Half the world’s estuaries have been altered by humans, with 20% of estuary loss occurring in the past 35 years alone as a result of urban or agricultural land expansions. Ninety percent of this has occurred in rapidly developing Asian countries, whereas very little estuary loss has been noted in higher income countries within the same period. This is because waterway alterations in these higher income countries were made many decades prior during their own urban development stages. With much of the world now trying to undo this damage and rewild urbanised areas, countries are now investing in programmes to return these areas to wild mudflats and salt marshes which will increase climate resilience, replenish aquatic populations, reduce flood risk and aid nature’s recovery.
An aerial view of a large body of water by Nick Russill, via unsplash.
The introduction of new diseases via open import systems are destroying EU trees and crops, with outbreaks on the rise once again. This comes after a mutation of one of the major killers of Olive trees in Italy, Xylella fastidiosa, was detected in America and is now wiping out US vineyards alongside its Italian counterparts. New data has revealed that an average of 70 foreign plant diseases were introduced to the EU between 2015–2020, despite legislation being enforced to prevent their spread in 2016, and scientists are holding open systems accountable. According to international protocols, only 2% of imported plants travelling through open systems are inspected for the presence of diseases, meaning that an alarming number of plant pests may be brought into the EU undetected. Although some pathogens are harmless in areas where ecosystems have evolved alongside them, they can be deadly when introduced to a new area. As global temperatures continue to rise, the problem is only likely to get worse.
Conservation
A UK study has proven that wilder gardens boost butterfly population numbers, with long, uncut grass likely to almost double butterfly abundance. This research, co-authored by the head of science at Butterfly Conservation, recorded a 93% increase in butterflies in gardens within farmed landscapes who did not cut their lawns, while gardens in urban areas noted an 18% rise in population numbers. These wilder habitats attract species whose caterpillars live and feed on the grass, provide greater quantities of nectar that are necessary for butterfly survival, and create important breeding habitats, which subsequently increases population numbers. The study advises that long grass should be left until late September or early October before cutting as some species require longer grass nearly all year round.
Holly blue butterflies by Nikk, via flickr, (image rotated).
Music featuring the sounds of nature earn royalties that will be donated to environmental causes. This new initiative, launched by the Museum for the United Nations, will recognise nature as an official artist on major music streaming platforms. A share of the royalties earnt when these songs are played will be donated to environmental causes and initiatives who are working hard to protect nature for the future. Nature itself will also have its own artist page on Spotify which will showcase ambient recordings of nature’s sounds, with 70% of the profits from these tracks funding conservation programmes.
The south coast’s only breeding Osprey pair have laid a fourth egg. These birds became the first nesting Ospreys on the south coast for 180 years after their reintroduction seven years ago. They returned to Poole Harbour in late March after their migration to West Africa and laid their first egg on the 15th April 2024. As female Ospreys usually only lay 3 eggs due to the challenges of feeding 4 young, researchers were surprised to find a fourth, but due to the exceptional job the pair did while caring for 3 chicks in 2023 they have high hopes for success this season.
Common Eastern Bumblebee queens have adapted so they can survive underwater for up to a week during hibernation, which is thought to be responsible for the species’ continual population stability, despite a third of all other bumblebee species currently in decline. This study was conducted as a result of water leaking into containers housing hibernating queens; results revealed that over 80% of the bees survived when submerged for up to seven days. Scientists noted that these findings are unusual as most overwintering insects cannot cope when submerged in water. However, it is hoped that this flood tolerance will help the species continue to thrive in the wild.
Common Eastern Bumblebee by Judy Gallagher, via flickr.
The largest snake that ever lived has been discovered in Western India, measuring up to 15m long and weighing a tonne. The fossil of the Vasuki indicus snake was discovered in a mine in western India and included 27 vertebrae, a few of which remained in the correct anatomical position. Scientists concluded that it would have lived in marshy swamps around 66m years ago during the Cenozoic era and, due to its size, it would have been a slow-moving ambush predator who attacked its prey through constriction.
Join author Kat Hill on a journey across England, Scotland and Wales to explore 15 remote bothies, and uncover the beauty, history and stories of these wild shelters. In this stirring book of adventure, peace, wilderness and refuge, she intertwines her own story of heartbreak and new purpose, while taking into consideration the environment, what we owe to it, and why we all crave escapes into the remote.
Kat Hill by Nicholas J. R
Kat Hill is a Senior Lecturer in History at Birkbeck College, London, and her current research project is focusing on questions of landscape, people, and heritage in the bothies of the Scottish Highlands, as well as non-conformist religious communities in Europe, America and the Global South. She holds a PhD from the University of Oxford in 2011, where she also received a British Academy Postdoctoral Award, and she authored the prize-winning book, Baptism, Brotherhood, and Belief: Anabaptism and Lutheranism, 1525-1585.
We recently chatted with Kat about what inspired her to write this book, how technology is changing the bothying experience, what she thinks the future holds for bothies and more.
Firstly, could you tell us a little bit about yourself and how you came to write a book about bothies?
I’m a writer and researcher living on the northern tip of the Isle of Skye. If I am not reading or thinking up project ideas, I am either out in the hills or beavering away at my other role, working with local communities for Highlands Rewilding. In my past life I was an academic historian (as well as an international Brazilian Jiu Jitsu competitor), but last year I took voluntary redundancy from academia to pursue my writing and creative practice more fully, as well as aiming to do something good for the world in an age of climate crisis and environmental breakdown. That need, to work on something to do with the living world, was part of the inspiration for writing Bothy. I’d grown weary of academic life, and London in particular, my personal life was a mess, and I felt disconnected and unsettled. And then I got invited to a bothy, Cadderlie to be precise, on the edge of Loch Etive.
When I first went to Cadderlie, I never intended to write a book about bothies. But I loved the whole experience, and the more I found out about them, the more drawn I was to these shelters. They embodied so many things I was interested in – landscape, our connection to place, environmental histories, material histories of people and the living world, and just generally being active and outside. Finally, the plans I had for quite some time to change direction and escape the life I was living came to fruition. Especially with that weird caesura that Covid provided, I had space to make notes and think, and in that time, I found the ability to write in a way I had not thought possible. I did an MA in Environmental Humanities alongside my job, kept chipping away at the work and was lucky enough to find an amazing agent. This book is not a memoir per se, though there’s quite a bit of my life in it, but I would say it’s a personal response both to the challenges of my own life and to the crises we see around us.
Were there any authors or books in particular that inspired you when you set out to write Bothy?
