Author Interview – Hoopoe

Author interview with Steven J Falk: A Photographic Guide to Flies of Britain & Ireland

Over recent decades various ‘difficult’ insect groups have gradually been brought within reach of the non-specialist thanks to developments in field guides. Flies, however, have remained something of a final frontier, and it’s easy to see why – with more than 7,000 species in Britain alone, creating an accessible and user-friendly guide to this group is a daunting task.

Now, however, a team of expert field entomologists have stepped up to the challenge and produced A Photographic Guide to Flies of Britain and Ireland – the first guide to ever tackle this amazingly diverse insect order as a whole. With beautiful photography and clean, concise text, this book is set to put flies on par with bees and other more ‘popular’ insect relatives, and bring them their due share of attention in the interests of general naturalists.

Ahead of publication, we had the pleasure of talking to lead author Steven Falk about the book’s development and the rewards of fly-recording.

Firstly, how did the book come about?

The idea for the book initially came from Peter Creed, the Creative Director (and Designer) at NatureBureau, which owns Pisces Publications. He wanted a book resembling A comprehensive guide to Insects of Britain & Ireland by Paul Brock, published by Pisces in 2014 (with a 2019 second edition) but concentrating purely on Diptera. He approached Gail Ashton who was helping to man the Dipterists Forum stand at one of the Amateur Entomology Society autumn fairs to discuss the possibility of doing such as book in conjunction with the Forum. Gail eventually agreed to help write it and asked Rory Dimond to assist. I become involved about one-third of the way through the project when it was clear that the book would need several hundred of my images to make it viable (we needed at least 1,500 accurately identified fly photos for the book), and my role later expanded into that of primary author. The internet has patchy information on Diptera, and what does exist can be misleading or out of context with the British fauna, so you need lots of first-hand experience to avoid creating misleading text. Even taking information from trusted literature can be challenging when it needs it be distilled down to short, snappy species accounts. Gail and Rory helped ensure that the text was not overly technical, though inevitably a book on flies ends up more technically worded and microscope-based than a book on butterflies or dragonflies. But we provide good diagrams and a large Glossary to help readers negotiate this. The proof-reading and creative discussions by the members of the team have been very important, making for a much better publication. It helps that all four of us share a passion for breaking down barriers in entomology and enthusing general naturalists about flies rather than just serving the converted. We were also keen to produce a more visually exciting and enticing book than much of the more technical fly literature and online resources available for flies. But we have still signposted those other resources for readers who want to develop a deeper understanding of flies and take things further by providing a good Bibliography. This covers all the key identification literature relevant to a British or Irish audience, both printed and that which is freely downloadable from the internet.

Let’s talk about flies themselves. What makes them so important, and what can recording flies tell us about the state of the natural world?

There are currently about 7,300 species of fly on the Britain and Ireland list, with the possibility of over 10,000 species being present, as we find dozens of new ones each year and DNA is revealing lots of cryptic species. So, if you are passionate about biodiversity and serious about its conservation, you cannot ignore flies. They are typically the most speciose eukaryotic group at a wildlife site and are also incredibly diverse ecologically. I regularly record over 500 fly species at a good wildlife site, and the Windsor Forest and Great Park list stands at almost 2,000 species. Those massive fly assemblages including predators, parasites, saprophages, herbivores, fungivores, pollinators, and so on. What is more, fly assemblages can be found from the intertidal zones of the coast to the tops of our highest mountains. Having some idea of what all those flies are and what they need in terms of breeding sites and adult feeding, makes you view habitats, sites and landscapes in a very different way to a botanist or general ecologist. You notice and value microhabitats and other features that others miss or under-value, such as sap runs or water-filled rot holes in old trees, different sorts of dung, different sorts of ‘wet’, different sorts of ‘decay’, different sorts of ‘bare ground’ and so on. Flies also make you think much harder about aspects such as habitat combinations and mosaics (bearing in mind that fly larvae and adults often have very different needs), habitat connectivity, habitat condition, site history, microclimate, seasonality and climate change. Dipterists are often pretty good botanists and habitat ecologists, but adding flies and other insects to the equation provides a much bigger ‘vocabulary’ when you are trying to understand and interpret the environment. That was particularly important a few years ago when several professional entomologists including myself were assessing the emerging Biodiversity Net Gain metrics. We were able to articulate some powerful feedback to Defra and Natural England concerning the over-simplistic metrics that were emerging, and the serious impact that might have for protecting invertebrate (as well as general) biodiversity. Flies are also really important in ecosystem services (e.g. crop pollination, pest control, sewage treatment). There is strong evidence that they may be more important than bees for the pollination of certain crops, and for general wildflower pollination in habitats like montane grassland and saltmarsh. The role of flies in ecosystems and food webs is something that comes through strongly in the book.

Faced with such a huge group, how did you go about deciding which species to include?

Being a photo-based book, the choice of what species to include is heavily based on what photos are available. But many fly photos on the internet are inaccurately identified, so we had to make sure that such images were either avoided, or (if we could tell what they actually were), used correctly. So, if a species lacked a decent photograph, it could not be subject of a typical species account, though we have name-checked many species without accompanying images within the Similar Species section at the end of many species accounts. For some smaller, iconic families, such as robber flies, horseflies, soldierflies and bee-flies, every published British and Irish species is included. For hoverflies, it is closer to about two-thirds of the fauna, and for groups like parasite flies and the housefly family, it is about half the fauna. In these instances, we tried to include representatives from most if not all the genera in a family and tried to ensure most of the more distinctive-looking or ecologically interesting species were covered. For some of the more obscure or difficult families, only brief coverage is provided. But all 108 fly families present in Britain and Ireland get some level of coverage in the book, which is quite an achievement.

Can you tell us a bit about the book’s approach – what can readers expect from the species accounts?

The book is arranged taxonomically following the sequence of the 2025 Checklist of Diptera of the British Isles which is hosted (and regularly updated) on the Dipterists Forum website. The individual species accounts mostly have a consistent format. It starts with an indication of the size of a fly, either using wing length or body length, then a basic description of the species, often carefully worded to highlight differences from other similar species. We then describe Habitat, Distribution, Season, and (for parasitic or herbivorous species) Hosts. The species accounts are accompanied by a map and photograph or, indeed, two or more photos for species with strong sexual dimorphism or several colour forms. A section on Similar Species is also used in many cases, namechecking other flies that might be confused with the main subject. These extra species are also sometimes provided with a map and photo. It means that about 1,300 species of fly get namechecked by the book (about 1,100 of these with standard species accounts). But it often came down to what space was available on each page spread as to what got covered. Suffice to say we used a flexible and opportunistic approach to ensure we made the most of each double-page spread.

The guide is beautifully laid out and packed with outstanding imagery. Was it a challenge gathering photos for all the flies you wanted to feature?

About 40% of the photos come from me and were already featured on my Flickr site. That made image selection for some families much easier and meant that Peter Creed could quickly download any of my images, and if I disagreed with an image choice, I could quickly send him hyperlinks to the image I preferred. Peter, who is also a keen insect photographer (and always thinking of the next potential Pisces book), provided about 20% of the images. We also turned to reliable British insect photographers such as Paul Brock, Simon Knott, Kevin McGee and Ian Andrews, and approached other photographers if we spotted images of further species on the internet (or better images of a species than we had to hand). The result is that we’ve ended up with over 1,500 images of over 1,100 species and have used images from 186 photographers. Suffice to say, we are immensely grateful to everyone who provided images.

