Will temperatures rise by 2�C or 8�C over the next hundred years? Will sea levels rise by 2 or 30 feet? The only way that we can accurately answer questions like these is by looking into the distant past, for a comparison with the world long before the rise of mankind.We may currently believe that atmospheric shifts, like global warming, result from our impact on the planet, but the earth's atmosphere has been dramatically shifting since its creation. This book reveals the crucial role that plants have played in determining atmospheric change - and hence the conditions on the planet we know today. Along the way a number of fascinating puzzles arise: Why did plants evolve leaves? When and how did forests once grow on Antarctica? How did prehistoric insects manage to grow so large? The answers show the extraordinary amount plants can tell us about the history of the planet -- something that has often been overlooked amongst the preoccuputations with dinosaur bones and animal fossils.David Beerling's surprising conclusions are teased out from various lines of scientific enquiry, with evidence being brought to bear from fossil plants and animals, computer models of the atmosphere, and experimental studies. Intimately bound up with the narrative describing the dynamic evolution of climate and life through Earth's history, we find Victorian fossil hunters, intrepid polar explorers and pioneering chemists, alongside wallowing hippos, belching volcanoes, and restless landmasses.

    But no matter where she was transplanted--no matter how awkward the fit or forbidding the landscape--she was able to turn to our world's fierce and funny creatures for guidance."What the peacock can do," she tells us, "is remind you of a home you will run away from and run back to all your life." The axolotl teaches us to smile, even in the face of unkindness; the touch-me-not plant shows us how to shake off unwanted advances; the narwhal demonstrates how to survive in hostile environments. Even in the strange and the unlovely, Nezhukumatathil finds beauty and kinship. For it is this way with wonder: it requires that we are curious enough to look past the distractions in order to fully appreciate the world's gifts.Warm, lyrical, and gorgeously illustrated by Fumi Nakamura, World of Wonders is a book of sustenance and joy.

    A Papua New Guinean elder shoves off in his hand-carved canoe, ready to summon a shark with ancient magic. A scientist finds a rare shark in Indonesia and forges a deal with villagers so it and other species can survive.In this eye-opening adventure that spans the globe, Juliet Eilperin investigates the fascinating ways different individuals and cultures relate to the ocean’s top predator. Along the way, she reminds us why, after millions of years, sharks remain among nature’s most awe-inspiring creatures.From Belize to South Africa, from Shanghai to Bimini, we see that sharks are still the object of an obsession that may eventually lead to their extinction. This is why movie stars and professional athletes go shark hunting in Miami and why shark’s fin soup remains a coveted status symbol in China. Yet we also see glimpses of how people and sharks can exist alongside one another: surfers tolerating their presence off Cape Town and ecotourists swimming with sharks that locals in the Yucatán no longer have to hunt.With a reporter’s instinct for a good story and a scientist’s curiosity, Eilperin offers us an up-close understanding of these extraordinary, mysterious creatures in the most entertaining and illuminating shark encounter you’re likely to find outside a steel cage.

    So little, in fact, that scientists and philosophers have, for centuries, been obsessed with what has become known as the “eel question”: Where do eels come from? What are they? Are they fish or some other kind of creature altogether? Even today, in an age of advanced science, no one has ever seen eels mating or giving birth, and we still don’t understand what drives them, after living for decades in freshwater, to swim great distances back to the ocean at the end of their lives. They remain a mystery.Drawing on a breadth of research about eels in literature, history, and modern marine biology, as well as his own experience fishing for eels with his father, Patrik Svensson writes a book about this unusual animal. In The Book of Eels, we meet renowned historical thinkers, from Aristotle to Sigmund Freud to Rachel Carson, for whom the eel was a singular obsession. And we meet the scientists who spearheaded the search for the eel’s point of origin, including Danish marine biologist Johannes Schmidt, who led research efforts in the early twentieth century, catching thousands upon thousands of eels, in the hopes of proving their birthing grounds in the Sargasso Sea.Blending memoir and nature writing, Svensson’s journey to understand the eel becomes an exploration of the human condition that delves into overarching issues about our roots and destiny, both as humans and as animals, and, ultimately, how to handle the biggest question of all: death.

