I recently had the opportunity to attend the official launch of the UK’s National Seagrass Nursery, held by the Ocean Conservation Trust (OCT) as part of its Blue Meadows project. Based on the River Dart, in Devon, the National Seagrass Nursery spans 400 square metres, making it the largest of its kind in the UK. This exciting launch event brought together a variety of national and local stakeholders, all with a vested interest in safeguarding and restoring our seagrass meadows.
Seagrass plays a vital role in marine ecosystems, with a single hectare capable of supporting 80,000 fish and 100 million small invertebrates. These marine meadows are also important carbon stores, absorbing carbon up to 35 times more efficiently than tropical rainforests. Unfortunately, since the 1930s the UK has lost around 90% of its seagrass beds, with the decline driven by a combination of disturbance, disease and pollution.
The OCT’s Blue Meadows project is working to combat this decline, aiming to protect 10% of all UK seagrass meadows and restore 50ha of seagrass over the next decade. The National Seagrass Nursery is a key component of realising these ambitions, and I was lucky enough to enjoy a guided tour of the facility.
In recent years, the OCT has developed a two-pronged approach to subtidal seagrass restoration, using hydro marine seeding and seagrass mat technology in combination. Reflecting this dual approach, the nursery is divided into two sections. One side of the facility is dedicated to processing seagrass seeds that have been harvested from donor sites along the coast of the South West. These seeds are stored in large tanks and, over time, the organic matter that holds them against the flowering stem rots away, allowing the seeds to sink to the bottom. Some of these seeds will be planted directly into the seabed using the HMS OCToPUS, an innovative injection device reminiscent of a large caulking gun. Others will be taken to the other side of the nursery and planted into sand on hessian mats. These mats are then placed into shallow tanks of fresh seawater, which is pumped in from the nearby estuary. Here, they will grow into plantlets, and after 4–6 months they will be ready for planting into the seabed. The mats are then taken to the chosen restoration site and carefully pegged in place by divers.
Despite the innovative facilities and technology on display at this event, what I was most impressed by was the knowledge and dedication of the team. OCT and its supporters have worked incredibly hard and have already seen some early success with 208ha of seagrass currently protected and 3ha restored. The launch of the National Seagrass Nursery represents an exciting step in UK seagrass restoration, and I am looking forward to seeing what the future holds for this initiative. You can learn more about the Blue Meadows project here.
UK Fungus Day is an annual celebration of all things fungi, organised by the British Mycological Society. The day invites people to get involved and learn more about the world of fungi through interactive events, online resources and institutions. We were lucky to speak to Professor Mark Ramsdale, about what makes UK Fungus Day and UK mycology so important.
Mark is chair of the BMS Fungal Education and Outreach Committee and head of training at the Medical Research Council Centre for Medical Mycology at the University of Exeter.
Can you tell us how the British Mycological Society began and what its mission is today?
The British Mycological Society was first active in the late 1800s, when small groups of naturalists began organising “forays among the funguses” to explore and record fungi. What began as a shared passion soon became a learned society, dedicated to advancing fungal biology, supporting research, and encouraging collaboration between scientists and enthusiasts. Today, the BMS is a community for professional and amateur mycologists and enthusiasts. It is one of the major mycological societies in the world, committed to promoting cutting-edge scientific research, fungal conservation and species recording and the provision of educational resources.
And about the society’s current strategic aims here
UK Fungus Day has been running for over a decade. What impact have you seen it make so far, and where would you like to see it go next?
UK Fungus Day has had a huge impact over the past decade, both in raising public awareness and in shaping how fungi are perceived. When it began, fungi were often seen as a niche interest. Now, thanks to the coordinated outreach, school activities, citizen science projects, and media coverage that UK Fungus Day generates each year, there’s a much greater recognition of the vital role of fungi in ecosystems, climate regulation, and even human health.
One of the biggest shifts I’ve noticed is how fungi (funga) are now being celebrated alongside plants (flora) and animals (fauna) and included in biodiversity conversations. More schools, community groups, and nature reserves are running fungus-focused events, and citizen scientists are contributing valuable records that inform policy development and strengthen fungal conservation efforts. The event has also helped inspire the next generation of mycologists by making fungi approachable, fascinating, and fun to learn about.
Looking ahead, I’d like to see UK Fungus Day expand its reach even further, engaging even more with sectors such as food, medicine, art, sustainability and technology – to show just how interconnected fungi are with our lives, and why fungal research is so important.
What are the best ways for people to get involved with UK Fungus Day and mycology as a whole?
There’s so much going on! Whether you’re a complete beginner or an experienced mycologist, you can join local fungus walks and forays, take part in citizen science projects like “Find-a-Fungus” on iNaturalist, or explore fungi creatively through school and community initiatives such as “Fungi Connect”. There are also talks, festivals, workshops, and exhibitions, taking place all over the UK. Or, you can simply head outdoors to photograph and learn about fungi in your own neighbourhood. The UK Fungus Day website features blogs on a range of fungus-focused topics; there’s also poetry and videos of past talks and presentations on YouTube @BritmycolsocOrgUk. However you take part, UK Fungus Day is all about discovery, and helping to grow our understanding of the fungal world.
Mycology appears to be gaining greater appreciation in popular science with more media, books and ID guides being written each year. Some even reaching best seller status. Why do you think this is, and do you hope to see even more coming from the discipline?
Fungi are certainly receiving more attention in popular science media now, and I think this is down to several converging factors. For a long time, fungi were a “forgotten kingdom” compared with plants and animals so they have not been on people’s radars, yet they clearly underpin many key processes. Increasingly, public interest in climate change, biodiversity loss, and sustainability has brought fungi into the spotlight because they are powerful agents of change.
Fungi have always inspired creative artists, and it is not hard to see why. Their biology is full of surprising and often unfamiliar elements: hidden mycelial networks that connect life underground, fruitbodies that mysteriously appear overnight, and species that can adapt their shapes in response to their environment. So, in terms of both popular science and science fiction, their unusual strategies of growth, survival, and reproduction lend fungi an aura of mystery that fuels the imagination. For many, they offer metaphors hinting at hidden connections, transformation, resilience, renewal and decay – concepts that resonate throughout storytelling and art.
It may also simply be that the extraordinary colours, forms and versatility makes them visually compelling subjects. Writers, filmmakers, and field biologists have all recognised this, producing books, documentaries, and field guides.
This cultural shift and growing awareness translate into greater public engagement, fuelling a desire for people to join fungal forays, learn identification skills, and contribute to citizen science recording schemes. As a professional mycologist, it is hugely encouraging: broader awareness of fungi feeds into conservation priorities, medical and agricultural research, and a deeper appreciation of biodiversity as a whole. I absolutely hope the momentum continues. Mycology still has countless stories to tell, and the public appetite is clearly there for more inspiring works.
What developments in mycology are you most excited about right now, and what are your hopes for the field in the future?
I’m particularly excited by the growing recognition of fungi in conservation. In the UK, species such as Waxcaps and wood-decay fungi are finally being acknowledged for their global importance, especially in ancient grasslands and forests. Protecting these ecosystems means protecting the fungi that underpin them.
