author interview Archives - Hoopoe

Greenery: An interview with Tim Dee

Tim Dee is a naturalist, radio producer, and author of Fourfields, The Running Sky and Landfill. His latest book, Greenery, is a poetic hymn to spring time, a masterpiece of nature writing that is deeply informed and profoundly beautiful.

Between the winter and the summer solstice in Europe, spring moves north at about the speed of swallow flight. That is also close to human walking pace. In the light of these happy coincidences, Greenery recounts how Tim Dee travels with the season and its migratory birds, out of Africa from their wintering quarters in South Africa, through their staging places in Chad and Ethiopia, across the colossal and incomprehensible Sahara, and on into Europe. Tim Dee has answered questions about this remarkable journey.

For those who don’t know, you have published three other major titles on green spaces and birds- Landfill, The Running Sky, and Four Fields. Following from these, how did the idea to travel with spring and its migratory birds come about? And how does Greenery differ from your previous books?

My last book was Landfill, a sort of junkyard travel-guide to the gulls that now thrive on our waste and in the middle of our towns and cities. Inevitably it was dirty and messy and botched: modern nature is like that. It has to find ways and means to live alongside us – we who are the most-botched species of all. I admire the gulls and I was fascinated by the gullers – watchers of gulls – who spend time in wretched places like landfill sites in order to connect with their quarry, but afterwards I needed some fresher air to live in and some wilder life to watch, and so the spring, which has always been my favoured season, appealed, and most especially some witnessing of the movement of passage migrant birds that make the European spring for birdwatchers. When I discovered that spring moves north through Europe at somewhere between the speed a swallows flies at and the speed we might walk at (about 4 km an hour), I knew that I had to try to follow the birds and the season for as long and as far as I could. So, I start with barn swallows in the European midwinter in midsummer South Africa and I end with the same species, who knows perhaps even the same individuals, in midsummer arctic Norway. Who wouldn’t want to have as much spring as possible?

By travelling north you poetically write about the birds that come and go; from observing redstarts in Lake Lagano, Ethiopia, to enjoying the dawn chorus in a reedbed in Somerset. What can be learned from birds in migration, and how is migration changing for them?

Studying and thinking about migration tugs at our notions of home. Migratory animals carry their homes with them. Yet, when I first saw barn swallows in South Africa I couldn’t see them as anything but away from their home. In fact, of course, they were perfectly at home: they were meant to be there and able to be fully alive there. Ever since migration has been observed, birdwatchers have ceaselessly wondered where the birds have come from, where they are going, how they know where to go and how they know how to live at the other end of the world. Migration has always intrigued – Homer makes poetry from it, Aristotle discusses it, the Bible and the Koran make parables for life from it. Nowadays we know more and more of its facts – know for example that a migrant redstart may literally return to the same tree in sub-Saharan Africa in its wintertime just as it flies to the same oak in a wooded coombe in Exmoor every spring of its life; but we also begin to understand (and face up to) how much our activities are tugging at the world’s time and making migration and a bird’s swapping of one tree for another harder and harder. This is what phenological mismatch is all about: the unseasonal time that our activities are creating.

You explore time and movement in this book. In a very fast-paced world, where few have the time to slow down and connect to the seasons, how has journeying with spring changed you? Was there anything specific you were looking for and anything you found?

To try to have more spring has been my mantra, to go looking for signs of new life even before a calendar year has ended, like a mistle thrush singing in November and thereby meaning therefore to have spring again, or rooks visiting their old nests each day from the autumn onwards with a literal view to their future; and to travel when possible both south from Britain to Mediterranean Europe where spring arrives earlier and then north towards the Arctic Europe where spring lasts longer. Hearing a pied flycatcher still singing in northern Norway when the same species are silent in their British breeding woods feels like a life-bonus, feels like more of life, which can only be good. We are only given one springtime in our own lives but the return of the season and the cyclical round or rondure of the natural year is a marvellous tonic and corrective to the linearity of our one-direction journey. Again, who would say no to that – to a bit of time travel and season stretch in order to stay with the season of becoming and of re-energy. Greenery is an anagram of re-energy: I was thrilled to discover that.

Landfill — Pied flycatcher, Ficedula hypoleuca, single male singing on branch, Powys, Wales, April 2012

When most people think of spring they think of new life, new beginnings, however you eloquently write “spring means more to me with every year that passes and takes me deeper into my own autumn.” Could you elaborate more on this, what does springtime mean to you?

There’s that lyric to a song: you don’t know what you’ve got ‘til its gone…. And I think as we get older the morning of life, the world’s morning as D H Lawrence called spring, feels more and more poignant and uplifting. We are headed only one way but, hey presto, here are new shoots, and green beginnings once more, and then a chiffchaff, fetching an echo out of a wood, as Gilbert White noticed them doing in Eighteenth Century Selborne in Hampshire. My eyesight has got worse, my hearing is half-baffled, I move increasingly with a wobble, but the injection of new birds from the south, the heavenly racket of their song, and seeing them at home in their new places is a forever tonic, like an effervescing vitamin C tablet, or a pick-me-up, or a fillip – life is worth living among those that are living it most, and spring visiting birds are the most alive – active, mobile, purposeful, committed – things that I know.

As you explore life and death, love and grief through springtime, is there anything in particular you would like for people to take away from this book?

I think we all spend a lot of time ignoring time, shut away from the weather, heating our lives, conditioning our air, eating strawberries out of season, yet I know that we all, almost all of us at least, notice the spring, want it, anticipate it, lift our faces to the first splash of sun after grey skies, talk about snowdrops, look out for the first swifts, and so on… We are reminded of spring by spring itself coming around, it schools us in life and growth, in beginnings and becomings; and in my book I just want to underline that reminder and encourage us all to take in what can be taken in, and to keep in step with the passing of time and so live happily in time and on time too. Look at the birds that do that so well; I have done that and it has helped me live.

Tim Dee has been a birdwatcher for most of his life and written about them for twenty years. As well as Greenery, he is the author of Landfill, The Running Sky and Four Fields and is the editor of Ground Works.

Greenery

Hardback | Oct 2018 | ISBN-13: 9781908213624 £15.99 ~~£18.99~~

Handbook of the Mammals of the World, an interview with the series creators

The final volume in the Handbook of the Mammals of the World series will be published in October 2019.

The first volume was published over a decade ago and Volume 9: Bats completes this hugely important reference series to the mammals of the world.

We asked publishers Josep del Hoyo and Albert Martinez to share their thoughts about the conception, production and fruition of this and the earlier Handbook of the Birds of the World series.

