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.

 

Book review: King Tyrant

King Tyrant book cover.***** Sets the standard for what good popular science can be

When Princeton University Press announced King Tyrant, I was beyond excited. Whether it is pterosaurs, palaeoart, or the Crystal Palace dinosaurs; whatever palaeontologist and palaeoartist Mark Witton writes on has been brilliant so far, and King Tyrant very much continues that tradition. Do not let the pretty pictures fool you; this is not a children’s book but a grounded, fact-based overview of the scientific consensus on all things Tyrannosaurus rex, combined with numerous informative diagrams and Witton’s gorgeous palaeoart. The execution of this book sets the standard for what good popular science can be and is a model that other authors and publishers can aspire to.

Even if you know nothing about dinosaurs, T. rex is the one name you will recognise, such is the fame of this extinct animal. Surely, books about it are a dime a dozen? In a recent interview on the Love in the Time of Chasmosaurs podcast, Witton pointed out that, surprisingly, this is not the case. Hone’s book covered the family at large, but, aside from two technical books in recent decades, the last popular treatment was Horner & Lessem’s book in 1993. That might just as well be prehistory, given how much research has advanced and how many more fossils have been found since then. This is a clear case of Witton writing the book that he wanted to read.

King Tyrant book page.Given how frequently the name T. rex crops up, you might even get a bit annoyed: not you again! All the more reason to read this book. Witton is acutely aware that a veritable subculture has grown up around this one species that “sits, sometimes uncomfortably, on the boundary between science and sensationalism” (p. 1). These popular depictions, often carrying with them an air of scientific authority, bleed into people’s consciousness, creating something less of a dinosaur and more of a chimaera, with traits both exaggerated and fictional. One of Witton’s most important goals with King Tyrant is to “deconstruct hype and controversy” (p. 41). The first chapter daringly combines a précis of the first century of research with an examination of the sociological side. How did this particular species become palaeontology’s rock star? It is a fascinating history that starts at the American Museum of Natural History who promoted it to attract large crowds. It was “proverbial lightning in a bottle” (p. 278), with an influential legacy that lasts to this day in movies, documentaries, and merchandise. And yet, popular depictions “have nothing on what science tells us about the reality of Tyrannosaurus rex” (p. 279).

The bulk of the book thus explores what the science actually shows. The remaining six chapters flow logically into each other: the definition and taxonomy of the species; internal and external anatomy; physiology, growth, sensory biology, locomotion, etc. (i.e., what all this anatomy might have been capable of); ecology and behaviour; and extinction. Indeed, the writing is one of the two highlights of this book. Witton strikes that fine balance between going into quite some technical detail and yet keeping it entertaining. The result is a well-grounded and accessible summary of the scientific consensus on numerous topics.

King Tyrant book page.T. rex, more than any other species, attracts a lot of fringe ideas from inside and outside of academia, and Witton leaves no rock unturned. On the one hand, there are the minority views and “non-troversies” (thanks Witton, I am stealing that brilliant term) that get far too much airtime, such as the existence (or not) of a dwarf species, “Nanotyrannus“, or the scavenging hypothesis, the notion that T. rex was a scavenger rather than a hunter. Needless to say, neither idea curries much favour among professionals. On the other hand, actual scientific debates are often ignored by the press. Opinions are divided on whether dinosaurs were already on their way out before the asteroid impact or were still in their prime. Witton provides the best overview of this topic that I have read so far.

In The Future of Dinosaurs, Hone pointed out the frequent disparity between what people *think* we know, and what we actually know – and plenty of examples of this feature here. Some confident depictions are almost completely fictitious. The trope of the roaring T. rex leads to the question of whether dinosaurs as a group vocalised at all! This is not “overzealous scientific conservatism” (p. 159); we have found, all told, one whole fossilised voice box. The ensuing discussion on the evolution of vocalisation in birds, dinosaurs, and other reptiles shows the complexities and competing scenarios. The opposite also holds: there are topics where the general public does not realise just how much palaeontologists know, such as the anatomy of T. rex‘s face or its remarkable growth pattern with age.