There’s a real mix of things that shaped my writing, as I am sure is the case for any writer, but one of the things I most enjoyed in the process was taking inspiration from an eclectic mix of authors and books. Too many to name, but I’ll give a flavour. Nature and travel writing has always felt like such an obvious go to. I remember my mum introducing me to Patrick Leigh Fermor’s A Time of Gifts when I was younger and his combination of learned observation and vivid writing about the world captivated me. Other travel writing like Steinbeck’s Travels with Charley always spoke to me. As for more recent nature/travel writers, I love Cal Flyn’s work, Rebecca Solnit, Judith Schalansky’s books, and Nick Hayes’ Trespass, and I have immersed myself in environmental writing from so many people. To name a few – Robin Wall Kimmerer, Anna Tsing, Kathleen Jamie, Robert Macfarlane, and Andri Snær Magnason.
But there were also personal elements to the book, and so when I was thinking how you deftly discuss your life and its meaning, it was to writers such as Deborah Levy, Amy Liptrot and Helen Macdonald that I turned. Fiction and literature shaped the work, too, novels like The Overstorey or Ursula Le Guin’s novels, short stories and essays. And I’ve always loved poetry, though I am not sure I am bold enough to write it for others – although, who knows? – and countless collections sit on my shelf, from Edna St. Vincent Millay to Alice Oswald, Rainer Maria Rilke to Liz Berry.
At the heart, too, I have always drawn inspiration from my academic background and academic writers, mainly historians and archaeologists, for example Natalie Zemon Davis, Tim Ingold and Jane Bennett, but also philosophers. If you don’t know Timothy Morton’s book Dark Ecology, then I highly recommend it. I also always looked to those whose work is accessible beyond the world of scholarly writing. I was given a great lesson in that by my academic mentor Lyndal Roper, a historian of sixteenth-century Germany, and at the back of my mind was always the sensitive, layered, textured approach she had to writing about past lives.
People find solace and healing in all sorts of activities and all manner of things. Why do you think bothies were the thing that helped you at a time when you needed it?
It was a particular mix of things that made bothies so meaningful for me. I’d not been to Scotland much before Cadderlie, so part of it was being able to spend time outdoors and simply be active in beautiful landscapes. I grew up in Shropshire, so especially when I went to the Welsh bothies it felt like I was rekindling a connection to the younger version of myself. But they also stirred the historian’s interest in me because in the bothies there are visitor books which are left for anyone to sign, and these are a startling, intriguing record of ordinary lives. Given the chance to write a poem, draw a doodle or write out a life history, most people do. I’ve worked so often with archival documents that give hints of past lives and material histories of human stories that these felt like such a rich source.
I felt an immediate connection to the people on these pages. And I loved that, because bothies arrived in my life at a turning point, when I needed that connection. It was a funny, difficult time personally for me when I found bothies. I was struggling with what direction to take, and I am not going to lie, the previous decade had been dark, difficult, and filled with depression and anxiety. On the outside everything looked great. I was doing really well in my academic career, I was living in London in Hammersmith, I was competing in, and winning, BJJ tournaments all over the world. But underneath was a bone-deep exhaustion. The long aftermath of a divorce and then the trauma of a difficult, fractious, toxic relationship had taken its toll. I found bothies as I came out of that. I entered a new relationship and prised myself away from the life that was making me unhappy, I loved some of the anonymity yet intimacy that bothies gave – you never know who’s going to be there which produces a strange kind of bond with fellow travellers- and the respite they provided from normal rhythms of life was welcome. You have to lead a pretty simple life with only camping gear and what you carry with you, even if that retreat into plain living is a manufactured choice.
This process for me wasn’t sudden and revelatory. One thing I talk about in the book is that you don’t just go out into nature and find a cure. But there’s little doubt that the company of the living world (and finding time for connection, consideration, and above all perhaps, play) is soothing and healing. Everyone’s bothy experience will be different but for me, in these places, I was able to reshape myself after a difficult decade as someone who was once again creative, outdoorsy, adventurous, a nature lover, kind to others- someone who was happy.
Aberfeldy But’n Ben by Ronnie Fleming LRPS, via flickr.
Do you think that technology and social media have changed the bothying experience?
For example, now you can discover the details and locations of individual bothies online and then use a GPS to find your way there with ease. I never knew bothies before they were on Google maps, blogs and Instagram, so that’s always been my experience of the bothy world. But it’s certainly easier to find them now than it was in the 1970s or 1980s. It’s a different world, but I guess the key question for lots of bothy users is whether that alters or fundamentally destroys the bothy experience. Some would say yes, and I understand the frustration. Influencer posts about the same tourist spots in the world are wearying. And there is a very important debate to be had about responsible access to landscapes and environments, or the damage we can do as tourists. Working as I do in the rewilding sphere part of the time, I am often at the sharp end of these conversations about the tensions between human and non-human interests in a place, local and non-local needs.
However, I also don’t think that all of the online stuff is bad in the bothy world. To survive, they need to be used and a new generation is part of that. Bothies are rooted in the desire for access to the countryside and in the working class ‘revolution’ for leisure and recreation in the hills that followed World War One. Expensive hotels and fancy tours were out of reach for working young men and women who suddenly had a bit more time for leisure, but bothies were free. So I find the private club notion of bothies, of pulling up the ladder after you, more than a little problematic as it seems to go against the idea of access and the right to roam.
Some bothies have shut due to claims of overcrowding and parties – though I have never really seen raucous behaviour myself – but it’s all too easy to blame people without a voice as the culprits. Without labelling all landowners as evil either, this is really a debate about rights to the outdoors, access and how we develop responsible, caring relationships to landscapes. I think bothies can be part of that.
Some bothies remain secret and I, for one, am not going to plaster them over the internet. But I have seen so many young people with a copy of Geoff Allan’s Bothy Bible in hand, loving the outdoors, and that makes me happy. I am sure information sharing has changed the experience of bothying but nothing is ever static in the world. Indeed, perhaps it’s a particularly human thing to be nostalgic for the moment just past, to get misty eyed about days gone by, rather than live in the present moment and to enjoy that for what it is. It makes me think of a line from an Office US episode from Andy Bernard: ‘‘I wish there was a way to know you’re in the good old days before you’ve actually left them.’
How important do you think isolation is to the spirit and experience of the bothy?
