This August, Penguin Classics will launch their new series: Green Ideas. Featuring authors such as Greta Thunberg, Rachel Carson and Tim Flannery, Green Ideas brings together key environmental voices, classic and contemporary, who are advocating for change to the way we view our living planet. Exploring a wide-range of topics, from art to economics and almost everything in between, this twenty book series highlights the most important environmental issues of our time, while seeking to broaden our collective understanding of our environment.
Ahead of publication, Series Editor Chloe Currens has very kindly agreed to answer some of our questions below.
The Penguin Green Ideas series will make for wonderful additions to the recent influx of books on climate change and the environment. Could you tell us a bit about where the idea for the series originated?
Our former publicity director came up with the idea for the series in the wake of the publication of Greta Thunberg’s No One is Too Small to Make a Difference. Thunberg had managed to raise the temperature of the global conversation – we were suddenly talking about ‘the climate and ecological crisis’, about a house on fire, rather than gesturing to a milder vision of ‘climate change,’ which, if it was a threat at all, was somewhat obscure, or distant. The suggestion was that Thunberg was one of a line of great environmental thinkers, each of whom had made a similarly profound contribution to our understanding of the living planet. From our current vantage point, we could look back on the seventy-odd years of modern environmentalism and identify those key figures. Together they would form a new canon, and so it made sense to bring the series into Penguin Classics.
A fantastic array of important authors have been featured in the series. How did you approach decision-making when selecting excerpts?
The overall aim of the series was to draw out the emerging environmental canon, following it from its modern origins – roughly, Aldo Leopold’s A Sand County Almanac and Rachel Carson’s Silent Spring, which exploded into public consciousness in the sixties – through to the present day, with major, agenda-setting works by Naomi Klein, Amitav Ghosh, George Monbiot, and others. A variety of subjects naturally followed, and so the series covers everything from art and literature to economics and geopolitics, though there is a guiding concern with sustainability throughout.
In thinking about the individual selections, we again took inspiration from Thunberg’s book of speeches. In just under 80 pages, Thunberg confronted readers with a new conception of the climate crisis. She jolted us into a new understanding of whom it affects – she is of the generation we are condemning through inaction; she will be 75 years old in 2078 – and who is responsible: ‘no one is too small to make a difference’ refers to the way that ‘every single kilo’ counts when it comes to carbon emissions; none of us is exempt. These speeches are the tip of an iceberg of research – of hours spent speaking with scientists, reading scientific journals – which would be out of reach for most readers. Thunberg’s genius is the way she distils the essence of the science and thus allows millions to absorb it. We had these principles in mind when approaching the other titles in the series – we sought out accessible, representative selections of each author’s central ideas: Leopold’s ‘land ethic,’ McKibben’s ‘end of nature’, Kimmerer’s ‘principle of reciprocity’, and so on.
Were there any challenges in putting together a series such as this?
What initially appeared to be a challenge – the logistics of co-ordinating a series remotely during a global pandemic – turned out to work to our benefit, as authors around the world have been able to connect and collaborate online as we launch the series. It has been a thrill to witness.
From the original concept to producing final copies, what ambitions do you hope to achieve with the series?
Together, the twenty short books encompass many of the key ideas in modern environmental thought. I hope that the series will be used by readers as a path through the vibrant, urgent, and perhaps occasionally overwhelming wider world of ecological writing.
With many more subjects to cover and authors to feature, are there plans to expand the series with future volumes?
Yes. Like any canon, this is an evolving ecosystem.
Lynx Edicions is a Barcelona-based publishing house, originally founded in 1989 to create the 
the line into extinction. In our Handbooks, Illustrated Checklists, Field Guides and most recently 
This field guide includes beautiful illustrations displaying key features to help with identification. It covers flight season, life cycle, larval foodplants, habitat and more, along with maps presenting distribution information.
natural world and to human society. With an expert eye, Goulson skillfully guides the reader through different aspects of their importance, from the multi-million pound service that dung beetles provide the farming industry each year in the UK alone to the vital role that pollinators play in underpinning ecosystems across the planet, and the value that insects have in their own right as beautiful, vibrant denizens of our planet. The author’s passion is infectious; it is difficult to read this section without becoming invested in the wondrous ranks of the planet’s invertebrates, making the threat of their decline feel all the more personal. 