King Tyrant book page.

The other highlight of this book is the illustrations, both the artwork and the diagrams. Witton is an accomplished palaeoartist who cares deeply about the scientific accuracy of his artwork. We thus get modern depictions of dinosaurs with fleshy lips and bulky muscles. Each of these paintings is worthy of a frame, and it is hard to pick favourites. The book’s cover, showing T. rex rumbling a closed-mouth vocalisation (a behaviour seen in modern birds and reptiles), is, in my opinion, one of the best pieces he has ever made. The azhdarchid pterosaur stalking a juvenile T. rex on page 250 is also instantly memorable. Even when the subjects are cliché, such as T. rex near erupting volcanoes or the K–Pg impactor streaking across the sky, Witton’s depictions are visually arresting. Labelled photomontages show T. rex‘s “raw osteological charisma” (p. 4), and include detailed close-ups that help you form a mental picture of what all those anatomical bits look like. Equally important are the numerous informative diagrams littered throughout the book. Witton has gone to the painstaking effort of redrawing every one of them, in the process modifying and adapting them as necessary. Instead of a mishmash of styles, ages, production values, and extraneous details, the illustrations are presented in a single unified style. It will have been a huge amount of work for something that most authors and editors would probably consider nominal gains, but it shows his attention to detail, and I, for one, rate this very highly.

King Tyrant is an instant classic: I do not even care that much for T. rex per se, but the book’s brilliant execution immediately lands it a spot in my top 5 for 2025. A compulsory buy for dinosaur enthusiasts, this book is also a valuable overview for professional palaeontologists and an inspirational example of what excellent science communication looks like.

Author interview with Richard Lewington: Pocket Guide to British Spiders

Pocket Guide to British Spiders book cover.Featuring 130 of the most common and readily available spider species, Pocket Guide to British Spiders is the ideal companion for both beginners and more experienced enthusiasts alike. Detailing identifying features, webs, egg cocoons and behaviour, these accounts are interspersed with beautifully illustrated spreads showing similarities and differences at a glance, making this introductory guide the perfect companion for use in the field.

 

Richard Lewington is a renowned wildlife illustrator, whose beautifully detailed drawings feature in a wide array of identification guides including The Butterflies of Britain and Ireland, Field Guide to the Moths of Great Britain and Ireland, and Field Guide to the Bees of Great Britain and Ireland. In 1999, he was awarded Butterfly Conservation’s Marsh Award for the promotion of Lepidoptera conservation, as well as the Zoological Society of London’s Stamford Raffles Award for contribution to zoology in 2010.

We recently had the opportunity to speak to Richard about his latest book, including how he first became an author, why he chose to focus on arachnids and which techniques he uses to create these stunning illustrations.


Firstly, can you tell us a little bit about yourself, and how you first became an author and illustrator? 

I became a freelance wildlife illustrator soon after leaving art college in the 1970s. I’ve always had an interest in the natural world, particularly butterflies and moths, so invertebrates were the subjects I concentrated on right from the start. I’ve always worked in collaboration with various experts, until about 25 years ago, when I wrote and illustrated my first book How to Identify Butterflies. Since then, I’ve written and illustrated five books, though most of the books I work on are collaborations with authors with specialist knowledge of the subjects. 

Pocket Guide to British Spiders is your 29th identification guide published since 1979. What inspired you to focus on arachnids for this book, and how did you choose which of the 680 British species to include?  

I’ve had an interest in spiders for many years and have a collection of paintings, some of which I did about 50 years ago. I thought they would form the basis of a pocket guide, and I added more illustrations in the last few years to go with those I already had. The aim was to include common, well-known and easily identifiable species – about 130 in total. As many spiders are very small and similar to each other, it is necessary to examine them through a microscope to identify many of them, which is the next step up for those who want to study them in greater detail.

Pocket Guide to British Spiders internal pages.

I was surprised to learn about the somewhat limited conservation efforts being undertaken to protect endangered spider species across Britain. What are the largest threats to spiders, and how can we protect these vital invertebrates in the future? 