There’s a really touching story, I talk about in the book which comes from a bothy visitor book entry. A man has returned to a bothy which he used to come to with his wife, their last trip of such a kind before she died of cancer. For him, as for so many others, the bothy may be relatively remote and cut off from some of the comforts of modern life but it’s not isolation per se that makes it special. It’s fellowship, companionship, love. Of course, there is a kind of isolation. But isolation from what is the key, as it’s not from people and places in a secluded wilderness, often quite the opposite as you will normally meet a new acquaintance. Some people do love being in a bothy alone and I have had delightful, quiet evenings by myself or with just a friend, but also plenty of entertaining nights with strangers.
But even when you are alone, you aren’t really isolated because you are connected to the place around you, from the bothy mouse to the howling wind, to bellowing stags to querulous birds. Besides, bothies only exist because these were, and are, lived, worked landscapes. To imagine you are in an isolated wilderness is to do them a disservice.
What do you think the future holds for bothies? Will they forever be old stone buildings, or will they evolve to include less traditional and/or newly built structures?
I’d say bothies already are evolving in new ways and there are some new MBA bothies opening up, more cottages reclaimed and restored. I’d like to think there will always be stone bothies withy smoky walls and wooden floors because they have given me so much. But the bothy idea has been taken in many different directions: such as artistic residencies run by Bothy Project, or the wonderful Taigh Whin bothy and house run by partners Sarah MacLaren and Sophie Howarth, which offers low-cost holiday accommodation for people working for the common good – carers, community workers, teachers. This place (the house of gorse, it means) is a beautiful reimagining of the idea of shelter and connection in a bothy.
And then there’s the luxury tourism bothy which is pretty far away from a traditional bothy, but I guess in some ways draws on the ideas of simplicity and shelter. The idea of a hut, a shelter, a shieling is malleable and changing but also speaks to a basic need for refuge or rest. So, the idea continues to have power, increasingly so perhaps in a fractured and complex world. And there’s a future to the bothy there, not just a past. The delicate balance of past and present is at the heart of bothy life, the retreat from modernity whilst knowing that this retreat is in some way dependent on the contrast the simple life provides with the contemporary. If there was no city or phone signal to escape from then I think bothies would be a whole different prospect.
That’s why I think there’s a future for humble bothies of the stone wall variety, alongside the fancier versions, as they have lessons to give us about what matters. They ask us to question what we need, what makes us happy, and what we can do without.
Finally, what is occupying your time at the moment (professionally and/or personally)? And can we expect more books from you in the future?
Life has been really busy, professionally and personally. I’ve just moved to Skye so I am enjoying settling into the new house: filling up bird feeders, painting walls and walking to the beach. In between writing and reading, I have a part time role as a community engagement co-ordinator for Highlands Rewilding so I have been learning more and more about the practical implications of changing land use, climate change and the delicate balance between people and places.
I don’t think I can ever imagine not writing though, so there’s plenty of scribbling too, some articles and grant pitches but also new book ideas. There will definitely be another book! Having moved about 15 times in ten years, it’s wonderful to have a home again and that’s starting to shape my writing too. When I was working in academia, I did a tonne of research on Amish and Mennonite migrations, so maybe there will be something about home and finding our place in this world.
I am also embarking on a multiyear interdisciplinary project with photographer Nicholas J R White on places of shelter and refuge across the world, places where people stay for a short while. We’ve just got back from the Shiant Isles in the Minch, a beautiful place. Soft in summer, I imagine, but we were there at the time of the season’s changing when there’s still harshness in the air, winds cold, seas wild and sun shining. It’s already provided lots of food for thought. I am also out in the US later this year for a fellowship at the IAS at Princeton, so I might find my way up to some fire lookouts à la Gary Snyder and Jack Kerouac.
So, lots to keep me busy. Life is starting to settle again. I am in a happy place, surrounded by loving people. And I might even start some BJJ classes again.
Bothy is published by William Collins and is available to pre-order from our bookstore.
Passionate naturalist, author and illustrator David Wege has led an exciting 30-year career in international bird conservation. Now sharing the joy of tracking through teaching, he aims to encourage others to deepen their connection with the world around us.
For his latest work, he has turned his attention to mammals and has created Mammal Tracks of Europe. After rediscovering his passion for tracking, David hopes to inspire others to engage with the art through his latest work. This book includes the tracks of 72 European mammals, with detailed drawings and portraits of each species.
We recently had the chance to chat with David about how he first became interested in tracking, why he included Homo sapiens in his new mammal tracks field guide, what he’s currently working on and more.
This unique field guide features a broad selection of European mammals. What criteria did you use when choosing which species to include?
I set out with the intention of creating a mammal tracks guide that anyone could take out into the field, anywhere in Europe, and identify the tracks they were looking at. This meant including all of Europe’s larger terrestrial mammals, including the Arctic species from Scandinavia (such as Wolverine, Arctic Fox and Muskox), and the species that have ranges just into the Mediterranean countries (like Crested Porcupine and Egyptian Mongoose). So, all larger European mammals that you are likely to find tracks of are featured.Even the domesticated species that, as trackers, we often find the tracks of– such as cats, dogs, cows, sheep and Alpacas! The small mammals (such as the mice, voles and shrews) are not covered quite as well, but all species for which we have track photos are included. The end result, is a book with the tracks and trails of an incredible 72 European mammal species.
Creating a book that anyone can use meant making it accessible to people right across Europe. So, each species is represented by a small portrait of the animal; is identified by its scientific name; and its common name is given in eightEuropean languages. As well as helping people navigate the book quickly, I think the species portraits make sure that we keep the connection between tracks and the animal that made them.
Tracking is increasing in popularity acrossEurope and is being used more and more as we rewild areas and reintroduce species in the region. My hope is that this guide will help encourage more people to connect with mammal tracks and engage with the conservation movement, wherever they are.
Why did you choose to include Homo sapiens in the field guide, and why were these tracks presented first?
Humans are part of nature.We’re mammals just like every other mammal in the book, so presenting ‘human’ in exactly the same way as our mammalian cousins – as Homo sapiens, a species that also makes tracks – seemed important. Connecting with nature starts with us recognising our place within it, so ‘human’ on Page 1 is a nod to our place as equals among other animal beings. There’s a practical aspect to this too. As a teacher passing on tracking knowledge to others, using our human hands and feet as a reference point for where toe pads, nails, palm pads, heels, carpal pads etc. are, is a great way for people to learn and relate to the track morphology of other mammalian beings. Human hands and feet (and the tracks they create) are a wonderful baseline against which we can start comparing the tracks of other species.