At the same time, research is giving us unprecedented insight into the fundamental biology of fungi. We are beginning to unravel the molecular mechanisms that control fungal growth and development, yet there are still huge gaps in our knowledge – especially around how fungi interact with one another and how they organise into complex multicellular structures.
From a medical perspective, advances in our understanding of how fungi interact with the immune system are particularly exciting. We now know that the immune response to fungi is much more dynamic and nuanced than previously thought, and that we can use this to our advantage in treatment patients with fungal infections. On top of this, the recent discovery that some fungi host intracellular bacterial parasites which can alter their susceptibility to antifungal drugs opens up entirely new avenues for treatment of human fungal diseases.
What books would you recommend for someone just starting out in mycology? Similarly, what would you suggest for readers wanting to explore the subject further?
There are many excellent books to choose from and different reasons to look at them…
Tributes continue to arise from across the globe as people and institutions remember the life and legacy of Jane Goodall, who has died at the age of 91. The pioneering primatologist and conservationist was regarded as a world expert on chimpanzees, and her discoveries have revolutionised our understanding of ethology. She will be remembered as a tireless advocate for environmental protection and the animal kingdom.
The High Seas Treaty has now reached its 60th ratification, globally, meaning that it will take effect in January 2026. This important environmental milestone provides the foundation for legal mechanisms to create protected areas in international waters outside of national jurisdiction. Ratification represents a positive step towards ocean protection, however MPA designation is not an absolute guarantee that destructive practices will not be banned within the designated area. The British government’s move to continue the allowance of bottom trawling within UK MPAs demonstrates the apparent malleability of the legislation when governance sees an opportunity to override protection in favour of a perceived profit.
The UK itself is still a long way off ratification, but the government has committed to the introduction of legislation, the first step in the process, by the end of the year.
The government has moved to extend the ban on burning vegetation on deep peat. The new legislation means that burning will be banned on all peat that is over 30cm deep. Restrictions are not limited to SSSIs and will cover 676,628ha of deep peat in total – up from 222,000ha under the prior legislation. The ruling has been welcomed by nature groups as a positive step, both towards protection of peatland habitats and tackling the climate crisis.
The Climate Change Act 2008 under threat
Kemi Badenoch has vowed to repeal the Climate Change Act if the conservatives win the next election. The act, which was passed with almost unanimity in 2008, has served as the cornerstone of targets to reduce emissions and mitigate climate change over successive governments. Badenoch has stated that her prospective government would prioritise “growth, cheaper energy, and protecting the natural landscapes we all love”, in a declarative statement that has prompted widespread condemnation from senior conservatives, scientists, economists and businesses. The claims made to support her stance of repeal have been fact checked and reported here.
As part of our ongoing commitment to support wildlife and conservation, all NHBS staff members can apply for up to three days of paid time during each calendar year to spend on conservation projects of their choice. One of our Technical Advisors, Laura, recently spent a week working at RSPB Ynys Lawd / South Stack, in Anglesey. You can read all about her experience below:
Early in 2025, I applied to be a residential volunteer at RSPB Ynys Lawd / South Stack, Anglesey. I was lucky enough to be accepted and spent an incredible week, in early August, on the reserve.
RSPB Ynys Lawd / South Stack is an incredible reserve with swathes of heathland and farmland covering the rugged hills, eventually giving way to rocky sea cliffs. During springtime, large seabird colonies, including Razorbills, Guillemots, Puffins, Fulmars and Kittiwakes, nest in the cliffsides. Choughs and Ravens also call the reserve home, often dancing on the strong sea winds. All three types of Heather can be found there alongside Gorse and the South Stack Fleawort, thought to be endemic to the reserve. Cetaceans journey through the adjoining Irish Sea, with the most common visitors being Risso’s Dolphins, Common Dolphins and Harbour Porpoises.
I participated in the National Whale and Dolphin Watch 2025, run by the Sea Watch Foundation. This nine day citizen science event collects data on the distribution of whales, dolphins and porpoises around the UK. From the iconic Ellin’s Tower, we watched the seascape for an hour and noted any cetaceans that came past. The most memorable sighting was a pod of five Risso’s Dolphins with a calf! These distinctive dolphins are among the largest dolphin species, with some adult males growing up to 3.8 m long. Mature Risso’s Dolphins have unique bodily scarring patterns or ‘rake marks’, caused by members of their own species during social interactions, making them easier to individually identify. They’re also amazing acrobats, as we observed when we were lucky enough to spot a lone male doing backflips in the water! If you want to learn more about these enigmatic creatures, you can read our latest issue of British Wildlife.
Douglas Croft: NOAA Office of National Marine Sanctuaries on Flickr
A lot of my time was spent engaging with visitors and discussing the array of wildlife that inhabits the reserve. From Ellin’s Tower, alongside cetaceans, I observed Grey Seals and seabirds. By August, most of the nesting seabirds had already left, however, the cliffs were by no means deserted. Kittiwakes, Herring Gulls, and Greater Black-backed Gulls were still populating the rocks. Gannets sailed past in the mornings, diving and emerging triumphantly with beaks full of fish. My personal favourite sighting was a juvenile Peregrine Falcon which swooped past the cliffs, honing its hunting skills with impressive dives and turns. Choughs are year-round residents, often announcing their presence with their distinctive “Chee-ow” call and playing in the strong sea winds.
Other days were taken up by roaming the reserve and ensuring it remained clean and free of litter. Handily, they had one of our old-style pond nets, which made it easy to ensure that the wildlife pond was kept free of rubbish.
All in all, I had a wonderful week, thanks in part to the beautiful surroundings and wildlife but also to the lovely staff and other volunteers who made me feel so welcome. It’s an experience I would heartily recommend.
Many books have been written about notable names in the world of natural history, with the likes of Darwin and Wallace being the first that come to mind. Digging a little deeper in areas such as ornithology will uncover names that aren’t as well known and yet still made significant contributions to the field. Uncovering almost 30 species of birds that were previously unknown to science, John Henry Gurney was a founding member of the British Ornithologists’ Union in 1859, while focusing on the identification of birds of prey. Large collections of letters written by Gurney to Alfred Newton are held by Norfolk County Council in the Norfolk Archive Centre, and others to his family members are in the Library of the Society of Friends in Euston, London. Now a deeply researched biography about the man, his personal life and his contributions to cataloguing nature is being published by John Beaufoy Publishing.
NHBS managed to bring the co-authors together to answer a few questions about the book and uncovering the history of a man seemingly forgotten by the world of ornithology.
Clive Slater, Peter Mundy and Ray Williams
How did you first come across John Henry Gurney, and why did you decide to write this biography?