As with much of the natural world, spiders are under threat from habitat loss and pollution, but because they don’t have the same appeal as some other groups, they receive less attention. However, they are just as important, helping to keep the balance in ecological systems by eating and being eaten by a vast number of other creatures. Gardens are becoming more important, and we can all help spider well-being by not being too tidy in the garden to encourage a good variety of mini habitats in which they can live.   

Pocket Guide to British Spiders includes a vast amount of detail on nomenclature, structure, anatomy, mythology, identifying features and more. What was the most interesting thing you learned while researching this book?  

Probably their diversity. They vary hugely in size, shape and colouring, and can be found in every habitat from mountain tops to beneath the surface of water. Many also occur throughout the year when many other invertebrates are dormant.

Pocket Guide to British Spiders internal pages.

Having illustrated many guides throughout your career, can you give us an overview of the techniques you use to create such detailed works of art, and explain how your painting style has evolved over time? 

I start by doing a detailed, measured drawing on layout paper. This is transferred to watercolour paper and, using Designers’ Gouache paints, I apply washes, gradually building the colour intensity and the effect of light and shadow. Details such as textures and highlights are added to give a three-dimensional appearance. More recently, I’ve been scanning the artwork before sending it to the publishers, so that I can adjust, enhance and touch-up the images using a tablet and image enhancing software.  

What were the most difficult aspects of illustrating spiders, given their intricate and often microscopic features? 

Spiders can’t be preserved in museum collections like butterflies and beetles, as they have soft bodies which shrivel after death, so working from live specimens or from detailed photographs are the best options. This means going into the countryside to find specimens and asking other spider enthusiasts to help. I like to take my own macro photographs from the exact angle to avoid any distortion, I can then work using the photos and the live specimen, observing it under my microscope. It’s also necessary to have a good knowledge, so that the subjects can be correctly identified, as some are very similar.   

Finally, what’s taking up your time at the moment? Are you planning to write or illustrate any more books over the coming years? 

My next book will be a field guide to Orthoptera, which I completed several years ago but has been long delayed. After that I shall be working on a project about my work as a wildlife illustrator, concentrating mainly on British moths, butterflies and their caterpillars.

Pocket Guide to British Spiders book cover.

Pocket Guide to British Spiders is available from our online bookstore.

Woodland Flowers: an interview with Keith J Kirby

Woodland Flowers: Colourful Past, Uncertain Future is the eighth instalment of the popular British Wildlife Collection. In this insightful and original account, Keith Kirby explores the woodland plants of Britain living in the shade of their bigger relatives. They add so much to woodland’s biodiversity and beauty and tell us stories about the history of woodland, its past management, and how that has changed – not always for the better.

Keith Kirby signing Woodland Flowers

 

Author, Keith Kirby has taken the time to sign limited copies of Woodland Flower and has answered our questions about the book, and the flowers that enhance our woodlands.

 

Could you tell us a little about your background?

I grew up in a village in Essex and spent much of my childhood playing in the fields, along the riverbank and in small woods behind our house. I was interested in natural history but not really a serious naturalist. Sometime in my teens I decided I wanted to be a forester and ended up doing a degree in Agricultural and Forest Sciences in Oxford. That introduced me to ‘ecology’ and led to a doctoral study of the growth of brambles in Wytham Woods. From there I spent a couple of years doing woodland and general habitat surveys before getting a permanent post in 1979 with the Nature Conservancy Council as a woodland ecologist. I stayed in that post (NCC became English Nature, became Natural England) through to 2012, then retired back to Oxford and picked up my plant research interests in Wytham Woods again.

Where did the motivation for this book come from? Are woodland flowers a subject that you have been wanting to write about for some time?

Much of my work with NCC and its successor bodies involved considering the woodland ground flora: we used them as one indicator of the value of sites, as guides to what was changing in terms of woodland management and the woodland environment more generally; some species such as bramble and bracken could also be a problem when we were trying to get regeneration. There was not then the time to pull the different strands together, so when I was back in Oxford I thought I should give it a go.

