Q&A – Page 9 – Hoopoe – A blog by nhbs

Lancashire Peatland Initiative: Q&A with Sarah Johnson

The Lancashire Peatland Initiative, run by the Lancashire Wildlife Trust, has delivered habitat restoration across over 200 hectares of degraded lowland raised bog. These habitats are peatland ecosystems that develop primarily in areas less than 150m above sea level, particularly in cool, humid regions. These deep bodies of peat can be raised several metres higher than the surrounding land and are much wetter, usually covered in typical bog vegetation, such as cotton grass, sphagnum moss and heather.

This pioneering initiative has spanned the past three decades, with active restoration activities on numerous sites, including Little Woolden Moss, Winmarleigh Moss SSSI and Astley Moss SSSI SAC. The Trust’s tireless efforts, in collaboration with Natural England and other partners, has ultimately halted the decline of these nationally significant sites and species, resulting in an expansion of active raised bog habitats.

The Lancashire Peatland Initiative won the NHBS sponsored Best Practice Award for Large Scale Nature Conservation at the 2021 CIEEM Awards. Project Manager Sarah Johnson has kindly taken the time to answer a few questions for us.

Could you tell us about the Lancashire Peatland Initiative and how it started?

The Lancashire Peatland Initiative was born out of a desire to bring together and co-ordinate all of the peatland restoration work happening in Lancashire, Manchester and North Merseyside, raising awareness of the importance of these amazing habitats, and ensuring their protection in the future.

In 2019 we were delighted to be awarded funding from the Esmeé Fairbairn Foundation to create and support the Lancashire Peatland Initiative. This allowed us to fund Project Officers, Assistant Project Officers, communications support, and myself as Lancashire Peatland Initiative Project Manager, to work across all of the Wildlife Trust for Lancashire, Manchester and North Merseyside’s peatland nature reserves in the area. We also co-ordinate the Lancashire Peat Partnership and the Northern Lowland Peatland Coalition, and work closely with the Great North Bog Coalition and the Great Manchester Wetlands Partnership, bringing together partners and other organisations who are involved in our peatlands.

This allows the Lancashire Peatland Initiative to work on our own peatland restoration projects, but also support those of our partners and develop new projects across areas of commonality and innovation.

Digger creating a bog pool at Little Woolden Moss. Image by Lancashire Wildlife Trust

How did these habitats become so degraded and what are the main threats they are currently facing?

Our peatlands face threats from all directions. Historically peatlands have been seen as wastelands that needed to be tamed by humans before they could be exploited, either for conversion to agricultural land or for the extraction of the peat. Deep ditches were dug to drain the water from the peat, destroying these fragile ecosystems.

Unfortunately, many of these same threats are still faced by our peatlands today. Drainage and conversion to agriculture, overgrazing, rotational burning and extraction of peat for use in the horticultural industry has left only 13% of England’s peatlands in a near-natural state.

Public opinion is often integral in the success of large restoration projects such as this; how have you found local reception of peatland restoration? Are people generally supportive?

Peatlands are not always at the top of people’s agendas, so we are working hard to get the message out there about the importance of our peatlands, not only to provide a habitat for lots of amazing plants and animals but also in our fight against climate change, as natural flood mitigators, water filters and protection against wildfires.

However, we have found that once people know about these fantastic ecosystems they really support our work to restore and care for them. Of course, there are some issues still to fully answer, such as the need to protect both peat and our food supplies, so much of which is grown or grazed on drained peatland. But we have found that as the plight of our peatlands enters more people’s consciousnesses, they are more willing to work with us to find solutions.

Little Woolden Moss bog pool. Image by Lancashire Wildlife Trust

The sale of peat compost to gardeners is to be banned from 2024; how do you think this will affect peatland degradation and restoration? Are there any other policies you think are needed to protect these habitats?

A ban on domestic sales of peat compost is a fantastic step towards protecting our peatlands. But so much more still needs to be done. Large amounts of peat are still being used in commercial horticulture, growing the plants that are for sale in your local garden centre, and this is an issue that is yet to be addressed. Another really damaging practice is the growing of lawn turf on drained peatlands, one of the highest carbon dioxide emitting uses of peat that not many people are aware of.

However, we do need to be careful that we are not simply exporting the issue elsewhere to areas of lower regulation. For example, Ireland recently announced an end to its peat extraction, but just a few months later there were reports of millions of tonnes of peat being imported into the country from one of the Baltic states.