For the general naturalist who has yet to become a fly convert, what can you say about the rewards of studying these insects?

Flies have huge intrinsic interest in terms of interesting appearances (including mimicry, loss of wings, bizarre wing markings and strange body modifications), interesting lifecycles, interesting behaviours, and their importance in ecosystem services. They are great fun to photograph (with cameras like the Olympus TG series making it easier than ever), and it is relatively easy to identify some from photos, either using this book, or by posting images on the various Facebook groups that cover flies (where others can provide feedback on what they think your photo is). Flies also provide an incredibly powerful framework or lens for interpreting and understanding habitats and landscapes better, as explained above. I think that aspect (using flies to view understand the environment more critically) is truly exciting and very rewarding.

What tips would you give for someone looking to take a deeper interest in flies and find a greater range of species?

Buying a stereo zoom microscope makes a big difference as it allows you to identify flies with much greater confidence and appreciate the beauty in the details of their morphology. While we are aware that many users of the book will not want to go down the road of collecting and killing flies for the purpose of identifying them critically, that is the approach that is generally needed to develop long and accurate species lists for a site. There is a limit to what can be achieved through photography. But going down the collecting route also means buying an insect net, tubes and pooters, insect pins and storage boxes for pinned specimens, plus obtaining some of the key literature listed in the book’s extensive bibliography, such as British Hoverflies (Stubbs & Falk 2002), published by the British Entomological and Natural History Society. I would also strongly recommend joining the Dipterists Forum. This is the national society for the study of flies and is very friendly and well-organised. It publishes a regular newsletter (Bulletin of the Dipterists Forum) and journal (Dipterists Digest) and organises regular indoor and outdoor events. It has a great website that can be used by non-members but has extra resources for logged-in members. The Forum acts as an umbrella for almost 30 family recording schemes or study groups, some of which have their own Facebook groups or satellite websites. Nowhere outside of Britain and Ireland comes to close to matching that offer.

Finally, what do you hope the book will do for interest in flies and fly recording?

We are hoping it has a major impact, not only by making general naturalists more aware of, and sympathetic towards flies but also by encouraging more naturalists to take up formal recording of flies as outlined in the previous response. Many parts of Britain have few (if any) resident fly recorders, and it would be especially good to promote recording in those areas, even if it is just the recording of easier groups such as hoverflies. Climate change is having a profound impact on insect life, and the more data we get, the more we understand that impact and formulate strategies to counter it through improved habitat management and other land use decisions. We hope that this book will support constructive dialogue – ecologists, farmers, planners all a little bit more familiar with flies, able to be enthusiastic about them and their conservation.

Authors interview with Frances Dipper and Paul Naylor: Coastal Seas

Looking for experts on British shores, the names of Frances Dipper and Paul Naylor quickly come to mind. With their combined lifetimes of experience in marine biology, a collaboration on a book on the wonderful British seashores is sure to be a success. At NHBS, we consider it a privilege to have Coastal Seas in our catalogue – a book that offers deep insight in the state and the wonder of British coastal seas, complemented by awe-inspiring photography.

While celebrating the release of this important book, we were honoured to interview the authors.

Frances Dipper is an independent marine biologist whose career spans over four decades of studying, lecturing, award-winning writing, and scuba diving. Her extensive bibliography reflects her deep knowledge, and she continues to share this through talks in Cambridgeshire and beyond.

Paul Naylor is also a marine biologist, as well as an underwater photographer and filmmaker. He is passionate about sharing his expertise to inspire appreciation and to draw people into the wondrous world of the marine environment.

How did you come to the decision to work together on “Coastal Seas”, and how did you complement each other in the writing of this book?

Frances: as the saying goes ‘two heads are better than one’ and in our case two marine biologists and lifelong divers are as well. When I was invited by Bloomsbury to write this volume, I immediately thought of Paul’s impressive underwater photography and story-telling skills and thought it would be great fun to collaborate on the project.

Paul: It really stemmed from having the same passion for observing and studying the wonders of our coastal seas and, even more importantly, sharing them with as wide an audience as possible. The collaboration worked well because we have similar overall ideas and are long-time friends, but have always worked separately, so we brought very different experiences to the project.

Over the span of your careers, what visible changes have you observed in British coastal seas?

This is a difficult question to answer on a personal basis, because the best way to record changes in the extent or condition of a particular habitat, community or site, is to visit it regularly – not so easy when diving is involved. Additionally, the extent of natural and cyclical changes in marine communities is less well understood than for many terrestrial situations. At particular sites over the years we have both observed increases in the variety and abundance of non-native species, and loss and destruction of long-lived species and habitats such as kelp and maerl. Tracking significant changes (whether good or bad) requires effective monitoring, something that is particularly important within Marine Protected Areas. A clearly visible and positive change from when we both started diving, is the increase in citizen scientist divers; many more eyes out there making records.

Neoturris medusa among kelp – photo by Paul Naylor

As marine biologists with decades of academic experience, which marine developments did you foresee when you started your careers, and which have surprised you the most?

Starting out with cumbersome and uncomfortable diving equipment and unwieldy cameras (our first underwater photography flashguns used bulbs that had to be changed after every shot) we sincerely hoped that things would become easier – as they have – dramatically.

Advances in GPS technology have been hugely helpful, but the rapidity with which it has evolved has indeed been surprising. It has proved really helpful for marine scientists, and for the fishing industry, but in the latter case perhaps too helpful in finding and catching large numbers of fish.

How has photography influenced your work in marine biology and conservation?

Underwater photography can be extremely effective in both gathering information and spreading the word about species and habitats that are largely hidden from view. It is also an effective memory aid as making written notes underwater is never easy. On a specific scale, we find the increasing use of digital photography, including by ‘citizen scientists’ both above and below water, to recognise and track individual animals (from small fish to seals and whales), very exciting. Talking of showcasing a hidden world, we were very grateful for the additional images kindly provided by some award-winning underwater photographers.

What do you see as the most effective ways to get people more involved and aware of the state of marine life?

It starts by showing people what is there through images and information about just what is in that hidden world, as we hope we have achieved with this book. In today’s world, social media is another powerful tool. We think that ‘stories’ about the fascinating and astonishingly complex behaviour of marine animals are particularly good at drawing people into that world. However, as zoologists and photographers, we are a little biased! We also hope that the new natural history GCSE due to be introduced in schools, will include a significant marine element to it. After all, around two thirds of the planet is covered by ocean.

Marine Protected Areas (MPAs) are often established to conserve biodiversity. In your experience, do they deliver real improvements, or are they more symbolic?

They should deliver real improvements, but too many are still ‘paper parks’ with inadequate protection in force. Progress is being made but it is painfully slow, as we describe in Chapter 12 of the book.

Which marine areas around the British Isles do you find particularly interesting, and why?

Ooh so many!

Frances: the Hebridean islands off the west coast of Scotland, which provided many early diving adventures and meetings with so many then new and unfamiliar species (and new whiskeys!); the Isle of Man where I learnt to dive, gained insight into the colourful lives of British wrasses and met ‘Donald the Dolphin’.

