Her work has influenced filmmakers (the Tree of Souls of James Cameron's Avatar) and her TED talks have been viewed by more than 10 million people worldwide.Now, in her first book, Simard brings us into her world, the intimate world of the trees, in which she brilliantly illuminates the fascinating and vital truths--that trees are not simply the source of timber or pulp, but are a complex, interdependent circle of life; that forests are social, cooperative creatures connected through underground networks by which trees communicate their vitality and vulnerabilities with communal lives not that different from our own.Simard writes--in inspiring, illuminating, and accessible ways--how trees, living side by side for hundreds of years, have evolved, how they perceive one another, learn and adapt their behaviors, recognize neighbors, and remember the past; how they have agency about the future; elicit warnings and mount defenses, compete and cooperate with one another with sophistication, characteristics ascribed to human intelligence, traits that are the essence of civil societies--and at the center of it all, the Mother Trees: the mysterious, powerful forces that connect and sustain the others that surround them.Simard writes of her own life, born and raised into a logging world in the rainforests of British Columbia, of her days as a child spent cataloging the trees from the forest and how she came to love and respect them--embarking on a journey of discovery, and struggle. And as she writes of her scientific quest, she writes of her own journey--of love and loss, of observation and change, of risk and reward, making us understand how deeply human scientific inquiry exists beyond data and technology, that it is about understanding who we are and our place in the world, and, in writing of her own life, we come to see the true connectedness of the Mother Tree that nurtures the forest in the profound ways that families and human societies do, and how these inseparable bonds enable all our survival.

    It is also peculiarly British in that it is deeply rooted in the British class system. Grouse shooting is big business, backed by powerful, wealthy lobbying groups, with tendrils running throughout British society.Inglorious makes the case for banning driven grouse shooting. Mark Avery explains why he has, after many years of soul-searching, come down in favor of an outright ban. There is too much illegal killing of wildlife, such as Buzzards, Golden Eagles, and, most egregiously of all, Hen Harriers; and, as a land use, it wrecks the ecology of the hills. However, grouse shooting is economically important, and it is a great British tradition. All of these, and other points of view, are given fair and detailed treatment and analysis, with testimony from a range of people on opposite sides of the debate.The book also sets out Avery's campaign with Chris Packham to gain support for the proposal to ban grouse shooting, culminating in "Hen Harrier Day," timed to coincide with the "Glorious" 12th. Ever controversial, Mark Avery is guaranteed to stir up a debate about field sports, the countryside, and big business in a book that all conservationists will want to read.

    While considering the direction of his own life, he began to contemplate the existence of this colossal tree. Standing in England for centuries, the oak would have been a sapling when the Magna Carta was signed in 1215.Canton examines our long-standing dependency on the oak, and how that has developed and morphed into myth and legend. We no longer need these sturdy trees to build our houses and boats, to fuel our fires, or to grind their acorns into flour in times of famine. What purpose, then, do they serve in our world today? Are these miracles of nature no longer necessary to our lives? What can they offer us? Canton tells the story of this tree in its ecological, spiritual, literary, and historical contexts, using it as a prism to see his own life and human history. The Oak Papers is a reflection on change and transformation, and the role nature has played in sustaining and redeeming us.

    His account of this time perfectly captures the city-dweller's naivety and wonder both at the workings of nature and the toughness of life on a farm. Collis's thoughtful curiosity leads him to explore a broad variety of subjects - from humorous sketches of the characters he works alongside to beautifully written pieces such as Contemplation Upon Ants, The Mystery of Clouds, Colloquy on the Rick and celebrations of the earthworm, the pea and potato.Includes While Following the Plough (1946) and Down to Earth (1947).Cover illustration by Angie Lewin.

    So one night, he sets out to find it – a pylon-slung edge-land, a tangle of wood, meadow, field and river on the outskirts of town. Despite being in the shadow of thousands of houses, it feels unclaimed, forgotten, caught between worlds, and all the more magical for it.Obsessively revisiting this contested ground, Cowen ventures deeper into its many layers and lives, documenting its changes through time and season and unearthing histories that profoundly resonate and intertwine with transformative events happening in his own life.Blurring the boundaries of memoir, natural history and novel, Common Ground offers nothing less than an enthralling new way of writing about nature and our experiences within it. We encounter the edge-land's inhabitants in immersive, kaleidoscopic detail as their voices and visions rise from the fields and woods: beasts, birds, insects, plants and people – the beggars, sages and lovers across the ages.Startlingly personal and poetic, this is a unique portrait of a forgotten realm and a remarkable evocation of how, over the course of a year, a man came to know himself once more by unlocking it. But, above all, this is a book that reasserts a vital truth: nature isn’t just found in some remote mountain or protected park. It is all around us. It is in us. It is us.

    A stunning collection of personal observations that uses images of the American West to probe larger concerns in lyrical, evocative prose that is a true celebration of the region.

    But when he stole a young kestrel from its nest, he was about to embark on a friendship that would teach him what it meant to love, and that would change him forever. In his rich, lyrical and emotionally exposing memoir, Chris brings to life his childhood in the 70s, from his bedroom bursting with fox skulls, birds' eggs and sweaty jam jars, to his feral adventures. But pervading his story is the search for freedom, meaning and acceptance in a world that didn’t understand him.Beautifully wrought, this coming-of-age memoir will be unlike any you’ve ever read.