Have you noticed any unusual changes within woodland flora this Spring following the lockdown? Has it helped or hindered?

I would not really expect to see a direct effect of lockdown on the plants: often their growth is determined by reserves laid down the previous year and a few months is not very long when you consider that many woodland plants – not just the trees – can live for several decades. There could be indirect effects, for example if less disturbance in woods means that deer produce more fawns, so more hungry mouths to nibble away at the flora in future.

Germander Speedwell, a species that spreads quite quickly into new hedges.

Although adaptable, woodlands are clearly not invincible. What do you think is the greatest threat to woodland ecosystems?

In the longer-term (25-50 yrs) climate change. The micro-climate at ground level in a wood has not changed as much as out in the open because of the sheltering effect of the tree layer, but it will do eventually and this will lead to a re-assortment of which species can thrive in different parts of the country.
In the medium term (10-25 years) I suspect that we are going to see more and more evidence of change from the build-up of nitrogen in forest soils from the emissions from cars, modern farming etc. I am picking up signs that this is happening in Wytham.
The immediate threat – and it affects our ability to deal with the medium and longer-term issues as well – comes from the impact of high numbers of deer in the countryside. They limit tree regeneration and make woodland management more difficult as well having direct effects on the ground flora species themselves. At Wytham we saw during the eighties and nineties a complete shift from a flora of herbs and bramble to grass-dominated cover. That is being reversed – we are fortunate in being able to manage the deer population there – but in many other woods deer numbers are too high. This means for example that it will be difficult to get the regeneration of species such as oak, beech or hazel that will be needed over the next few years to fill the gaps in the canopy left as Ash Dieback progresses.

What single policy change would you like to see to help counter this threat?

Through history trees and woods (and hence the woodland flora) have survived best where they are valued by society: so we need to encourage greater use of wood as a material in buildings, as fuel, as a feedstock for industry; as well as promoting woodland as places for recreation, to help with water management, for carbon sequestration, and as a source of inspiration.

The tricky question of ‘nativeness’ – Oxlip outcompeted by dense Pendulous Sedge patches.

As you note in the book, there’s currently a lot of interest in rewilding. What role do you think rewilding can play in the future of UK woodlands?

From the answer to the previous question it will be obvious that I want to see a lot of woods being managed to provide the materials that society needs; moreover many of our woodland plants can thrive under such conditions – if management is done carefully – as they have done for centuries. Rewilding though also has a great role to play in future conservation alongside actively managed woods (as long as we can get away from the endless debates about the meaning of the term itself). Rewilding leads to different types of woodland structures and composition, a different set of dynamics in the landscape, some of which may be analogous to what may have existed 6,000 years ago, but other combinations will be completely new. New mixtures of woodland plants (and animals) will come to be associated with rewilded treescapes that will also be a response to the changed environmental conditions. Exactly what will emerge unpredictable and there will be interesting challenges ahead for land managers, regulators and conservation advisers – we are not in the UK going to be able to be completely ‘hands-off’ even in the wildest of rewilding.
Rewilding is however one of the reasons why I am cautiously optimistic we can yet pass on a reasonable legacy of woodland flowers.

Now that the book is finished, and after a well-earned rest, are there any plans or works-in-progress that you can tell us about?

My first priority has been to try to catch up on writing-up the results from long-term studies of the flora in Wytham Woods and The Warburg Reserve near Henley. Also once the country has opened up a bit more after Covid-19 I plan to spend time to spend some more time with the wood beneath the trees; so I have been drawing up a list of woods across the country that I want to go and visit again.

Woodland Flowers, published by Bloomsbury is out now. We have a very limited amount of signed stock, available while stocks last.

Woodland Flowers: Colourful Past, Uncertain Future
By: Keith J Kirby
Hardback | August 2020| £29.99 £34.99

In this insightful and original account, Keith Kirby explores the woodland plants of Britain.

 

 

Woodland Flowers: Colourful Past, Uncertain Future is the eighth instalment of the popular British Wildlife Collection.