Instead of written descriptions, the field guide uses drawings as a primary aid to identification. What challenges did you face in illustrating the guide?
The guide really does have very little text and relies on drawings to do the talking – to be a graphic reference when you’re out in the field. I wanted to create precise representations of tracks for each species – to let the illustrations communicate all that was needed in a true ‘to be used in the field’ field guide. A noble desire, and easily said, but there really are many challenges.The first of which arises from the fact that no two tracks in the mud, sand, clay or snow are the same, so which one is best to illustrate? To overcome this, I ‘traced’ (electronically, on a tablet) as many track photos as possible to build up (as near as possible) a perfect average. This hopefully compensates for the vagaries of different substrates. Drawing from track photos means that those imagesneed to be good too!They have to be taken from directly above, with not too much shadow, and with a scale or ruler in the photo. When you start drawing from photos it really makes you appreciate which are good (and useful/usable) and which are not. Once I had my ‘good‘ track photos, I started drawing– trying to keep strictly to what I was seeing in the tracks. This has hopefully resulted in illustrations that allow people to pick out the identification features that are most noticeable to them.
Another challenge is that some of the species I’ve illustrated are rare, or from parts of Europe I have not been tracking, so I have had to rely on track photos shared generously by other trackers. It is definitely harder to illustrate a track that you’ve never seen in the field yourself – it’s difficult to get a ‘feel’ for the essence of it, but I think I’ve managed to create good representations of tracks for all the mammals.
Where did your initial interest in animal tracking come from, and how did you begin your journey into this field of study?
I was totally hooked on tracking as a child when my parents gave me a book–Nature Detective by Hugh Faulkus. However, without a tracking mentor, I actively pursued my other passion of birds and birdwatching – a passion that I still have and that led me to a successful career in bird conservation with BirdLife International. Then, about tenyears ago, I chanced upon a tracking mentor in John Rhyder (author of Track and Sign, and one of Europe’s foremost trackers), and have been learning from him and teaching with him ever since. We have just finished a book together titledBird Tracks: a field guide to British species. Tracking just seems like a natural component of being in nature for me. Wandering in nature means intuitively noticing who was there, doing what and when, which birds are calling or singing, what plants are emerging or flowering (and so much more). Reading the tracks is just a part of this awareness, although I’m still learning how to balance an awareness of tracks on the ground with noticing birds up in the trees!
What will be next for you? Are there any plans for more tracking guides?
One of the many wonders of tracking (by which I mean reading and interpreting the tracks and signs that animals leave on the landscape) is that there is always more to learn. Animals constantly surprise and we’re often discovering new behaviours revealed in tracks and signs. I’m still learning but I also have the privilege of teaching the art and science of tracking to others. So, I will be spreading the tracking joy, with my book in hand, to people who can hopefully then use the skill to connect to nature, or apply their tracking skills to help monitor, conserve and restore wildlife. This book was designed as a resource for people across Europe, but I would like to see my track and trail illustrations used for local or national field guides that might then be accessible to a wider audience. Anything to help encourage nature connection through tracking.
Mammal Tracks of Europe: A Field Guide to The Tracks and Trails of European Mammals is available on our online bookstore here.
Slow worm image by Smudge 9000 via Flickr (CC BY-SA 2.0)
The UK is home to six native species of reptile – three snakes (adder, grass snake and smooth snake) and three lizards (common lizard, sand lizard and slow worm). In early spring, snakes and lizards begin to emerge from hibernation – if you are lucky you may catch a glimpse of one in your garden or when out walking in the countryside. (Interesting note: adders have now been recorded as being active during every month of the year in the UK, a behavioural change which is thought to be linked to overall warmer weather).
This article aims to provide you with some of the key characteristics of each species which will help you to identify what you’re looking at. You will also find a list of field and identification guides at the bottom of the page which will give you lots more information about each species and help you with your ID.
Snakes
Snakes are part of the suborder Serpentes and, though they vary greatly in size and colour, their limbless, elongated bodies make their overall form very distinct (although some legless lizards, such as the slow worm, may often be mistaken for a snake). The skin of a snake is covered in scales and is a smooth, dry texture – this skin is shed periodically throughout the snake’s life. All snakes are carnivorous and many species have specialised skulls with extra joints enabling them to swallow prey much larger than their heads. Most species are non-venomous and either swallow their prey alive or kill it by constriction.
All three snake species in the UK reproduce by producing eggs. However, both the adder and smooth snake incubate eggs internally whereas the grass snake lays them in rotting vegetation such as compost heaps.
Adder (Vipera berus)
Adder image by Jo Garbutt via Flickr (CC BY 2.0)
• Size: 60-80cm in length. • Colour: Greyish with a dark and very distinctive zig-zag pattern down its back. Red eye. • Habitat: Prefers woodland, heathland and moorland but may also be found in grassland or on the coast. • Interesting fact: The adder is the only venomous snake in the UK. However, bites are very rare as adders are reclusive and would prefer to retreat than confront a human.
Grass snake (Natrix helvetica)
Grass snake image by Bernard Dupont via Flickr (CC BY 2.0)
• Size: 90-150cm in length. • Colour: Usually greenish in colour, with a yellow and black collar, pale belly and dark markings down the sides. • Habitat: Favours wetland habitats but can also be found in grassland and gardens, especially those with a pond. • Interesting fact: The grass snake is the longest snake found in the UK.
Smooth snake (Coronella austriaca)
Smooth snake image by Odd Wellies via Flickr (CC BY 2.0)
• Size: 50-70cm in length. • Colour: Usually dark grey or brown in colour. Similar to an adder but with a more slender body and without the zig-zag pattern along its back. • Habitat: Very rare. Mainly found on a few sandy heaths in Dorset, Hampshire and Surrey, although a couple of reintroduced populations exist in West Sussex and Devon. • Interesting fact: The smooth snake is a constrictor, coiling around its prey to subdue it and crush it to death.
Lizards
Most lizards have four legs and run with a side-to-side motion. However, some, such as the slow worm, are legless. Lizards are mainly carnivorous and often employ a ‘sit-and-wait’ approach to catching prey. In the UK, lizards feed primarily on insects, molluscs and spiders.
Although all three species of UK lizard lay eggs, both the common lizard and slow worm incubate these internally, ‘giving birth’ in the late summer. Sand lizards lay shelled eggs that are buried in the sand where they are kept warm by the sun.