controversial among some parties. He consistently highlights the arguments of his critics, treating them with respect and validation. At some points he provides his rebuttal while at others he admits to the shortcomings of the relevant research, explaining why a different approach was impossible at the time. This is indicative of an attitude that permeates the book – the issues that he writes about are bigger than minor gripes with experimental methodologies, bigger than business margins or political leanings. He presents with a neutral eye the irrefutable reality that insects are vanishing at a terrifying rate, and unless action is taken the world is heading towards a very real disaster within generations. Though frequently distressing and at times heartbreaking, Goulson writes with a voice compelling and just witty enough to prevent the reader from becoming despondent. This book is not intended to drive us to despair, but to action. 
encouraging native plants in our towns and cities and overhauling the way in which we view farming. Finally, there is an extensive list of actions, large and small, that people can take, listed by occupation. This section is what the book has been building to, and it is worth reading for this alone. As usual, respect is paid to all viewpoints and all members of society. It doesn’t matter whether the reader is in a position where a free-range organic, locally sourced diet is financially viable or not – there will be other actions that they can take regardless of financial matters. Nor does it matter if they have beliefs, political or economic, that might conflict with the author’s. It is a call for society to overlook such matters which are, in the face of such a crisis, trivial. 
Could you tell us about how you first came to be interested in the natural world?
The reality is very anti-social working hours, high levels of frustration and a huge impact on home life! But I wouldn’t change it for the world as it is undoubtedly one of the most soul-nourishing jobs you could ever hope to do, in my opinion. It’s a tough, highly competitive industry, but this doesn’t mean you can’t get in through gentle persistence and dedication. Knowledge is everything: read, watch and learn everything you possibly can about your chosen wildlife subject before even attempting to film it.
Silvertown (plant ecologist and science writer) was the member of the New Naturalist editorial board who oversaw my book. He liked the site based approach and encouraged me to use it throughout the book (his own popular book on plant diversity ‘Demons in Eden’ had used a similar approach). In many ways the approach grew out of my tendency to ‘tell stories’ when talking about ecology to beginning undergraduates. So in part the book is my lecturing style turned to prose.
Because of the relatively early start of academic ecology in Britain the country has a number of very long running ecology field experiments. For example two I write about in the book are The Park Grass experiment at Rothamsted (started 1856) and the Godwin Plots at Wicken Fen (started 1927). Neither was started with the idea that they would run for 100 years or more – there is a large element of chance in their long-term survival. However, once an experiment has been running for a long time then people start to realise that such long runs of data are important and try and find the resources to continue them. More recent examples include (amongst many) the Buxton Climate Change Impacts Lab (which commenced in 1993 on limestone grassland in the Peak District) and grazing experiments set up in the Ainsdale Dunes system in Merseyside (started in 1974). But to be really long term requires luck and/or a succession of people determined enough to keep them going against the odds.
Much of the information comes from my readings or lectures. However, since I wanted to portray the ecological and economic importance of forest insects as broadly as possible, I still had to review a lot of published material. Above all, I wanted to support quantitative data with accurate citations. Owing to the Internet, such research is easier today than it was 20 years ago… Fortunately, I also had my own photographs on almost all topics.
Professionally, I am mainly concerned with wood-dwelling insects. I am especially interested in the bark beetles, and their natural enemies as well as the intensive interactions with their host trees. Bark beetles are known to be pests, but they are also pioneers in the decay of wood. I also deal with the wood-dwelling longhorn beetles and jewel beetles, which often lend themselves to photography because of their size and beauty. For decades I have dealt with the development of their biodiversity after disruptive events such as storms or fire. The social red wood ants or the galling insects also fascinate me with their ingenious way of life.
There are two main causes for the decline in much of the forest insect fauna. The intensive use of wood in the past centuries has led to the fact that the forest area in Europe has decreased significantly over a long period of time, the trees no longer reach their natural age phase, and there were almost no dead trees that could slowly rot. In the case of many wood-dwelling insects that are dependent on so-called habitat trees or develop in decayed, thick tree trunks, this has led to a severe threat to their biodiversity. In recent decades, the forest area has increased again and in many countries the preservation of old trees and dead wood is being promoted. However, the impact is still modest.
The main problem when photographing small objects is always to be able to focus as much as possible on them. This requires a small aperture and therefore a lot of light. I photograph everything “hand-held” and therefore the shutter speed should be short. For these reasons, I almost always use a ring flash with separately controllable halves and 100 mm macro lens with my SLR camera. Nonetheless, even cameras with a small sensor (even mobile phones!) can nowadays produce surprisingly good images of larger, less volatile insects.