We also really need policy support for the movement towards more environmentally sensitive management of land on peat-based soils. For example, the adoption of paludiculture or higher water table agriculture (wet farming) and land management could have a huge impact on CO2e emissions from our peatlands, but until these practices can be shown to be financially viable how can we expect landowners to take up these changes? This is an area where public subsidies and financial incentives could make a real difference.

There also needs to be an immediate end to all peatland burning, as the current legislation is riddled with loopholes.

Species reintroductions began in 2018; how are the species chosen for reintroduction? What are the criteria for determining whether an area has recovered enough to support these reintroduced species?

Species reintroductions are one of my favourite parts of my job! Currently, we are focusing on reintroducing species lost from Greater Manchester, and so a working group from the Great Manchester Wetlands Partnership comes together to appraise which species would be suitable for reintroduction. However, this can only happen after years of habitat restoration to create the right conditions for these returned species to thrive.

A recent success story was the reintroduction of the large heath butterfly. Locally known as the Manchester argus, the destruction of its peatland habitat drove it into local extinction almost 150 years ago. However, by following strict IUCN guidelines and working closely with Natural England and Chester Zoo, we were able to reintroduce the species to Astley Moss in the summer of 2020. Since then we have had the privilege of seeing the first native population flying on the moss this summer.

Sphagnum and Cotton Grass plugs – Winmarleigh

With the current COP26 summit, what are your hopes for the future of the Lancashire Peatland Initiative and the restoration of these habitats?

We have really high hopes for the future of our peatlands. It seems clear to anyone in the know that we need to be prioritising the recovery of these habitats as they can provide us with quick, massive wins in terms of carbon reductions. For example, at our pioneering carbon farm we have already seen a 90% reduction in CO2e emissions from the site, compared to an adjacent area of drained peatland that has been converted to agricultural pasture. This has been achieved in just over a year by simply re-wetting the land, and give us another year or two to fully re-vegetate the site and we expect it to become a functioning carbon sink.

What we are really hoping to see out of COP26 is a commitment to ambitious peatland restoration targets, that are backed up by both the policy and the funding to actually achieve this. In the words of Greta, we need action now – not more ‘blah, blah, blah’!

You can find out more about the Lancashire Peatland Initiative from the Lancashire Wildlife Trust website and by following them on Facebook and Twitter.

Author Interview with Arthur V. Evans: Beetles of Western North America

Beetles of Western North America is a landmark book – the only comprehensive colour photographic guide to the remarkably diverse beetles of the United States and Canada west of the Continental Divide.

A follow-up to the highly regarded companion title Beetles of Eastern North America, this engaging and accessible book provides extensive information on 1,428 species from all 131 families that occur in the west, lavishly illustrated with more than 1,500 stunning images. This is an unmatched guide to the rich variety of western North American beetle fauna, a must-have book for anyone from amateur naturalists and nature photographers to insect enthusiasts, students, professional entomologists and biologists.

Arthur V. Evans has kindly taken the time to answer a few questions for us below.

Could you tell us a bit more about how you became interested in entomology? What prompted you to start producing field guides?

My interest in insects began when I was five years old. I grew up on the south-western fringes of the Mojave Desert in southern California, where there were plenty of insects to discover and observe. My parents were incredibly supportive of my interest in insects and nature and took my sister and me on numerous weekend excursions to explore natural areas and historical sites throughout the region. While in elementary school, I met an entomologist who arranged my first visit behind-the-scenes at the Entomology Section of the Natural History Museum of Los Angeles County (NHMLAC), one of the largest natural history museums in the United States. There, I had the opportunity to meet with each of the entomology curators, all of whom encouraged my interest in entomology. During my high school years, I took part in several extended summer field trips to collect insects, especially beetles, throughout southern California and the Southwest. Several of these trips focused on the Sky Islands of south-eastern Arizona, a biodiversity hot spot in North America. Upon graduating high school, I was hired as a student worker at NHMLAC, an experience that ultimately helped to launch my pursuit of academic degrees in entomology at California State University at Long Beach (B.A., M.S.) and the University of Pretoria (D.Sc.) in South Africa.

I have always had a long-standing interest in informal science education. Not long after I finished my doctorate in entomology at the University of Pretoria in South Africa, I accepted a position as the Director of the Ralph M. Parsons Insect Zoo at NHMLAC. While working there, I was invited to write my first book, An Inordinate Fondness for Beetles (with Charles Bellamy, Henry Holt, 1996). On the strength of this book, I was approached by several publishers over the years to write field guides on insects, including Field Guide to California Beetles with James Hogue (University of California, 2004), Field Guide to Insects and Spiders of North America (Barnes and Noble, 2007), and Beetles of Eastern North America (Princeton University Press, 2014). I have always found field guides useful and writing them gave me an opportunity to share my passion for entomology and my insect images with a larger audience.