Common lizard (Zootoca vivipara)
Common lizard image by Gail Hampshire via Flickr (CC BY 2.0)
• Size: 10-15cm in length. • Colour: Variable, but most commonly a brownish-grey, with rows of darker spots or stripes down the back and sides. Males have bright yellow or orange undersides with spots, while females have paler, plain bellies. • Habitat: Heathland, moorland and grassland. • Interesting fact: If threatened by a predator, the common lizard will shed its tail which continues to move – the lizard uses this distraction to make its escape. Although able to regrow its tail, the new one is usually shorter than the original.
Sand lizard (Lacerta agilis)
Sand lizard image by xulescu-g via Flickr (CC BY-SA 2.0)
• Size: Up to 20cm. • Colour: Female sand lizards are a sandy-brown colour, with rows of dark blotches along the back. Males have green flanks that are at their brightest during the breeding season, making them easy to spot. • Habitat: The sand lizard is very rare and can only be found on a few sandy heaths in Dorset, Hampshire and Surrey with a few reintroduced populations in the south east, south west and Wales. • Interesting fact: Sand lizards dig burrows for overnight refuge and hibernation.
Slow worm (Anguis fragilis)
Slow worm image by Oliver Haines
• Size: 40-50cm. • Colour: Smooth, golden-grey skin. The males are paler in colour and occasionally have blue spots. The females tend to be larger with dark sides and some have a dark line down their back. • Habitat: Slow worms live in most of Great Britain apart from Northern Ireland and are also present on most of the islands in Scotland and the Channel Isles. • Interesting fact: Although similar in appearance to a snake, the slow worm has eyelids (which snakes do not) and can drop its tail when threatened by a predator.
In addition to the six native reptiles, several species of non-native reptile can be found in the UK – these include the wall lizard, green lizard, aesculapian snake, European pond terrapin and the red-eared slider.
Recommended reading:
Amphibians and Reptiles #206083
A comprehensive guide to the native and non-native species of amphibian and reptile found in the British Isles. Professor Trevor Beebee covers the biology, ecology, conservation and identification of the British herpetofauna, and provides keys for the identification of adult and immature specimens as well as eggs, larvae and metamorphs.
Britain’s Reptiles and Amphibians #174837
This detailed guide to the reptiles and amphibians of Britain, Ireland and the Channel Islands has been produced with the aim of inspiring an increased level of interest in these exciting and fascinating animals. It is designed to help anyone who finds a lizard, snake, turtle, tortoise, terrapin, frog, toad or newt to identify it with confidence.
Guide to the Reptiles and Amphibians of Britain and Ireland #113260
This laminated pamphlet is produced by the Field Studies Council and covers the 13 species of non-marine reptile and amphibian which breed in Britain, as well as the five species which breed in Ireland. These include snakes, lizards, frogs, toads and newts.
Field Guide to the Amphibians and Reptiles of Britain and Europe #246563
This excellent field guide covers a total of 219 species, with a focus on identification and geographical variation. The species text also covers distribution, habitat and behaviour. Superb colour illustrations by talented artist Ilian Velikov depict every species.
The Amphibians and Reptiles of Scotland #235838
This book is designed to be an interesting and informative guide to the amphibians and reptiles that are found in the wild in Scotland. The authors have focused on those species native to Scotland, plus those which are non-native but are breeding in the wild.
The Royal Entomological Society (RES) is an organisation dedicated to advancing the field of insect science. Through encouraging open communication, research and publication, the RES hopes to enrich the world with entomology.
Developed in collaboration with the RES, the Royal Entomological Society Bug Hunting Kits provide naturalist users with the tools to safely capture, observe and identify British insects. Kitted with sweep nets, collecting pots and a pooter to capture your insects, you will also be provided with a hand lens, ID guide and optional forceps for identification of species you find.
As seen on Countryfile, the Standard Sweep Netprovides users with a simple, lightweight (280g) net for catching invertebrates. The short, 15cm handle has a foam grip for improved control and a lightweight aluminium frame. The net itself is made in the UK and features a soft calico bag attached via Velcro to the frame, making it easy to remove for washing.
At the core of this kit is the NHBS Insect Pooter. Expertly designed and manufactured at our facilities in Devon, this piece of kit can safely capture a wide range of invertebrates. Affordable and simple to use, this item allows the user to observe specimens in a see-through chamber. The chamber is topped with a 2.5× magnification lens for easy viewing and identification. The pooter’s components can be removed and cleaned for sanitation between sampling.
Each kit comes with five 60ml Collecting Pots for specimen handling and collection. The collecting pots have secure screw-on lids, made with see-through polypropylene for easy, clear viewing.
The handy Double Loupe Hand Lens provided with this kit is only 30mm in diameter, comprisingtwo silicate glass lenses, 5× and 10× magnification. The lenses of this sturdy pocket magnifier fold into a protective casing, keeping them clear from scratches between use. Lightweight and compact, this hand lens is highly portable and is ideal for people of all ages.
Made from a non-magnetic stainless-steel alloy, theSuper Fine Pointed Forceps are manufactured with fine points for precision use. Included with the Advanced Bug Hunting Kit, these precise forceps are not serrated to minimise damage to delicate specimens, and at 11cm are a handy size for transportation and use in-field.
Provided with the Advanced Bug Hunting Kit, theCollins Complete Guide to British Insectsis a photographic field guide to common and unusual insect species across Britain. This extensive work covers over 1,500 species, providing descriptions and detailing where, and when, to observe them. With detailed photographs for each species, differences between similar organisms are highlighted to aid identification. This book covers a range of insects, from bugs and bees to moths and mayflies.
A Naturalists Guide to the Insects of Britain and Northern Europeis provided with the Educational Bug Hunting Kit. This easy-to-use ID guide is ideal for nonspecialist naturalists, with high quality photos of over 280 insect species. A description of appearance, associated habitats, habits and conservation status are outlined for each species. The guide also includes life cycles and describes the conservation of the group.
The mission of The Royal Entomological Society is to enrich the world with insect science- doing this through events, books and supporting young people in gaining skills in entomology.
The Royal Entomological Society receives 10% from the sale of this kit to support their cause.
An exploration of botany for beginners, How to be a Bad Botanist is a must-read that opens our eyes to the world around us. Through this charming and inspiring work, Barnes takes us on a fascinating journey on the complex nature of plants, and enthrals us with tales to help us appreciate the diversity and wonder of the natural world.
Simon is an author and journalist who has worked on a number of nature volumes, including the bestselling Bad Birdwatcher trilogy and Rewild Yourself. He is a council member of the World Land Trust, a patron of Save the Rhino and honorary vice-president of the Bumblebee Conservation Trust.