As co-authors of this biography, we (Clive Slater, Peter Mundy and Ray Williams) have combined our three quite different perspectives of John Henry Gurney. Almost 50 years ago, Ray commenced research on a bio-bibliography of the Victorian publisher John Van Voorst (1804-1898) and has published many accounts of the books that Van Voorst produced. One of them, in 2008, concerned Gurney’s Descriptive Catalogue of the Raptorial Birds in the Norfolk and Norwich Museum – Part I. Discovering that Gurney was occupied from 1857 to 1864 in producing Part I but that he never completed the project prompted the obvious question of “why?” Further investigations revealed his misfortunes of the 1860s, including his wife’s elopement, an inevitable divorce, and his entanglement in the notorious financial crash of Overend & Gurney for which the directors were tried for fraud (but acquitted).
When Peter was studying vulture specimens in the bird collection at the Natural History Museum at Tring for his PhD, he noticed some with Norwich Castle Museum labels. Then, much later, having bought a copy of Gurney’s 1884 account of raptors in the Norfolk and Norwich Museum, he realised what a huge collection it must have once been. He asked Clive, his ornithologist friend from university days in the 1960s and now a Norwich resident, to investigate. Apparently, none of the original specimens were present, which sparked their quest to discover more about Gurney and the fate of his remarkable collection. Since so little of his work seemed to have been remembered, Peter and Clive decided that it deserved wider recognition and so set about writing a biography. Since Ray’s 2008 paper on Gurney’s Descriptive Catalogue of the Raptorial Birds had come to Clive’s attention, contact was made, and thus came about our decision to join forces, Clive and Peter contributing as ornithologists, and Ray as a historian and bibliographer.
For those unfamiliar with Gurney, could you briefly tell us a bit about him and his work?
Gurney was born in 1819 and raised among the famous Norfolk family of wealthy Quaker bankers, also well known as philanthropists or promulgators of the Quaker faith, not only in Britain, but also in America. After education at a Quaker school, he entered the family bank in Norwich. He had started collecting bird specimens from an early age and this interest developed into journal publications. From 1853, he made collecting and writing about raptors his speciality. Simultaneously, he was receiving and publishing on bird specimens supplied by collectors in southern Africa. These two threads dominated his life’s ornithological work. However, John Henry fell for a cousin, Mary Jary Gurney who was an Anglican, and he was therefore, upon his marriage to her, disowned by his co-religionists, as was the current Quaker convention.
Nevertheless, he did not abandon the principles of his upbringing and was assiduous in his commitments to his banking career, his public service as an MP and JP and his philanthropy. Though his additional personal ornithological research resulted in a constant and considerable workload, what is truly astonishing is his determination and strength of mind in continuing his bird work throughout a series of tragic misfortunes during the 1860s. His research procedures were constant throughout his life, meticulously documenting external morphology of as many specimens as possible, while accurately recording geographical distributions. He was not a theorist, however, and dealt only in facts as he recorded them. Although best known for his studies of the world’s birds of prey, Gurney’s wide zoological interests also embraced the birds, fishes, amphibians, reptiles, mammals and marine invertebrates of his home county of Norfolk, which he supplemented with fascinating accounts of historical manuscripts.
What were the greatest challenges you faced when writing this biography?
The research itself was, of course, naturally difficult and time consuming, involving numerous visits to libraries, archives and museums by all of us. The access to archival material in private and public collections of books and specimens in the UK and southern Africa was challenging and required much logistic planning. Covid lockdowns hampered access to libraries and museum collections. On several occasions when reviewing progress, we found that the vast amount of information gleaned had to be severely edited in order to keep below the agreed word limit.
A significant challenge, therefore, was not any difficulty in finding enough information, but was how to select the most important facts and to present them in the most succinct fashion. Moreover, information had to be continually assessed and corroborated, which additionally involved the interpretation and explanation of events, extending in the end to nine years since we decided in 2016 to combine resources. However, the major issue was Peter’s deteriorating health, leading to his death in February 2023. Nevertheless, his determination to continue contributing to our work despite his serious illness was inspirational and we vowed to finish the book as a testament to his courage (the book is also dedicated to him).
This book covers the intriguing twists and turns of Gurney’s life in impressive detail. Were there any discoveries that surprised you when researching this book?
Much taxonomic information was encountered, though that is practically certain to arise in any biography of a Victorian naturalist. It is significant, however, how deeply respected he was in the ornithological circles of his day – many others across the world would often seek his help and advice in their studies. But perhaps the most surprising revelations concern Gurney’s private life and how he miraculously managed to continue his ornithological research in the face of so much adversity and personal tragedy, all of which became intertwined with other misfortunes of his wider Norfolk family. These discoveries provided the answers that Ray sought to explain the slow progress of the Descriptive Catalogue of the Raptorial Birds and the failure to complete it. Whilst the Overend & Gurney affair has been known about for some years, we were able to add some more detail. Most startling of all was the story of Gurney’s wife’s elopement and its tragic impact not only on his own life, but his whole family, and British and American Quakers in general.
The American newspaper press was gleeful in their cruel and unjustifiable use of the unfortunate event for their own political purposes. Gurney must have been deeply embarrassed by the public exposure of these events, hence his self-exile from Norfolk for five years. However, the care he bestowed on his sickly younger son was exemplary and his ability to continue his bird studies whilst living out of a suitcase for years was quite extraordinary. Equally impressive was his memory of details of his specimens at that time, even when he could not access them. He apparently never saw his recalcitrant wife again, but as it happened, she possessed huge financial resources of her own and thus Mary Jary and her lover were ultimately able, after their marriage, to re-establish themselves in society with very little trouble. However, their family also was to be visited again by tragedy when Mary died of cancer, aged 43, and their daughter died of a brain disease, aged 31.
I was surprised to learn that although Gurney donated 1,300 foreign bird specimens to the Lynn Museum, sadly, none of them remain. What specimens would you have been most interested in seeing?
Of course, all the specimens were valuable historically but most exciting would have been a view of the collection from Alfred Russel Wallace’s travels in the Malay Archipelago, as these would have been special and we do not even know what they were! Also intriguing would have been sight of the central displays of birds of paradise and hummingbirds that must have been striking but we have no idea what they looked like.
There are currently seven recognised bird species named in Gurney’s honour. Do you have a personal favourite?
Yes, a great favourite of Clive’s is Gurney’s Eagle, Aquila gurneyi 1860. More than 160 years after George Robert Gray honoured Gurney with its name we still know very little about the biology of this species – nobody has reported even finding a nest! An attempt to see it in Halmahera in 2017 was frustrating for the only fleeting, distant views. For such a large, imposing eagle to be so elusive and little known is quite remarkable.
Despite his vast contributions, including describing 29 birds, 21 of which are still recognised today, John Henry Gurney seems to be somewhat forgotten by modern ornithology. Why do you think this is?
Since Victorian times, momentous scientific advances have been made and the world’s environment is rapidly changing beyond all recognition. In the biosciences, there has been for a century or more an increasing trend for research to become focused on ecology, biodiversity, migration, physiology, biochemistry, genetics and climatology, all of which are now crucial for understanding and combatting the threats of global warming and habitat destruction. Whilst taxonomy must underpin these trends, so that biologists are able to confidently identify whole organisms of animals and plants of importance, the emphasis on taxonomy per se has shifted from the Victorian obsession with finding and naming new species for its own sake. Thus, Gurney is only one of many hundreds of naturalists of his period now unknown to modern biologists in general.
