow and remain intact throughout winter.

Dusky Puffball (Lycoperdon nigrescens)

Distribution: Widespread, fairly common
Habitat preference: Variety of habitats, such as woodland, moorland and sand dunes
Season: June to September
What to look for: The dusky puffball is usually between 2-3.5cm tall and 2-4cm across. It is pear-shaped, with a surface that begins pale brown before turning darker. It is covered in dark-brown spines that fall off as the puffball matures. This species has a visible, short stem with shorter spines. The spore mass inside is initially white and firm, before turning yellowish-brown and then dark brown and powdery.

Mosaic Puffball (Lycoperdon utriforme)

Distribution: Widespread but uncommon
Habitat preference: Sandy open pastures or heaths
Season: July to November
What to look for: The common name for this species is derived from the pattern across the head of the fruiting body, which develops as the specimen matures and the outer wall breaks into patches. It is subspherical to pear-shaped, between 6–15cm across and up to 15cm tall. The fruitbody turns grey-brown with age and the scales begin to fall away before the fruitbody eventually ruptures.
Did you know? The base of this species can also persist for several months after the fruitbody has burst. It resembles a blunt-ended inverted cone.
Other synonyms: Calvatia caelata, Calvatia utriformis, Handkea utriformis, Lycoperdon bovista, Lycoperdon caelatum, Lycoperdon sinclairii, Lycoperdon utriforme

Brown Puffball (Bovista nigrescens)

Distribution: Widely distributed, more frequent in southern counties
Habitat preference: Grassland and pastures, but can also be found in fields, lawns or roadside verges
Season: Late summer to autumn
What to look for: The fruitbody is between 3–6cm across, with a slight point at the bottom. This species lacks a stem and is attached to the substrate by a mycelial cord. The outer wall is initially white but flakes off as the fruitbody matures to expose the dark purple-brown inner wall.

Saxifraga/Peter Meininger via freenatureimages.eu

Stump Puffball (Lycoperdon pyriforme)

Distribution: Widespread and fairly frequent
Habitat preference: Grows mainly on decaying trees and logs
Season: July to early December
What to look for: This species is typically 1.5–4cm across and around 3–4cm tall. It has a pestle- to pear-shaped fruitbody that is initially covered in short pyramidal warts. The originally white surface browns with age, developing a dark area at the apex where the pore will occur. The stump puffball is attached to the substrate by several mycelial filaments. The stem remains white as the head matures.