Beetles of Western North America, and your other related work Beetles of Eastern North America, are comprehensive guides documenting thousands of species. Can you tell us about your decision to tackle such a huge project?

A truly comprehensive work covering the entire beetle fauna of an area as large as western or eastern North America is a very tall order! Still, I accepted the challenge of these writing these richly illustrated books in order to give these fascinating animals their due. Both Beetles of Western North America and its companion volume, Beetles of Eastern North America, are the first books to present in full color representative species from all families known in their respective regions. I think the diversity of beetles presented in these books will not only appeal to coleopterists and other entomologists but also field biologists and naturalists, as well as anyone interested in macro photography. My hope is that these works will not only stimulate interest in beetles but will also encourage the production of similar regional works that feature orders of insects other than Lepidoptera (moths, butterflies and skippers) and Odonata (dragonflies and damselflies).

Surveying and photographing species in an area as large as western North America must have been challenging. How did you select the species that appeared in the book?

My initial goal was to include images of as many genera as possible representing all 131 families currently known to occur west of the Continental Divide, an area that stretches from Alaska south to western Mexico. However, the book focuses primarily on those species that inhabit the region from southern British Columbia to southern California and south-eastern Arizona. Species selections were based on surveys of several museum and university beetle collections in Arizona and California, reviews of species that appear on bugguide.net and iNaturalist.com, and my own field experiences throughout the west. I concentrated on species that people were likely to see at home and in the field. From 2010 to 2018, I undertook six field trips to observe, collect and photograph beetles for this book, driving more than 8,000 miles. Of the 1500+ images in the book, about half of them were photographed by me, while the rest were supplied by 116 other photographers who generously contributed their photographs to the work.

This book is more than just an ID guide; it also provides tips on photographing, collecting and rearing species. Why did you decide to include these sections?

As a child, I grew up using several field guides that included sections collecting and rearing insects. I found this information incredibly useful then and considered the inclusion of this material essential in Beetles of Western North America. The book begins with an extensive introduction to their morphology, behavior and natural history, use as biocontrol agents and indicators of past environments, threatened and endangered species, observation and photography, conservation, collection and preservation, rearing, and internet resources. I have long believed that both collecting beetles and carefully preparing them as museum-quality specimens are essential for their study and conservation. Eventually, all collections should be deposited in museum or university collections where they will be available to researchers in perpetuity.

Do you have any more field guides of this scale planned for the future?

Yes! I am currently working on a field guide to the beetles of Arizona with Margarethe Brummermann that will cover nearly 2,500 species in more than 80 families. Although the focus is on beetles that occur in Arizona, this book will be very useful for identifying species in adjacent states in both the United States (south-eastern California, southern Nevada, southern Utah, south-western Colorado, western New Mexico) and Mexico (Baja California, Sonora).

MARINElife: Q&A with Rick Morris and Tom Brereton

MARINElife is a science charity that conducts research on the health of our oceans by gathering information on key marine species. With the help of experienced volunteers, they carry out dolphin, whale and seabird surveys in UK and bordering waters and provide relevant, robust and up-to-date information to those working for the sustainable future of our oceans. MARINElife also runs an extensive programme of educational and outreach events, from species identification to full surveyor courses.

Research Director Tom Brereton and Trustee, Trainer and Wildlife Officer Rick Morris have kindly taken the time to answer a few questions for us.

Could you tell us about the work MARINElife does and how your charity began?

MARINElife is a charity (established in 2005) that is dedicated to the conservation of marine wildlife through research and educational activities. MARINElife grew out of the Biscay Dolphin Research Programme (BDRP), which was a survey and educational programme originally based on a P&O ferry from Portsmouth to Bilbao (1995-2010).

Today, MARINElife carries out scientifically robust surveys of dolphins, whales, and seabirds, made by experienced volunteers, on a variety of vessels at sea in UK and bordering waters, from angling boats through to large commercial ferries. The work is done in partnership with a wide range of sponsoring bodies from ecotourism through to research institutes and shipping companies.

MARINElife Surveyors by Rick Morris Photography

You survey many key marine species to monitor the health of our oceans. Could you explain a bit more about the role dolphins, whales and seabirds play in the marine ecosystem and the key threats they are facing?