Even Peter, a modern authority on raptors and southern African birds, was baffled as to why for so long he knew little about Gurney, who published nothing about himself and only one very small booklet aimed at the public to serve as a guide to his raptorial collection. Difficult to trace were his letters and other manuscripts, widely scattered among collections in the Natural History Museum in Tring, the Castle Museum in Norwich, the Barclays Group Archives in Manchester, and the Society of Friends’ Library in London. Perhaps if his planned book of raptor paintings by Joseph Wolf had come to fruition he would have become better known. But it seems strange that most world birders and conservationists are so familiar with his name via the beautiful but near-extinct Gurney’s Pitta.
How would you describe Gurney’s impact on ornithology?
Gurney helped lay the foundations of modern ornithology in Victorian times by supporting the fledgling British Ornithologists’ Union and their journal, Ibis, in which he published his papers on raptors and southern African birds, embellished by Joseph Wolf’s illustrations. By his descriptions of new raptorial species and records of worldwide geographical distribution of many species he contributed crucial information to the difficult study of raptors, still a perplexing group. We should also recognise the lasting value of his specimens to modern scholars and the support that he provided to other ornithologists in his day.
What are you working on next? Do you have any more writing projects lined up?
Clive continues researching the history of the bird collections that were once held at Norwich Castle Museum but were dispersed in the 1950s, at the same time as Gurney’s raptorial collection. Thousands of bird specimens were sold, loaned or given to other institutions. Some of them emanated from important expeditions and notable naturalists, so why were these collections at Norwich in the first place, what went where, and why?
Now that Ray’s work on Gurney is finished, he is returning to his project of the bio-bibliography of John Van Voorst, and after that, a similar study is envisaged of the life of Thomas Alan Stephenson (1898-1961), a sea-anemone taxonomist and expert on marine intertidal zonation, as well as a superb botanical and zoological artist whose beautifully accurate paintings give the impression of being colour photographs.
John Henry Gurney – A Passion for Birds is published by John Beaufoy Publishing in association with the British Ornithologists’ Club, and is available in hardback from NHBS here.
Mosses, Liverworts, and Hornworts of the World makes sense of this highly diverse group of miniature plants, differentiating between the three lineages and delving into their evolution, anatomy, and life cycles. The result is an unprecedented in-depth look at these exquisitely beautiful and often overlooked organisms.
Joanna Wilbraham is an active member of the British Bryological Society and Principal Curator at the Natural History Museum, London, where she leads the curatorial team responsible for the collections of algae, bryophytes, and lichens. At just over two million specimens, this is one of the most significant research collections of its kind in the world.
We recently spoke to Joanna about Mosses, Liverworts, and Hornworts of the World, where she told us how she decided which species to include, threats facing these groups and what projects are on her horizon.
Firstly, can you tell us a little bit about yourself, your background, and how you came to write this book?
I first became interested in bryophytes (mosses, liverworts and hornworts) as an undergraduate student. I was keen to do my final research project in botany after an inspiring field trip to the Austrian Alps and was presented with two botanical options: an agricultural research experiment on wheat plants or a project working with bryophytes. Neither option sounded very appealing at the time, but I opted for the bryophytes and have never looked back. Almost immediately I noticed a tiny world I hadn’t previously paid any attention to. I was amazed to discover there was an actual club devoted to the study of these plants! I swiftly joined the British Bryological Society which led to many field excursions getting out and about with experts – undoubtedly the best way to get to get to know bryophytes and learn how to identify them.
I’ve been fortunate to be able to work with my favourite plant groups professionally over the course of my career. As a curator at the Natural History Museum, London, I specialised in cryptogamic botany, that’s those plants and plant-like groups that reproduce by spores rather than seeds. I focused on seaweeds and freshwater algae for many years though bryophytes have always stayed on my agenda. I am currently Curator of Mosses at the Museum, and I have the privilege of curating one of the largest and most significant collections of preserved moss specimens in the world.
When I was invited to write a book in Princeton’s ‘A Guide to Every Family’ series I saw an opportunity to bring the wonderful world of bryophytes to a wider audience and also a chance for me to spend time delving into some fascinating research along the way.
How did you decide which species to include in Mosses, Liverworts & Hornworts of the World?
The premise of books in this series is to provide a complete overview of a group at some appropriate taxonomic level. Classifications are constantly in flux as new research reveals more about the natural world but, at the time of writing the book, bryophytes were classified into 73 accepted taxonomic orders and this looked like a good starting point to base the narrative around. Some of these orders represent huge diverse groupings. For example, the Hypnales are an immense group of creeping mosses with over 4,000 genera, so I squeezed in a few example genus profiles here to showcase their diversity. In contrast, some other orders are only represented by one known extant genus, so for those the decision of what genera to include made itself. Some bryophytes are so charismatic that I simply had to include them, such as Dawsonia,the world’s largest free-standing moss. I did give in to some personal biases to include some of my favourite plants like the beautiful Myurium in the Hypnales. However, all the taxonomic entries had to pull their weight by contributing to the broader narrative of the book, such as revealing something about their evolutionary past, their adaptations to a world in miniature or how they are responding to a rapidly changing planet. Within these parameters, I chose 100 genera to illustrate the structural and evolutionary diversity of bryophytes from around the world.
Can you tell us about the most interesting species that you’ve learned about while researching your book? ?
There are many fascinating species I knew from the outset had to have their stories included. We meet a moss that glows in the dark; mosses that grow on dung and decaying corpses; a moss that could allegedly survive on Mars and a moss that saved the life of a Victorian explorer in western Africa. The structure of the book also forced me to peer around obscure taxonomic corners and investigate species which I hadn’t come across before. I got to know some new plants like the large charismatic tropical moss Sorapilla. This genus is so rare it was only known from a handful of historic herbarium specimens until a student on a botanical fieldtrip in the Queensland rainforest discovered a new population in 2015! It was also fun to discover more stories about people’s interactions with bryophytes. I needed to research the liverwort genus Solenostoma and in particular the species S. vulcanicola which has a remarkable capacity to thrive in acidic hot springs where is forms extensive, lime-green cushions. Known locally in Japan as the ‘Chatsubomi moss’, specialist tours are available to visit this plant on the Chatsubomi tour bus and now I really want to go to Japan!
Given our rapidly changing climate, what are the largest threats facing these groups, and how can we safeguard them going forward?
We are witness to increasing threats to the survival of bryophytes in their natural habitats around the world. Recent studies have reported that around 20% of European bryophyte species are threatened with extinction. These worrying declines result from the combined consequences of climate breakdown and habitat destruction.
