Author Interview – Page 7 – Hoopoe

Author Interview with Angela Harding: A Year Unfolding

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Author Interview with Stephen Littlewood: Wild Mull

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

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

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

Mull mountainscape across Loch na Keal by Martin Jones

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

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

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

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

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

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

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

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

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

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

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

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

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

Author interview with Beat Wermelinger: Forest Insects in Europe

Forest Insects in Europe has been written not only with professional entomologists in mind, but also for nature lovers generally. The descriptions of the various roles insects play in forest ecosystems are intended to be easily comprehensible, but still scientific.

We recently caught up with the book’s author, Beat Wermelinger, who works as a Senior Scientist at the Swiss Federal Research Institute WSL. His research interests include bark beetles and natural enemies, Biodiversity, windthrow succession, climate change and neozoa. Beat answered our questions in German and our bi-lingual team members were excited to translate these to English for us. Discover more below in both languages.

1) Could you tell us a little bit about your background and how you came to write Forest Insects in Europe: Diversity, Functions and Importance?

I have been working at the Swiss Federal Research Institute WSL (Swiss Federal Institute WSL) (a forest research institute) for 30 years and until recently was the head of the entomology group. Simultaneously, I have also been teaching forest insects at the ETH Zurich. During this time, a large pool of knowledge and information has accumulated. I have also been a passionate insect photographer for just as long, which is reflected in an image database of around 16.000 insect photos. These two strands provided an ideal basis for conveying the importance and fascination of insects in one scientifically based book, which was also richly illustrated with photos, for both specialists and all those interested in nature.

Können Sie uns etwas über Ihren Hintergrund erzählen und wie Sie dazu kamen, Forest Insects in Europe: Diversity, Functions and Importance zu schreiben?

Seit 30 Jahren arbeite ich an der Eidgenössischen Forschungsanstalt WSL (Swiss Federal Institute WSL) (einem Waldforschungsinstitut) und leitete dort bis vor kurzem die Gruppe Entomologie. Zugleich unterrichte ich fast gleich lang zu Waldinsekten an der Hochschule ETH in Zürich. In dieser Zeit hat sich ein grosser Fundus an Kenntnissen und Informationen angesammelt. Ausserdem bin ich seit mindestens ebenso langer Zeit ein passionierter Insektenfotograf, was sich in einer Bilddatenbank von rund 16.000 Insektenbildern niedergeschlagen hat. Diese beiden Grundlagen boten eine ideale Basis, die Bedeutung und Faszination von Insekten in einem zwar wissenschaftlich fundierten, aber auch reich mit Fotos illustrierten Buch sowohl Fachpersonen als auch allen Naturinteressierten zu vermitteln.

2) The book tackles a vast array of insect groups and ecological functions – were there any particular challenges in collating so much information in one place?

Much of the information comes from my readings or lectures. However, since I wanted to portray the ecological and economic importance of forest insects as broadly as possible, I still had to review a lot of published material. Above all, I wanted to support quantitative data with accurate citations. Owing to the Internet, such research is easier today than it was 20 years ago… Fortunately, I also had my own photographs on almost all topics.

Das Buch befasst sich mit einer Vielzahl von Insektengruppen und Funktionen – gab es besondere Herausforderungen, so viele Informationen in einem Buch zusammenzufassen?

Ein wesentlicher Teil der Informationen stammt aus meinen Vorlesungen oder Vorträgen. Da ich aber die ökologische und ökonomische Bedeutung von Waldinsekten möglichst breit darstellen wollte, musste ich doch noch Einiges an Literaturarbeit leisten. Vor allem wollte ich quantitative Angaben mit korrekten Literaturzitaten abstützen. Dank dem Internet sind solche Recherchen heute einfacher als noch vor 20 Jahren… Erfreulicherweise hatte ich auch zu fast allen Themen eigene Bilder.

3) Are there any insect groups that hold a particular interest for you?

Professionally, I am mainly concerned with wood-dwelling insects. I am especially interested in the bark beetles, and their natural enemies as well as the intensive interactions with their host trees. Bark beetles are known to be pests, but they are also pioneers in the decay of wood. I also deal with the wood-dwelling longhorn beetles and jewel beetles, which often lend themselves to photography because of their size and beauty. For decades I have dealt with the development of their biodiversity after disruptive events such as storms or fire. The social red wood ants or the galling insects also fascinate me with their ingenious way of life.

Haben Sie eine Insektengruppe, an der Sie besonders interessiert sind?

Beruflich beschäftige ich mich vor allem mit holzbewohnenden Insekten. Mich interessieren die Borkenkäfer, ihre natürlichen Feinde und die intensiven Wechselwirkungen mit ihren Wirtsbäumen. Borkenkäfer sind zwar als Schädlinge bekannt, sie sind aber auch Pioniere beim Holzabbau. Weiter befasse ich mich mit den holzbewohnenden Bock- und Prachtkäfern (longhorn beetles, jewel beetles), die sich oft ihrer Grösse und Schönheit wegen auch zum Fotografieren anbieten. Über Jahrzehnte habe ich mich mit der Entwicklung ihrer Artenvielfalt nach Störungsereignissen wie Sturm oder Feuer beschäftigt. Auch die staatenbildenden Waldameisen (red wood ants) oder die gallbildenden Insekten (galling insects) faszinieren mich durch ihre ausgeklügelte Lebensweise.

4) In Chapter 18, you discuss the severe and widespread decline of several insect groups. What has caused so many species to dwindle in European forests? And what is being done to address these threats?

There are two main causes for the decline in much of the forest insect fauna. The intensive use of wood in the past centuries has led to the fact that the forest area in Europe has decreased significantly over a long period of time, the trees no longer reach their natural age phase, and there were almost no dead trees that could slowly rot. In the case of many wood-dwelling insects that are dependent on so-called habitat trees or develop in decayed, thick tree trunks, this has led to a severe threat to their biodiversity. In recent decades, the forest area has increased again and in many countries the preservation of old trees and dead wood is being promoted. However, the impact is still modest.

A second reason is the fact that many shrubs and pioneer tree species such as willow and poplar have disappeared and the forests have often become more monotonous and closed. This mainly affects the forest butterflies. Today, clearings are created on purpose from which not only these insects, but also other light-loving forest species such as certain orchids or birds can benefit.

In Kapitel 18, erwähnen Sie den verbreiteten Rückgang mehrerer Insektengruppen. Was hat den Rückgang so vieler Arten in den europäischen Wäldern verursacht? Und was wird getan, um diese Bedrohungen zu begegnen?