    Raised by a loving adoptive family, she grew into a wanderer, drawn by the landscape of the British countryside.One summer, following the miscarriage of a much-longed-for child, Katharine sets out—accompanied by her nine-year-old daughter, Evie—with the idea of following a river from the sea to its source. The luminously observed landscape grounds the walkers, providing both a constant and a context to their expeditions. But what begins as a diversion from grief evolves into a journey to the source of life itself: a life threatening illness forces Katharine to seek a genetic medical history, and this new and unexpected path delivers her to the door of the woman who abandoned her all those years ago.Combining travelogue, memoir, exquisite nature writing, and fragments of poems with tales from Celtic mythology, The Fish Ladder has a rare emotional resonance. It is a portrait of motherhood, of a literary marriage, a hymn to the adoptive family, but perhaps most of all it is an exploration of the extraordinary majesty of the natural world. Imbued with a keen and joyful intelligence, this original and life-affirming book is set to become a classic of its genre.

    Written while Abbey was working as a ranger at Arches National Park outside of Moab, Utah, Desert Solitaire is a rare view of one man’s quest to experience nature in its purest form.Through prose that is by turns passionate and poetic, Abbey reflects on the condition of our remaining wilderness and the future of a civilization that cannot reconcile itself to living in the natural world as well as his own internal struggle with morality. As the world continues its rapid development, Abbey’s cry to maintain the natural beauty of the West remains just as relevant today as when this book was written.

    Henry Beston had originally planned to spend just two weeks in a seaside cottage, but was so possessed by the mysterious beauty of his surroundings that he found he "could not go."Instead, he sat down to try and capture in words the wonders of the magical landscape he found himself in thrall to: the migrations of seabirds, the rhythms of the tide, the windblown dunes, and the scatter of stars in the changing sky. Beston argued that, "The world today is sick to its thin blood for the lack of elemental things, for fire before the hands, for water, for air, for the dear earth itself underfoot." Seventy-five years after they were first published, Beston's words are more true than ever.

    Blending keen observations of flora, geography, and geology, the natural forces that shape the landscape, and the changing seasons, Muir paints a timeless portrait of the wilderness he called “the Range of Light, the most divinely beautiful of all the mountain chains I have ever seen.” Also included are visits to two famous Cascades peaks, Mount Shasta and Mount St. Helens

    She documents the unbuttoning of the earth and the rebirth of the garden, the rewilding of a tiny urban space. On her own she unscrews, saws, and hammers the decking away, she clears the builders' rubble and rubbish beneath it, and she digs and enriches the soil, gradually planting it up with plants she knows will attract wildlife. She erects bird boxes and bee hotels, hangs feeders and grows nectar- and pollen-rich plants, and slowly brings life back to the garden.But while she's doing this her neighbors continue to pave and deck their gardens. The wildlife she tries to save is further threatened, and she feels she's fighting an uphill battle. Is there any point in gardening for wildlife when everyone else is drowning the land in poison and cement?Throughout her story, Kate draws on an eclectic and eccentric cast of friends and colleagues, who donate plants and a greenhouse, tolerate her gawping at butterflies at Gay Pride, and accompany her on trips to visit rare bumblebees and nightingales.

     As she contemplates the pleasure of artistic labor, finding solace and safety within the woods, and the joyful and rhythmic beating of wings, Oliver intimately shares with her readers her quiet discoveries, boundless curiosity, and exuberance for the grandeur of our world. This radiant collection of her work, with some pieces published here for the first time, reaffirms Oliver as a passionate and prolific observer whose thoughtful meditations on spiders, writing a poem, blue fin tuna, and Ralph Waldo Emerson inspire us all to discover wonder and awe in life's smallest corners.

    It’s not quite a nature book, not quite a humour book, not quite a family memoir, not quite folklore, not quite social history, not quite a collection of essays, but a bit of all six.It contains owls, badgers, ponies, beavers, otters, bats, bees, scarecrows, dogs, ghosts, Tom’s loud and excitable dad and, yes, even a few cats. It’s full of Devon’s local folklore – the ancient kind, and the everyday kind – and provincial places and small things. But what emerges from this focus on the small are themes that are broader and bigger and more definitive.The book’s language is colloquial and easy and its eleven chapters are discursive and wide-ranging, rambling even. The feel of the book has a lot in common with the country walks Tom Cox was on when he composed much of it: it’s bewitched by fresh air, intrepid in minor ways, haunted by weather and old stories and the spooky edges of the outdoors, restless, sometimes foolish, and prone to a few detours... but it always reaches its intended destination.The book is illustrated with Tom’s own landscape photographs and linocuts by his mother.

    In 2003, she moved from the city to the edge of the Cambridgeshire Fens and began to take walks in the countryside around her new home, photographing, collecting and drawing as she went. Each walk lifted her mood, proving to be as medicinal as any talking therapy or pharmaceutical.In Emma's hand-illustrated diary, she takes us with her as she follows the paths and trails around her cottage and further afield, sharing her nature finds and tracking the lives of local flora and fauna over the course of a year. Reflecting on how these encounters impact her mood, Emma's moving and candid account of her own struggles is a powerful testament to how reconnecting with nature may offer some answers to today's mental health epidemic. While charting her own seasonal highs and lows, she also explains the science behind such changes, calling on new research into such areas as forest bathing and the ways in which our bodies and minds respond to plants and wildlife when we venture outdoors.Written with Emma's characteristic wit and frankness, and filled with her beautiful drawings, paintings and photography, this is a truly unique book for anyone who has ever felt drawn to nature and wondered about its influence over us.