The most immediate threat to bryophytes is the destruction and degradation of their natural habitats. Sphagnum mosses, which form peatlands, play an essential role in our planet’s biochemical cycles, sequestering huge quantities of carbon. The extensive peatlands of the boreal north store twice as much carbon as tropical forests. Alarmingly, increasing temperatures are threatening the existence of these peatland bogs as they risk drying out in warmer conditions. It is more imperative than ever that we protect these peat forming Sphagnum bogs and the wealth of biodiversity that they support. Sphagnum bogs should be treasured and certainly not destroyed for peat extraction to support the horticultural industry. Please make sure to buy peat-free at the garden centre and help save Sphagnum bogs by taking away the demand for these products.
Climate breakdown is having a huge impact on bryophytes. The story that resonated the most for me when I researched the book was that of the rare and enigmatic moss Takakia. This genus represents an ancient lineage and evidence suggests that Takakia plants have existed in the form we are familiar with today for at least 165 million years. Populations of Takakia on the Tibetan Plateau actually predate the uprising of the Himalayas! At a cellular level, these plants have had to adapt at phenomenal rates to protect themselves from the extreme increases in UV radiation and freezing conditions that one finds oneself exposed to when lifted up atop the world’s highest mountain range. However, Takakia faces its greatest challenge yet as the planet is now warming at such an unprecedented rate that even Takakia cannot adapt fast enough and the Tibetan populations are recorded to be steadily declining. Ultimately, the planet’s rapidly changing climate and our global ability to reduce carbon emissions going forward is the driving factor that will determine the fate of many bryophytes.
What’s next for you? Are you working on any other projects that we can hear about?
At the Natural History Museum, I’m responsible for curating and managing the moss herbarium which, with over 700,000 specimens, is one of the largest collections of its kind in the world. Herbaria are taxonomically arranged libraries of preserved plant specimens that provide spatial and temporal distribution data for species. New uses for these collections are constantly coming to light, so it’s a really exciting time for us in the curatorial team and we are busy working on some major projects to make these collections and their associated data more accessible for researchers around the world. I am particularly interested in how we can better leverage our bryophyte herbarium data to support biodiversity and conservation research that can lead to a positive impact for bryophytes in the wild.
The good thing about studying bryophytes is you don’t necessarily need to travel far and wide to find some beautiful species and contribute useful insights on their distribution or biology! I’m looking forward to getting back into some local recording when the hoped for autumn rains revitalise the poor drought frazzled bryophytes of South London. With a magnifying glass to hand there can always be something new to discover.
***** A remarkably diverse collection of the very best of current palaeoart
Comic book editor, writer, and artist Steve White and palaeozoologist Darren Naish team up once again to bring you another lavish, large-format art book with the very best of current palaeoart. If you bought the previous volume, I am pleased to say that this book is more of the same, which is the best possible outcome one could hope for. It is also *more* of the same, as the book is bigger than its predecessor, featuring 25 artists that together span the full gamut from upcoming talent to seasoned veterans, and from cartoonish to photorealistic illustrations. Mesozoic Art II provides a balanced cross-section of jaw-dropping artwork that portrays not just dinosaurs, but also numerous other organisms that are less often depicted. If ever you needed proof that the palaeoart community has matured and is taking its craft seriously, this book is your ticket.
Before even cracking open the book, take a moment to appreciate the object. Remove that dust jacket to marvel at Rebecca Dart’s gorgeous illustration of the sauropod Qijianglong by moonlight. Next, check out the beautiful endpaper illustrations by Gaëlle Seguillon. This book leaves no opportunity unused to impress. Also important: Mesozoic Art II is the same physical dimensions (31×28cm) as Mesozoic Art; and, for that matter, its spiritual predecessors Dinosaur Art and Dinosaur Art II.
For the second instalment, White & Naish have stuck to the same formula, giving each artist, no matter their fame, ten pages each to show off their very best. The page count has grown from 208 to 256 pages, allowing for more artists to be featured: 25 instead of 20. Also nice, it is a completely new crop: none of these featured in Mesozoic Art. The mix of nationalities is heavily weighted towards North America (nine artists) and Europe (twelve), with the remaining three hailing from Asia (two) and Australia (one).
In his foreword, naturalist Chris Packham praises the artwork for both its stylistic diversity and scientific accuracy. As White & Naish explain in their introduction, neither is coincidental. Next to producing a beautiful book, their aims are twofold. First, to show that scientific accuracy need not come at the expense of artistic expressiveness. Second, to continue to adjust preconceptions and correct misconceptions, old and new, as to what dinosaurs looked like and how they behaved. The result is a panorama of today’s palaeoart that is remarkably varied on several fronts.
Thus, the contributors range from non-vocational artists to established professionals. Haider Jaffri might be new to the scene and training to become a dentist, but he already produces some remarkable artwork. Similarly, freelance artist Simone Giovanardi specialises in depicting extinct penguins, which is simply delightful. At the other end of the spectrum, you have professionals such as Beth Zaiken who, alongside other work, has produced large murals for museums. I will never tire of poring over the kinds of grand panoramas she produces. Gaëlle Seguillon has, among other things, worked on the documentary Prehistoric Planet, and her artwork is incredibly atmospheric.
Most artists work exclusively digitally, and only a few turn to traditional tools such as pencils, markers, graphite, acrylics, watercolours, etc. Lest this be mistaken as a judgemental comment, let me repeat what Tom Björklund wrote in Dinosaur Art II: “Painting with a computer isn’t about pushing buttons […] the artist’s hand still holds a pen or a brush and the craftsmanship required is pretty much the same” (p. 134 therein). Not being an artist myself, if it were not for the figure legends, I would not be able to tell the difference, and the choice of medium does not get in the way of style.
Indeed, the variety of styles on display is dazzling, fully meeting the editors’ stated first aim. There is plenty of (photo)realistic work, but about a third of artists make more cartoonish artwork. Possibly the most divisive inclusion of what the editors call “‘palaeontologically themed’ art” (p. 3) is comic book artist Lewis LaRosa. There are a mech-suit battling Tyrannosaurus rex, panels from his comic Savage that have a human-fighting dinosaurs and pterosaurs, but also some of his anatomical sketches and studies, as he makes conventional palaeoart too.
This kaleidoscope of styles does not get in the way of scientific accuracy. I think White & Naish have succeeded in curating a selection that shows how all these artists take their craft seriously and incorporate recent scientific developments. Soft-tissue reconstruction has been fully embraced, and there are lips, flaps, folds, fluff, and feathers galore. Several of the drawings have been specifically made to accompany research. There are many more organisms beyond dinosaurs, pterosaurs, and marine reptiles; Naish has always been clear that the “Mesozoic” in the title should be taken loosely. Invertebrates and vertebrates from both before and after this era feature, including stem-whales, early reptiles, protomammals, and others.
The final aspect worth highlighting is the naturalistic realism. The full range of animal behaviour is on display here. Yes, there are scenes of violence, but they are an appropriate minority given what the time budget of most animals is spent on. Also, did I mention the skies? Good grief! More so than in Mesozoic Art, I felt that numerous artists have embraced cloudy, rainy, stormy, or otherwise moody skies, playing with colour, light, time of day, and atmosphere to produce incredibly memorable pictures.