Es gibt hauptsächlich zwei Gründe für den Rückgang eines grossen Teils der Waldinsektenfauna. Die intensive Holznutzung der vergangenen Jahrhunderte hat dazu geführt, dass die Waldfläche in Europa über lange Zeit sehr stark abgenommen hat, die Bäume nicht mehr ihre natürliche Altersphase erreichten, und fast keine abgestorbenen Bäume vorhanden waren, die langsam verrotten konnten. Dies hat bei vielen holzbewohnenden Insekten, die auf sogenannte Habitatbäume angewiesen sind oder sich in toten, dicken Baumstämmen entwickeln, zu einer starken Bedrohung ihrer Artenvielfalt geführt. In den letzten Jahrzehnten hat die Waldfläche zwar wieder zugenommen und in vielen Ländern wird der Erhalt von alten Bäumen und Totholz gefördert. Die Auswirkungen sind jedoch noch bescheiden.

Ein zweiter Grund ist die Tatsache, dass durch die Bewirtschaftung viele Sträucher und Pionierbaumarten wie Weiden oder Pappeln verschwanden und die Wälder oft monotoner und dunkler geworden sind. Dies wirkt sich vor allem auf die Wald-Tagfalter (forest butterflies) aus. Heute werden gezielte Auflichtungen durchgeführt, von denen nicht nur diese Insekten, sondern auch andere lichtliebende Waldarten wie bestimmte Orchideen oder Vögel profitieren.

5) A particular highlight of the book is the wonderful collection of insect photographs, most taken by you. Do you have any advice for people interested in insect photography?

The main problem when photographing small objects is always to be able to focus as much as possible on them. This requires a small aperture and therefore a lot of light. I photograph everything “hand-held” and therefore the shutter speed should be short. For these reasons, I almost always use a ring flash with separately controllable halves and 100 mm macro lens with my SLR camera. Nonetheless, even cameras with a small sensor (even mobile phones!) can nowadays produce surprisingly good images of larger, less volatile insects.

In order to photograph an insect as sharply as possible, you should position yourself so that the insect is parallel to the camera. At least the eyes should always be sharp. Of course, you can also choose a different level of focus for special effects.

In addition to technology, you need an eye for the little things in nature, patience and always a bit of luck! Knowledge of the behavior of certain groups of insects can also come to great advantage.

Ein besonderes Highlight des Buches ist die wunderbare Sammlung von Insektenfotos, die meisten davon von Ihnen aufgenommen. Haben Sie Tipps für Leute, die sich für Insektenfotografie interessieren?

Das Hauptproblem beim Fotografieren von kleinen Objekten ist immer, einen möglichst grossen Teil davon scharf abbilden zu können. Dies erfordert eine kleine Blende und damit auch viel Licht. Ich fotografiere alles “aus der Hand” und deshalb sollte die Verschlusszeit kurz sein. Aus diesen Gründen verwende ich mit meiner Spiegelreflexkamera und dem 100 mm Makroobjektiv fast immer einen Ringblitz mit separat steuerbaren Blitzhälften. Aber auch Kameras mit kleinem Sensor (sogar Handys!) bringen bei grösseren, wenig flüchtigen Insekten heutzutage erstaunlich gute Bilder. Um ein Insekt möglichst scharf abzulichten, sollte man sich so positionieren, dass das Insekt möglichst parallel zur Kamera steht. Mindestens die Augen sollten immer scharf sein. Natürlich kann man die Schärfenebene für spezielle Effekte auch anders wählen.

Zusätzlich zur Technik braucht es aber vor allem das Auge für die kleinen Dinge der Natur, Geduld und immer auch etwas Glück! Auch Kenntnisse des Verhaltens bestimmter Insektengruppen sind von grossem Vorteil.

6) What’s next for you? Do you have any projects that you are currently involved in that you would like to tell us about?

Professionally I am still working for another year, but of course my interest in insects will not vanish when I retire. I would like to use my pictures in other ways and maybe do another book. Above all, not surprisingly I would like to use the time to photograph insects in the great outdoors.

Was kommt als Nächstes für Sie? Haben Sie Projekte, an denen Sie aktuell beteiligt sind und die Sie mit uns teilen können?

Beruflich bin ich noch ein Jahr tätig, aber damit erlischt mein Interesse an Insekten natürlich nicht. Ich würde gerne meine Bilder noch anderweitig in Wert setzen und vielleicht noch ein weiteres Buch in dieser Art machen. Vor allem aber möchte ich die Zeit nutzen, um – wen wundert’s – in der freien Natur Insekten zu fotografieren.

Forest Insects in Europe Diversity, Functions and Importance
By: Beat Wermelinger
Paperback | July 2021| £42.99 ~~£49.99~~

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

Author interview with Alice Bell: Our Biggest Experiment

In Our Biggest Experiment, Alice Bell takes us back to explore the earliest signs and causes of climate change in the eighteenth and nineteenth centuries, to the advancing realisation that global warming was a significant problem in the 1950s and right up to today, where we have seen the growth of the environmental movement, climate scepticism and political responses like the UN climate talks.

Dr Alice Bell is a journalist and historian of science. Alice was a lecturer in science communication at Imperial College for several years, and was also a key contributor to the International Council for Science’s blog on climate policy in the run-up to the UN Paris talks. Alice has kindly agreed to answer some of our questions below.

1) ‘Our Biggest Experiment’ book reads like an epic story with so many interesting scientists and interwoven narratives. Was it always your intention to write this as an historical story, rather than a data and statistics driven text?

Totally. There are already loads of brilliant books explaining the science of climate change. I wanted to offer something a bit different.

When I started seriously reading up on climate change a little over a decade ago, I read through all the papers and briefings on the science and, crucial as all this info was, I kept finding myself asking questions about where the data came from – who commissioned it, why, when, how did they feel about that? This is partly because my undergrad degree is in history of science and I usually respond to science with questions about the people behind it, but it was also because I felt like I needed this history to really understand the climate crisis. As I read further and found answers to my questions. I learnt whole new sides to the climate crisis, deep back-stories and fascinating characters. I found it gave me a new perspective on the issue, and even lifted my spirits in places. I figured these were stories worth sharing, hence the book.

The numbers are vital to understanding climate change – indeed, chunks of my book are about how we came to start counting things like temperature and CO2 – but they’re only part of the story. If we really want to understand the climate crisis, we’re going to have to look around and behind the numbers too.

2) In the book you cover a number of different scientific disciplines and discoveries, which was your favourite area to research and why?

Science-wise, my favourite is probably the ways in which people started to unravel knowledge about past climates through cores of sea mud and ice. I loved reading the autobiography of Danish meteorologist Willi Dansgaard and his trips in the 1950s and 1960s to the Arctic, hunting bubbles of air trapped deep in ancient ice, taking them home for analysis. His study of cores from a US Army centre in the Arctic, Camp Century, took our understanding of atmospheric carbon dioxide back 100,000 years, helping scientists in the 1970s establish that the climate change we were living through was very much something they dubbed “global warming”, not cooling. I find paleoclimatology so wondrous, the ways people can piece together a history of the planet chasing markers through ice, mud, coral and tree rings.