Dolphins perform crucial roles in their native ecosystems wherever they’re found and function as high-level predators feeding primarily on fish and squid. In any ecosystem, carnivores near or at the top of the food chain establish fundamental order all the way down to the bottom, and their removal can have wide-ranging and highly complex repercussions.

Whales play a vital role in the marine ecosystem as they help provide at least half of the oxygen you breathe by providing nutrients to phytoplankton.

Seabirds can be a good and visible indicator of the wider health of the marine environment as they feed on many of the same species as cetaceans and are often found in association with cetaceans during feeding.

The key threats to whales, dolphins and seabirds are: whaling, climate change, overfishing, by-catch, entanglement in ghost fishing gear, noise pollution and ship strikes.

The marine realm is an important resource for many communities but is also intensely exploited. Do you believe a balance can be found between its continued use and the improvement and maintenance of ocean health?

We believe that through scientific evidence and good educational programs, cooperation with local fishing communities and everyone who depends upon the marine environment can be established to safeguard the future of our seas.

Presently, you are focusing on your small boat surveys in Lyme Bay monitoring dolphin populations. Have you noted any changes since the start of the pandemic?

Generally, there seems to be less commercial fishing activity during the day than there was a few years ago, perhaps a sign that the area has been “fished out” to some degree. There has been a notable increase in Balearic Shearwaters throughout the summer months in both years, with the Bay becoming more and more important for this species. 2020 was characterised by large numbers of Bluefin Tuna, whilst 2021 was a late season with hardly any Mackerel until September.

Bottlenose Dolphin by Rick Morris Photography

Using data collected by MARINElife, a major study published this year highlighted the importance of south-west UK waters to the Critically Endangered Balearic Shearwater. What conservation measures would you like to see put in place to help this species?

The main global threats to the species have been identified as drowning in fishing nets and predation by introduced species on their breeding grounds. For the bycatch issue, appropriate mitigation measures are urgently needed, whilst predator control and eradication measures need to be stepped up at breeding sites. Research is required on other threats including light pollution, marine plastics and climate change. More locally, shoaling pelagic fish such as Anchovy, which are key prey items, need to be protected from overfishing and disturbance of moulting flocks need to be monitored and regulated if required. Work needs to continue to identify and designate Special Protection Areas for the species, where these will make a real difference to the conservation of the species.

Balearic Shearwater by Tom Brereton/MARINElife

For those interested in your work and would like to get involved with MARINElife, how would you best recommend they do this?

The best route to get involved would be to email info@marine-life.org.uk and state what skills you have that would be suited to our work!

Reference

Phillips, J. A., et al. 2021. Consistent concentrations of critically endangered Balearic shearwaters in UK waters revealed by at-sea surveys. Ecology and Evolution, 11(4): 1544-1557.

You can find out more about MARINElife from their website and by following them on Facebook and Twitter.

Author Interview with Angela Harding: A Year Unfolding

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Author Interview with Roy Dennis: Mistletoe Winter

Mistletoe Winter is a collection of essays on our environment, covering biodiversity, habitat conservation, rewilding and individual species.

Similarly to his companion volume, Cottongrass Summer, author Roy Dennis expresses his alarm at the crisis currently confronting the natural world while balancing this with his sense of optimism about the younger generations and their fight for the crucial changes needed for the future. Drawing from his considerable experience of working in nature conservation, his essays are full of insight and originality, providing inspiration and ideas for everyone who cares about our planet and its species.

Roy Dennis has kindly taken the time to answer a few questions for us below.

Mistletoe Winter and its companion Cottongrass Summer are collections of essays on our environment and the challenges it faces. How did you find the response to your first collection and what motivated you to write this one?

I received such a lovely response to Cottongrass Summer from so many people, and such encouraging reviews, that I wanted to cover a range of other nature topics in a similar way. People remarked that they liked the storytelling way of explaining some of the real issues to do with nature in our ever-changing world and this allowed me to cover some bigger ideas in Mistletoe Winter.

In your essay ‘Deep snow, predators and prey’ you noted how the choice of language and terminology may have an impact on the rate at which the general public learns about environmental crises. Could you talk a little bit more about this here?

I was talking about the fact that there is so much excellent science being done on wildlife and ecological issues, but so much is ‘hidden’ to ordinary folk because it is in scientific journals, some of which are not open access, and often written in a formulaic way. We need much better availability of the results written by the scientists involved in plain language, which everyone can understand.