Paul: the vibrant and easily observed shallow reef communities of Devon and Cornwall, the Scottish sea lochs and the North Norfolk chalk reef are my particular favourites.

Have you observed examples in our coastal seas of wildlife adapting to human activity, such as fishing, pollution or habitat alteration? If so, what are some of the most striking or surprising adaptations you’ve encountered?

As in the terrestrial environment, there are animals that can and will adapt and flourish, and many others that cannot. On land, foxes have taken to urban living and peregrine falcons use cathedral heights as substitute cliff faces. Ocean residents have far less experience of living alongside us humans, but we have seen some interesting interactions: butterfly blennies and other small fishes living and guarding their eggs inside discarded glass bottles and tin cans; sea urchins and spider crabs decorating themselves with ‘hats’ of plastic and other debris; lone male dolphins ‘befriending’ swimmers and divers; and of course seabirds following fishing boats waiting for discarded catches.

You discuss the “shifting baseline syndrome” and how human activities like trawling and dredging have altered marine habitats. What are some of the most concerning changes you’ve witnessed in your careers, and how can individuals help mitigate these impacts?

For decades it has proved extremely difficult to film the habitat destruction caused by commercial seabed trawls and this is something that neither of us has witnessed firsthand, even in a scientific trawling context. This year (2025) has shown the damage up for what it truly is, through ‘Ocean’ – a technically challenging, high-resolution film with David Attenborough. In most places it is impossible to know what seabed communities were like before they were ever trawled – hence the “shifting baseline syndrome” and so the long-term changes are likely to be even more stark than those we see today. What can individuals do? At least question where and how your seafood has been caught (read supermarket labels and press for better information) and support local sustainable fisheries. Support organisations such as WWF, Wildlife Trusts and the Marine Conservation Society who can apply political clout. Encourage and arm the next generation with information (good as well as bad).

While marine habitats have largely remained “wild” compared to terrestrial environments, you mention small restoration projects like kelp and seagrass planting. Could you highlight any successful conservation initiatives you find particularly inspiring?

While habitat restoration can be extremely valuable in the right places and at the right times, recovery and conservation in the sea often means simply stopping damaging activities and letting nature ‘do its thing’. Three inspiring examples of that are Lyme Bay (ambitious co-operation between many partners), Lundy (excellent co-working with local fishers) and Arran (community involvement).

For someone new to snorkelling or diving around the British Isles, what’s one piece of advice you’d give to help them connect with and appreciate the marine environment?

Male cuckoo wrasse – photo by Paul Naylor

Be patient! Wait for the best conditions, and once you are there, move slowly along rather than necessarily trying to cover a lot of ground (so choose a like-minded diving buddy). Animals will be less disturbed and you will be amazed at what you see! In summary stop, look and listen – and practise your buoyancy control.

In a time of over-exploitation of the marine world, how can we change the public mindset toward more sustainable practices?

It’s about showing people what’s been lost, but also what is still there to save, so striking the right balance between some of the shocking facts and figures while avoiding ‘doom and gloom’. A personal plea from us here is to show the recent David Attenborough ‘Ocean’ film (that we have already mentioned), on national free-to-view TV! Perhaps, most of all, we need to stress how everyone will gain from implementing sustainable practices, including industries and those with no involvement with the sea – it’s not just a plea from conservationists.

What can we, as consumers, do with an eye on marine conservation?

Quite a lot, but one of the most important is to make sure that any seafood we buy is sustainably caught (or grown). It’s a difficult issue with varying opinions, but there is good information out there (such as from the Marine Conservation Society and the similarly acronymed Marine Stewardship Council) and we’d say ‘if in doubt, don’t buy’. The latter should apply similarly to ‘single use’ holiday items such as plastic buckets and spades often discarded. Every conversation with shop or restaurant staff, with friends and family (and even local politicians) will help spread the message.

Looking ahead, what gives you hope for the future of marine biodiversity in the British Isles, and what are the biggest challenges we need to address?

The evident ability of natural systems to ‘bounce back’ when we let them has been clearly demonstrated by wonderful examples such as Lyme Bay and Arran that we’ve already mentioned. However these are just small areas and we mustn’t let these successes make us blasé – further damage to habitats and over-fishing continues apace. It remains a huge challenge to get governments to act on scientific advice, but on the positive side there is the ever-growing number of people, both within conservation organisations and independently, professional and unpaid, who are passionate about ‘spreading the word’ about marine biodiversity and making a genuine difference. Best of all, many of them are very much younger than us!

Peacock worms and dahlia anemones – photo by Paul Naylor

Coastal Seas is available as a limited edition signed hardback book, while stocks last, from NHBS here.

Other titles by Frances Dipper can be found here.
Other titles by Paul Naylor can be found here.

Author interview with Sverker Sörlin: Snö – A History

Sverker Sörlin is an author, historian, and science communicator. He is currently Professor of Environmental History at the KTH Royal Institute of Technology in Stockholm.

He has published more than forty books including bestselling literary non-fiction, biographies, academic books and journalism. In 2004, he received the August Award for Non-fiction, Sweden’s pre-eminent literary award, and in 2024 the Inge Jonsson Prize, awarded by ‘The Nine Foundation’ for outstanding non-fiction.

We recently spoke to Sverker about his new book Snö, where he told us what inspired him to write the book, why he loves winter and the message he hoes people will take away.

You seem to have been inspired by and reflective about snow for most of your life. At which point did you decide that it was time that the ‘Angel of History’ and the ‘Snow Angel’ started talking to each other?

Yes, snow has been part of my life since I was a child in the 1950s and 1960s. My professional interest in snow and ice also began a long time ago when I was a PhD student researching the history of glaciology in the 1980s. I then worked both on and in the Arctic for a long time and led the Swedish commission for the International Polar Year 2007-2009.

It was only in the last decade, with the rise of the concept of the ‘Anthropocene’ that my outlook on snow as a ‘vulnerable element’ started to grow. In the current epoch of massive and irreversible human impact on the earthly elements, snow and ice have become, we might say, drawn into history. Snow, ice, water and also wetlands, forests, oceans, deserts, minerals and of course all sorts of life on earth are acquiring more and more ‘agency’ which is often destructive. They get this agency from the ‘human super agency’ that starts moving the entire planet faster, raising temperatures, destroying species, ecosystems and much else. In working on Snö — a History, I started to frame this as a dialogue between two angels, the ‘Angel of History’ and ‘the ‘Snow Angel’. To my knowledge, no one has ever done that so I thought it was about time. I wanted to use these concepts as metaphorical tools to draw attention to complicated matters that would otherwise require a lot of words to explain.

In your view, why is winter ‘the best season of all’, as you describe it?

Well, if you want to get into the world of snow and understand it, winter is of course the season to cherish! My appreciation of winter was also a basic value that I learned and cultivated when I was a child. I loved winter play and winter sports, like ice hockey and especially cross-country skiing. In the latter sport I had a career of sorts until I was around 20 and had to make a choice for my future -should I become a skier aiming high, or should I take university seriously I chose the latter, but it was a tough choice.

Your book weaves together religious, philosophical, and scientific perspectives. Do you ever find it challenging to intersect those attitudes? Is it ever cause for internal conflict?