It was also really interesting to learn more about the way scientists have contributed to the oil industry. From Yale chemist Benjamin Silliman Jr’s report on Pennsylvanian ‘rock oil’ back in 1855 (which arguably launched the American oil industry) diversifying into geology, engineering, oceanography and, when it suited them, atmospheric physics. Sometimes fossil fuel companies and their defenders get painted as “anti-science”. In truth they run on science, and always have done (they are just highly strategic about which bits of it they use).

3) I found it really interesting to learn about Eunice Foote and her role in discovering the greenhouse effect, especially since her contribution was overlooked or simply forgotten for so many years. Do you have a favourite character you discovered whilst writing this book?

It has to be Ida Tarbell, the journalist who brought down Rockafeller and the oil industry, over a hundred years ago.

Tarbell was born the same decade as the oil industry (the 1850s) in the same state (Pennsylvania). She saw the boom and bust of its early years, including the steady, steely growth of Rockefeller’s Standard Oil. She started off as a teacher, but moved to Paris in her mid 30s to write a biography of a female French revolutionary she thought had been overlooked, Madame Roland. She shared an apartment there with other women writers, hanging out with Louis Pasteur, Emile Zola and an Egyptian prince. While in Paris, she started writing for McClure’s Magazine, a literary and political monthly, first in pages previously filled by children’s author Frances Hodgson Burnett and later, once she’d moved back to New York, taking up an editorial post.

Tarbell apparently convinced the magazine’s owner, Samuel Sidney McClure, to run an exposé on Rockefeller and Standard Oil during a mudbath at a spa in Italy. Her father pleaded with her to pick any other topic for a story on monopolies than Standard Oil – he’d worked in the oil industry and knew you couldn’t win against Rockefeller. At a party in DC hosted by Alexander Graham Bell, one of Rockefeller’s bankers took her aside to say similar, adding a threat to the finances of the mag for good measure. She curtly replied this made no difference to her – she was a journalist, not the owner. Via Mark Twain, Tarbell bagged an introduction to one of the Standard Oil directors, Henry H. Rogers, who remembered her father and was surprisingly candid. Tarbell sleuthed her way to more and soon had enough to go public.

It was published as a series, starting in Nov 1902 and was immediately explosive. The publicity, in turn, brought her new stories, and the series ended up running for two years, published as a book in 1904, followed the following year with a biography of Rockefeller. The reporting influenced the 1904 election, and at one point Roosevelt found himself promising to return $100k in campaign contributions from Standard Oil directors. Then, in 1906, the company was told it had three years to divide itself up into smaller entities. The largest of these new smaller entities was Standard Oil of New Jersey, which we today know as Exxon. The New York arm we now know as Mobil, the Californian one became Chevron.

4) Your background is very well rooted in science communication – do you have any key tips for communicating climate change and inspiring change?

Anyone who says they know how to communicate climate change is selling magic beans. Climate is such a big, complex issue, a lot of the best advice goes out the window, or at least general sci comms advice isn’t enough. There are some basic good tips that apply to most comms work – think about the audiences you want to talk to, go to where they are already (e.g. don’t expect to talk to people who don’t like science at the Science Museum), and most of all, listen to them. But that’ll only get you so far. At Possible – the climate charity I co-run – we spend a lot of time pouring over any research we can get our hands on, so we can be as evidence-based as possible. There isn’t nearly enough research on climate comms, projects like the Centre for Climate Change and Social Transformations at Cardiff Uni is brilliant, but we need way more research funding on this issue. Something else we’re big on at Possible is finding ways to involve people in climate action – you can spend ages polishing your messages, but it’s all too easy for them to simply wash over people if there isn’t a way for them to get involved.

5) I felt a sense of positivity running through this book, reading about the scientific discoveries made over the years and the amazing technology mankind has developed. Do you find it easy to find courage amongst the bad news, and what makes you feel positive about the future of the climate crisis at the moment?

I’m really lucky to work at a climate action charity, it’s very different from reading data on sea ice melt day in day out. So when all the stories of climate impacts start to feel a bit much, I look to my colleagues taking positive, practical action and it helps me remember that there is still so much we can do. As the ever-articulate NASA climate scientist Kate Marvel puts it, ‘Climate change isn’t a cliff we fall off, but a slope we slide down.’ That slope is getting very steep, but we haven’t fallen off yet. There’s still so much of the world we can save.

There were times writing the book when I felt pretty down. There was a week last summer where it was just blisteringly, stiflingly, oppressively hot in London. London’s horrible when it gets too hot anyway, but that extra knowledge that climate change is contributing to the heat, and hurting people in other countries so much more, makes it all the harder. I was trying to finish the first draft of my book and re-reading all these papers from the 1960s or 1970s musing that “if” we didn’t do anything, the climate could get nasty after the year 2000. It made me so angry about all those lost years of delay and inaction. But at the same time, writing the book helped me find strength too, especially the stories of scientist’s research. Because climate change isn’t obvious. You need science to see it. We could, all too easily, be sitting around thinking ‘the weather’s a bit weird today. Again.’ We at least have this warning, and that’s something quite powerful in itself, even if we haven’t been fast enough to take that warning.

6) Do you have any further projects or books in the pipeline you can tell us about?

I have started mulling over an idea for another book, but honestly I’m not sure I have time. I’ve got too many exciting projects at Possible. My colleague Neil has some amazing work brewing on community hedge planting which has to be put on hold with the pandemic, but I’m so excited to get dug in (literally!) in the next planting season. Then another team member, Emma, has a really fun citizen science app we’re hoping to launch soon (if we can sort the bugs). Then there’s our solar railways work, projects listening to communities about what they think about projects to curb traffic in towns which sprung up during lockdown, and of course the big UN climate talks in Glasgow in November. One thing about climate campaigning is there’s always more to do! It doesn’t get boring.

Our Biggest Experiment: A History of the Climate Crisis
By: Alice Bell
Hardback | June 2021| £16.99 ~~£19.99~~

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

Author interview with Elsa Panciroli: Beasts Before Us

Elsa Panciroli is a palaeontologist who studies the evolution and ecology of extinct animals – particularly mammals from the time of dinosaurs. She is a researcher based at the University of Oxford and an associate researcher at the National Museum of Scotland. A keen science communicator, she has contributed to The Guardian, Palaeontology Online and Biological Sciences Review, and co-hosts the Palaeocast podcast. Beasts Before Us is her first book and tells the amazing story of early mammal evolution, taking the reader back well before the dinosaurs even rose to prominence. Leading up to publication, we reached out to Elsa and asked her some questions.

You write that you started your palaeontology career interested in dinosaurs and Ice Age megafauna. What turned you on to the path of our mammal ancestors?