1. What inspired you to embark on the Handbook of the Mammals of the World series?
JOSEP: Well, in this case, our inspiration was very clearly the series’ predecessor: the Handbook of the Birds of the World (HBW). When we started on the Handbook of the Mammals of the World (HMW), we had already published 12 volumes of HBW and the results were encouraging, both in terms of enthusiastic reviews and commercial success. So, we thought it would be worthwhile to try to produce a sort of “sister series” covering all the mammals of the world. We saw it as natural that there should be a Handbook to properly treat all the animals forming part of the same Class to which we, as humans, belong. We were aware that while the number of professionals dedicated to mammals were high, that the number of amateur people interested in the group would be much lower than the equivalent public in birdwatching, so the series would be commercially riskier. But we were convinced of the project’s importance for science and conservation, so we decided to look for some support to make it happen.
We were extremely fortunate to find this support in the form of two Chief Editors for the series that were essential for its success. On one hand, celebrated primatologist Russ Mittermeier joined the project, bringing his own knowledge to the series, as well as achieving important funding, most notably from Conservation International, to get the project off its feet. Russ also enlisted the involvement of IUCN, International Union for Conservation of Nature, further emphasising the importance of conservation in the series, and drawing from the expertise of many of the IUCN Species Survival Commission (SSC) Specialist Groups.
On the other hand, Don Wilson, at the time Chairman of the Department of Vertebrate Zoology and Curator of the Division of Mammals at the National Museum of Natural History of the Smithsonian Institution, generously volunteered his time and effort to help the project, and this continued throughout the series in many different facets. For example, Don’s help was especially useful for finding and contacting the specialists to author the chapters, as well as for providing a strong taxonomic base with his book Wilson & Reeder (2005), Mammal Species of the World. A Taxonomic and Geographic Reference (3rd ed).
We are very grateful to both Russ and Don, and to the other Chief Editors and external supporters who made the project possible.

2. Volume 1 was Carnivores, a very charismatic order of mammals; when this was published in 2009, did you already know how many volumes the series would contain, and in what order they would be published?

ALBERT: We proposed Carnivores as an exploratory volume to study the viability of the project as we felt that it could be one of the volumes with the greatest interest for the readers.
When the first volume was published and once it was proven that the series was viable, we agreed shortly after with the Chief Editors, Don Wilson and Russ Mittermeier, on the total number of volumes in the series—eight—and their order. In the first preparatory meetings it was quickly decided not to follow a strictly phylogenetic sequence, and so, for instance, walruses, seals, and sea lions were treated along with the rest of sea mammals and not in the Carnivores volume.
The most important departure from the original plan was the need to split rodents into two volumes: Volume 6 and Volumes 7, in order to maintain the level of detail that had characterised the previous volumes. This decision was made after direct consultation with HMW subscribers (of 1840 respondents, 92% favoured two volumes). So, the series was extended from eight to nine volumes.

3. Could you provide a rough idea about how much hard work goes into publishing a single volume in the series?
ALBERT: The work is immense and summary numbers for the series are impressive (c.8000 pages, 443 colour plates, 5300 photos, 6400 range maps, 10,000s of references), as is the number of the people involved: 312 authors of texts, 10 artists, and more than a thousand photographers from all over the World.
The editing process for a single volume lasts between one-and-half and two years, it begins with the commission of the different families to the authors of texts and the plates to the artists. The in-house editing phase has lasted about a year in the last volumes. The first three volumes appeared with a cadence of two years, but from HMW4 on we have managed to publish a volume per year without fail.

4. Is there a certain family or order of mammals you are particularly fascinated by?
ALBERT: It is difficult to choose, but maybe Carnivores, Hoofed Mammals, or Primates. Also Marsupials as they are really exotic and give us a very clear idea of the big conservation threats that face island species or species with reduced ranges. Looking at the distribution maps you become very aware of the high number of species with tiny distributions and those that only survive thanks to strict conservation measures.

5. What challenges did you face along the road to completion of this series?
ALBERT: During the 11 years of editing the HMW series (2009–2019) and with so many people involved, we have faced all kinds of difficulties with authors, artists, and editors (illnesses, accidents… and even Brexit at the end!). Especially complicated has been the instability in the taxonomy with habitual last-minute changes in the final stages of the editing process (e.g. new species described, rearrangements in the sequence of the species due to improvements in the knowledge of phylogenies, etc), which have forced us to completely redo already laid-out families many times. Despite such challenges, I want to highlight the impressive enthusiasm and dedication which all the participants have shown for this project.
It is very rewarding to see the commitment and effort that many experts have put into the project, having themselves seen in the HMW series an important achievement in their field of work. The selfless collaboration that we have received from a multitude of specialists not directly involved in the project has helped us in many ways, like providing material to allow the artists to draw rare species.

6. What do you hope will be the legacy of the Handbook of the Birds of the World and the Handbook of the Mammals of the World series?
JOSEP: Since we finished the HBW series some years ago (2013), we now have a better perspective on what this legacy may be. We have some indications that show that HBW, which covered all the birds of the world for the first time ever, represents a “before and after” in knowledge and interest in birds. It is true that before HBW there was a good deal of interest in birds in parts of the world like Europe, North America, Australia or South Africa, but in many other parts of the world, including in Tropical Regions with the richest biodiversity, there was a clear lack of even the most basic information. So we think the existence of the series has helped a bit to balance this situation, and has been an influence so that now many more people are interested not only in birds of their own country, region or local patch, but also at the global level, which we are convinced is good, eventually, for conservation.
With the HMW series, which we are just finishing now, we think similar effects will appear. While with birds the interest across the families was more or less regular, mammals have an added complication that some groups receive much more attention than others. So we think that the volumes dedicated to groups like rodents and, especially, the last one dedicated to bats, will be important for bringing together the knowledge that was much more disperse and less accessible, in a single, comprehensive treatment. This will also show where there are still gaps in the knowledge to encourage further study.

7. How do you feel about the imminent fruition of over ten years of publishing the Handbook of the Mammals of the World series – do you have any new projects in the pipeline that you can tell us about?
JOSEP: Well, we have several big projects that we are studying carefully, but we are also aware that the number of people interested in other groups of biodiversity is many times smaller than those interested in birds and even in mammals. But a number of good possibilities do exist, particularly if there is an awareness that such coverage gives a push to the knowledge and conservation of the group.

Meanwhile, we are still very busy with birds and mammals. For birds we published the HBW and BirdLife International Illustrated Checklist of the Birds of the World in two volumes and we are already working on the equivalent illustrated checklist for the mammals. Also, given the important patrimony we hold of the illustrations of all the birds of the world, we have started the Lynx and BirdLife International Field Guides Collection, which is producing good results, and we hope we can pursue a similar line with mammals. In this way, the two Handbook series can help us create field guides to countries for which they are none, thus, raising awareness and knowledge, which in turn can lead to greater local conservation.

HWM, Volume 9: Bats and the complete Volumes 1 to 9 are available at a special pre-publication price until the end of September

Handbook of the Mammals of the World, Volume 9: Bats
Oct 2019 *124.99 ~~£144.99~~
The final volume in this monumental series profiles the world’s bat fauna.

*Pre-publication price applies to orders until 30th September 2019

Handbook of the Mammals of the World, Volumes 1 to 9
Oct 2019 *999.00 ~~£1250.00~~
The whole set for under £1,000: this offer is available for a limited time only..