In fact, this hasn’t caused a conflict for me. I also don’t confess to any religious conviction. I use the spiritual mindset to understand what goes on with me and, I assume, many other humans when we stand in front of phenomena in nature and history that are hard to fully fathom or explain. That doesn’t make me less interested in finding more knowledge about the same phenomena. In Snö I write literary non-fiction. My relationship to religion and the spiritual, but also to philosophy and the scientific, is respectful of the internal rationality of these approaches to their various versions of knowledge. I would acknowledge and, if necessary, make it clear, that these versions of ‘knowledge’, or sometimes ‘experience’ come from very different methodologies. As a scholar I subscribe with particular care to the knowledge we call scientific.

You refer to snow as ‘historical’. Could you elaborate on what you mean by this? How does snow carry or reveal history in ways that might not be immediately obvious?

It connects to what I said above on the implications of the Anthropocene. In the past, for example when I went to school and later university in the 1970s and 1980s, we learnt that ‘history’ was a record of the past that related to what humans did and thought. This required, as famously argued by British philosopher R.G. Collingwood in his book The Idea of History (written in the 1930s), a distinction between natural history (marked by aimless events) and the human history of intentional actions. What we experience in our contemporary Anthropocene world is that agency, usually reserved for humans, is increasingly distributed into what I call the ‘elemental’ categories of the world. I listed some of those above and snow is a good example.

When snow and ice (which is old, packed snow) melt in a systematic long-term fashion, it is a result of human agency through global warming. But the implications are considerable in a sequence of steps. For example, irrigation from seasonal melt becomes reduced and irregular. This affects millions of people and households south and east of the Himalayas, near the Andes in South Africa and in other regions. For the same basic reasons, the geography of winter tourism is changing, and ski resorts are closing. Snow drought appears in vast regions. Hydro-electrical production in rivers is disturbed. Extreme weather- including massive unseasonable melting means growing risk of floods. There are other cultural, social and psychological effects wrought by lack of snow and a lack of possible seasonal variations and pastimes and activities. Simply put: this is change and it is part of history since it is born out of human agency, which are to varying degrees intentional. This means it also becomes part of our responsibility, for ourselves, our nations, cities and citizens, and for this thing we used to call nature but which we now often call ‘the environment’ or ‘the planet’- or as we did long ago and now return to calling: the elements. As we speed them up and tweak and dominate them, we make them an intertwined part of our (human) history.

I think it is profound. It is an example of what we now refer to as ‘Anthropocene history’, which is an expansion, or augmentation, of the history we always had. It is, at the same time, a specialisation building on previous sub-specialties such as environmental history, history of science, history of knowledge, history of technology, climate history and a range of knowledge usually connected with geography.

Some argue that climate change is a natural, cyclical process, and therefore not something we should be overly concerned about—even if human activity is accelerating it. How would you respond to this view?

I smile and hope it will finally go away, the sooner the better. It is a long time ago that science left this position. We have known that most, almost all of our contemporary climate change is anthropogenic and stems predominantly from the human burning of fossil fuels. This has been scientific orthodoxy since around 1980 and the scientific ideas behind it date back to the 19th century. I think the only choice is to go by the established science. Anything else is unwise and will make the already severe consequences of climate change only worse and hinder the work to mitigate the change.

There’s growing discussion about how global warming, in the short term, could paradoxically lead to a long-term ice age due to the weakening or collapse of the Atlantic Meridional Overturning Circulation (AMOC). What are your most recent thoughts on this anticipated event?

Not many, really. It is correct that there is growing research into this issue but is quite speculative. The likelihood of it happening is under discussion. I have no other thoughts on this issue than what you can read in any newspaper, unfortunately, including that the risks do not seem big enough, by far, to make immediate action advisable. I am sure the issue will be followed though, so that, if necessary appropriate, preparations could be considered.

In your book you mention the decline of traditional water management systems, such as the acequias in the Sierra Nevada. How do you envision the future of water management?

Oh, that is a big issue. The answer largely depends on how successful we can be in pushing back against climate change. If we can push back, we will be able to hold on better to traditional management methods, like the acequias in southern Spain. These methods are an example of how local traditions have managed to make the most of high elevation snow reservoirs and preserve them until summer and use it economically and sustainably. If we fail to push back against climate change, I fear we will need to use more and more large and heavy-handed infrastructure that is both costly and risky. Big dams are for example vulnerable targets in war. And they are often too costly in developing countries, plus water is so scarce in large regions that dams are not a solution.

Over the decades, you’ve built an extensive body of work. How did the experience of writing Snö differ from your previous books—both in terms of process and personal resonance?

Since it is a more literary work than most of my previous work, it has been a quite different experience. I based much of my work on research I did myself over many years. The challenge was to supplement this body of knowledge with new knowledge and engaging stories that in a sense filled out the gaps, both chronologically and globally. Although quite a bit of this book is centred on the north- especially the European Arctic and the Scandinavian countries- it is quite literally a global history with examples from the Mediterranean world, the European Alps (in particular Switzerland), Russia, the Americas, Antarctica, New Zealand, Australia, Asia, even Africa. It stretches across thousands of years although certainly the two last centuries take up most of the space, and our present time especially since elemental change is now so rapid and the social and political consequences so big.

There is also more history of art and literature built into the narrative that I didn’t work on so much before. Plus, a wealth of new stories that I tell which I didn’t even plan to include; I came across them in my research. One example is a long chapter called ‘Nivea’. It is about the controversial politics of the skin creme (Nivea means snow white before and during Third Reich Germany and the Nazi passion for snow. There are a number of in depth, often fascinating, stories which work as an assemblage in a literary work but may not seem relevant in a scientific journal article. The form offers a more holistic view of the topic that reaches out to a wider readership, I think.

Has the journey of writing Snö led you to any new perspectives or awareness? If so, would you care to share some thoughts?

Well, some such perspectives are presented above. All in all, I have been acutely more aware in writing this book how important snow is. Even more than I was before. It is fundamental to the water balance of the planet and to water supplies in vast regions, particularly as it functions as a holder, or a parking place for ‘slow water’. When water doesn’t slow down properly during winter and spring much of it goes away useless and can create disaster downstream. No new glaciers are being formed. The old are melting. Snow cover gets thinner and stays fewer days for every decade. We will have a planet of rapid water streams but less water security, in some areas drastically so. That has been a revelation to me.

What is the core message or insight you hope readers will take away from Snö?

First of all, I really hope that the reader appreciates this as a reading experience. Experience is unique for every reader, based on the reader’s own background, perception and imaginative powers. This is something I cherish and respect. Still, if the reader will see and take to heart some of the core ideas in the book that I have presented briefly in these answers, it is a bonus. Snow may seem a marginal thing to people in most parts of the world. But it is bigger, and more central than you might think.

Do you see enough reasons to remain hopeful for the future of the planet?

Yes, of course! Most things these days, including climate change, don’t go the right way but I am always confident. It is a better idea to retain hope and work for the better. It at least makes you feel better to work toward the good than to become cynical and opt out. Reading good, rewarding and fascinating books is to me a good part of such work.

Author Q&A: Clive Slater, Peter Mundy, and Ray Williams – John Henry Gurney: a passion for birds

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.

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.

Author Q&A: Peter Fretwell and Lisa Fretwell – The Penguin book of Penguins

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.