By now, these four art portfolios are becoming a remarkable collection of snapshots of palaeoart over the last two decades. Examining the dates of the artwork featured here, and given that Mesozoic Art II was published “only” three years after Mesozoic Art, only five artists exclusively feature artwork from 2022 to 2024, while 17 artists feature artwork going back to 2017 and later (i.e. the period also covered by Mesozoic Art). This overlap in time means that both Mesozoic Art volumes capture similar ideas and fashions. That said, I am tempted to speculate that future art historians could tease out trends in the evolution of palaeoart by comparing the four portfolios. However, you do not have to be an art historian to enjoy this stunning production. If you love dinosaur artwork and palaeoart more generally, get it now, add it to your wishlist, or give it to that special palaeo-person in your life. This is another stunner you will not want to miss. Here’s to Mesozoic Art III!
A Fellow of the Royal Geographic Society, Dr. Peter Fretwell, like the subjects of his new book entitled The Penguin book of Penguins, spends the majority of his time in the cold. As a senior geographic and remote sensing scientist, Peter has been responsible for leading many projects that further our understanding of the Polar regions and the wildlife that inhabits the area. Establishing and contributing to key projects to help better understand predators in the polar region by using satellite imagery has assisted in crucial conservation efforts.
For this book, Peter has joined forces with his wife Lisa who provides a unique selection of illustrations throughout the book. As an artist of over 30 years, Lisa draws on a wealth of experience having exhibited her works in London and New York.
Peter and Lisa Fretwell. Courtesy of the authors
We were lucky enough to catch up with Peter and Lisa recently to talk about the new publication.
What inspired you to write “The Penguin Book of Penguins”? Why penguins?
Peter: Strangely, there has never been a book titled The Penguin Book of Penguins, so when we were asked to write it, it was an opportunity we couldn’t turn down. I had previously written the Antarctic Atlas, published by Penguin Random House in 2020 and I have worked with penguins and on penguin science for twenty years. These small charismatic creatures are such a delight to be involved with, and they are a major part of working in Antarctica. Working at the British Antarctic Survey you pick up stories and anecdotes about them almost by osmosis, so having a chance to relay those narratives to a wider audience is a real privilege. We all love the jovial nature of these unique birds and their amazing adaptations to survive and thrive in some of the most challenging environments on Earth, but there is a more serious message that I also wanted to convey about the challenges that many of the species now face with climate change, pollution, habitat loss and overfishing. Communicating these challenges to a wider audience is one of our main drivers, whilst keeping the message light and not too “preachy”, to engage and inspire that wider readership. What was more, we decided we wanted to include drawings rather than photos, so my wife, Lisa, who is a professional artist joined the author team to bring the illustrations to life.
How has your work as a cartographer and scientist at the British Antarctic Survey influenced your writing and perspective on penguins?
Peter: I really started researching penguins through my work on mapping and remote sensing. I started my scientific career as a geographer and got a job in the British Antarctic Survey as a cartographer. I have always loved maps, especially mapping the natural world around us, but I also loved the science and was soon not just making maps but helping with the geospatial analysis. The British Antarctic Survey is a wonderful and diverse place for environmental science and to help the scientist analyse their data was fascinating – you never knew what you might be working on; one day it could be mapping and analysing volcanoes, and the next it might be cuttlefish distribution. In 2008, whilst making a map for our pilots, I discovered that we could see emperor penguin colonies in freely available Landsat satellite imagery. At the time, we didn’t know how many emperor penguin colonies there were or their distribution, so it was a groundbreaking discovery.
Peter Fretwell nose to nose with a wild Emperor Penguin.
How has the use of satellite imagery revolutionised the study and conservation of penguin colonies?
Peter: Fast-forward 17 years and we now know that there over double the number of colonies that we thought there were. We track their locations each year and do annual population assessments using satellite imagery. We have also used the technology to discover unique, previously unknown behaviours and traits, and we have witnessed and recorded the struggles and calamities they suffer as the continent warms and the sea ice diminishes. The Earth observation methods that we developed for emperors have been transferred to many other species of penguins and other types of wildlife around the world. My job itself has changed dramatically, from a scientific cartographer to a remote sensing expert and an expert on penguins and other polar vertebrate species that we track from space.
What were the major obstacles or challenges you’ve come across during your study of penguins?
Peter: Using satellites is a brilliant way to study these animals as most of the colonies are in extremely remote locations, where on-the-ground research is almost impossible. Even now the resolution of the most powerful satellites is still not good enough to see every individual adult and chick. We still need to get out there to calibrate our satellite counts and see how accurate they really are, but getting to emperor penguin colonies and synchronising ground (usually a unmanned aerial vehicle or UAV) counts with satellite data is really challenging, not just for emperor penguins, but for all the wildlife that we study from space. One of our current technical challenges is to improve the methods.
Lisa: Finding the inspiration and imagery for the more temperate penguins was quite challenging. The Antarctic and sub-Antarctic penguins were easier, as Peter had taken hundreds of photos of all the species throughout his career that I could work from. We had also visited New Zealand and seen many of the penguin species, like the adorable little blue penguin, there. On his travels, Peter had also photographed penguins on the Falklands and South America, but there were still some species that we had to trawl through published sources to get good reference images for. You have to be careful as what you see on the internet is not always correct, but it helps when you are married to a penguin expert!
Adélie penguin leaping out of the water. Lisa Fretwell
Many people feel rather enamoured by penguins. Why do you think that is?
Peter: I agree, and it’s hard to put your finger on the reason. Maybe it is a combination of their comic trusting nature and the fact that they are one of the few animals that stand upright on two legs, which makes them look a bit like us. It is really hard not to anthropomorphize penguins and compare them to little people with similar habits and social structures. Like us they often live in huge congregations, sometimes hundreds of thousands strong, they have complex courtship routines, bicker with their neighbours and do daily commutes to look after the family. They are also very tame, curious and often clumsy, which makes them quite endearing. Add their incredible, unique abilities in response to their challenging environments and you have an animal that really is quite engaging.
What are the biggest misconceptions about penguins that you would like to clarify?
Peter: There are many. Firstly, and perhaps obviously, penguins are a bird. They have feathers, not fur. Secondly, not all penguins live in Antarctica. A minority, only four of the eighteen species, breed around the coasts of the Southern Continent, but it’s fair to say that almost all (except for a few hundred) live in the Southern Hemisphere and most of them would call the waters around the Southern Ocean home.
What are the primary threats to penguin habitats, and how can these be mitigated?
Peter: It’s not just their habitats, but we can start there. Over the years, penguins have been eaten, killed for their feathers, had their eggs collected in their millions, been squashed and boiled down for their oil, and had their nesting habitats dug up and destroyed for fertiliser. In more recent times, urbanisation and land clearance has affected some of the more temperate birds, and the introduction of non-native species has had a devastating impact on many of the island-living species that are endemic to just one small group of islands.