*Pre-publication price applies to orders until 30th September 2019

Browse all volumes in the Handbook of the Mammals of the World series

Browse all volumes in the Handbook of the Birds of the World series

Author Interview: Jens H Petersen and Thomas Læssøe, Fungi of Temperate Europe (2-Volume Set)

Authors, Thomas Læssøe and Jens H Petersen have spent the last five years creating the wonderful two volumes set: Fungi of Temperate Europe. They have taken the time to answer our questions about this monumental and daunting project.

Could you tell us a little about your backgrounds and how you got interested in mycology?

We both dived into the mycological forest sometime in the late seventies and subsequently studied mycology at the Danish universities of Aarhus and Copenhagen. Since then, we have both tried to make mycology accessible to a broader audience, both through countless excursions and mycology courses and through books and photography (the present work includes photographs from the very first years of this 40 years period). Check also the book, The Kingdom of Fungi by Jens H. Petersen.

Two volumes, totalling over 1,700 pages must have a been a considerable undertaking; can you let us know a little of the process and how long it has taken for this book to come to fruition?

We have worked with the books for five years. Firstly, we made a long list of taxa we wanted to include and Jens started to develop the first identification wheels. We had the first dummy layout in summer 2015 and made the first version of the wheels for the Basidiomycota during autumn 2015. The asco wheels and the layout of the species pages followed in 2016. By summer 2017 we had a layout ready, but without text.

While Jens did wheels, layouts and photo-shopping Thomas produced the Danish texts online in our Danish Fungal Atlas database (www.svampeatlas.dk) and these were more or less finished during spring 2017. Then followed the long process of proofreading texts and editing them into the layouts. By summer 2018 this was finished and we started to do the translation into English. Fortunately, we had a couple of skilled UK copy editors who corrected mistakes and improved the language. The English edition was ready in April 2019.

The whole process was terrifying with respect to size which no one involved realised before they were deeply immersed in the books. The solution was to keep a tunnel vision most of the time, and just try to finish the one little piece of the puzzle in question and only on rare occasions emerge to the surface to look around and consider the distance to the goal line.

Who do you envisage using Fungi of Temperate Europe – what readership is it aimed at?

Everyone with a basic knowledge of fungi.

The book uses ‘form group’ to identify and present the fungi rather than exclusively strict taxonomic groups; what influenced you to use form groups and fungi wheels?

Scientists using modern DNA methods tend to split fungal genera into more and more narrow entities. As these are based on base pairs they may be absolutely devoid of morphological characteristics and thus impossible to work with for non-scientists. Thus any attempt to approach fungal identification in a strictly phylogenetic way will fail. It is for example impossible to construct a well functioning identification key to genera of fungi (we have been there several times, tried that and failed). This lead us to develop the multi-access computer key MycoKey (www.mycokey.com) and now later to try to convert the learning from MycoKey into book form.

What was your most surprising discovery whilst researching Fungi of Temperate Europe?

That fungi are difficult but beautiful.

What is the biggest challenge when studying fungi?

That fungi are mostly invisible to the naked eye unless they develop fruitbodies and when they do, the morphological plasticity of these fruitbodies is baffling. Thus good pictures are often worth more than detailed, lengthy descriptions.

After such an endeavour you surely deserve a rest, but have either of you got any future projects planned that you can tell us about?

We are working on a book with new identification keys to Danish Basidiomycota. The overall structure of this will be built on the form group identification wheels from the present work but the species keys will be dichotomous, analytical keys with lots of illustrations. We believe that the two projects will supplement each other.

We would both like to dive deeper into the world of Ascomycota and possibly return to tropical mycology.

Fungi of Temperate Europe (2-Volume Set)
Aug 2019 £74.99 ~~£94.99~~
The culmination of five years work from authors, Thomas Læssøe and Jens H Petersen

OUT NOW

Author Interview – Heather Buttivant

Sometimes the most extraordinary nature stories and scientific revelations lie in plain sight. So familiar that unique stories of survival are overlooked. Rock Pool is an eye-opening, enchanting journey into the miniature worlds of rock pools with a new author who will change the way you view even the most ordinary creatures – from crabs to barnacles, blennies to anemones – forever.

Educator and award-winning blogger, Heather Buttivant kindly took some time out of her rock pooling schedule to answer our questions about her new book.

Your passion for the marine environment shines throughout Rock Pool, where did your passion stem from?

Like most children growing up by the sea, I liked to pick up seashells, but for me it became an obsession. Back then I couldn’t name everything, but the variety of shapes and textures and the vibrant colours fascinated me. The longer I looked into rock pools, the further I was reeled in. It’s a passion I have no intention of out-growing: no matter how much I know, there is always more to learn.

What was the original inspiration behind your book?

It has always seemed a shame to me that there is so little nature writing available about our incredible intertidal wildlife. When I created a website as part of my MA in professional writing with Falmouth University, I struggled to imagine why anyone would be interested in my ideas for a novel, but the thought of opening up the little-known world of the rock pools filled me with excitement. My Cornish Rock Pools site took off faster than I expected and when the site won the BBC Wildlife Magazine Blog of the Year Award, it came to the attention of the lovely people at September Publishing and this was the perfect opportunity to bring my love for nature writing and for seashore together as a book.

You’ve selected a fascinating range of marine creatures; how did you choose them from such a biodiverse environment?

My identification guides to the seashore contain thousands of species, so narrowing this down to just 24 animals felt like a near-impossible task. Most of the animals I’ve selected can be found all around the UK and Ireland and together they tell an incredible story of survival. I have aimed to convey the experience of animals living in different zones of the shore and in the range of different environments from mud-flats to seagrass beds. Some of the creatures, like barnacles and limpets, are familiar yet have remarkable abilities that are unimaginable to us land-dwellers. Others, like corals, sharks and cephalopods, are animals that most people assume can only be seen by divers but with luck and perseverance they may be seen by rock poolers too.

Rock Pool is full of exciting encounters you have had at the seashore, but which was your most surprising?

I find something new almost every time I visit the shore, but one day, whilst dangling my feet in a pool, with all my attention focused on a tiny sea slug in a petri dish on the rock beside me, I noticed movement in the water. When I glanced down I realised that a substantial lobster was inching towards my toes! I nearly dropped my camera. ‘Bob’, as I now know him, has become quite a legend in our family and his location is a secret that is closely guarded by all those who have met him.

Do you have any tips for a successful rock pooling session?

My top tip is to join a rock pooling event where you can learn and explore with the experts. This is a great way to see amazing animals and to find out how to keep yourself and the wildlife safe on the shore. The key to spotting creatures is to slow right down and take the time to look closely at the small things. Most rock pool animals are masters at hiding in plain sight. A single rock may be densely packed with keel worms, sea squirts, sponges and crustaceans, but at a quick glance you’d think there was nothing there. Always check the tide times first and leave everything as you found it – gently replacing stones the right way up.