Author interview with Seán Ronayne: Nature Boy

An inspiring story of love, connection and the healing power of nature, author Seán Ronayne recounts his journey to record all the regularly occurring species of birds in Ireland. He also tells the stories of his adventures across the Sahara Desert, the jungles of Nepal, and the streets of Thailand, revealing the wonders of the natural world.

Seán Ronayne is an ornithologist and naturalist who was born in Cork, Ireland. He spent his childhood exploring the fields and woodlands around his hometown, before studying Zoology at University College Cork, followed by a Master’s in Marine Biology. He secured his first ornithology role in 2017, before relocating to Barcelona with his partner where he began recording local wildlife and birds in earnest. Upon their return to Ireland in 2020, Seán embarked on a project to record all of Ireland’s birds, some of which are on the cusp of extinction, and he now has only three species left to record.

We recently had the opportunity to speak to Seán about Nature Boy, including what first sparked his interest in nature, which equipment he uses for sound recording and more.

In your book, you talk about how nature has been a constant source of comfort and curiosity for you. Do you remember when the natural world first began to resonate with you? Was there a key event which sparked your interest?

Yes! I have two standout moments, both of which are particularly special in different ways. I was a very active child, and I really mean that. I was always on the go, and if I couldn’t be on the go, I was wriggling, squirming, and crying – longing to be free. My father quickly learned that a foray into nature was the cure. He would take me to our local nature reserve and imitate the sounds of all the wildlife around us. I would belly laugh at his attempts and give him my best guess. It was a great game to me, but it was also an education in disguise – Dad was teaching me to listen to nature, and to get to know my neighbours by ear.

The other is my first memory of a bird. I was very young, around 2 years old off the top of my head, and the bird was pointed out to me by my Dad’s father – Pops. He loved birds too. I’ll never forget that first view of a magpie, with its regal pied plumage, draping long tail, and green and purple shimmying iridescence. Pops died not long after. I did not understand, but today, every time I see a magpie I see Pops, smile and thank him for the journey he sent me on.

Can you share with us what equipment you use for recording and what your decision process was for selecting it?

I am not a technical sound-recordist. I follow my ears, and my heart, and then I record the sounds that call to me with whatever tools I have at my disposal. I learned my skills through trial and error (mostly through error), but you know the phrase – even a broken-down clock is right twice a day! For isolating birds and getting a close intricate recording, I use a Dodotronic Hi-Sound parabolic reflector, paired with a second-hand Olympus LS-12 recorder – the Nokia 3210 of the sound recording world. To capture really intimate moments, or for longer, all weather deployments, I used a Song Meter Mini II. The sound is superb, and the device can be hidden easily, allowing birds to approach close and whisper into the mics unbeknownst to themselves. This provides intimate chitter-chatter I’d never otherwise get the opportunity to capture, and the Song Meter runs for weeks and can survive all manner of weather conditions! I guess these two pieces are my go-to tools.

Bioacoustics is one of the fastest-growing industries in the ecological sector. Are there any technological advances you’d like to see in this field?

I am really happy with where it’s at, to be honest! I can see that AI software to auto-identify birds is being worked on, but I don’t really care for that. I absolutely adore pouring through raw audio with a fine-tooth comb myself. In doing so, I enter that world, and I learn so much – a fast summary response kills the magic and learning for me. Perhaps others will disagree with me, but for my needs I am happy with where the technology is at, and the constant need for ‘progress’ in today’s world has a lot to answer for in terms of ecological, climate, and planetary degradation, after all.

While watching your documentary, I was very moved by your recording of the last known pair of Ring Ouzels in Ireland. Can you describe what it felt like to capture that moment, knowing you were recording a piece of history?

It was utterly devastating, and highly stressful. We’re talking about a bird that has been visiting our uplands each summer for hundreds, even thousands of years, wiped out in a heartbeat, with the majority of people not even knowing it existed at all. The stress came into the equation because I felt a strong desire, responsibility even, to capture its voice to show people the sonic beauty of what we are erasing, and what we need to stand up and fight for. With just one known pair remaining I was unsure if I had time to give this bird a voice, and if I didn’t capture it I’d have been doubly devastated – I’d have felt like I left it down, leaving it to die out in silence, unheard and forgotten. That did not happen though, at least.

Birdsong seems to have the ability to engage and move people in a way that perhaps other facets of nature don’t. Why do you think this is?

Well, I think it’s hard not to love it, isn’t it? Birdsong is nature’s melody! The dawn chorus is nature’s orchestra. It’s always there, it’s such a treat to listen to and it’s completely free. We have evolved in tandem with it. We hear birdsong, and everything is right with the world…we don’t hear birdsong, and something has gone terribly wrong. Right? A forest has been felled, a river has been covered, a bog has been drained, a city has enveloped, a motorway has drowned it out.

In your book, you talk about the importance you placed on your first bird ID guide as a child. Do you have any go-to books for bird identification?

This is easy – the Collins Bird Guide (the bible), and of course the legendary Sound Approach collection.

With your recent book, tour and documentary, you’ve made a real push to engage with the public and remind them of the natural world. What do you hope people take from your work?

I just hope that people realise how inexplicably beautiful, educational, nourishing, wondrous, and ever-giving nature is. But I also need them to know that it’s in freefall. Because of our own very actions. And inactions. My work is a call to arms, with hope and beauty being my primary weapons – with a brief but sharp slap of loss and despair. The latter is necessary, but it is my secondary weapon. Love and hope outgun loss and despair always.

You currently only have 3 species left to record to complete your mission to record every Irish bird. Do you have any plans for afterwards?

Of course. I will be on this journey for as long as I’m gifted time on this earth. Recording all of these birds was never intended to be a tick and run exercise. Every time I listen to a given species or individual I learn something new. I capture a new voice. The more I listen, the more I realise how little I know. And that’s gorgeous, isn’t it!? This is what I mean when I say that nature is ever-giving. And to answer you in more direct terms, I fully intend to write more, and to work on more film projects. I’ll also tour my talks, stories and sounds until people have had enough of me, which I hope never happens (haha)!

Nature Boy: A Memoir of Birdsong and Belonging by Seán Ronayne is published by Hachette Books Ireland in Trade Paperback and is available from nhbs here.

Author interview with Jon Stokes: Trees of Britain and Ireland

This comprehensive guide to tree identification features over 3,000 photos and illustrations of more than 300 native and common non-native species. It includes detailed keys, distribution maps and seasonal charts, alongside ecological insights, habitat information and conservation advice on each species, making it an invaluable resource for those interested in British and Irish tree species.

Jon Stokes is one of Britain’s leading tree conservationists and has been studying the world of trees for over thirty years. He is the Director of Trees, Science and Research at a UK based charity The Tree Council, which aims to bring everyone together for the love of trees, and has authored or co-author ten books focusing on trees.

We recently spoke to Jon about Trees of Britain and Ireland, where he told us how he decided which species to include in this book, what his hopes are for the future conservation of our native trees and more.

How did you first become interested in tree biology and ecology, and why did you decide to write the latest WILDGuides identification book?

I have always been fascinated by trees. I love their huge size, their great age and their amazing ability to live for centuries in one spot, coping with everything the world throws at them. To truly understand trees, however, I believe it is vital to understand the other species that depend on them. Oaks, for example, support more than 2,000 other species.