What do you think are the most important and urgent steps that we need to take in the UK to protect our wildlife and endangered species, such as the lapwing?

The most important step is to raise ecological recovery to much higher levels. I would compare it to the major recognition of timber shortages at the end of the First World War, which created the Forestry Commission; and the shortage of food in the Second World War, which created a much enhanced Agriculture Department. In the present crises, we need greatly expanded Nature Recovery government departments with really substantial budgets to restore nature. I’d recommended that 50% of our land and seas is principally for ecological restoration, and budgets need to be in line with the £45 billion we spend on military defence.

You mention young people’s role and engagement in the fight against climate change, as well as your own childhood experiences with nature. How do you think we can best encourage environmental awareness in young people?

I think young people are often fully aware of the climate and biodiversity crises – in fact, more so than their parents. The important step forward is for older people to recognise their worries and do something about it – urgently – for it’s the young that will have to suffer the consequences of our inaction.

Mistletoe Winter will be your second book published in 2021, following the
brilliant Restoring the Wild, published earlier this year. Do you have plans for any further books or other exciting projects?

Yes, I have a couple of interesting book ideas I’m mulling over, and we have wildlife projects we wish to carry out – but I’m a great believer in working up ideas quietly without fanfare and then getting on with them.

Author Interview with Stephen Littlewood: Wild Mull

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

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

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

Mull mountainscape across Loch na Keal by Martin Jones

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

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

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

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

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

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

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

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

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

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

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

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

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

New Networks for Nature: Q&A with Amy-Jane Beer

Amy-Jane Beer talking with musician Feargal Sharkey about rivers © Holly Wilkinson

Amy-Jane Beer, a biologist, writer, editor and member of the steering group for New Networks for Nature, kindly took the time to talk with us about the work they do and the importance of their annual event, Nature Matters.

We discuss the role of the creative arts in engaging with the natural world, the political priority of wildlife and how best to get involved.

Firstly, could you tell us about the work that New Networks for Nature does?

Our entire focus is an annual event called Nature Matters: not quite a festival, not a conference, not a symposium, not an exhibition, not a variety show… but with elements of all these. It is two days and one evening of hugely varied dialogues, debates, readings, performances and displays about and in concert with nature. Our contributors are writers, artists, poets, filmmakers, activists, scientists, naturalists, musicians, photographers, conservationists and sometimes politicians and entrepreneurs. Our audiences contain many more of the same, plus publishers, journalists, producers, campaigners, representatives of major NGOs who use the opportunity to make new connections.

You are a relatively new charity, founded in 2009 and registering in 2016. How did the charity start and what are your hopes for its future?

The first event, held in 2009, was the brainchild of our founders: Jeremy Mynott, Mark Cocker, John Fanshawe and Tim Birkhead – four big thinkers who, in Jeremy’s words ‘shared the conviction that wildlife had a far richer role to play in the human experience than that defined by science or economics alone.’ They decided to try and reach more like-minded, creative souls and rapidly realised that an event offering both inspiration and social connection was a powerful way to build a network. By 2019, pre-COVID, that initial one-day event with 44 attendees had grown to a two and a half-day version with 30–40 contributors and an audience exceeding 250. This is about as big as we can manage on a voluntary basis with a minuscule budget funded purely by ticket sales. It’s rewarding but exhausting for the organisers, and the risk of burnout is very real. So the next phase for us as an organisation has to be sourcing funds that will allow us not only to offer an ever more diverse and accessible event but also to pay for some of the services that currently push us to our limits. It may be we offer a Friends of NNN subscription, seek carefully vetted sponsorship, or grant funding that doesn’t compromise our ethos or creative freedom.

One of your main aims is to challenge the low political priority that is placed on the natural world. Why do you think that there is so little importance placed on wildlife and nature nationally?

As a society we’ve come to take nature for granted, living lives so removed from the true sources of everything that sustains us we forget we’re not only dependent on nature, but part of it. That disconnect means that when we encounter problems, we often come up with solutions that target symptoms rather than the root cause. And the cause, almost every time, is that vast rapacious monster of global capitalism, to which politicians are wedded. Among the most toxic spawn of capitalism is a media that has reduced politics to a frantic minute-by-minute battle over the next headline. How can politicians possibly tackle the big issues when they’re doing that? In the current system, taking time to engage deeply with nature has become an almost subversive act, because it leads, inevitably, in my experience, to a recognition that we need a wildly different path.