Like so many things in life, it was serendipity. During my masters degree the renowned mammal palaeontologist, Prof Christine Janis, moved back to the UK from the US. I’d recently read her paper on giant extinct kangaroos and I was excited to meet her and learn more. It turned out she was offering a project studying mammal ankle bones, so although there were dinosaur projects available, I jumped at the chance to work with Christine. I learned so much from her, she was (and still is) a brilliant mentor. I soon realised what a lot of questions were still to be answered about extinct mammals. Afterwards, I did my PhD on little-known Jurassic mammals from Scotland, and started exploring their even more ancient past – I just couldn’t believe what I discovered! That’s why I wanted to write the book, to share what I had learned.

Given that we are so biased to mammals where, for example, conservation is concerned, why do you think that there has been so little mainstream interest in early mammal evolution? Your book shows that there is a fascinating story playing out before dinosaurs even evolved. Do the dinosaurs in that sense enjoy the advantage of incumbency in our imagination? Or do the details of mammal evolution not easily lend themselves to telling a captivating story?

I disagree that mammal evolution doesn’t lend itself to story-telling, but the many authors who’ve tackled the subject up to now focused on recent evolution and assumed everything before then wasn’t relevant. I wrote Beasts Before Us because our ancient relatives are incredible! I was quite shocked by this whole plethora of animals that not only predate the dinosaurs, but were incredibly successful, bizarre and exciting. They were the first to evolve iconic features we are fascinated by today, like large body size, sabre-teeth and gnarly horns. It’s just the icing on the cake that they are actually related to us. I wanted to show people the history of mammals isn’t a story of waiting in the wings for the dinosaurs to disappear, but of the stunning success our lineage (synapsids) over the last 350 million years, including before dinosaurs even existed.

I think there are a few different reasons why early mammal evolution doesn’t get the same love as dinosaurs. Dinosaurs are kind of otherworldly – in fact you might argue they are almost mythical – so naturally this makes them extremely compelling. As a result, people forget to look beyond them at what else has happened in evolutionary history. The media don’t help, because they overly focus on dinosaurs and always plaster them centre stage. Dinosaurs have become a touchstone for ancient, and other discoveries are always placed in relation to them. There is a lot of dino-noise to get through if you want to tell the stories of other animal groups!

An important theme in your book is that evolution is not a march of progress but a process of adaptation to current circumstances. It seems that our early ancestors thoroughly explored the space of possibilities and pioneered both behaviours (e.g. digging underground burrows) and morphology (e.g. sabre-toothed therapsids) that would later evolve again independently through convergent evolution. Are there examples of morphological adaptations or suspected behaviours in early mammals that have not reoccurred in more recent mammal evolution?

That’s a really interesting question! As we make new fossil discoveries, it’s increasingly apparent that there is very little happening on Earth today that hasn’t been done multiple times before by other animals. Of the top of my head, I can’t think of anything they – or other animals – did in the past that hasn’t reappeared again, nature is just like that. If anyone can think of something they can always tweet me about it!

I thought one very interesting idea you mention concerns the adaptive radiation of therians, i.e. the group that gave rise to both marsupials and the placental mammals to which we belong. They remained a species-poor group until after the dinosaurs went extinct, and it is traditionally thought it was competition from the dinosaurs that held them back. Instead, here, and in the Current Biology paper that just been published (congratulations, by the way), you argue that it was competition from other mammaliaform groups that held back the therians. Can you give us the elevator pitch in support of this idea?

Part of the problem is that the fossil record can be very misleading, and we can’t easily separate cause and effect. People saw that mammals became larger when non-bird dinosaurs disappeared, and so they drew a causal line between the two. To tackle this issue more robustly, my co-authors and I compiled big datasets of the changes taking place in the skeletons and teeth of mammals from the time of dinosaurs, and just afterwards. Our results showed that in the earlier-branching groups of mammals the number of changes taking place in their bodies continued to rise – in other words, they were still splitting into new groups and evolving new specialisations. But for the therian mammals (which include the ancestors and relatives of all modern mammals except platypuses and echidna), the number of changes was pretty flat in the time of dinosaurs. That is, until the disappearance of the earlier mammal groups – some of which didn’t become extinct until after the non-bird dinosaurs. Crucially, it wasn’t until these later extinctions that we really see therians diversifying more widely, therefore showing that it was competition with the other mammals that had been preventing them from diversifying prior to that point.

You mention Clashach quarry in Scotland as a site of great scientific interest due to its record of fossil footprints. I often shudder to think how many body and trace fossils are destroyed forever during mining and construction activities. Do you generally find commercial operators willing or interested to cease or move activities when fossils are found? Or would most rather just quietly ignore them to prevent costly delays?

Although you’re right that fossils are destroyed during extraction, we can’t forget that most fossils wouldn’t have been discovered in the first place if it wasn’t for quarrying and mining! The ties between extractive industries and palaeontology are really important, but they also form part of the colonialist history of the discipline, which we must acknowledge. The attitude of extraction companies varies from place to place, but many are really keen to support scientific study as much as they can. For example I know several have welcomed info sheets and talks from experts on how to recognise fossils, so that the workers know what to look out for. They’ll often put aside potential fossil finds so that they can be examined and studied. It’s hard to find a balance between industry and conservation, but for the most part quarry workers are just as excited about fossils as everyone else!

In your book, you broach the sensitive issue of decolonisation, acknowledging the often dark and unsavoury history of our scientific disciplines. Beyond words, what actions do you think are necessary to get to terms with our past? For example, is the repatriation of museum specimens always the preferred option?

Decolonising science and museum collections is a complex subject, and I’m not an expert, but the first step for all of us is to listen: we need to hear about, understand, and explore the legacy of colonialism and empire on our lives, not dismiss it. Repatriation of objects is appropriate in some cases, but there are many other things that need to happen as well. For example many objects are completely separated from their context – where they came from, the circumstances of their collection, and who collected them. We need to ask ourselves what the purpose of collections actually is now, who they are for? The scientific system itself was built in such a way that it biases who carries out research, how we carry it out, how it’s published, and who benefits. It’s going to take time and thought to rebuild it to be more equitable.

I was very impressed with the visual language you use throughout this book and read that you have a keen interest in science communication. I am a regular listener of the Palaeocast podcast that you co-host, but beyond that, what other platforms and outlets do you contribute to?

I have to admit I don’t keep a regular online presence at the moment, except for my twitter feed! I used to blog, but as I’ve ended up writing more articles (I wrote for The Guardian for a while, and some other freelance work) I’ve had less time. However, when possible I place content on my YouTube channel, particularly short videos explaining new research, or talking about fossils. I’ve also done some readings of Beasts Before Us, if you want a wee taster!

Beasts Before Us is your first book. Now that it has been published, is it time to turn your attention back to research, or was the experience rewarding enough that we can look forward to more books in the future?

I’ve actually been carrying out my research alongside writing, which has been pretty exhausting! It’ll be nice to devote more attention just to the research for a while. Having said that, I do have a second book lined up, and many more ideas in the queue, so you can definitely expect more in the future!