When the opportunity arose to write the WILDGuides tree book, it felt like an amazing opportunity to produce something new – a book that not only allowed the identification of all our diverse and varied native trees and shrubs, but one which also described the ecology of the trees and some of the species which live within them.

What was the greatest challenge you faced when writing this guide, and did you have any specific issues in relation to seasonality?

One of the many challenges in producing this book was our desire to photograph flowers, leaves, fruit and winter twigs – to show how to identify trees all year round. This obviously meant returning to each species a number of times, in all seasons, in all weathers, across the length and breadth of the country. We also wanted to show trees in their natural environments – all of which just made the project a little more complex! Despite the challenges, it was a joyful journey of discovery which took me from the top of Ben Lawers in Scotland; to sea level in Cornwall and Ireland; from sand dunes to heathland; from dense woodland to ancient wood pasture, and occasionally to some very scary cliff edges, looking for Whitebeams.

Trees of Britain and Ireland provides a comprehensive overview of the interdependent relationships between trees and a variety of plant, animal, fungal, and lichen species. Why did you think it was so important to highlight these relationships, and how did you decide which additional species to include?

The web of life that surrounds our trees is truly astonishing, from tiny wasps to bats, from fungi to Ospreys – they all live in and on trees. Selecting the range of species to illustrate was difficult and, of course, there was also a bit of personal preference in the final choices! In some cases, the selection process was very difficult. To my surprise, the biodiversity of some species, like Wild Cherry, doesn’t appear to be well studied – something I hadn’t realised until working on this book.

It was evident throughout the book that this is a clear, easily digestible guide suitable for readers of all abilities. How important do you think nature accessibility and education is for future generations?

I have had the pleasure of spending my working life engaging people with nature. From guided walks, to lectures and talks, I love showing people new aspects of the world around us. Life is fascinating and every day is a school day. For example: Why are leaves green? How do trees grow? Why is that tree, that shape? These are the questions that enthral me daily. I guess this is a long-winded way of saying that I believe learning about nature is vital to all of us, all the time, and at any age. I hope this book sparks an interest in learning more about my beloved trees. I hope it sparks a desire to go out and explore other aspects of our beautiful islands and the wealth of wildlife we have here.

What patterns did you notice whilst researching conservation status in the UK, and what are your hopes for the future conservation and protection of our native trees and plants?

This is a really interesting question. I now realise that, before researching this book, I hadn’t really thought about the conservation status of many of our trees and shrubs. Yet, Britain and Ireland actually have many rare and globally endangered species growing exclusively here, like many of the endemic Whitebeams and the Wild Cotoneaster. Our knowledge of our rare trees is sometimes scant. In the last twelve months, new information has emerged about our elm trees, suggesting there may be new and rare elm species hiding in plain sight.

So, what are my hopes for the future of these rare species? Well, if nothing else, the development of the book allowed me to clearly articulate the importance of these rare trees in my work. More importantly, I hope a better understanding of the importance of these rare trees will allow better protection to be developed for these globally rare species growing in these islands.

What’s taking up your time at the moment? Are you working on any other books or projects that we can hear about?

In terms of projects, there is one current Tree Council project that is very important to me. This project draws on work undertaken twenty years ago when, with my fellow authors and photographers, we had the privilege of writing a number of books on our ‘Heritage Trees’ – trees that are as important to the nation as some of our great stately homes and castles. From 2000-year-old yews, to astonishing old broadleaved trees like the Bowthorpe Oak, we featured a range of these iconic trees to show the amazing living heritage we have in Britain and Ireland. Now 20 years on, we are revisiting the trees to see how they have fared over the last two decades and the results of this will be published later in the summer. It’s already clear that while some of the trees have thrived over this time, others have not done so well. Our aim is for this project to lead to the development of new guidance on how to better protect our most important trees, to ensure that we can marvel at these ‘Green Monuments’ and hear their stories for many decades to come.

Trees of Britain and Ireland is available from our online bookstore.

Hazel Dormouse Conservation Handbook: Author Interview

The third edition of the Hazel Dormouse Conservation Handbook is based on the most recent research and practical experience available on the ecology of Hazel Dormice. It provides information on best practices for conservation, whilst a separate publication, the Hazel Dormouse Mitigation Handbook, offers further information for those involved in development projects across the UK that may affect Hazel Dormouse populations.

We recently had the opportunity to speak to authors Simone Bullion, Rob Wolton and Ian White about the most recent volume, including the latest updates, how they became interested in Dormouse conservation and more.

Firstly, can you tell us a bit about yourself and how you became interested in Dormouse conservation?

Simone Bullion:

It was 25 years ago, when I had newly started a job with the Suffolk Wildlife Trust, that two events acted as a catalyst for my great interest in dormice. Firstly, I was approached by my friend, Pat Morris, to support the National Dormouse Monitoring Programme by helping to increase the number of people with dormouse licences. At the same time, there was a release of captive-bred dormice into a Suffolk woodland close to where I was living, giving me the opportunity to study them first hand. A series of funded projects followed, which helped increase our knowledge of their distribution across the county – this then initiated conservation action to restore vital linkages by planting kilometres of hedgerows. However, through time, the more I found out about dormice, the more it seemed they hadn’t read the book. Habitats that I felt quite certain would support dormice often resulted in several attempts to confirm their presence. Clearly, there were better places to nest than in the boxes and tubes I was offering them, so that led to my interest in footprint tunnels as an alternative detection method. There is still much to learn about dormice, but working with such an interesting and charismatic species has been a privilege.

Rob Wolton:

My fascination with dormice, and indeed with hedges themselves, really started when I noticed strange round nests in the hedges on our farm in Devon. As a keen birdwatcher, I could not place them. Until, one day about 30 years ago, a dormouse popped out! My first. That was the prompt that made me start to look seriously at hedges and at their wildlife, a passion that remains with me to this day. Each autumn I must admit to becoming more than a little fixated with trying to spot dormouse nests in our hedges as I walk around the farm, checking the stock or walking the dog. For several years my wife Paula took care of one, a three-legged female, no longer fit for captive breeding at Paignton Zoo. Dora, as we named her, was a huge draw, a natural lead in to talk about the farm’s wildlife and how we were encouraging it. There are few such endearing and engaging mammals.

Ian White:

I had always had an interest in conservation, but after university I worked in the retail sector. I then embarked on a new career path in my 40’s, thinking that I would become a wildlife ranger. During a training course I was asked to put together a presentation on a British mammal – I chose shrews, and so started an interest in small mammals. I was fascinated by the fact that many were considered common, but based on what? It appeared that very little was known about this group compared with larger mammals. My initial interest in dormice was somewhat biased in that, due to their conservation status, they were the only small mammal that anybody was likely to pay me for. Now after over twenty years working with dormice, I think that they are a fabulous ambassador for many other species, and they still fascinate me now as much as they did when I first saw one.

The Hazel Dormouse Conservation Handbook marks the third edition of this vital text; what can we expect from this updated volume?

Much research has been undertaken on various aspects of dormouse ecology since the release of the second Dormouse Conservation Handbook in 2006. As a result of several PhD theses and other studies, much more is known about their habitat requirements, hibernation ecology, population biology and genetics. New survey techniques are also included to aid with detection of this sometimes very elusive species.