We recently had the opportunity to talk with Simon about how plants caught his attention, the importance of botany and how we can all learn to be Bad Botanists.
How to be a Bad Birdwatcher, published in 2004, rapidly became a birdwatching classic and this year was republished as a 20th anniversary edition. What prompted you to turn your attention to plants for your latest book?
It all began with a damascene experience on Orford Ness. This is a place where military and natural history collide. On the same visit I was able to see a Great White Egret and the casing for an atom bomb. It was, I read, about the same size as the one they dropped on Hiroshima.
My brain was somewhat scrambled by this. After a while I sat on the beach, my mind full of life and death and memories of a visit to Hiroshima, pretending that I was having a bit of a sea watch. It was then that I noticed a colony of plants. Growing in the shingle. Which is impossible. But there they were. Growing. Living. And the extraordinary way that life seeks to live, even in the most difficult circumstances, really rather got to me. These strange plants seemed to make sense of this strange, awful and wonderful place.
I worked out that the plants in question were Sea Pea, Sea Kale and Yellow Horned Poppy: and my own life was better for doing so. Soon, I would be looking at old plants with new eyes.
How to Be a Bad Botanist is a fantastic exploration into the world of plants and botany itself. Where is a good place to start for aspiring botanists?
What’s required is a subtle but drastic mental shift. After my Orford Ness moment, it was clear that plants were now something to do with me. Something personal. I was doing what I wanted aspiring birders to do when I wrote How to be a Bad Birdwatcher. Only with plants.
And the first thing I wanted to do was to be introduced. To know the name. Always the first step towards greater intimacy. So, when I saw a tree, I found myself asking, what sort of tree? I made the delightful discovery that I knew more than I thought – oak, conker, holly. It wasn’t the hardest thing in the world to learn a few more – and all at once the adventure was gathering pace.
Yellow Horned Poppy by Cindy Lee Wright.
One of the first things that struck me about the book was how funny it is (I particularly enjoyed “my sitting was devoid of porpoise” when lamenting the lack of marine mammals spotted during a period observing the sea). Do you think humour and levity are important in providing a gateway into a topic that might originally seem highly specialist?
I’m glad you liked the porpoise joke. It’s one of those lines you know you really ought to cut, but haven’t the heart.
And yes, humour is essential. It’s essential to almost everything. Humour doesn’t compromise seriousness. Humours enriches life. There is humour in the greatest art – Ulysses, A la recherche du tempts perdu, Hamlet, The Waste Land, Metamorphoses. Humour humanises, bringing meaning and proportion to all we do. At a funeral, what touches us most deeply are funny stories from the life of a person we have lost.
Humour doesn’t make things trivial. When appropriate, humour makes things profound… in a funny sort of way.
Why do you think that botany is important and what can it bring to our lives?
Everything starts with plants. Plants are the only things that can eat the sun: the power of the sun allows them to make their own food, and that feeds everything else that lives (unless you live in a hydrothermal vent at the bottom of the sea, of course). Lions couldn’t live without plants: they just eat them at one remove.
Those of us who like nature tend to have areas of specialisation, and that’s only natural. But nature itself isn’t about separation: it’s about the way everything fits in together. You can’t really get a handle on your own specialist subject, no matter what it is, without understanding the way it’s driven by plants.
An illustrated Oak tree from How to be a Bad Botanist. Illustrated by Cindy Lee Wright.
The final chapter relates to a decline of the natural world – what more could we do to support our native wildflower populations in the UK?
The first thing to do is to look after any piece of land you have control over and make it richer and wilder. Sometimes neglect – what conservationists call “minimum intervention” – is the best policy, and it’s assiduously practiced at our place in the Broads.
The second is to support good organisations: your local county wildlife trust (and yes, there’s one for London) and the excellent Plantlife.
And after that, just show people wonderful stuff: here come the waterlilies, this pretty stuff on the riverbank is Purple Loosestrife and Hemp Agrimony, and round the next bend there’s an Aldercarr with nesting herons. By doing so, you enrich people’s lives as well as your own.
Other than buying your book, can you tell us one tip that you give to an aspiring ‘bad’ botanist?
Just look. Look, and seek a name. These days you can use phone apps like Pl@ntNet which will have a decent shot at identifying plants from flowers, leaves, even bark. But mostly it’s about that mental shift: making it personal. Last year it was a nice little yellow flower, this year it’s the first Lesser Celandine of spring and your heart can rejoice.
How to be a Bad Botanist is available to order from our online bookstore.
Reconstructing how dinosaurs behaved from just their fossilised bones might seem like science fiction but is very much science fact. In Dinosaur Behavior: An Illustrated Guide, veteran palaeontology professor Michael J. Benton joins forces with palaeoartist Bob Nicholls to do what it says on the tin: write a richly illustrated introductory book on dinosaur behaviour that is well-suited for novices.
In Dinosaur Behaviour, Benton takes the reader through five main topics: physiology (which sets the pace for everything else), locomotion, senses and intelligence, feeding, and social behaviour (which includes courtship, reproduction, parental care, and communication). One or several ‘forensics’ boxes in each chapter introduce the basic gist of certain methods.
Reading through this book, it becomes abundantly clear that our understanding of dinosaur behaviour relies on two approaches. Though Benton does not mention it as explicitly as in his previous book The Dinosaurs Rediscovered, the first of these is new high-tech toys and tools. Examples include computed tomography (CT) scanners, normally used in hospitals, to make detailed X-ray scans of fossilised brains (so-called endocasts) and so determine brain anatomy.Or finite element analysis normally used in engineeringto model forces and stresses on jaws and teeth and so determine e.g. bite force. The second approach is ‘old-fashioned’ comparative anatomy and ethology: it pays to have a good knowledge of natural history when you are a palaeontologist. One example is the histological study of fossil dinosaur bones. Cutting thin bone sections and examining these under a microscope shows that some dinosaurs closely resemble mammals and birds, supporting the idea that smaller species were endotherms (‘warm-blooded’, i.e. generating their own body heat). Or take the microscopic study of melanosomes (pigment-containing organelles) in fossil feathers to determine colour in life. A final example is the comparison of footprints made by modern running birds with fossil tracks to determine things such as gait and running speed.