Silk demonstration with arachnologist Sara Goodacre © Nick Williams

Your upcoming event, Nature Matters, is an annual creative celebration of nature. How important do you think the creative arts are for exploring and raising awareness about the environment?

The creative arts have a critical role to play in bringing us home to nature. And I say that as a former scientist who ‘jumped the fence’. Creativity was an aspect of my education that was horribly neglected. It’s all well and good to absorb information – to document and analyse and theorise. But in order to know what to do with all that, we need wisdom, emotional intelligence. We need stories, and we need huge amounts of love because love motivates and emboldens us like nothing else. Art makes sense of knowledge. Art asks questions science cannot and is free to go where science cannot see its way. Art lights up some of the dark. And wow, it’s getting dark right now.

This event has a huge varied list of sessions, from nature writing courses to panels on plastics in the environment and a session on nature and spirituality. What are the main goals that you want to achieve through Nature Matters?

Folk singer Sam Lee performing at New Networks for Nature © Nick Williams

New Networks for Nature does what the name suggests. It is mycelial activism. It connects people, with nature and with each other. The events are entertaining but they are not entertainment. Attendees come to listen to and admire amazing people, but also to meet and link to them. We like to think that everyone in the room at a NNN event will go away inspired but also having inspired others. I started attending about 8 years ago, very shyly, but through a few mutual friends was introduced to others and now every year I go along with the express purpose of meeting more people. As the Irish saying goes – a stranger is a friend you haven’t met yet. At NNN, a stranger is a link to many more people, more voices for nature, more opportunities to disseminate, mobilise. Many of my NNN connections have become deep friendships – but they are also highly intentional and purposeful relationships. I cultivate them because, if we can take any lesson from the current political castes, we desperately need a chumocracy for nature.

For any readers interested in your charity and its aims, what are the best ways that people can get involved?

New Networks for Nature audience © Robert Fuller

Come along! The attendees are as much part of the network as those on stage at any event. We bust a gut to keep the cost of attending to a minimum and make it accessible. There are always opportunities to ask questions, to socialise and to connect. As a rule, we don’t invite applications to perform or speak. Each event is organised by a different team and the programmes are themes and very organic. There are always a few big names in the mix but increasingly we tend to feature up-and-coming contributors or less exposed specialists – and to be honest, those more niche sessions are often where the real ‘wow’ moments happen. Unlike other festivals, we’re not really part of the promotion round – no one will get rich or famous or achieve a bestseller by appearing, or achieve social media celebrity. But we hope that everyone will go away with fresh fire in the belly, new light in the mind, and a list of names and allies to add to their personal network for nature.

Nature Matters 2021 will be held in Bath on 19th-21st November and will feature an exciting list of contributors, including ecological activist Satish Kumar, popular ornithologist David Lindo, breakthrough nature writer Nicola Chester, musician and curlew campaigner David Gray and young environmental campaigners Kabir Kaul, Holly Gillibrand and Bella Lack. To see the programme and book a ticket visit https://www.newnetworksfornature.org.uk/2021-event/

You can find out more about New Networks For Nature from their website and by following them on Facebook and Twitter.

Trees for Life: Q&A with Alan McDonnell

Alan McDonnell, Conservation Manager for Trees for Life, kindly took the time to answer some questions on the important work they do in the Scottish Highlands and their ambitious East West Wild project. The Caledonian Forest has been under threat for thousands of years and, by the 1950s, only 1% of the original forest remained. Since its creation in 1993, Trees for Life has worked tirelessly to restore this forest and its ecosystem.

In this captivating conversation, we discuss the importance of working in collaboration with landowners and local communities, how the Covid pandemic has affected them as a charity, and share different ways to get involved in helping Trees for Life achieve their goals.

Could you begin by introducing us to the goals of Trees for Life and the work that you do?

We are a rewilding charity working in the Scottish Highlands. For us, rewilding is about allowing natural processes to work on a large scale. It’s about creating potential for communities to thrive as a result of the health of the natural environment around them.

Our work has therefore increasingly focused on involving people close to where we operate. Our volunteering programme places an emphasis on nature connection. This includes practical action like planting trees, restoring peatlands, and working in the tree nursery at our Dundreggan conservation estate. In recent years, we’ve been increasing our partnerships with others interested in using nature to benefit people’s mental health. We find this hugely rewarding for everyone involved.