Beasts Before Us: The Untold Story of Mammal Origins and Evolution
By: Elsa Panciroli

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

Author Interview with Charles Foster: The Screaming Sky

A summer visitor, the common swift appears suddenly with the change in season, swooping overhead with its unmistakeable call. From their travels to Africa, to their short breeding season in the UK, swifts appear to defy gravity with their extraordinary migratory feats, with some in flight for ten months of the year. In The Screaming Sky, Charles Foster follows the swifts across the world, recounting his travels and the lives of these remarkable creatures.

Charles Foster, author of the New York Times bestseller, Being a Beast, is a writer, barrister and a Fellow of Green Templeton College, University of Oxford. With publication of his latest book due soon, Charles has very kindly agreed to answer some of our questions.

Firstly, could you tell us a little bit about your background and how you came to write The Screaming Sky?

I’m originally from Sheffield, and as a small boy I was obsessed with natural history. One summer I was sitting in a field watching and counting the house martins. Suddenly there was something else there: it was a completely different kind of creature, and it inhabited the air while other birds just visited it. I was immediately drunk on its power and its mastery and its swashbucklingness. It could have ended badly: it might have made me worship power. But (that’s another story) I was spared that fate, and instead started to wonder whether I could know anything at all about something as different from me as that. So I followed them in every way that I could: through books that taught me about their biology, through poems that taught me how impossible it is for human language to tie swifts down, by gazing up into summer skies, by playing recordings of their calls when I was missing them like crazy in the winter, and by travelling along their migration routes, hoping to catch up with them in Africa and everywhere en route. How could I not write about birds that have taught me so much about what it means to be alive?

During your travels, were there any encounters that particularly stood out for you?

Three:

Sitting at the foot of a tower in Greece with the swifts diving so near to my head that I could feel the air from their fluttering on my face, knowing that they were about to leave for Africa, and wondering what the bereavement would do to me.
Sitting at the top of a tree in Oxford amongst a group of swifts which were grazing on the aerial plankton being wafted up from the ground. And seeing the grey triangular tongue of a swift as it snapped at a ballooning spider near my ear.
Being asleep under a bush in Africa, and being suddenly awake, knowing that the swifts that I’d been searching for for so long were going to be there. And they were! It wasn’t that I’d heard them coming (swifts are generally thought to be silent in Africa). It wasn’t that I’d been told to expect them: I’d been told that we probably wouldn’t see them at all. So how did it happen? If I told you my speculations you’d think I was mad.

What were the major challenges you faced while writing your book?

I’m a fat, lumpen, middle-aged man. It’s hard to think of any organism that’s less like a swift. And, as I’ve said already, language (which is pretty inadequate at the best of times) fails particularly obviously when it comes to swifts. That’s bad news for a writer on swifts. And then there were snakes and elephants and rabid dogs and torrential diarrhoea and bush fires and soldiers and downright laziness and roads washed away and guilt at leaving the family behind.

Wildlife has suffered a substantial decline over the last few decades, and swifts have been no exception with a loss of over half of the breeding population. Has your recent experience writing The Screaming Sky left you more optimistic or more pessimistic regarding the future of the common swift?

They watched the continents shuffle to their present positions, and the mammals evolve. They’ll be screaming through the sky long after our own race has been and gone.

Do you have any new projects in the pipeline that you’d like to tell us about?

In August a book of mine called Being a Human: Adventures in Forty Thousand Years of Consciousness will be published. It’s an attempt to imagine how it would have felt to be around at three pivotal moments in the history of human consciousness: the Upper Palaeolithic (when modern consciousness ignited), the Neolithic (when we first started to see ourselves as distinct from the wild world, and started to tame ourselves and other animals), and the Enlightenment (when the universe, which had always been seen as alive, was reconceived as a machine – with disastrous consequences). And at the moment I’m writing a book called The Siege – to be published in 2022 – which is a collection of stories illustrating the challenges of living alongside you and me if you’re a wild thing with all your senses switched on.

The Screaming Sky
By: Charles Foster

Author interview with Roy Dennis: Restoring the Wild

Reintroducing lost species has had a huge part to play in restoring natural processes and enriching biodiversity in Britain. In Restoring the Wild, Roy Dennis MBE documents the painstaking journey to reintroduce some of Britain’s lost apex predators, and the subsequent enormous benefits to our ecosystem.

Leading up to the book’s publication, Roy kindly agreed to answer some questions.

As is made clear from the title of your book, you have a long and amazing history of involvement with conservation projects. Could you begin by sharing what inspired you to pursue a career as a field ornithologist and wildlife consultant?

It really started as a youngster keen on wildlife and living in the Hampshire countryside. Becoming really good at birds and bird ringing which led to a summer job as an assistant warden at Lundy Bird Observatory, instead of going to work at Harwell Atomic Research Station. The following year I was a field ornithologist at the prestigious Fair Isle Bird Observatory, which was fantastic training. There I met George Waterston, the famous Scottish ornithologist, who persuaded me to join him the following year wardening the ospreys at Loch Garten. There I made so many friends in wildlife conservation and became totally convinced that my life was going to be about birds and conservation, restoring species and subsequently ecological restoration.

Of course the obvious aim of a reintroduction project is to bring back a species that has been lost. But in your experience what subsequent benefits are there to reintroductions?

I think in a very damaged world reintroduction projects show there is a chance to bring species back and give people hope. Some species are more important than others from an ecological point of view with beavers being the ecosystem engineer par excellence. My book explains the many advantages of restoring beavers. Other species such as red kites and white-tailed eagle are iconic species, which demonstrate that rare birds can live in the general countryside, not only in nature reserves. Then people can see and enjoy them on the way to work, school or the shops. My whole ethos has been to make rare birds more common and secure for the future.

According to the latest 2019 State of Nature report, about 162 species have thought to have become extinct since the 1500s. How is it decided what species should be prioritised for reintroduction?

It’s more a question of our ability to successfully restore a species, is there enough habitat and food, can we find birds to translocate and what is the likelihood of success. I think the most important action is to take action and not be bogged down by procedures.

You spoke in your book about the opposition to reintroduction projects – what would your response be to address these concerns and opposing views?

The opposition can come from many quarters but the most important thing is to listen to all the concerns and address them. It’s essential to know the species on its home patch and to be able to present a clear message. Usually people’s concerns can be allayed; for example I write in my book about making a special recce to the Netherlands to speak to the experts about white-tailed eagles and agriculture, so that we could give considered views before starting the Isle of Wight project. We have had complaints from some birders that the translocated ospreys at Rutland Water or the sea eagles are not ‘real’ birds and they cannot count them on their lists. But they forget capercaillies were brought back from Scandinavia long ago. But the recent sea eagles flying in southern England have shown that birders just love to know they are back, and hopefully will breed in England again.