Finally, do you plan to write any more books in the future?

Our rock pools are so incredibly diverse that I might never run out of material for more books. However, I’m also passionate about the importance of giving people, especially children, better opportunities to connect with the natural world. We protect and care about the things that we love, so it’s vital that we all feel that we are a part of the ecosystems on which we depend. Perhaps that will be my next writing project?

A limited number of signed copies are available at NHBS, order now to avoid disappointment!

If you’re feeling inspired to go out rock-pooling, we have created a selection of essential books and equipment to help you get started!

Author Interview: Kate Bradbury

If you want to attract more bees, birds, frogs and hedgehogs into your garden, look no further than Wildlife Gardening for Everyone and Everything. Award-winning author and journalist, Kate Bradbury offers tips on feeding your neighbourhood wildlife and explains how you can create the perfect habitats for species you’d like to welcome into your garden.

Kate kindly took some time out to answer our wildlife gardening questions, to help us get our gardens wildlife-friendly for summer!

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

I grew up in a house with half an acre of garden out the back. I spend my early years out there, grubbing around in the soil looking for worms, watching the birds. I started gardening from a very young age and the natural world has always been a part of that, for me.

What interests you about gardening for wildlife?

I’ve always been a softie and I’ve always championed the underdog. I love garden wildlife but I’m also passionate about looking after it, and can see the potential our gardens have for saving so many species. Wildlife gardening is all about the power of the individual. There are so many things going on in the world we might feel powerless to change, but simply by planting flowers and caterpillar foodplants we can make a difference for local wildlife species.

I get particularly excited if I find a slow worm in the garden. What animal gives you the most pleasure if you see it visiting, or making a home in your garden?

I couldn’t pick just one! In my new garden I’m desperate to see a toad. They’re so rarely seen these days – I’d be honoured if they found their way to my garden. I’m lucky enough to have hedgehogs so I love seeing them. And a grass snake would be pretty special!

If you could pick just a single thing or activity anyone could implement in their garden that would benefit wildlife, what would it be?

Grow a few native plants. Just one native tree can support hundreds of different species – providing flowers for pollinators, leaves for caterpillars and then seeds or fruit for birds in autumn. Not to mention shelter! Non-natives have a great role in gardens – especially for pollinating insects. But it’s the natives that attract the leaf munchers – the caterpillars, leaf miners, things that need leaves to breed. And, being at the bottom of the foodchain, these are hugely important to anything from hedgehogs to frogs, toads, newts, birds and bats.

What can cause the greatest harm or damage to wildlife living in, or wanting to live in your garden?

Erecting new fences and walls. If wildlife can’t get in to your garden, you’re closing off feeding and breeding habitat to them and potentially blocking off more gardens, too. Make sure wildlife can access your garden and chat with your neighbours so they know this too. Hedgehogs need just a four inch gap beneath or cut into a fence.

If your outdoor space is very small, what are the best ways to make even a tiny outdoor space a home to wildlife?

Grow a mix of nectar- and pollen-rich plants for pollinators, plus native plants for caterpillars. In a small garden you might have room for only one tree – try a Silver Birch or standard Hawthorn, which are great for wildlife. In courtyard gardens and balconies grow forget-me-not, primroses and foxgloves. These provide nectar and pollen for pollinators but also leaves for caterpillars to eat.

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

I’ve got an exciting project coming up that I can’t talk about yet – you’ll have to wait and see!

Kate Bradbury has authored many popular gardening books and the wonderful The Bumblebee Flies Anyway. See below for a list of her books available at NHBS.

Wildlife Gardening: For Everyone and Everything £14.99

With handy charts tailored to the needs of every size and style of garden, this easy-to-use book also includes practical projects such as making bee hotels or creating wildlife ponds, compost corners and wildflower meadows, as well as fact files for the UK’s most common garden species.

The Bumblebee Flies Anyway: A Year of Gardening and (Wild)Life From £9.99

Finding herself in a new home in Brighton, Kate Bradbury sets about transforming her decked, barren backyard into a beautiful wildlife garden. She documents the unbuttoning of the earth and the rebirth of the garden, the rewilding of a tiny urban space.

The Wildlife Gardener £16.99

The Wildlife Gardener is a book which helps you to create wildlife habitats in your very own garden, and is very handily split into sections on shelter, food and water.

We have also made a collection of our favourite wildlife gardening books and equipment to get your garden a wildlife haven.

Rocky Shores: an interview with John Archer-Thomson and Julian Cremona

Rocky Shores is the seventh installment of the popular British Wildlife Collection.

The exciting environment of the rocky shore receives a space in the limelight with this new volume. The authors guide the reader through all aspects of the rocky shore including geology, ecology and natural history. It would make a fantastic addition to any naturalist’s book shelf.

John Archer-Thomson and Julian Cremona have spent their lives in environmental education and conservation. They are a former deputy head and head respectively of the Field Studies Council’s Dale Fort Field Centre in Pembrokeshire. John is now a freelance coastal ecologist, photographer, writer and tutor, while Julian is the author of several books on exploration, nature and photography.

To introduce the authors and their book, we took the opportunity to talk to them about their inspiration for this volume and ask for tips for how we can get involved with rocky shores. Both authors will be signing copies which are available to pre-order on the NHBS website.

What drew you both to this habitat and inspired the production of this fascinating book?

As we say in Chapter 1, we were both born near the coast and grew up loving the sea and so were always drawn to the intertidal, especially as many of the inhabitants are quite weird. From the earliest days with the Dorset Wildlife Trust John enjoyed communicating his love of the shore and the importance of its conservation and the need to respect the natural world. As a child Julian collected all manner of natural material from the shore and after graduation taught seashore ecology in Dorset. We see Rocky Shores as an extension of this mission.

How did you even begin to write this book on such a wide-ranging topic?Forty years of running inter-tidal field courses tends to focus attention on making shores accessible to newcomers, we approached the book from a similar standpoint. John particularly likes molluscs, seaweeds and lichens; Julian, all types of invertebrates especially insects, and as ecologists we love the way the component parts of the system interact, John is also particularly interested in how humans are affecting the shore while Julian has spent much of his life travelling the coast of the British Isles. Thus certain chapters suggested themselves!

What was your most exciting find on a rocky shore that people should look out for in the future?

For John it has to be echinoderms in general and Julian likes the more microscopic life living amongst seaweeds in rock pools. We don’t quite know why, but the little pseudoscorpion called Neobisium maritimum always causes excitement for both of us. They are tiny, only a few millimetres long, quite uncommon and may be found by observing the Black Lichen Lichina pygmaea in which they sometimes hide.

I recommend this book as a fantastic in-depth overview, but what would you suggest readers do to further their rocky shore learning?