Our practical rewilding work includes restoring red squirrel populations to parts of their original range in north and west Scotland and communities play an important role in supporting that. We’ve also just completed an assessment of the health and resilience of Scotland’s ancient pinewoods, which we hope will be just the start of a journey to secure and expand these iconic woodlands in partnership with land managers. Finally, we continue the work Trees for Life started with, restoring native woodlands to appropriate parts of the landscape.

On your website, you state that you believe you can always achieve more through teamwork. Why do you think it is so important for Trees for Life to collaborate with landowners and local communities?

One way or another, we all have a stake in the land and an influence on its future, but people’s priorities are different. If we focus too much on our own interests in isolation, we end up in conflict. This tendency has dogged the land management debate for decades, to the detriment of everyone. We want to help change the focus to one where landowners, communities, and environmental interests look at what they have in common and what they can achieve together. We’ve already seen how this can create new possibilities for sustainable progress, and at a larger scale, for nature, people’s wellbeing, and the local economies that communities depend on.

You have several major projects in the works, including your very ambitious East West Wild project. This project aims to form a coalition of landowners and communities to create a nature-based economy, could you tell us a bit more about what this entails?

The initiative is founded on the precept that nature, communities, and the economy need each other – if one fails, sooner or later it will take the others with it. East West Wild looks at it the other way round: progress in restoring the health of nature in a large landscape can be a catalyst for both social and economic regeneration. We already know that given time and a little help, nature can surge back, so our focus now is how that could create opportunities for people and local businesses. A scoping study has identified nature-friendly forestry, farming, private investment in ecosystem services and small-scale renewable energy as some of the ways in which we can help nature to recover. Such an approach could also create jobs, and sequester carbon through sustainable land use. We’re under no illusions about the challenges involved in attracting the investment to turn these ideas into reality. But we’re also really excited about having the chance to go for such big gains as part of such a diverse partnership of interests.

Birch tree being planted © Trees for Life

The project area stretches from the west coast of Scotland to Loch Ness, encompassing multiple Glens including Glen Affric, Cannich, and Moriston. What was the process behind selecting this area for this project?

One of the earliest aspirations of Trees for Life was to realise the potential for Glen Affric to act as a coast-to-coast habitat corridor, noted I believe by George Peterken in the 1980s. However, as the idea grew in our minds, we knew we wanted to try for a big area to get the ecological multiplier effects that come from genuine landscape-scale change. We also know that the potential here is massive, with a diverse range of woodlands, peatlands, freshwater, montane, riparian, and coastal habitats all capable of restoring themselves. If we can increase the ecological connectivity at this scale, potentially 2000 sq km, the wildlife response that follows will be tremendous and importantly, resilient over the longer term.

Of course, all of that is little more than a daydream if we fail to bring the communities and landowners with us. Our key priority at this stage is to show people that a high level of ambition for the natural environment can positively impact their ways of life.

Trees for Life volunteers in Glen Affric © Trees for Life

Have you found the Covid-19 pandemic has affected the development of this project? How have you coped with the challenges of the current situation?

It’s been both good and bad. It has caused us problems as we’ve been trying to reach out and build new relationships without the spontaneity and informality of face-to-face conversations. However, as we all got our heads around online meetings, we’ve benefited from the speed at which we can meet people and reduced the need to spend time travelling. Hopefully, as we get to the point of starting the initiative in earnest this autumn, we’ll have the scope to meet people in person, which will undoubtedly help the partnership to become genuinely co-creative.

For anyone who is inspired by the vision of Trees for Life and wishes to help, how would you recommend they get involved?

You can learn more about Trees for Life and our vision for a rewilded Scotland by visiting our website.

We hope that our volunteer programme will restart in spring 2022. This includes our popular Conservation Weeks. People should keep an eye out for updates on our website and social media channels.

We have a Cycle for the Climate initiative, where people can raise money for rewilding through bike challenges – both big and small. And of course, we are forever grateful to people who choose to make regular and one-off donations to the charity. This is what we depend on to plan future projects and keep building towards a rewilded Highlands where people and nature enjoy a better relationship.

Trees for Life volunteers © Stephen Couling, Trees for Life

You can find out more about Trees for Life from their website and by following them on Facebook and Twitter.

Author Interview: Collins Birds of the World

Collins Birds of the World is the complete collection of Norman Arlott’s beautifully detailed and accurate bird paintings, brought together for the first time. Accompanied by text detailing characteristics and appearances for each species, this comprehensive new field guide is the ultimate reference book for birdwatchers and bird lovers.

Norman Arlott is a wildlife artist and has illustrated over 200 books. He has kindly answered some of our questions on his experiences and the process of creating this all-encompassing work.