In the final chapter of your book you look forward to focus on newer projects, such as White-tailed Eagle reintroductions on the Isle of Wight and the South Coast Osprey Project. But what else would you like to see reintroduced to Britain in the near future?

In my last chapter of the book I’m really talking about handing over the baton to others to take projects forward. I’m very fortunate that Tim Mackrill joined me a few years ago and I love working with our small team. We are always assessing possible projects but would rather do it in a quiet way, really get to know the species on mainland Europe and talk to all the people that are likely to be involved before we go public with an idea.

White-tailed Eagles, Ospreys, Red Kites and Goldeneyes are a few of the species you have helped to successfully restore to Britain. What has been your personal highlight and why?

“What is your favourite?” is a question I’ve been asked all my life. But I do not have one – or rather it is the one we are working with at the time. I can recall personal highlights like the first osprey breeding pair at Rutland Water, seeing the young white-tailed eagles fly free on the Isle of Wight was exciting just like when I released the first young sea eagle on Fair Isle in 1968. Seeing red kites, the length and breadth of Scotland and England has been special, made more so when you see them soaring over motorways. During lockdown it’s been marvellous to hear from so many people who have seen a sea eagle fly high over them as they sit in their garden. Bringing wonder back.

The Roy Dennis Wildlife Foundation has achieved a great deal over the years since it was formed in 1995, not just in the UK but across Europe too. Can you share what the Foundation has planned for the future?

We want to carry on with our work with wildlife conservation, there are still many things to do and the return of the Lynx is high in my thoughts. We have others in mind for the future so keep an eye on our website and see what’s coming next. You will get a great insight to how these projects evolve and work in Restoring the Wild.

Restoring the Wild: Sixty Years of Rewilding Our Skies, Woods and Waterways
By: Roy Dennis
Hardback | Due April 2021 | £16.99 ~~£18.99~~

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

Author Interview with Dave Goulson: Gardening for Bumblebees

From the Sunday Times bestselling author of The Garden Jungle and A Sting in the Tale comes the much anticipated Gardening for Bumblebees. Part identification guide, part instruction handbook, Gardening for Bumblebees is packed full of information and ideas on how to create pollinator-friendly spaces for all types of garden.

As well as an award-winning author, Dave is also a Professor of Biology at the University of Sussex and founder of the Bumblebee Conservation Trust. We have recently had the opportunity to ask him some questions about his latest book.

Could you start by telling us how you came to write Gardening for Bumblebees, and how it differs from your previous book, The Garden Jungle?

Gardening for Bumblebees is a practical, full colour, nuts-and-bolts guide to encouraging bumblebees and other pollinators in the garden, including detailed sections on choosing the best flowers, creating meadow areas, building bee hotels, propagating plants yourself, organic pest control, and more. I hope that it will inspire people, and provide them with all the knowledge they need to turn their garden into a haven for wildlife.

In your book you mention several citizen science projects, such as BeeWatch and BeeWalk, both run by The Bumblebee Conservation Trust. What is the aim of these projects, and how are they beneficial?

If we are to effectively look after our bumblebees and other wild insects we need to know where they are, and how their populations are changing over time. Then we can target conservation efforts to the species and places that most need them, and see whether the things we are doing to help are actually working. Members of the public – “citizen scientists” – have an enormously important role to play here. The UK Butterfly Monitoring Scheme is a great long-running example, whereby the efforts of thousands of unpaid volunteers now provide a really accurate picture of how our butterfly populations have changed since the 1970s.

Your book is filled with fascinating facts about bees that I previously did not know. In your opinion, what have you found to be the most surprising discovery in regard to bees?

I first became hooked on studying bumblebees when I noticed how a bee in a patch of flowers will often fly up to a flower but then veer off without landing. I wondered what was wrong with these flowers. It took five years of research to find out that they were sniffing the flowers for the faint smelly footprint of a recent bee visitor – which would indicate that the flower is likely to be empty. Bees use lots of clever tricks like this to help them gather nectar and pollen efficiently. They are remarkably clever!

You mention in your book your fascination with bees from an early age. How do you think we can best encourage environmental awareness in young people?

We need to make sure that young people have regular opportunities to interact with nature, so they do not grow up regarding insects as alien, unfamiliar, and scary. I’d love to see every school having access to wild greenspace, and more support to help teachers themselves learn about nature so that they can enthuse the children. I’d also pair every school with a nature friendly farm, and provide support so that the children could visit the farm at least once or twice a year, to understand the connections between growing food and nature.

There has been much public concern regarding bees, pollination, and the future of our crops. With the increase in publicity and information on how we can make simple changes to help secure the bumblebee population, do you feel hopeful for the future?

It is great to see the growing public appetite for making gardens more wildlife friendly, and councils also reducing mowing and introducing meadow areas to parks. However, to really make a difference we need farming, which covers 70% of the UK, to move away from the current highly intensive approach, which is reliant on many pesticides. The new Agriculture Bill and Environmental Land Management Scheme might, if done properly, provide a mechanism for positive change.

Alongside the Buzz Club, a citizen science project that is focused on garden wildlife, do you have any other projects on the horizon you’d like to tell us about?

I have another book out in August 2021, Silent Earth. It is a blunt assessment of the dire plight of insects globally, but with suggestions as to how we could halt and reverse their declines. I hope it will help to persuade people that we are in a time of crisis, and that we need radical change.

Gardening for Bumblebees
By: Dave Goulson
Hardback | April 2021 | £13.99 ~~£16.99~~

An inspiring practical guide to creating pollinator-friendly spaces for all types of garden, no matter how large or small your patch is.

Discover other titles by Dave Goulson below.

The Garden Jungle

Paperback | £9.99

“An upbeat book about the wonders of the ecosystem in every garden.”
– The Times, summer reads of 2019

Bee Quest

Paperback | £7.99 ~~£9.99~~

“Dave Goulson […] has perfected the art of turning the entomologist’s technical expertise into easy-reading everyman’s prose. He also laces his stories with rich helpings of wit and humour.”
– Mark Cocker, Spectator

A Buzz in the Meadow

Paperback | £7.99 ~~£9.99~~

“Buy this book, give it as a present. It is required reading for being a human in the 21st century.”
– Matthew Cobb, professor of zoology at the University of Manchester, New Scientist

A Sting in the Tale

Paperback | £7.99 ~~£9.99~~

“Goulson has plenty of wondrous biological stories to tell, as well as the tale of his own struggle to return the short-haired bumblebee to Britain.”
– Patrick Barkham, The Guardian

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

Author Interview with Andrew Painting: Regeneration

The Mar Lodge Estate in the heart of the Cairngorms was acquired by the National Trust for Scotland in 1995, and has since experienced landscape-scale restoration with outstanding results. Discussing conservation, rewilding and land management, Regeneration is an honest account of both the progress made at Mar Lodge Estate and the challenges faced over the last 25 years.