John runs a “Rocky shore invertebrates” course for the Field Studies Council at Dale Fort Field Centre. This looks at the ecology of the shore, zonation patterns, adaptations of organisms to this extreme environment and of course the ‘plant’ (and planktonic) life that supports this biodiversity: come on this. Alternatively, there are fold out (FSC) keys for a more do-it-yourself approach, in fact, two of these have been produced by Julian’s daughter Clare Cremona including the Rocky Shore Trail. In 2014 Julian produced a large book called Seashores: an Ecological Guide, which has a huge number of photos to help with the identification of commonly found species and explains how they interact on the shore. A Complete guide to British Coastal Wildlife by Collins and the excellent A student’s guide to the seashore by Fish & Fish. For a more academic, but still very readable, account try The Biology of Rocky Shores by Little et al, Oxford Press.

Although adaptable, rocky shore inhabitants are not invincible, what do you think is the biggest threat to the rocky shore ecosystem and are some species more at risk than others?

That’s easy: us. There are too many human beings gobbling up habitat, consuming resources, changing the climate, raising sea levels, acidifying the ocean, over-fishing, polluting with plastic, agricultural and industrial chemicals and so on. Stressed ecosystems tend to be species poor but there are often large numbers of a few fast growing, tolerant species that do well. Northern, cold water species are already suffering range contractions as the climate warms, whereas the opposite is true of southern, high temperature tolerant forms, including invasive species from warmer climes.

Staying on the theme of the future, what is next for you both – another book perhaps?

For John this would be intertidal and sublittoral monitoring and photography. Running courses for the FSC. Talks for local natural history groups. Magazine articles and an update of “Photographing Pembrokeshire” by John & Sally Archer-Thomson, Apple iBooks. Julian has a trio of specialist photography books being published by Crowood press. The first two on extreme close-up photography have already appeared and the third will be published at the beginning of April. He continues to develop new ways to photograph wildlife, especially the “very small”. Coupled with this 2019 includes running further workshops, lecturing and travel – for the wildlife!

Other books by Julian Cremona

Extreme Close-Up Photography and Focus Stacking – Julian Cremona

Beyond Extreme Close-Up Photography – Julian Cremona

Rocky Shores is published by Bloomsbury Publishing and signed copies are available for pre-order, while stocks last.

Steller’s Sea Eagle: An interview with Richard Sale

Standing a metre tall, with a wingspan approaching three metres, the Steller’s Sea Eagle is a magnificent and impressive bird.

Published in November, Richard Sale’s new book is the first English-language study of this bird of prey. A translation of an earlier Russian book written by Masterov and Romanov, the English version benefits from significant updates and a wealth of new photographs.

We recently chatted with Richard about the Steller’s Sea Eagle, his passion for birds and his love of the Arctic.

In your author biography you are described as a physicist with a PhD in astrophysics. Is physics still a part of your life or do you now devote all of your time to your writing and natural history studies?

Physics will always be a part of my life. I started out as a working physicist, at first as a glaciologist in Switzerland because they paid me to stay in the mountains where I could climb on my days off. Then I moved back to the UK to work. After a few years I left full-time employment and started a consultancy which allowed me to share physics with my love of birds and of snow and ice.

You obviously have a huge passion for birds, and you also spend much of your time studying Arctic ecology. Where did these twin passions come from?

The love of birds started with my father who was a birdwatcher. Our holidays were geared around the breeding season and we went to the moors rather than the beach. He taught me to really watch birds, not just to be able to name them but to able to understand their habits. My other love as a kid was climbing; at first rock faces, then mountains. The love of snow and ice and birds led naturally to wanting to visit the Arctic. After the first trip I really didn’t want to go anywhere else, especially as I am no lover of hot weather.

How did the collaboration for Steller’s Sea Eagle come about? Were you approached to work on the English version of the book or is it something that you yourself instigated?

I had visited Kamchatka in summer and winter and been in the field with Yevgeni Lobkov, one the experts on Kamchatka’s Steller’s. I subsequently went to Hokkaido several times to see the eagles on the sea ice. Then I found the Russian book and corresponded with Michael Romanov. That led to the idea of translating it into English, so I obtained the English rights from the Russian publisher. At first the idea was just to translate the Russian book, but by questioning Michael and Vladimir about sections of text, and then suggesting that we include my work on flight characteristics, the two of them suggested I should be co-author as the book was now looking substantially different from the original.

Can you describe your first sighting of a Steller’s Sea Eagle? How did it make you feel?

I mentioned Yevgeni Lobkov above. He and I took a trip along the Zupanova River in a Zodiac and I remember the first time a Steller’s came over us. It was low down and seemed to blot out the light because of its size. No one who sees a Steller’s can avoid being impressed and I was immediately enraptured.

I was intrigued to read that you have worked with a captive Steller’s Sea Eagle here in the UK. Can you tell us more about this experience?

Once in the Arctic, on Bylot Island, I was watching a Gyrfalcon hunting Arctic Ground Squirrels and because of the terrain, a narrow valley, I could see the falcon was not stooping in a straight line. That led to investigating the physiology of falcon eyes, and to designing a small unit with gps, tri-axial accelerometers, magnetometers and gyros (and other bits) to fly on falconry birds to study how they fly. I managed to get the weight down to a few grams – though that hardly mattered when I found someone flying a captive Steller’s in England as it weighed 5kg. It was flying the units on that bird that is in the new book. Atlas, the eagle, was flown in demonstrations for the public and allowed me to investigate wing beat frequencies, speed etc. It was great fun as he was such a docile bird, a real gentle giant, and being allowed to get so close to him was marvellous.

It seems that two of the main pressures on the Steller’s Sea Eagle are fossil fuel exploration from humans and predation from brown bears. Are there currently any population estimates for the species, and are you hopeful for their future survival?

The situation is not good. The company drilling for oil and gas have been helpful in taking enormous care over onshore works near breeding sites and are to be commended for that. But the fact is that, as human activities of all sorts have expanded close to Steller’s habitats (most of which are well away from the oil/gas exploration sites), the population has gone into decline. We can overcome bear predation by fitting anti-bear devices to trees. We can erect artificial nest and roost sites. But despite all of this, at the moment the population numbers are slowly coming down, probably as a result of global warming, though we are not yet definite about that. Hopefully the population will stabilise but only time will tell if our efforts have been sufficient.

Within a given year, how much time do you spend travelling and how much writing? Do you enjoy each part of the process equally?

Age is catching up with me now and so I spend less time in the Arctic than I did (when I could be there for many weeks during the breeding season). But I still get into the field regularly – particularly at the moment with my units flying on falconry birds and with studies on Merlins in Iceland, Scotland and Hobbies in England and Wales. But I also spend a lot of time in the library reading about birds and, sadly, the damage we are causing them through industrialisation and climate change. As everyone knows, there is hardly any money to be made nowadays as a writer of books on natural history and related topics, but I also enjoy the process of writing and preparing books for publication.

Another of your books, The Arctic, is due for publication in December. What’s next for you? Do you have another project in the pipeline?