If you are well-versed in (popular) palaeontology, much of what is presented here will be familiar. Even so, I picked up interesting titbits. One example is a recent study of Psittacosaurus that describes a cloaca, the multipurpose orifice also seen in birds where the digestive, urinary, and reproductive tracts all open to the outside world. This suggests that dinosaur sex, for at least some species, was a matter of the appropriately named ‘cloacal kiss’ rather than the brandishing of reptilian genitals. Other insights fell into the embarrassing ‘I should have known this’ category. We tend to think of walking on two legs as something advanced because our mammalian ancestors walked on all fours, but for dinosaurs, it was the reverse; they started out bipedal and quadrupedality only evolved later in e.g. the large sauropods. Particularly interesting is the study by Kat Schroeder and colleagues who looked at fossil communities of theropods and noticed a so-called carnivore gap: there is a lack of medium-sized ones in the fossil record, even though there are medium-sized herbivores. One explanation could be that dinosaur eggs had an upper size limit, meaning that young carnivores hatched small and had an awful lot of growing to do. As they did, ‘they passed through a whole range of feeding modes, each step along the way acting like a different species’ (p. 137), effectively plugging the ecological niche of medium-sized carnivores.
Despite the broad range of topics, there are some curious omissions. The chapter on feeding e.g. discusses jaws, teeth, and the use of isotopes to determine diet, but not microwear analysis of teeth. What I found most surprising is that Benton does not introduce the concept of trace fossils or ichnology, their study. Yet, examples such as trackways (some possibly showing long-distance migrations), coprolites (fossil poop), and nests are all discussed here. Another surprising omission is that the two-page bibliography does not include most studies mentioned in the text, even though it references other technical articles.
Dinosaur Behavior is mostly very suitable for readers with little to no background in palaeontology. Benton explains even basic terminology (physiology, cannibalism) as he goes, though there is the occasional curveball. One example is the morphospace diagram showing a principal component analysis on page 131, which, I hope those with a background in statistics will agree, is a rather abstract way of visualizing data that requires a bit more explanation than is given here. Though the book is published by Princeton University Press, it has been produced by UniPress Books who can be considered the spiritual successor to popular science publisher Ivy Press. What this means is that information is accessibly presented in bite-sized sections on one or several page spreads, with long sections further divided using subheadings. The downside is that this restricts how thoroughly topics can be explored. Leafing through e.g. Naish & Barrett’s Dinosaurs: How They Lived and Evolved shows more nuance in its chapter on behaviour.
Finally, I have to mention the excellent colour and black-and-white artwork by Bob Nicholls that livens up the text. I loved the drawing of courtship in Confusiusornis on pages 168–169. Despite the overlap in topic, this is all-new artwork compared to Locked in Time. Other diagrams have all been carefully designed or redrawn, using colours where appropriate. The only design element that did not work for me was the choice of sans-serif font which made e.g. the letters ‘a’ and ‘o’ hard to tell apart.
Serious palaeontology buffs might find the contents here somewhat superficial, but overall, this is a handsomely illustrated book that offers an accessible introduction suitable for novices and possibly even curious high-school pupils. It would also make for a great gift.
Hazel Dormouse by Frank Vassen via Flickr (CC BY 2.0)
The dormouse nest tube problem
At NHBS, the environmental impact of our products, both in terms of their manufacture and eventual disposal, is at the heart of our manufacturing business. Of equal importance is the practicality of their design and how fit for purpose they are for their users. With this in mind, we are always looking for ways to both design new and improve existing products based on current research and feedback from our customers.
Last year, we began to apply this thinking to our dormouse nest tubes. We had some concerns about any tubes that might be left behind at survey sites, thus polluting woodlands with unwanted plastic. We were also thinking ahead to the disposal of tubes that, following years of use outside, are no longer fit for purpose and which must then be thrown away.
With this in mind, our manufacturing team began developing an alternative, biodegradable version of our dormouse nest tubes.
The current plastic dormouse nest tube
A new environmentally friendly design
Dormouse tubes consist of a plastic sleeve into which slides a wooden tray that also serves to seal one end when in place. These tubes create a dark and narrow enclosure that is ideal for dormice to build their nests. By strapping a number of these tubes to horizontal branches in a suitable woodland, they can be used to determine the presence of dormice by periodically inspecting them for evidence of nests and/or inhabitants. As this is a standard survey technique within the UK, our new, environmentally friendly dormouse tubes would need to be able to be used in the same way.
Our new design would use the same wooden inserts in combination with a modified sleeve constructed from Earthboard. Earthboard is a plastic-free biodegradable material, often used to make tree guards. It is coated with a non-toxic water repellent coating which makes it suitable for use outside, lasting for up to two years before decomposing naturally. Critically, being plastic-free, Earthboard does not shed microplastics into the environment.
Its relatively slow breakdown means that Earthboard would be ideal for our purposes. It would last for more than a single survey season in the field and, if accidentally left outside, would decompose naturally over time. Any tubes that fell to the ground would take around 16-20 weeks to break down and, at the end of the season, they could be recycled in the same way as cardboard (although they are not suitable for home composting due to their relatively slow rate of natural decomposition).
In 2023, our manufacturing team produced a number of Earthboard sleeves that were compatible with our existing wooden inserts. These were sent to several of our customers and associates who kindly agreed to undertake some field tests during the 2023 survey season.
Initial field tests
At the end of the dormouse survey season, our field testers helpfully provided us with lots of feedback. Unfortunately, not all of it was good. While most were broadly positive about the intention of the product, there were some significant problems.
The most serious of these was that, after a short amount of time in the field, deterioration by the elements meant that the tube was no longer a good fit for the wooden insert. The top of the plastic tube became curved, thus creating a space into which light, draughts and moisture could enter, making the tubes much less desirable to dormice as a nesting location. Similarly, the relatively pale colour of the Earthboard meant that the interior was not as dark as that of the original plastic tubes, again making it less attractive to dormice.
After a period in the field the Earthboard tube proved a poor fit for the wooden insert and allowed light and draughts to enter the nesting space.
A further concern related to how dormouse tubes are generally used. It is typical for ecologists to collect all of their tubes at the end of the survey season and re-use them in subsequent years. It is unusual for tubes to be left in the field, unless they cannot be located for any reason. Equally, there is a cost factor involved. Although Earthboard is suitable for recycling with cardboard via kerbside waste collections, which makes their disposal preferable to traditional plastic tubes, the need to purchase new sleeves at the beginning of each season isn’t an attractive option for most ecologists.
So, what next?