    'Crow Planet' richly weaves Haupt's own 'crow stories' as well as scientific and scholarly research and the history and mythology of crows, culminating in a book that is sure to make readers see the world around them in a very different way.

    That carbon is now floating in the atmosphere, and even if we stopped using fossil fuels today, it would continue warming the planet. In The Soil Will Save Us, journalist and bestselling author Kristin Ohlson makes an elegantly argued, passionate case for "our great green hope"—a way in which we can not only heal the land but also turn atmospheric carbon into beneficial soil carbon—and potentially reverse global warming.As the granddaughter of farmers and the daughter of avid gardeners, Ohlson has long had an appreciation for the soil. A chance conversation with a local chef led her to the crossroads of science, farming, food, and environmentalism and the discovery of the only significant way to remove carbon dioxide from the air—an ecological approach that tends not only to plants and animals but also to the vast population of underground microorganisms that fix carbon in the soil. Ohlson introduces the visionaries—scientists, farmers, ranchers, and landscapers—who are figuring out in the lab and on the ground how to build healthy soil, which solves myriad problems: drought, erosion, air and water pollution, and food quality, as well as climate change. Her discoveries and vivid storytelling will revolutionize the way we think about our food, our landscapes, our plants, and our relationship to Earth.

    This volume highlights the research and findings of this natural scientist. Powerful modern microscopes have confirmed the accuracy of Haeckel's prints, which even in their day, became world famous. Haeckel's portfolio, first published between 1899 and 1904 in separate installments, is described in the opening essays. The plates illustrate Haeckel's fundamental monistic notion of the -unity of all living things- and the wide variety of forms are executed with utmost delicacy. Incipient microscopic organisms are juxtaposed with highly developed plants and animals. The pages, ordered according to geometric and -constructive- aspects, document the oness of the world in its most diversified forms. This collection of plates was not only well-received by scientists, but by artists and architects as well. Rene Binet, a pioneer of glass and iron constructions, Emile Galle, a renowned Art Nouveau designer, and the photographer Karl Blossfeld all make explicit reference to Haeckel in their work.

    Over the past decade, artist Rachel Sussman has researched, worked with biologists, and traveled the world to photograph continuously living organisms that are 2,000 years old and older. Spanning from Antarctica to Greenland, the Mojave Desert to the Australian Outback, the result is a stunning and unique visual collection of ancient organisms unlike anything that has been created in the arts or sciences before, insightfully and accessibly narrated by Sussman along the way. Her work is both timeless and timely, and spans disciplines, continents, and millennia. It is underscored by an innate environmentalism and driven by Sussman’s relentless curiosity. She begins at “year zero,” and looks back from there, photographing the past in the present.  These ancient individuals live on every continent and range from Greenlandic lichens that grow only one centimeter a century, to unique desert shrubs in Africa and South America, a predatory fungus in Oregon, Caribbean brain coral, to an 80,000-year-old colony of aspen in Utah. Sussman journeyed to Antarctica to photograph 5,500-year-old moss; Australia for stromatolites, primeval organisms tied to the oxygenation of the planet and the beginnings of life on Earth; and to Tasmania to capture a 43,600-year-old self-propagating shrub that’s the last individual of its kind. Her portraits reveal the living history of our planet—and what we stand to lose in the future. These ancient survivors have weathered millennia in some of the world’s most extreme environments, yet climate change and human encroachment have put many of them in danger. Two of her subjects have already met with untimely deaths by human hands. Alongside the photographs, Sussman relays fascinating – and sometimes harrowing – tales of her global adventures tracking down her subjects and shares insights from the scientists who research them. The oldest living things in the world are a record and celebration of the past, a call to action in the present, and a barometer of our future.