Unlike previous editions which integrated conservation, mitigation and the effects of development within one title, the third edition presents this information into two distinct handbooks. Why was it necessary to separate this information into two guides?

Landowners, land managers and the voluntary sector continue to have a significant interest in dormouse ecology and habitat management. Separately, there is a professional interest in this protected species in the context of land use planning. Specialist knowledge has also increased, in terms of understanding best practice approaches to minimise the impacts on dormice from development. Consequently, it was decided to separate these areas of interest into two books. It is envisaged that the Hazel Dormouse Conservation Handbook will be useful to anyone with an interest in dormice, as it covers their ecology, survey techniques and habitat management. The Hazel Dormouse Mitigation Handbook will be essential as an additional and complementary reference to support the work of professional ecologists and others involved in planning.

Hazel dormouse (Muscardinus avellanarius) by Frank Vassen, via flickr.

Since the 1996 publication of the first Dormouse Conservation Handbook, how have Dormouse populations and their conservation status changed?

Sadly, Hazel Dormice have continued to decline. The ‘State of Britain’s Dormice 2023’ reported a 70% decline of dormice in monitored populations since 2000. If the observed annual rate of decline of 5.7% were to continue unabated, then dormouse counts would be expected to have fallen by more than 90% by 2034. It is also believed that there has been a loss of the species from 20 English counties over the past 100 years. Consequently, they are currently considered a vulnerable species and in danger of further localised extinction in Britain.

Which factors pose the greatest threats to dormice in the present day, and what conservation strategies are being employed in an attempt to mitigate their effects?

Whilst dormice are can live in a wide range of woody habitats, they thrive in the mid-stages of successional regrowth of woodland after coppicing, in networks of sensitively managed hedges and in scrub. However, woodland management has declined during the last 100 years; only half of our hedgerows are in favourable condition and scrub is much maligned. Dormice are also particularly vulnerable to habitat fragmentation. To be effective, dormouse conservation therefore requires landscape-scale thinking to deliver the necessary increases and improvements in their habitat, and to restore connectivity. This will also help remaining dormouse populations become more resilient to localised changes, as well as the negative impacts of unfavourable weather and climate change.

However, there are parts of their former range where natural recolonisation of dormice is extremely unlikely. The dormouse reintroduction programme, administered by the People’s Trust for Endangered Species, focuses on consolidating the current range of dormice, working to restore dormice at landscape level to create robust metapopulations.

Muscardinus avellanarius by xulescu_g, via flickr.

Dormouse research relies heavily on the work of volunteer dormouse monitors, demonstrating the essential role of volunteers in conservation. What does this volunteer role entail, how does it support conservation, and how can the public get involved?

The National Dormouse Monitoring Programme (NDMP) has been running for over 25 years and is a powerful tool in monitoring population trends. As it relies on volunteers, it also provides an opportunity for people to interact with wildlife and see a dormouse close up – something that rarely happens in the wild. As dormice are a highly protected species, checking boxes for their presence must be undertaken by a trained licence holder. This training can take several years to complete, and numbers of trainees are often limited by the sites available, so sometimes there can be a waiting list to start. However, non-licence holders can also assist with putting up boxes, helping record the data and undertaking winter repairs to the boxes when they are unoccupied.

Other ways people can also get involved is to volunteer with one of your local conservation charities to help manage habitats to benefit dormice.

What do you hope the reader can learn from the Hazel Dormouse Conservation Handbook?

Dormice act as umbrella species for our native wildlife. Their habitats are home to a broad range of other species and retention of their populations is a strong indicator of habitat integrity at a landscape scale. Put simply, if we get it right for dormice, we get it right for many other species as well. We therefore hope that this handbook will help to aid the recovery of this important species.

Hazel Dormouse Conservation Handbook is available from our bookstore here.

Author interview with Flemming Ulf-Hansen: Exmoor

This lavishly illustrated and comprehensive book marks the 150th volume in the renowned New Naturalist series, and details the wildlife, landscapes and natural history of Exmoor to reveal its incredible biodiversity. As someone actively involved with the environment of the South-West, the author provides the reader with a scholarly yet accessible volume on this abundant area.

Flemming Ulf-Hansen is an ecologist with nearly 37 years of experience working in wildlife conservation, primarily across Exmoor and Salisbury Plain. He is the founding chair of the Exmoor Mires Project and specializes in ecological restoration, with a host of expertise in grassland, woodland, and heathland management, as well as invasive species control. He joined the Nature Conservancy Council in 1988 and was awarded a Churchill Fellowship in 2010 to study habitat restoration.

We recently spoke to Flemming about Exmoor, where he explains why a book on this area was needed, how rewilding may benefit this vital landscape, what he’s currently working on and more.

Volume 27 of the New Naturalist series, the first to explore Dartmoor, was published over 70 years ago. Why do you feel that a title on Exmoor was important to produce?

Exmoor’s wildlife has been neglected in published work for over 40 years, with perhaps the exception of the battles over heathland ploughing. Since the 1953 Dartmoor title, we have had a second volume in 2009, by Ian Mercer. Exmoor is one of the three moorlands in southern England, the other being Bodmin Moor – and one that spans the upland-lowland boundary. But it has a special ingredient – the coast! Exmoor’s somewhat remote location on the north coast of Somerset and Devon means that its wildlife has had less attention. With only Minehead, Dulverton or Combe Martin close by, there is no great supply of recorders in major towns or cities. An additional goal has been to highlight unpublished or grey literature, ensuring that this valuable information is accessible and not overlooked.

Exmoor National Park supports a wide range of habitats: blanket bogs, dry heath, scrub and peatland to name just a few. Why is this landscape so vital and what is its ecological value in the UK?

The elements of a moorland landscape you highlighted were the main reason for the designation of the National Park. Its position as an upland massif on the western seaboard gives it a distinctiveness with a disposition of low- and higher-altitude communities, perhaps unique to southwest England. The western heaths can locally dominate the landscape, and the vibrant purple and yellow colours of flowering heathers and Western Gorse are a treat in early autumn which harbour Stonechat and Dartford Warbler. Well-developed mosaics and transitions between moorland and woodland are a feature and provide structure, shelter and rich foraging habitat for wildlife, including a home for some special species, like the Heath Fritillary butterfly.

The woods should also be highlighted. Their position on the west coast of the British Isles brings moisture and a mild climate associated with the Gulf Stream. For many fungi, bryophytes and ferns these are ideal conditions, and Exmoor’s lichens reach international importance. Large sheets of western mosses and liverworts carpeting rocky ground among abundant ferns are Exmoor’s equivalent of lowland Britain’s much-vaunted Bluebell woods. They have been recently identified as temperate rainforest, placing them in a wider context.

Porlock bay by Marilyn Peddle, via flickr.

Exmoor is not typically known for its coastline – did the limited accessibility of this environment pose challenges in researching and writing Chapter 8?

It should be better known, as it is one of its high points! But yes, the steepness of the cliffs, including England’s highest at Great Hangman, combined with few rivers cutting down to the sea to allow safe access, has deterred much survey work. It has meant that, for example, cliffs are surveyed from a boat with binoculars. Spotting whitebeams is just about possible, but identifying rare or endemic members of the group is not. It was an ambition of mine – yet to be realised – to try and age cliff-edge Yews which were noted as far back as 1874 by the Midlands botanist Edwin Lees, at Combe Martin. The climbers who pioneered the Exmoor Traverse knew some of the locations well, the largest of which is probably at Wringapeak. They may well hold some surprises and form a reservoir of ancient trees and remnants of unspoilt natural woodland.