Today, the main threats to the temperate species of penguins that live close to humanity are pollution from oil spills, overfishing and bycatch in their foraging grounds. But even in Antarctica and the remote island homes of penguins that no one ever visits, the influence of humans is affecting populations. Climate change is a global, man-made phenomenon that cannot be averted at a regional scale and is starting to have dramatic effect on many species. Although it is fair to say that in a warming environment, there will be winners and losers, at the moment, it looks like we will see more losers than winners.
BAS scientist Peter Fretwell in the field. Snow Hill, Antarctica.
What conservation efforts have been most effective in protecting penguin populations?
Peter: Around the world there are many amazing people and organisations helping penguins, from re-homing little penguins in New Zealand and Australia to the fantastic efforts to save African penguins from oil spills. In South America, there has been a great effort to protect breeding colonies from predation and on many sub-Antarctic islands there have been great programmes to eradicate non-native species that eat eggs and chicks, and trample breeding sites. There are fantastic efforts in many places that are saving penguins from the brink of extinction that anyone who loves or admires these birds should be grateful for.
Personally, what thoughts and feelings were you left with after this study of penguins?
Peter: Writing the book has not only highlighted how much we love penguins and how our culture has embraced these charismatic birds, but also the paradox of how badly we have treated them over the years and how threatened they are from human activity. Today most of those threats are indirect, but they are still caused by us and can still be solved by us.
Lisa: In terms of illustrations, I had to re-draw the ‘Penguin Digestor’ numerous times, because it made me feel a bit queasy just thinking about it. If you look at the original image it is very expressive and full of angst! I left those images of how we had mistreated penguins, like the Digestor and the Egg Collector until the very end when I could summon up the will to re-engage with them.
Emperor Penguin with chick. Lisa Fretwell
How do you envision the future for penguins?
Peter: For many species, it is a worrying time. Several are on the brink of extinction; some, like the emperor and chinstrap, are on a worrying trajectory caused by climate change that can only be solved at a global level. But there is hope. So far, we have not made any species of penguin extinct and there is still time to save all of the wonderful types of these birds, but the window for doing that is growing narrower every year.
What are the most important impressions you would like the reader to be left with after reading “The Penguin Book of Penguins”?
Peter: We hope readers will come to understand how wonderful and loveable these birds are and how invested into our culture they have become. When we think about the future of penguins, it can be a little depressing, but we are not there yet and that future is not yet written. If people care about a subject, then maybe they have it within their power to alter the future so that the worst predictions never come to light. If this book does anything, we hope it will enthuse people to help save penguins.
Lisa: I also hope that my illustrations enhance and portray these amazing birds in a true light. I tried to capture their personalities, particularly their behaviour, which I think is absolutely fascinating! The infographics should enable the reader to differentiate between each species, which for some penguin families, especially the banded penguins, is very subtle. I wanted to portray how endearing and intelligent these birds are. They have evolved to survive against the odds and their quirky nature is often fundamental to whether they breed successfully, survive extreme weather conditions and ultimately sustain their populations, and I wanted to reveal these quirks visually to enhance the reader’s experience.
What future research or projects are you planning on currently?
Lisa: I am planning to enhance my penguin illustrations with colour and exhibit them at a number of galleries. I have already been asked to create some other wildlife illustrations for the Arts Society Youth Fund locally, and I hope to illustrate or even write more books in the future.
Peter: I am currently leading multiple projects on penguins and other polar wildlife. My penguin-themed projects include mapping and monitoring seabirds on South Georgia, recording and improving the methods, carrying out population surveys of emperor penguins, and counting chinstrap and Macaroni penguins on the remote South Sandwich Islands. Results from all these studies should be coming out over the next year.
The Penguin Book of Penguins is available as a limited edition signed hardback book, while stocks last, from NHBS here.
NHBS is delighted to be working with Waterhaul, a company turning harmful marine debris into valuable resources. Their commitment to tackling ocean plastic and promoting sustainable practices aligns closely with our own mission to protect wildlife and the natural environment.
Earlier this year, NHBS arranged a beach clean using Waterhaul products, giving us first-hand insight into their quality and effectiveness. After seeing them in action, we’re excited to now offer Waterhaul’s beach cleaning range through NHBS.
To learn more about the inspiring work behind the brand, we spoke with Jon Green at Waterhaul and asked a few questions about their mission, processes, and impact.
Waterhaul collecting “ghost gear” from across the UK coastline. Photo credit: Waterhaul
You primarily create your products from recycled “ghost gear”. What is ghost gear? and have you set your sights on any other forms of marine pollutants for future projects?
‘Ghost gear’ refers to any fishing gear that has been abandoned, lost, or discarded in the ocean. Once separated from fishing vessels, this gear continues to drift in the ocean, entangling marine life and damaging habitats. Ghost gear is a subset of marine litter but is particularly harmful due to it being designed specifically to trap and kill marine animals, combined with its extreme durability.
Unfortunately, around 640 000 tonnes of lost or discarded fishing gear end up in our oceans every single year, making it the most harmful and abundant plastic – there is certainly enough of it to keep us busy! That being said, in the past we have worked with other forms of plastic, for example our ‘ReTask The Mask’ campaign where we recycled PPE from the NHS post-COVID-19 into litter picking components.
How and where do you find the nets needed to supply your products?
Being a team of ocean users all passionate about protecting what we love, we often can be found out and around the Cornish coastline physically collecting reported ghost gear ourselves; from remote corners requiring boats, paddling or swimming to in plain sight on some of our busiest beaches following storms.
As well as collecting ourselves, we have a dedicated Impact & Recycling team who have established strong relationships and partnerships with local fishermen, harbours, organizations and waste management companies such as Biffa, providing an end-of-life solution and preventing the gear ending up in landfill.
Waterhaul collecting “ghost gear” from across the UK coastline. Photo credit: Waterhaul
We often hear stories of plastic packaging that has lasted for an age in our waters, only to wash up in recent times. Is there a particular piece of netting that stands out from your time working with marine plastic?
The most prominent one/example that comes to mind happened on September 21st 2023 where the Raggy Charters crew spotted a juvenile humpback whale in Algoa Bay, South Africa, exhausted and entangled in fishing gear and fighting for its life.
The whale was struggling under the weight of heavy plastic ropes cutting into its flesh as well as two large orange buoys, a small yellow buoy, and a huge amount of 20-mm nylon cable wrapped around its caudal fin.
A rescue operation, led by the South African Whale Disentanglement Network took hours of painstaking effort involving multiple rescue boats and a coordinated team where they were able to free the whale who swam away, shattered but alive.
The ghost gear that ensnared the humpback was recovered and through collaborative links with the World Cetacean Alliance (WCA), made its way to us, where we saw an opportunity to create something unique and share this near-tragedy as part of our ‘Rescue to Recycle’ Campaign. An initiative that transforms harmful marine debris into products that drive change and supports ongoing conservation efforts.
Gathered plastic marine debris is recycled for manufacturing. Photo credit: Waterhaul
What percentage of your total product is made from ocean-reclaimed materials?
100% of all plastic components across our entire product range are made from Traceable Marine Plastic (TMP), our material feedstock derived from lost, abandoned and discarded fishing gear. Our eyewear frames are also made 100% from TMP.