That book is an updated, but shortened, version of one I produced some years ago with new photographs by myself and a Norwegian photographer I bumped into one winter out on the sea ice of Svalbard. We have made several journeys together since and stay in close touch as we share a love of the Arctic. The next will likely be an updated and expanded version of the one I produced on the Merlin. Merlins are my favourite raptor. Falcons are, in general, warm-weather birds. The exceptions are the Gyrfalcons, which are the largest falcons, the Peregrine (which lives more or less everywhere) and is also large, and the tiny Merlin. I am as entranced by these little birds making a living in the harshest climates as I am by the huge Steller’s.

Richard Sale is a physicist with a PhD in astrophysics, who now devotes his time to studying Arctic ecology and the flight dynamics of raptors. With Eugene Potapov he co-authored The Gyrfalcon monograph which won the US Wildlife Society Book of the Year in 2006. His other books include The Snowy Owl, Wildlife of the Arctic and the New Naturalist title Falcons.

Browse all ornithology and Arctic ecology books by Richard Sale.

Steller’s Sea Eagle: The first English-language study of this bird of prey, is published in November.

Hardback | Nov 2018 | ISBN-13: 9780957173231

£39.99

The Arctic: A condensed and updated edition of an earlier work with new photographs, is published in December.

Paperback | Dec 2018 | ISBN-13: 9781849953429

£24.99

Please note that all prices are correct at the time of posting and are subject to change at any time.

Landfill: An interview with Tim Dee

Landfill is the story of gulls. Often derided as ‘bin chickens’ these complex birds are a surprising success story, exploiting and enjoying a niche created by our own waste-making behaviours.

In Landfill, Tim Dee has written an honest, funny and intelligent ode to these inquisitive, resourceful and daring birds. Their story is interwoven with our own – it is a nature book for our times.

We asked Tim a few questions regarding his fascination with gulls and his thoughts about these ubiquitous and canny survivors.

Why did you choose to write about Gulls?

I’ve been a birdwatcher for fifty years and grew up in a simpler world of gulls. They were mostly still ‘seagulls’ then – marine species – and there were only a handful regularly occurring in Britain. Thirty years ago – but without me fully clocking it at the time – gulls in Britain got more obvious and more interesting. Gulls became urban birds then, like never before – moving to breed in our cities and feeding on our rubbish dumps and stealing our chips – and they were also taxonomically reappraised so that the few species I thought I knew became a dozen or more species to search for and to learn to identify. These changes and the ways the birds have continued to live as often the wildest creature closest to our contemporary lives made them interesting to me, troubling even, and I started trying to work out what was going on.

J.A. Baker, the author of Peregrine and perhaps the founder of nature writing once wrote ‘science can never be enough; emotion and sentiment will always rule.’ Public perceptions of gulls range from dislike all the way to loathing. Is there anything that might make us more accepting of gulls and their place among us?

I think they hold a mirror up to us. They have flown in our slipstream in the last 100 years, coming ashore first to feed on fish guts, then following ploughs, and more recently finding life in our leftovers on city streets and rubbish dumps. They have found a way to live alongside us. Most birds have gone in the opposite direction. Instead of admiring the gulls for getting good at various human-like activities (surviving in the jostle of cities, shifting to new places where opportunities arise, making do in strapped times) we have derided them. I think we fear them with a dark loathing and, in an atavistic way, other animals that we see as succeeding. This is quite wrong. We have made the world the gulls have adapted to and we should look to our own debased and wasteful existence before hating other species for getting on with their lives. They might teach us about ourselves if we could learn how to know them properly. The gullers in Landfill know this and I have tried to write the book for the gulls as much as about them.

Gulls have proved to be adaptable, especially regarding human interaction; what changes have they already accomplished and what do you envisage for them in the next fifty or even one hundred years?

There has been a gull moment and it looks like it is coming to an end. Urban gulls – living in cities and eating our food waste on dumps – are a product of urbanising humanity and the throwaway decades of the 1960s-1990s. Nowadays the large species (herring and lesser black-backed above all) have two largely separate populations – one urban and one still marine. The seaside gulls are threatened species now and not doing well. At the moment the urban birds are still expanding their range and populations (there is remarkably little traffic between the two populations). But food waste recycling is increasingly efficient in the UK and little or no putrifiable waste is soon meant to be arriving on dumps. The food source is ending for the gulls. We don’t yet know what will happen. It seems likely that the numbers of the birds (100,000 pairs of urban herring and lesser black-backed gulls in Britain it is thought) cannot be sustained without this food source. It is good for us to be recyclers and to be less wasteful but the gulls may well not be so pleased.

With their increased visibility in towns and cities, what might be their impact on the urban wildlife that is already established there?

I’ve seen them eating a starling chick, others have seen them eating human hair outside a barber shop. The slum avifauna as it has been called is a dynamic one. Urban human life drives change in the leftover wildlife that can survive in the hectic built up world. Gulls take pigeons. And rats. But it is tough times for all species in these environments. On the rubbish dumps I have visited to ring gulls a super bold landfill red fox will take black-headed gulls if we are not careful to throw the ringed birds back into the air. Marginal living is hard for all. And in these shifting landscapes in states of permanent rebuild no one can tell who is going win out.

During your research for Landfill can you think of one stand-out surprising fact or discovery that you didn’t previously know?

Cities are warmer and safer and more nutritious for gulls than their original habitats; lesser black-backed gulls used to be migratory birds in Britain but seem to be evolving into sedentary birds; Caspian gulls are storming out of Eastern Europe, but are running out of their own species to mate with so are hybridising with others: nothing sits still for long in nature. Evolution is relentless, and the gulls are telling us how it is.

Are there plans for, or are you currently embarking on any new writing projects?

A nicer book in some ways I hope – I am writing about the spring in Europe following migratory birds north from south of the Sahara to the top of Arctic Scandinavia. Spring moves at about walking pace north and it is my favourite time of year. I have tried to walk the season from south to north in time with swallows and wheatears and nightjars and redstarts. And not many gulls, though I love them now too of course.

Tim Dee has been a birdwatcher for most of his life and written about them for twenty years. As well as Landfill, he is the author of The Running Sky and Four Fields and is the editor of Ground Works.

Landfill is part of our Best of Winter collection and is available at the special offer price of £13.99 until the end of December 2018.

Hardback | Oct 2018 | ISBN-13: 9781908213624 £13.99 ~~£15.99~~

Climate Change and British Wildlife: an interview with Trevor Beebee

Climate Change and British Wildlife is the sixth installment of the popular British Wildlife Collection. In this timely text, Trevor Beebee takes advantage of our long history of wildlife monitoring to examine the effects that climate change has played so far on British species and their ecosystems. He also considers what the future may hold for them in a constantly warming environment.

Trevor Beebee is Emeritus Professor of Evolution, Behaviour and Environment at the University of Sussex, Trustee of the Herpetological Conservation and Amphibian Conservation Research Trusts and President of the British Herpetological Society. He is also author of the Amphibians and Reptiles Naturalists’ Handbook and co-author of the Amphibian Habitat Management Handbook.