In the marine environment there is no doubt that severe tides have limited exploration. I have had to rely on old data or records from very scattered locations. There is just one place where the seashore or seabed can be reached, Glenthorne, in the 12 km stretch of remote coast between Gore Point and The Foreland on the Devon side.

Chapter 10 highlights the increasing popularity of ‘rewilding’ approaches, a prime example being the Knepp Estate in West Sussex. How do you think this method might benefit Exmoor, and what recommendations might you have for a rewilding approach?

Parts of Exmoor are of course deliciously wild, they are just not easy to see –the steep slopes and cliffs for instance. Of course, rewilding has in effect been happening on parts of Exmoor anyway, just not by design – I am thinking about originally open, marginal land transitioning to secondary woodland over the last 50–100 years.

To restore more wildlife to Exmoor, we will need to embrace fundamental ecosystem processes across larger areas of wilder, semi-natural habitats with more wetland and forest. The range of approaches is great, and we should not be too purist. In some areas active intervention may be needed, such as by introduction of beavers or other herbivores. In other areas we can adopt ‘agricultural rewilding’, which aims to restore ecosystem functions using lower-intensity human interventions, such as the management and harvest of livestock.

Exmoor by Eric de Redelijkheid, via flickr.

The Exmoor Nature Recovery Vision is an ambitious vision for a thriving, diverse landscape on Exmoor. What are the first steps to achieving this vision in your eyes, and how realistic do you think this vision is?

We can’t continue to spend time tinkering with the status quo. We need a step change and swift action. This won’t be possible with cuts in budgets of statutory bodies and the National Park Authority. For example, cuts in Natural England staff dealing with protected sites have been drastic and persistent. Projects relying on input of time have withered on the vine of neglect. Short-termism caused by short cycles of funding projects doesn’t help to achieve change in land management, which is a long-term game. Implementation is the key now, which requires partnership, appropriate tools and funding, and steadfast determination.

The vision is achievable but only with significant change in land away from the protected sites. These areas may not be perfect, but at least there are mechanisms in place to help. Exmoor’s farmed and enclosed land amounts to about 65% of the park, and much is agriculturally ‘improved’ land that has little wildlife interest. These areas could form a source of land for recovery, if the incentives and mechanisms are in place.

What are you working on next? Do you have any more writing projects lined up?

I have retired after nearly 37 years of working for the government’s wildlife body. I am going to tackle some tasks at home, as well as enjoy experiencing more nature by travelling a bit, before settling on another project.

Exmoor is available from our online bookstore here.

Author interview with Tony Juniper: Just Earth

In this radical, eye-opening book, environmentalist Tony Juniper CBE explores the interconnectedness of the environmental crisis and inequality, and argues that ecological progress cannot be achieved without addressing these disparities. Collating a range of interviews with global experts, and drawing upon 40 years of research and campaigning, he provides long-overdue answers as to how we can achieve real, lasting change.

Tony Juniper portrait. — Tony Juniper portrait © Jason Bye

Tony Juniper CBE is an environmental advocate who has been active in defending nature for nearly 40 years, through leading major organisations, managing global campaigns, and holding high-level government advisory roles. He is a celebrated author, known for numerous award-winning titles, and was awarded a CBE in 2017 as recognition for his contributions to conservation.

We recently had the opportunity to speak to Tony about his book, where he told us about the most challenging aspects of writing Just Earth, the importance of technology in creating a sustainable future and more.

Firstly, can you tell us a little about yourself and what inspired you to write this book?

I am a long-serving environmental advocate. I have led and advised campaigns and campaigning organisations, worked as a professional ornithologist, worked with the Cambridge Institute for Sustainability Leadership, written some books and I now lead Natural England – the UK government’s nature agency in England.

What message are you hoping to convey with Just Earth, and what do you hope the reader may learn from its message?

Just Earth set outs why and how various kinds of social inequalities are massive environmental issues. This is seen in how the poorest and voiceless get hit first and hardest by environmental damage, including exposure to toxic pollution, lack of access to good quality green spaces and the effects of climate change. Those most affected are the groups who are least responsible for causing such damage in the first place. The injustices linked with this limit the agreement of strong global accords and blocks action in countries around the world – new environmental laws and policies are held back because of the plight of the poor, who during cost of living crises are held up as the reason not to increase costs through moves to sustainable farming and clean energy, for example. Inequality also destroys the trust needed to foster the common endeavour that is so vital for fixing complex global issues. I set out something on what might be done, but it is a big set of challenges that we are facing, and the book seeks to inform the reader about the breadth and depth of what is at hand.

What was the most challenging aspect of writing Just Earth?

It is a complex story that the book seeks to tell. Getting the facts and data woven into a readable and balanced narrative was hard work – I am pleased with the result though, and hope readers will find it interesting and informative.?

Hills of Ingleton Waterfalls by Robin Mulligan, via flickr.

Green growth explores the possibility of decoupling the expansion of gross domestic product (GDP) with environmental damage. How important do you think technology will be in a green growth scenario, and do you think technological innovation can truly pave the way for a greener, more sustainable future?

Technology is a vital component of what is needed, but we’ve had a lot of that for decades and not used it at the scale needed. Just Earth sets out why it is important to look beyond solar panels, AI, batteries and all the rest, and looks into the social and political context in which these technologies are deployed. The idea of green growth has been around for years but there are too few examples of it working in practice. One challenging aspect that runs counter to our consumerist culture is the need to use less stuff. We are already causing massive environmental damage with a minority of the world population living like Europeans, and we simply don’t have enough planet to keep growing as we have during past decades – even if it is a bit greener here and there.

Greyfield Woods by Stewart Black, via flickr.

Chapter 11 sets out a ten-point agenda for a just transition to a secure future. If any, which of these do you believe should be the primary focus in beginning this transition, and how long do you think it will take to achieve?

I think the biggest single thing, which links to the idea of green growth, is to change what we are measuring as growth. At present, gross domestic product (GDP) dominates but fails to take account of the environmental damage and inequalities that go with it. Coming up with more comprehensive measures of growth, that also include metrics linked with social wellbeing, ecological footprint, happiness, health and social cohesion would lead to different outcomes. There are ways of doing this, and in the book, I touch on the idea of a Genuine Progress Indicator, which measures far more than simply how much economic activity is taking place.?

What gives you hope for the future of our planet??

We are in revolutionary times and at a moment when the old ideas of the 20th century are facing serious tests. Environmental goals are being diluted and weakened by some governments and companies and democracies showing signs of stresses and strains that have profound implications. My hope is that during the turbulent times that we are in new ideas will begin to take hold. I propose a new frame of reference to go beyond capitalism or socialism and to instead embrace the idea of Thrivalism, a world view that would aim to create the conditions for ten billion people to thrive and enjoy long and happy lives on a living planet. At this point we need to think big.

What’s next for you? Are you writing any other books we can hear about?

I have various projects in mind, and more will be shared on those in due course. For now, promoting the ideas in Just Earth will I expect take up quite a lot of time, alongside all the other things I do.

Just Earth is available to order from our bookstore here.