Do you partner with any marine conservation or environmental organizations?
Waterhaul was founded with a background in and ethos of marine conservation and environmental direct impact, ultimately initiating the mission we are on. We are incredibly proud to be supported by and have partnered with organizations such as Surfers Against Sewage, The Wave project, Sea Shepherd, The RNLI, Cornwall Wildlife Trust, Canal and River Trust, and many more.
Can you explain the process of transforming ocean plastic into your final products?
Every single piece of ghost gear, whether collected by ourselves or the end-of-life fishing gear we have received from the source, is taken to our processing unit here in Cornwall.
The gear is then separated by polymer type and recycled in the UK through a mechanical process of shredding and washing. The plastic is then extruded into pellets and becomes our fully traceable raw material, Traceable Marine Plastic (TMP).
We then injection mould this plastic into our range of purposeful products. This is the stage where we give new value to plastic ‘waste’. Our impact is driven further by our extensive network of partners, from stockists to product partners and more.
What’s the best way for someone to get involved in helping your mission, any tips for how everyone can make a difference?
Aside from the conscious purchasing of products that make a direct impact and questioning the materials of where our products come from, getting out there is the most efficient way of making a difference. Grab a litter picker and whether it’s a 2-minute beach clean, a litter pick around your nearest green area or picking up rubbish you pass on the street, it all makes a huge difference in protecting our planet’s ecosystem and wildlife! Spending a few extra minutes to sort out recycling from domestic waste will also play a huge role. Finally, talking about and sharing stories on this often-overlooked topic will also spark conversations and inspire others to go out and do the same thing!
Waterhaul ocean friendly litter picking kit made from recycled marine debris. Photo credit: Waterhaul
The Lives of Bats is part of Princeton University Press’s series The Lives of the Natural World that has grown to 14 volumes. Technically speaking, it is designed and produced by UniPress Books, which I have described elsewhere as the spiritual successor of Ivy Press and which is similarly known for producing good-looking books. As with the other volumes, this one is chock-a-block with full-colour photos, to the point that you would be hard-pressed to find a single page of plain text. It follows the same formula as other volumes, ending each chapter with a short species gallery that profiles four or five relevant or noteworthy species.
Professor of biology DeeAnn M. Reeder’s research programme encompasses physiology, immunology, disease ecology, behaviour, evolution, and conservation, and bats are often her model organism of choice. She is only all too aware of the dislike and fear that bats instil, especially as reservoir hosts of diseases, so an important focus of this book is to demystify and (if that is even a word) de-demonise bats by giving a factual and up-to-date primer on their biology. After a brief introduction, Reeder picks seven topics—evolution, anatomy, echolocation, diet, thermoregulation, reproduction, and disease—before ending with a chapter on past and present interactions between bats and humans.
If there is a unifying theme to this book, it is how much the biology of bats is shaped by the demands of flight. Anatomical adaptations are the first to come to mind, from the ankle spur (a calcar) that supports the wing membrane between the hind limbs (the uropatagium), to the five extra muscles that control the tautness and curvature of the wing membrane. Reeder’s favourite overlooked adaptation is the hind limbs that are rotated 180°, meaning the soles of the feet face forward and the knees bend backwards compared to other mammals.
The demands of flight extend far beyond anatomy, though. To conserve energy, bats can go into torpor, lowering their metabolic rate and body temperature. This can be as brief as a few hours or be extended for weeks on end, at which point we call it hibernation. Like humans, bats generate their own body heat (endothermy), but unlike us, they can conserve energy by allowing their body temperature to track the environmental temperature (heterothermy) while we maintain a steady body temperature (homeothermy). The need for energy conservation even impacts their reproduction. Bat pups are huge compared to their parents, meaning pregnancy is energetically costly on two fronts: foetal development takes energy, but so does flying around with all that extra mass. To make sure birth coincides with peak food availability, female bats can store sperm (a well-known trait in many organisms) but also slow down or even pause (!) foetal development.
Reeder features many other notable traits, adding an extra layer of information to the basic facts that will be rattling around in most people’s heads. Sure, bats echolocate, but what I did not realise is that some groups emit sound out of their mouth and others out of their nose. The family Pteropodidae, the fruit bats, have lost echolocation (fruit tends not to move), yet some species have secondarily re-evolved it, relying on wing-clapping or tongue-clicking to help them navigate their cave roosts. And where many bats issue a call and then listen out for the echo, some bats do not separate the two in time but in frequency, calling at a different frequency than the echoes return at. This nifty feat of sensory biology allows them to produce sound while simultaneously receiving and interpreting the incoming echoes.
I also came away from this book with a much better appreciation of the family Phyllostomidae. When the University of Chicago Press published a book dedicated to this family in 2020, I was admittedly nonplussed: what is so special about them? The incredible diversity of their diet. This family includes carnivorous bats dining on small reptiles, birds, and mammals. It includes the three species of vampire bat whose sanguivorous habits have become the stuff of legend. More relevant but less appreciated is that, by eating fruit, pollen, and nectar, they are important pollinators, including of many cacti and important crops.
Reeder is at her most strident when it comes to the role of bats in diseases, including COVID-19. Yes, bats harbour viruses and other pathogens that impact public health, but spillovers are a human problem caused by our relentless destruction of wildlife habitat. We should be wary of “the sometimes sensationalistic portrayal of bats, writ large, as hosts of deadly viruses” (p. 250); the same can be said of many other animal groups, including primates, rodents, and birds. Reeder is a proponent of the One Health framework that recognises that you cannot tackle human, animal, and ecosystem health in isolation because they are all interconnected.
Given the format and aim of this series, Reeder only has the space to go so deep on these and other topics. However, as with the book I reviewed previously, this is not just a regurgitation of popular information. You can tell this is written by a specialist in her field who is carefully weighing up how much information to give you and how much to hold back. The resources section recommends some of the many technical books if you want to read deeper, plus a two-page reference section to journal articles, including studies up to 2023 and 2024.
Bats are particularly photogenic, and the editorial team at UniPress Books has scoured several stock photo libraries, as well as the work of numerous individual photographers, credited in the back of the book. There are memorable photos here while a small number of neat infographics are contributed by illustrator Sarah Skeate.
The Lives of Bats continues the series’ successful formula: challenge one or two subject experts to write an accessible introduction that can serve multiple audiences. For novices, this is a great first stop on bats that will give you a well-informed introduction to their unique biology (and equally, it is a book that you can safely gift them). However, the book is also rewarding for biologists who just happen to have studied other organisms but have a hankering for bats. I enjoyed The Lives of Bats more than I thought I would, and by the end, I felt it had subtly enriched my knowledge.
Can you tell us how the British Mycological Society began and what its mission is today?
***** A remarkably diverse collection of the very best of current palaeoart
NHBS is delighted to be working with Waterhaul, a company turning harmful marine debris into valuable resources. Their commitment to tackling ocean plastic and promoting sustainable practices aligns closely with our own mission to protect wildlife and the natural environment.