After studying Environmental Anthropology at Aberdeen University, Regeneration author Andrew Painting moved to Scotland to volunteer with the RSPB. Since 2016, he has been Assistant Ecologist at the Mar Lodge Estate, and has documented its slow recovery. He has very kindly agreed to answer some questions about his book.

Could you tell us a little about your background and where the motivation for this book came from?

I’m a lifelong naturalist, but it took me quite a while to take the plunge into working professionally in conservation. My first degree was in English Literature, so I’m glad I’ve finally been able to put it to good use! I’ve been working in the ecology team at Mar Lodge since 2016, when the fruits of two decades of hard work were beginning to show, and I instantly fell in love with the place. By 2018, all the graphs and reports we were producing were looking very respectable, and I realised we were sitting on a story that deserved a larger audience than it was getting at the time. 2020 was the 25th anniversary of the National Trust for Scotland acquiring the site, and one eighth of the way into the Trusts’ 200 year management vision for the land, so it seemed like a good time for a stock-take.

Of course, it’s never as simple as that. Mar Lodge Estate is not perfect (nowhere is), and as I got down to writing the book I realised that the social and political complexities of the ‘Mar Lodge experience’ were just as important to discuss as the successes.

Though far more is needed to keep up with the increasing levels of environmental destruction, you write of much hope for the future. What do you think is the current biggest challenge conservationists are up against?

Often, the biggest challenge to solving any problem is getting people to accept that there is a problem in the first place. Thanks to decades of campaigning from people from all walks of life, I think we are now at the point where there is broad agreement about the scale of the twinned environmental and climate crises, and the necessity of social change to address them. Politicians across the political spectrum are waking up to the fact that environmental conservation is both a vote-winner and also extremely good value for money, while the private sector is realising that nature-based businesses can be both highly profitable and enjoy high levels of public support.

So now I think that the challenge is to be bold and ambitious, and to make the most of this ‘unfrozen moment’. We need nature, not just in our National Nature Reserves and SSSIs, but also in our farms and seas, along roadsides, in our urban areas, schools and places of business. We now need to lobby those increasingly receptive politicians to instigate progressive policies that incentivise returning nature to these places. To that end, for me, the real power of Mar Lodge Estate is not in the amount of wildlife or carbon it holds, but in the example of ecological restoration that it sets to other Highland estates.

Could you talk about a particular conservation success story over the course of the project?

With any luck, in the years to come the landscape-scale restoration of high altitude woodland across the Cairngorms will become a ‘textbook example’ of an effective, large-scale and long-term conservation project. This habitat, a mixture of cold and wind-stunted birch, juniper, pine and montane willow species, has been almost lost from the UK. But we are beginning to see it return at a landscape level at Mar Lodge and much more widely across the Cairngorms and Scotland. In the Cairngorms, this has been facilitated by a really nice mixture of traditional conservation work, high-tech genetics work and landscape-scale partnership working. This is still very much work-in-progress, but what’s really exciting about it for me personally is that we’re really only at the very beginning of a journey which will play out over decades. So every time I head out into the high hills I’m excited to see what I will come across.

Has documenting this project inspired you to get involved in any other long-term initiatives?

There’s a lot to choose from these days! I’m originally from the West Country, so have fond memories of the Avalon Marshes and Steart – both of which are hugely exciting projects. I’ll never forget seeing and hearing my first cranes on a very cold winter day in the Somerset Levels. But for sheer size and ambition, there are few projects more exciting than the ones currently underway in the Cairngorms.

You talk about the well-documented value of nature for our mental health, while also questioning how to facilitate the means for people to enjoy and benefit from nature without harming it in the process. Do you think eco-tourism is beneficial to conservation?

It certainly can be! There are projects across Scotland which are highlighting the benefits of eco-tourism to local economies, from the Borders to Mull to Cromarty to Sutherland. But eco-tourism isn’t a silver bullet – areas which are dependent on a single industry or land use are incredibly vulnerable to social, economic and ecological change, so it should really be seen as part of a larger solution to environmental problems, rather than a solution in and of itself. I do feel that potential impacts of eco-tourism on sensitive habitats and species can generally be mitigated through good land management practices, better education and more awareness of our own personal responsibilities towards nature. And of course, for nature to really thrive, we need to remember how to live alongside it everywhere. Why should people be content to see charismatic wildlife only on their holidays?

This is your first book, and it is a great achievement. Do you think it will be the first of many?

Right now I’m just looking forward to getting back out into the field! I’m not sure about ‘many’, but I think I’ve got a couple more books in me. And of course, I’ll have to do another Mar Lodge book in 25 years’ time to check in on progress!

Regeneration: The Rescue of a Wild Land
By: Andrew Painting
Hardback | March 2021 | £16.99 ~~£19.99~~

“Deftly weaving through the social and political complexities of nature conservation in Scotland the Regeneration of Mar Lodge is testimony to the miracles that can happen when disparate interests come together in common cause.”

Isabella Tree, author of Wilding: The Return of Nature to a British Farm.

Browse our selection of conservation and biodiversity books

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Author interview with Dean R. Lomax: Locked in Time

Dean Lomax digging up dinosaurs at the Wyoming Dinosaur Center.

Dean R. Lomax is an internationally recognized palaeontologist, author, television presenter, and science communicator. He is currently a visiting scientist at the University of Manchester and is a leading authority on ichthyosaurs. He is due to publish a remarkable popular science book, Locked in Time, that looks at what the fossil record can tell us about behaviours of extinct animals by way of fifty remarkable examples. Leading up to publication, we reached out to Dean and asked him some questions.

Could you tell us a little about your background and where the motivation for this book came from?

My passion for palaeontology stems from my childhood fascination with everything dinosaur. In high school, I was not very gifted academically and my grades were not good enough to attend university so at the age of 18 I ended up selling my possessions – including my cherished Star Wars collection(!) – to help fund a trip to excavate dinosaurs at the Wyoming Dinosaur Center in the USA. That trip changed my life and formed the backbone of my career. Not only did it provide me with the necessary experience I needed to help build a career in palaeontology, but it is where the idea for Locked in Time originated. Whilst looking at the museum displays, one particularly outstanding fossil caught my eye. A trackway with its maker preserved at the very end – an animal that had literally been caught dead in its tracks. I had never seen anything like this fossil before, in books, in museums or in documentaries. This prehistoric story was preserved in time for all to see. I was hooked. It gave me that spark to discover more about prehistoric animals and their behaviours and I even ended up describing this particular fossil in the scientific literature.

In your introduction, you mention the field of palaeoethology (the study of fossils to infer behaviour). How big of a subfield is this in palaeontology? Are there specialised palaeoethologists, or is it more a case of palaeontologists contributing to this field whenever someone finds something?