Could you tell us about your background and what inspired you to become a wildlife artist?

I originally trained as a mechanical engineer but ‘jumped ship’ in the 70s to take up my real love as a wildlife artist, with a focus on birds. I made this leap with much encouragement from my wife Marie and a great deal of help and inspiration from well-known bird artist Robert Gillmor, bird photographer Eric Hosking and the great East African ornithologist John Williams. I had no intention of working on book illustrations, but I got caught up in it, really liked it and I have enjoyed it ever since.

In the intervening years, I have contributed illustrations to over 200 books, including some classics such as Birds of the Western Palearctic, Handbook to the Birds of the World and the SASOL Birds of South Africa. Many postage stamps feature my artwork from places such as Jamaica and The Bahamas in the Caribbean, Liberia in Africa and Fiji in the Pacific Ocean.

Over the last 15 years, I have concentrated mainly on writing and illustrating a series of bird guides (more coloured checklists really) covering the Palearctic, India, The West Indies, North America, South East Asia and the Philippines – many of these illustrations and accompanying text feature in the forthcoming Birds of the World.

You’ve been a part of creating bird guides for areas as broad as the Palearctic to more specific locations such as the Indonesian Archipelago and Armenia. What have you enjoyed most about your travels?

During the last 40 years or so, I have had the good fortune to travel to various parts of the globe, most notably East and South Africa. I led safaris to Kenya and Tanzania for many years, which led to many adventures and meetings. On one of my first visits, I was fortunate to form a friendship with two people: author and broadcaster Roger A Caras and zoo director Steve Graham, enabling me to visit North America. Whilst in America, I was introduced to many of my bird-artist ‘heroes’, all of which passed on great encouragement and useful tips – one snippet passed to me by the great Arthur Singer was always to remember ‘white areas are equally as important as the illustrated areas in the look of a plate’.

When illustrating Antpittas for the Handbook of the Birds of the World, you were integral in the realisation that a specimen in the Natural History Museum was misidentified. Could you tell us more about this experience?

The Antpitta discovery came about after a research visit to the British Museum at Tring. Needing to find a reference for the Yellow-breasted Antpitta, a bird I was about to illustrate for the Handbook to the Birds of the World, I was able to photograph and make notes from the one and only skin in the museum. Before embarking on the illustration I checked the text notes provided by the authors only to discover that the text and the bird I had photograph did not correspond. My initial thought was I had photographed the wrong specimen so I called Robert Prys-Jones at the British Museum and asked him to check the skin – Robert, along with Peter Salaman, then followed up my query and came to the conclusion that the specimen in the British Museum was in fact a new subspecies of the Brown-banded Antpitta. All the relevant details of this new bird can be found in the Bulletin of the British Ornitholgists’ Club (Vol 129-1). I have made many visits to the British Museum to do research for various books and this is the only time I have known a skin to be completely misidentified, especially a skin with a label annotated by P. L. Sclater, an expert on the family.

Collins Birds of the World is a huge, comprehensive collection of over 25,000 illustrations of 10,711 species. Could you tell us a little bit about the process of creating this guide?

I was asked to consider putting together a complete coloured checklist to the Birds of the World using the vast Harper Collins artwork archive. There were a few areas that Harper Collins did not have suitable artwork, such as Australia, New Guinea and some small island groups, so I painted all of these in readiness for putting together the Birds of the World plates.

I decided that to even start this project, a standard ‘list’ was needed – it was decided that the International Ornithological Congress (IOC) world list as of January 2019 was the one I would rigidly follow. Using mainly mine and Ber Van Perlo’s artwork, I promised Harper Collins that I was able to put together the 301 plates and hopefully make a really satisfying (to look at) book, even though some of the plates may contain a great number of species.

Although told by many that I was an ‘idiot’ to take on such a project, and I admit at times I had to agree, overall I genuinely enjoyed the experience of working ‘electronically’ to produce plates. Hopefully, I fulfilled the promise I made to the publisher to produce an attractive and practical book to the Birds of the World!

After my work designing the plates, David Price Goodfellow and his team went on to produce the high-resolution scans and add any missing pieces of text, so all in all a great team effort.

After such a mammoth publication, do you have any more projects lined up for the future?

I have recently been given the opportunity by Harper Collins to produce a large-format book of my ‘proper’ paintings of British birds – what a difference from the past couple of years.

Q&A with Series Editor, Chloe Currens: Penguin’s Green Ideas series

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.