Due to the lack of positive feedback, along with concerns about the practicalities and economics of these biodegradable dormouse tubes, we have decided not to continue with their development. Despite the fact that this particular project didn’t ultimately lead anywhere, however, we are incredibly proud of our continuing endeavours to improve our products and make sure they are as user friendly and environmentally responsible as possible.
We would like to thank everyone that was involved in field testing this product and taking the time to provide us with such valuable feedback. It is only through constant communication and cooperation with our valued customers that we can continue to design, manufacture and provide such high-quality products and support conservationists worldwide.
Wildlife Acoustics recently announced that the Echo Meter Touch (Standard and Professional versions), can now be upgraded so that they can be used with Apple iOS devices. There are a few important steps to take when upgrading.
Which Apple Devices can be used?
Wildlife Acoustics have stated that only new Apple devices that have a native USB-C connector on them will work. This means that any lightning connector-based devices will not work with the upgraded EMT even if you have a lightning to USB-C cable. If you have an iPhone 15 (all versions) or later you can use the upgraded Echo Meter Touch.
How to upgrade your Echo Meter Touch
Firstly, make sure you have the EMT with the USB-C connector. Micro-USB will not work with this upgrade specifically for Apple devices. Here are the steps you have to take:
1. Check to make sure you have the latest Wildlife Acoustics app installed on your Android Device. When you update the app it should display an announcement telling you that Apple is supported.
2. Plug your EMT into the Android device.
3. Using the menu found in the top left corner of the screen (displayed as three horizontal bars). Select Settings.
4. Scroll all the way to the bottom of the Settings menu, and select Advanced Settings.
At this stage the app will tell you what version of firmware you have on your EMT. If it is version 2 or later, then you do not need to update to get iOS compatibility. However if there is a new firmware update, even if your device has version 2.0 or later, you should update the EMT to get the best possible experience from the EMT.
5. If the EMT is shown as having version 1.3 the app will offer you a later version of firmware.
6. Select Update Module Firmware – DO NOT UNPLUG YOUR EMT Device
7. Let the app perform the upgrade and is will display the notice saying a firmware upgrade has been successful.
8. Once, this appears, remove your EMT from the Android device, and re-insert it to double check the device is updated.
Now that you have accomplished the firmware update you should insert the EMT into your Apple device. If you have downloaded the Wildlife Acoustics app to the Apple device it should function correctly.
As spring emerges, naturalists across the UK aredusting off their kit to begin exploring the great outdoors. From bird watching to bug hunting, we have equipment to help you explore. Below, we have compiled a list of must-have equipment for wildlife watching this spring.
Viking Cygnus Monocular
The Viking Cygnus Monocular in-field.
Excellent optics combined with a grippy, rubberised armour make this handy monocular the ideal companion this spring.At only 287g, The Viking Cygnus Monocular is a lightweight, showerproofmonocular with a small form factor, designed for easy handling for any hand size. Created for quick access and target acquisition,this monocular featuresa smooth action barrel adjuster for precise focus adjustment and a larger objective lens for high colour imagery.
For a smaller, even more lightweightalternativeweighing only 140g, the 8×25 MK2 magnification monocular is ideal for quick and easy use, where a smaller objective diameter lens is counteracted by its handy size.
Opticron Explorer Compact Binoculars
The Explorer Compact BinocularsbyOpticronwould make an excellentaddition to any naturalists kit this spring. A fully armoured, roof prism body provides comfort and extra grip for comfortable carrying in–field. With a weatherproof, fold-down design, these are ideal for transport, and can be stored easily due to their size and weight (195g). The ribbed focus wheel and twist-type eye cups ensure a good field of view with easy focusing, and the use of multicoloured lens and high reflection coated prisms provide bright, crisp images. Available in 8x21 and 10x21.
Nikon Sportstar EX DCF Compact Binoculars
Available in 8×25 and 10×25, these high-quality,pocket-sized binoculars are waterproof and fog free. Turn and slide rubber eye cups allow for easy positioning, and multilayer coated lenses deliver a high optical performance with great clarity and well-balanced colour. The field of view is ideal for observing large landscapes, and partnered with a good close focusing distance, these compact binoculars also work great with insects.Weighing only 300g, these ultra-lightweight binoculars are ideal for travelling or working in–field.
Crushable Pocket Butterfly Net
Designed with a spring steel frame, this Crushable Pocket Butterfly net can twist for an easy collapse and can be folded down to pocket-size. This foldable, yet robust design allows for easy transportation and storage whilst in-field. The net is supplied with a short, brass handle but can also be used with telescopicand push-fit net handles if you wish to extend its reach.
WalkstoolBasic
Designed and manufactured in Sweden, the Walkstool Basic is a simple, 3-point stool made for outdoorsmen of any kind. Suitable for home use and in-field work, this compact resting stool weighs only 725g, making it ideal for packing and transporting. Available in 24”, the WalkstoolBasic is designed with comfort and sturdy support in mind. This highly portablestool has plastic foot ends and telescopic, extendable legs to account for uneven terrain. The sturdy aluminium frame and durable polyester seat make this stool a worthy addition to any explorers kit this spring.
Pocket Guide to the Bumblebees of Great Britain and Ireland
This handy, pocket-sized guide to the naturally occurring bumblebees of Great Britain and Ireland is a richly illustrated work accessible to beginners and more experienced naturalists alike. Each species has a dedicated double page spread, detailing its characteristics, habitat, distribution and sex differentiation, among others. This portable pocket guide provides an ‘at-a-glance’ guide to species. Ideal for exploring this spring, this handy book provides aninformative peak into the world of bumblebee identification.
Pocket Guide to the Butterflies of Great Britain and Ireland
Another publication in the Bloomsbury Wildlife Guides collection, the Pocket Guide to the Butterflies of Great Britain and Ireland features over 600 detailed illustrations on each species and their life stages. Detailing species information, distribution and life history, this pocketbook provides an accessible, easy–to–use guide to butterflies in Britain.
Field Studies Council Fold-out Guides
The Field Studies Council Fold-out Guides are ideal for days where full-sizefield guides are cumbersome. These handy species identification charts cover aneclectic range of themes, from mammal tracks and woodland plants to seashells and jellyfish. These weatherproof guides are a practical accompaniment to a spring stroll, find the full collection here.
Join author Kat Hill on a journey across England, Scotland and Wales to explore 15 remote bothies, and uncover the beauty, history and stories of these wild shelters. In this stirring book of adventure, peace, wilderness and refuge, she intertwines her own story of heartbreak and new purpose, while taking into consideration the environment, what we owe to it, and why we all crave escapes into the remote.