Palaeoethology is a fascinating subject that allows us to explore the study of behaviours of extinct species through the evidence preserved in fossils. It is a small subfield of palaeontology, due mostly to the rarity of fossils with direct and reliable evidence of behaviours preserved. There aren’t necessarily any specialised palaeoethologists, but rather those palaeontologists who contribute to the field when something is found and described; however, palaeontologists may often be entirely unaware that they are actively contributing to the field because the idea of ethology/behaviour in the fossil record can easily be overlooked. Having said that, there are some palaeontologists that could easily add ‘palaeoethologist’ to their CVs, most notably those who work with amber which often preserve snapshots of behaviours in action. A real pioneer in the field of palaeoethology was Dr Arthur Boucot. He spent years searching for evidence of behaviours in prehistoric animals, writing numerous papers and academic monographs, and even introduced the term “frozen behaviour” for those instances where an extinct organism was preserved in the midst of some type of behaviour. Delving into his history and research was genuinely inspiring. As I have researched and published on multiple specimens and have written this book, I guess this probably qualifies me as a palaeoethologist too.

Ideas about behaviour are important to those who produce artwork depicting prehistoric lifeforms, i.e. palaeoartists. Do you find there is much of an exchange between palaeontologists and palaeoartists to try and depict behaviour in artwork according to the latest science?

The field of palaeoart has grown immensely over the last twenty years. In fact, several palaeoartists have become excellent scientists in their own right, including Bob Nicholls (the artist for this book), who has co-authored multiple scientific studies. Good palaeoartists stay informed of the latest scientific research and discoveries, with several often working very closely with palaeontologists to ensure their reconstructions are scientifically accurate. Subsequently, when based on the latest science, thoroughly researched palaeoart reconstructions are anatomically plausible. However, that said, practically all aspects of behaviour depicted in palaeoart are not based on direct evidence but assumptions. Usually, the best a palaeoartist can do is look at an extinct animal’s anatomy and environment and speculate about its lifestyle and behaviours. This is why fossilised evidence of behaviours, like those contained inside this book, are so precious and important to study and understand. These remarkable fossils tell us that prehistoric creatures were not movie monsters (prehistoric life, especially dinosaurs, are too often portrayed as roaring monsters!) but real animals that behaved in a variety of familiar and surprising ways.

What have technological advancements contributed to this line of inquiry? Are palaeontologists going back to old fossil material to reexamine them with new tools and finding new evidence of fossilised behaviour?

The use of flashy, high-tech computers, scanners and the like have helped to unlock an entirely new world of information contained in fossils. As a result, not only are newly discovered fossils subjected to this technology but much older fossil discoveries, where none of these technologies were previously available, can now be reanalysed with a fresh approach, breathing new life into old fossils as it were. This has led to some exciting discoveries of fossilised behaviours in specimens that have otherwise been deemed as having little to no research value.

Whether dinosaurs or early mammals, prehistoric organisms were faced with many of the same basic challenges as animals alive today. Has the fossil record revealed any examples of behaviours that were unique and now effectively extinct?

These types of questions are what get me excited about unravelling the mysteries of prehistoric behaviour. In many cases, “the present is the key to the past”, as geologist Charles Lyell famously introduced in the 1800s, and this definitely holds true with understanding behaviour. For example, on a basic level, we know that some groups of mammals live in herds today and that some extinct mammals also lived in herds millions of years ago (we have good fossil evidence for this). However, the natural world is filled with so many incredible acts of behaviour that you might expect the fossil record would reveal something unique. As such, perhaps one of the most unusual and apparently unique behaviours was recorded in an ancient roughly 430 million-year-old arthropod nicknamed the ‘kite runner’. The young of this arthropod were literally tethered to the parents via long spines. It appears to be the only known occurrence of this type of brooding behaviour known among fossil or living arthropods.

Rather than body fossils, past behaviour is often deduced from so-called trace fossils or ichnofossils. Nests, fossilised footprints, and trackways must be fairly easy to recognize. But what about the harder-to-identify traces? Do palaeontologists frequently encounter suspected ichnofossils where they don’t know who made them, how they were made, or perhaps even what they represent?

Yes, palaeontologists (or palaeoichnologists) frequently encounter mysterious trace fossils that are difficult or near impossible to identify or decipher. By their very definition, trace fossils represent evidence of behaviour, so we can say with confidence that an ancient animal made a nest, left its tracks or created a burrow, but they generally do not provide all of the tell-tale signs that allow us to identify what organism made it, how it was made or even what the trace might really represent. To find definite answers, we have to go a step further. In much rarer circumstances some trace fossils provide more than a ‘simple’ track or burrow and may be directly related with its maker, such that the body fossil is present inside the burrow or at the end of the track. In other examples, a track might show where the animal walked, stopped, sat down and then walked away, or a burrow might preserve evidence of scratch marks that could indicate how the burrow may have been constructed and by whom. These types of fossils provide much more information about specific moments (and behaviours) in deep time.

Were there any examples of fossilised behaviour that did not make the cut for this book but that you would have loved to include, or any noteworthy recent discoveries?

Having spent a substantial amount of time combing through hundreds of scientific papers and books, and examining specimens in museum collections, my initial plan was to tell the story of prehistoric behaviour through 100 fossils, rather than 50. It was incredibly tough selecting 100 fossils, so cutting this in half was much harder! I had to rank each of the fossils against one another, in terms of the type of behaviour, type of animal and so forth. This meant some really unusual specimens, like the aforementioned ‘kite runner’, did not make the final cut. One fossil that I would have really liked to include, and which has received worldwide media attention recently, is the so-called ‘Dueling Dinosaurs’ fossil, which appears to preserve a Tyrannosaurs and Triceratops locked in combat. I opted not to include the specimen as it has yet to be formally described, although I do make some subtle references to it. I’m very excited to see what research is revealed from this fossil, especially as only one fighting dinosaur fossil has been described, which inspired the book’s cover.

Finally, what are some of the biggest unanswered questions when it comes to fossilised behaviour? What would you love to find?

There are so many ancient groups and species that it would be easy for me to rattle off a list of some of the biggest unanswered questions about fossilised behaviour, but the reality is that we have only really scratched the surface. We have so much to learn when it comes to fossilised behaviour. After all, inferring and attempting to understand behaviour in long-extinct organisms is incredibly hard and is made even more challenging when evidence of behaviours are not preserved. It is also vitally important to remember that, by its very nature, the process of fossilisation is already an incredibly rare event, so to have any form of evidence for ancient fossilised behaviour preserved is genuinely astonishing.

Ooh, what would I love to find! I’m torn between several imaginary fossils, but if I was forced to choose one then it would have to be finding a dinosaur dead in its tracks. The thrill of following in the footsteps of a dinosaur only to find its skeleton lying at the very end of the track would be the ultimate dinosaur detective story.

Locked in Time: Animal Behavior Unearthed in 50 Extraordinary Fossils
By: Dean R. Lomax
Hardback | May 2021