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

Author interview: Simon Barnes

When writer Simon Barnes heard a Cetti’s Warbler sing out at a house viewing, he knew immediately that he had found his new home. Their new garden backed onto an area of marshy land which he and his wife purchased and began to manage it as a conservation area, working with the Wildlife Trust to ensure it became as appealing as possible to all species.

On the Marsh is his account of a year spent surrounded by wildlife. Part memoir, part nature guide, this is a vivid and beautifully written account of the wonders that can sometimes be found on our doorsteps, and how nature can transform us all.

We asked Simon a few questions about the inspiration behind writing his new book and his hopes and ambitions for the wildlife of Britain.

 

1. Can you tell us a little about your background and how you got interested in the natural world?

 

I received David Attenborough’s Zoo Quest for a Dragon as a junior school prize, the Natural History Museum every Saturday and the trees of Streatham Common to climb. After education and four years on local papers I ran away to Asia, when I worked as a gonzo journalist and re-found my taste for wildness.

I returned home and started writing about sport and wildlife, with columns in The Times on both subjects; I was chief sports writer for 12 years. I have written a number of books on wildlife, including the Bad Birdwatcher trilogy.

2. What was your inspiration to write a more auto-biographical work than your previous books?

I suppose it was the marsh itself. I wanted to write, not just about the few acres of Norfolk marshland we are lucky enough to own, but also about living with the place: sharing it: being a part of it.

I started writing with that idea in mind: and at once, my younger son Eddie made an entrance. I hadn’t really planned that, but he and I spend a lot of time out there, so it had to happen, I suppose. He’s just turned 18 and has Down’s syndrome. I started off wanting to write about vulnerable places: I ended up writing about vulnerable people as well.

3. Do you believe intervention in the form of land management is important to keep places like the marsh just as they are?

In land-management, doing nothing is a powerful form of action. Mostly I have left the marsh do what it wanted, but I have made sure the dikes are kept cleared and some trees have been cut down. I now manage an adjoining few acres rented from the parish: I am trying to keep this place open with the help of a local grazier. Nice contrast.

What’s natural? What’s unnatural? What’s imposed? Sterile questions: what matters is life.

4. The Barn Owl is often described in your book; would you say that it was the totem species on the marsh, or would you give that accolade to something else?

 

I am slightly surprised by this question, because so far as I am concerned, the marsh harriers steal the show. Marsh harriers: extinct as breeding birds in this country in the 19th century, making a comeback after WW1, then reduced in 1971 to a single pair – and now they skydance and hunt and food-pass over our bit of marsh: the powered flight just above stalling speed, the long glide with the wings held in that dihedral, and above all, the sense of ownership… because the marsh harriers own the marsh. I have the immense privilege of looking on.

5. While observing the marsh, was there one surprising fact or discovery that you didn’t previously know that you’d like to tell us about?

I was given a moth-trap for my birthday. I am pretty ignorant about moths, but on the first day I used it, the first moth I found was the moth on the cover of my moth ID book: an Elephant hawk moth, big enough to count as an honorary bird. So I read it up: and apparently it’s common. Well, maybe so: not commonly seen. It was a classic through-the-wardrobe moment.

6. What are your hopes for the future of such special and bio-diverse places?

My hope for the future is that they have one. I have long given up optimism, because I’m not daft, but pessimism is no way to live. Will we win the battle? Or will we lose? Such questions no longer matter. What matters is fighting on the right side.

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

 

 

I’m working on a big fat book called A History of the World in 100 Animals. It’s about the interface between human and non-human species: starting with Lion (we humans were originally a prey species), moving on to domestic cat (did we take them into our home because they purr?) and then to Gorilla (did you know there were just 46 years between King Kong terrorising New York and David Attenborough romping with Gorillas in Rwanda? That’s revisionism for you…). After that, Galapagos Mockingbird, American Bison, Oriental Rat Flea… you get the idea.

On the Marsh: A Year Surrounded by Wildness and Wet
Hardback | June 2019| £13.99 £16.99

How the rewilding of eight acres of Norfolk marshland inspired a family and brought nature even closer to home.

 

All prices correct at the time of publication.