Last week, Trevor visited NHBS to sign copies of Climate Change and British Wildlife (signed copies are exclusively available from NHBS). We also took the opportunity to chat him about the background behind the book, his thoughts on conservation and his hopes for the future of British wildlife. Read the full conversation below.

Where did the impetus and inspiration for this book come from? Is it a subject that you have been wanting to write about for some time?

It started in the garden some 40 years ago. For me, first arrivals of newts in the ponds were a welcome indicator that spring was on the way and I logged the dates year on year. It gradually dawned on me that the differences were not random but that arrivals were becoming increasingly early. Climate change seemed the obvious cause, and as evidence accumulated from so many diverse studies, it seemed like a good subject to write about.

The research required to cover so many taxonomic groups so comprehensively must have been immense. How long did you work on this book, including research, writing and editing?

The book took about a year to write. Electronic access to scientific journals made the research much easier and quicker than it would have been 20 years ago. Editing also took quite a while, greatly assisted by the perceptive advice of Katy Roper (my Bloomsbury editor).

The book covers plants, invertebrates, vertebrates, fungi, lichens and microbes as well as communities and individual ecosystems. Are there any of these that you feel are particularly at risk? Or conversely, are there any that you feel are more robust and are likely to better weather the effects of continued climate change?

It became evident as I researched that cold-adapted species including Arctic-alpine plants and fish such as the Vendace are in trouble, and that worrying trend is likely to generate declines or even extinctions in the coming decades. The ecology of the North Sea is also undergoing dramatic changes, some of which have precipitated seabird declines, especially of species such as Kittiwakes that rely heavily on sand eels. At the other extreme, mature woodland seems relatively resilient to climate change.

We have a rich history of wildlife monitoring and recording in the UK, much of which is undertaken by volunteers. Why do you think this is?

I believe that the media can take much of the credit for stimulating these activities. The end of the second world war was followed by the publication of a plethora of natural history books, from the I-Spy series (I still have a copy of ‘Ponds and Streams’), through the Observer series to the flagship New Naturalists. Then came television, with pioneers such as Peter Scott and David Attenborough in the 1950s. We’ve never looked back, with Springwatch today regularly attracting two million or more viewers. Brilliant!

Do you think that a thorough understanding of long-term monitoring and datasets can and should inform our decisions about where to focus conservation efforts?

Yes indeed, and fortunately such datasets are steadily increasing. The recent State of Nature reports have relied heavily on them, and they provide solid evidence that decision-makers can hardly ignore. One proviso though. For some species, especially rare ones, it is still difficult to obtain the necessary information. It would be a great mistake to ignore the plight of plants or animals clearly in difficulty simply because we don’t have robust monitoring data.

How did you feel after writing this book? Are you optimistic or despondent about the future for British wildlife?

Relieved! Sadly, though, not at all optimistic. There are some well-publicised success stories, such as the resurgence of several raptors, but more than fifty percent of Britain’s wildlife species are in continuous decline and there’s no sign of an end to that. Climate change is a problem for some, but it’s not the main one. Postwar agricultural intensification is the major villain, and it carries on regardless.

What single policy change would you like to see to alter the future of conservation in the UK?

A serious commitment to change farming practices into ones that sustain our rich wildlife heritage. Research shows that this is possible without dramatic impacts on food production, despite the claims of the agrochemical industry. With a human population the size of that in the UK it will never be possible to provide enough food without imports and it’s about time that was accepted by farmers and politicians alike.

Finally, what’s next for you? Do you have another book in the pipeline?

The book I would like to write is one on the impact of overpopulation on British wildlife. It’s a sensitive subject but one clearly recognised by naturalists of the calibre of David Attenborough, Jane Goodall and Chris Packham, among others. The most serious issues, including intensive farming practices, relate directly to the number of people dependent on them.

Climate Change and British Wildlife is published by British Wildlife Publishing and is available from NHBS.

Signed copies of the book are available, while stocks last.

Unnatural Selection: An interview with Katrina van Grouw

Katrina van Grouw, author of Unnatural Selection

After her incredibly successful book The Unfeathered Bird, Katrina van Grouw has recently finished Unnatural Selection, a beautiful combination of art, science and history. In this book, she celebrates the rapid changes breeders can bring about in domesticated animals. This was a topic of great interest to Charles Darwin, and it is no coincidence that Unnatural Selection is published on the 150th anniversary of Darwin’s book The Variation of Animals and Plants under Domestication.

In this post we talk with Katrina about her background, the work that goes into making a book and plans for the future

On your website, you write that you always had an interest in natural history, but that your talent in drawing made your teachers push you to pursue an art career, rather than studying biology. Did you ever consider a career as a scientific illustrator, something for which there must have been more of a market back then than there is now? If not, when and how did you decide to start combining your passion for biology with your talent as an artist?

No, I didn’t. There are several reasons for this; some a result of indoctrination, and others, decisions of my own.

There were two revelatory moments which brought art and science together for me and set the path for what was to come. Once when I’d rejected art and was sliding down a greasy pole into oblivion. And another, when I was an art student seeking direction. The first was at a zoo, and the second at a museum, and both were as vivid as a flash of light from the sky.

Even with art and natural history combined in my work, however, it was always in a fine art sense and never as an illustrator. I still don’t really identify with the term. Being an illustrator usually involves working to someone else’s brief and taking instructions from a non-illustrator about how the work should be done. I’m too self-obsessed for that! I lack imagination when it comes to commissioned work and can’t seem to generate much passion for other people’s projects, though I have the greatest respect for people who can do these things. I’m basically just no good at it!

You worked as curator of the bird skin collection of the London Natural History Museum. How did you end up there after an art degree?

How I ended up there is quite a long story. I do have a degree in art (two actually) but I also spent many years gaining valuable skills in practical ornithology that were precisely what the NHM needed; a combination of skills that was lacking in all the other applicants for the post.

I’d taught myself to prepare study skins and was good at it. I knew my way around the inside of a bird and had written a Masters’ thesis on bird anatomy (albeit aimed at artists). I was a qualified ringer who’d held an A class ringing permit for many years, which meant that I could age and sex birds accurately and knew how to take precise measurements consistent with other field workers. I’d taken part in ornithological expeditions in Africa and South America, so I had some first-hand experience of non-European birds. I’d worked in other museums. And I was a birder.

It’s a sad fact that one’s education often defines how a person is categorised for the remainder of their life, but self-taught skills, and hands-on experience can be worth far, far more. People often assume that artists can only ‘do art’ and nothing more, and that only people with a science degree are able to ‘do science’. A great many people are able to do both (though fewer questions are raised when it’s a qualified scientist who turns his/her hand to art!)

Your previous book, The Unfeathered Bird, took some 25 years from conception to publication, mostly as you found it very difficult to find a publisher. How did you manage to convince Princeton University Press to publish this book after so many rejections?

The quick answer is, because Princeton University Press is a publisher of vision and wisdom! (And no, they didn’t pay me to say that).