    White, the author of The Once and Future King and Mistress Masham's Repose, was a young writer who found himself rifling through old handbooks of falconry. A particular sentence — "the bird reverted to a feral state" — seized his imagination, and, White later wrote, "A longing came to my mind that I should be able to do this myself. The word 'feral' has a kind of magical potency which allied itself to two other words, 'ferocious' and 'free.'" Immediately, White wrote to Germany to acquire a young goshawk. Gos, as White named the bird, was ferocious and Gos was free, and White had no idea how to break him in beyond the ancient (and, though he did not know it, long superseded) practice of depriving him of sleep, which meant that he, White, also went without rest. Slowly man and bird entered a state of delirium and intoxication, of attraction and repulsion that looks very much like love. White kept a daybook describing his volatile relationship with Gos — at once a tale of obsession, a comedy of errors, and a hymn to the hawk. It was this that became The Goshawk, one of modern literature's most memorable and surprising encounters with the wilderness — as it exists both within us and without.

    A desert, by definition, lacks it, but when water does come, it comes in torrential, sometimes devastating abundance. Childs, a thirtysomething desert rat with a vast knowledge of the Southwest's remote corners, knows this fact well. "Most rain falling anywhere but the desert comes slow enough that it is swallowed by the soil without comment," he observes. "Desert rains, powerful and sporadic, tend to hit the ground, gather into floods, and are gone before the water can sink five inches into the ground."The travels that Childs recounts in this vivid narrative take him from places sometimes parched, sometimes swimming, from the depths of the Grand Canyon to the dry limestone tanks of the lava-strewn Sonoran Desert. As he travels, Childs gives a close reading of the desert landscape ("the moral," he writes at one point, "is that if you know the land and its maps, you might live"), observing the rocks, plants, animals, and people that call it home. Some of his adventures will remind readers of Edward Abbey's Desert Solitaire—save that Childs writes without Abbey's bluster, and with a measured lyricism that well suits the achingly lovely back canyons and cactus forests of the Southwest. By turns travelogue, ecological treatise, and meditative essay, Childs's book will speak to anyone who has spent time under desert skies, wondering when the next drop of rain might fall.

    But the environmental emergency is also a crisis for our philosophical habits of thought, confronting us with a problem that seems to defy not only our control but also our understanding. Global warming is perhaps the most dramatic example of what Timothy Morton calls “hyperobjects”—entities of such vast temporal and spatial dimensions that they defeat traditional ideas about what a thing is in the first place. In this book, Morton explains what hyperobjects are and their impact on how we think, how we coexist with one another and with nonhumans, and how we experience our politics, ethics, and art.Moving fluidly between philosophy, science, literature, visual and conceptual art, and popular culture, the book argues that hyperobjects show that the end of the world has already occurred in the sense that concepts such as world, nature, and even environment are no longer a meaningful horizon against which human events take place. Instead of inhabiting a world, we find ourselves inside a number of hyperobjects, such as climate, nuclear weapons, evolution, or relativity. Such objects put unbearable strains on our normal ways of reasoning.Insisting that we have to reinvent how we think to even begin to comprehend the world we now live in, Hyperobjects takes the first steps, outlining a genuinely postmodern ecological approach to thought and action.

    Investigative journalist Cal Flyn's ISLANDS OF ABANDONMENT, an exploration of the world's most desolate, abandoned places that have now been reclaimed by nature, from the demilitarized zone between North and South Korea to the "urban prairie" of Detroit to the irradiated grounds of Chernobyl, in an ultimately redemptive story about the power and promise of the natural world.

    The complexity of nature's shapes differs in kind, not merely degree, from that of the shapes of ordinary geometry, the geometry of fractal shapes.Now that the field has expanded greatly with many active researchers, Mandelbrot presents the definitive overview of the origins of his ideas and their new applications. The Fractal Geometry of Nature is based on his highly acclaimed earlier work, but has much broader and deeper coverage and more extensive illustrations.