The full story is that the majority of publishers I approached had entrenched preconceptions about what an anatomy book should be and were unable to envisage anything that wasn’t a highly academic technical manual aimed at a niche audience. The book I had in mind was geared toward a much broader spectrum of bird lovers, including and especially bird artists. Additionally, I wanted it to be beautifully produced and aesthetically pleasing. So it wasn’t so much a problem of not being able to find a publisher, but not being able to find a publisher willing to think outside of the box. To answer the question: I didn’t actually need to convince Princeton –a fortuitous meeting lead to a great collaboration.

Your response to critics of breeding has been to counter their objection by saying “look at what nature has done to the sword-billed hummingbird!” which I thought was a sharp response. However, an animal welfare advocate might counter this argument by pointing out that natural selection can only push sword-billed hummingbirds so far. If this adaptation – the extension of the bill to retrieve nectar from ever deeper flower corollas – becomes maladaptive it will be selected against. Breeders, however, can select for traits that are maladaptive, because these animals grow up in an artificial environment where they are relieved of the pressures of natural selection. The shortened snouts and breathing problems of short-nosed dog breeds such as boxers come to mind. Obviously, if these traits become too extreme, the animals will not survive until reproductive age, but we can push them into a zone of discomfort and suffering through artificial breeding. What would your response to this be?

I’m an animal welfare advocate too. It’s difficult not to be when you keep animals and care for them every day. I too will freely admit that there are exhibition breeds in which artificial selection appears to have gone too far, resulting in health problems or discomfort. I can also appreciate that these problems might have their roots deeply embedded in history and culture and might be difficult to rectify without tearing down systems that would have devastating consequences to the entire fancy.

(Incidentally, the suffering of poultry selectively bred for the commercial meat industry is on a scale many thousands of times greater than the relatively low numbers of extreme pedigree breeds.)

The process of selecting out these physical defects will be a slow one and I think it’s important to support the work of breeders in this task. We can support them by trying to understand more about their world and by ceasing to attack them in gutter-press fashion with pseudo-scientific terms we don’t fully understand.

My book Unnatural Selection isn’t intended to voice personal opinions about animal welfare however. As the title suggests, it’s a book about evolution, based on and elaborating on the analogy that Darwin made between natural and artificial selection. For that reason I’ve discussed selective breeding solely within this evolutionary and historical context. It’s not that I was deliberately avoiding welfare issues; they simply weren’t relevant to the points I was discussing.

You write that the work on Unnatural Selection took six years of full-time work, around the clock. How long do you typically take to complete an illustration? And how do you manage to support yourself during this period, do you have freelance illustrations assignments on the side?

If I’m in-practice I can usually complete a full-page illustration in two or three days. There are 425 illustrations in Unnatural Selection, not forgetting the 84,000 words of text (somehow people always forget the text…). Not to mention thousands of hours’ research and background reading. Working like this is all-consuming, and definitely very unhealthy.

The fact is that non-fiction books taking so long to produce will never, ever, pay for themselves. Luckily Husband works full time, so we don’t actually starve, though I’d prefer to be able to contribute more financially to the household.

I would love to supplement my books with a part time job, but it certainly wouldn’t be illustrating! I dislike illustrating for other authors. I actually get far more pleasure from writing and I’m equally good at it, though this side of me is unfortunately often eclipsed by the artwork.

People talk in airy-fairy terms about the freedom and personal reward of being an artist transcending material gain, but it’s not like that at all. It’s not the actual poverty that’s damaging, but the feeling of inadequacy you get from working so hard, with such integrity, for so long, yet making no money.

The things that make it worthwhile are making those books exist at the end of it all, and having people tell me how grateful they are.

With two books now published by Princeton University Press, you seem to have started a very successful collaboration. How has the reception of this book been so far? Have you received nominations for prizes?

Boy, I’d love to win a prize! It’s still early days yet, so I’m ever-hopeful. To be honest though, I suspect I’m not the sort of person who wins prizes. Prizes seem to be dished out to academics and people whose career has been rather more conventional than mine. Like my books, I rather defy taxonomy and, even though we communicate science exceedingly well, few institutions would be brave enough to award a science writing prize to a self-taught scientist.

That’s not to say that we’re unpopular; quite the opposite. I’m proud to say that The Unfeathered Bird was embraced by a huge range of people: birders, naturalists, painters, sculptors, taxidermists, poets, mask makers, puppeteers, aviators, falconers, bibliophiles, palaeontologists, zookeepers, creature-designers and animatronics-people, academic biologists and vets! The pictures have been used in a trendy Berlin cocktail bar, on Diesel t-shirts, and tattooed onto several people’s bodies, and I get very genuine letters of thanks from all manner of people, from university professors and 12-year old boys and girls.

Unnatural Selection is a far better book than The Unfeathered Bird. It has better art and better science and, unlike The Unfeathered Bird in which the images take the lead, Unnatural Selection is very much led by good scientific and historical text, with the images serving solely to illuminate and enhance what’s being said. Everyone who’s seen it so far says it’s stunning, and the reviews have all been excellent. I hope the scientific community will take it seriously and not dismiss it as merely a quaint and witty book with good pictures. It’s so much more than that.

Will you continue to work on more books in the future? And are you already willing to reveal what you are working on next?

In answer to your first question: definitely—though if you’d asked me that toward the end of The Unfeathered Bird I would probably have said no. That book was supposed to have been a one-off, and I’d been looking forward to resuming work as an artist afterwards. However, when the time came I found that I’d moved on. Producing pictures for their own sake no longer ‘did it for me’. Books, on the other hand tick all the boxes: creatively, intellectually; at every level.

It’s important to understand that these are not ‘art books’—they’re not collections of artwork made into a book. The book itself is the work of art, not the individual illustrations. They’re science books nevertheless. For me the challenge is communicating science in the best possible way and finding just the right unique angle for each book. I’m especially proud of Unnatural Selection which I think is the finest and most original thing I’ve ever created.

Unfortunately, large illustrated books take many years to produce so I probably won’t have sufficient time left to bring more than two or maybe three more into existence. After all, I’m no spring chicken.

I’ve already signed a contract with Princeton and begun work on a greatly expanded second edition of The Unfeathered Bird. The new book will have 400 pages (that’s 96 more than the first edition) and will include a lot of new material on bird evolution from feathered dinosaurs (which of course will be unfeathered feathered dinosaurs, if you see what I mean). There’ll be lots of new and replacement illustrations and the text will be completely re-written. The science will be better, but the book will still accessible to anyone and devoid of jargon. However, this shouldn’t put people off buying the original version—the new edition will be virtually a different book.

I’m also intending to write an autobiography/memoir type book focusing on the relationship between art, science, and illustration, and will be looking for a publisher for that. This won’t be illustrated though, so it would be a comparatively quick one!

Unnatural Selection has been published in June 2018 and is currently on offer for £26.99 (RRP £34.99).