Tag: Helen Macdonald

New Networks for Nature 2018

This past weekend was my fourth time attending part of Nature Matters, the annual New Networks for Nature conference. I’ve written about it here a couple of times, once when there was a particular focus on nature poetry and another time when it was held in Cambridge. This year it was back in Stamford for a last time for the 10th anniversary. Next year: York.

What’s so special about the conference is its interdisciplinary nature: visual artists, poets, musicians, writers, politicians, academics and conservationists alike attend and present. So although the event might seem geared more towards my biologist husband, there’s always plenty to interest me, too. The roster is a who’s who of British nature writing: Mark Avery, Tim Birkhead, Mark Cocker, Mary Colwell, Miriam Darlington, Richard Kerridge, Peter Marren, Michael McCarthy, Stephen Moss, Adam Nicolson, Katharine Norbury, Ruth Padel, Laurence Rose and Mike Toms were all there this year. I also appreciate the atmosphere of friendly disagreement about what nature is and how best to go about conserving it.

I attended on Friday, a jam-packed day of sessions that began with Bob Gibbons presenting on the flowers and wildlife of Transylvania, a landscape and culture that are still almost medieval in character. Then Jeremy Mynott interviewed Mark Cocker about his latest book, Our Place: Can We Save Britain’s Wildlife before It Is Too Late? I’ve read other Cocker books, but not this one yet. Its main point seems to be that the country’s environmental organizations need to work together. Individuals and NGOs are doing passionate and wonderful things towards nature conservation, Cocker said, but overall “we ain’t getting there.” Bad news doesn’t sell, though, he noted: his book has sold just 6,000 copies compared to 30,000 for Wilding, Isabella Tree’s story of the rewilding success at Knepp.

Mark Cocker

Cocker refused to define nature in a one-sentence soundbite, but argued that we have to consider ourselves a part of it rather than thinking about it as a victim ‘out there’ (the closest he came to a definition was “the totality of the system we are a part of”). “Our responsibility, terrifyingly, is unending,” he said – every time you open a new plastic toothbrush, you can’t forget that the old one you throw away will effectively be around forever. Our Place isn’t just composed of polemic, though: it’s structured around six beloved landscapes and finds moments of transcendence in being out in nature. You find hope by walking out the door, feeling the wind on your face and hearing the starling singing, Cocker remarked. He closed by reading a description from the book of the north Norfolk coast.

Either side of lunch were panels on how social media (mostly Twitter, plus smartphone apps) can serve nature and the role that poetry might play in environmental activism, with a brief interlude from visual artist Derek Robertson, who responded to the refugee crisis by traveling to Calais and Jordan and painting human figures alongside migratory birds. In the poetry session I especially enjoyed hearing from Ben Smith, a University of Plymouth lecturer and poet with a debut novel coming out in April 2019 (Doggerland, from Fourth Estate). He recently collaborated with Dr. Lee de Mora on a set of poems inspired by the Earth System Model, which provides the data for the International Panel on Climate Change. Climate modeling might seem an odd subject for poetry, but it provides excellent metaphors for failure and hope in “Spinning Up,” “Data Sets” and “Alternate Histories.”

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Ben Smith’s poem links unlikely subjects: surfing and climate modeling. Photo by Chris Foster.

Birmingham lecturer Isabel Galleymore, whose debut collection Significant Other is coming out from Carcanet Press in March, talked about how she uses the tropes of love poetry (praise, intimacy, pursuit and loss) when writing about environmental crisis. This shift in her focus began at university when she studied Wordsworth through an ecocritical lens, she said. Jos Smith and Luke Thompson were the other two poets on a panel chaired by Matt Howard. Howard quoted Keats – “We hate poetry that has a design on us” – and asked the poets for reactions. Smith agreed that polemic and poetry don’t mix well, yet said it’s good to have a reason for writing. He thinks it’s best when you can hold two or more ideas in play at a time.

After tea and a marvelous cake spread, it was time for a marathon of three sessions in a row, starting with three short presentations on seabirds: one by a researcher, one by a nature reserve manager, and one by a young artist who produced Chinese-style scroll paintings of the guillemot breeding colonies on Skomer and exhibited them in Sheffield Cathedral.

Next up was a highlight of the weekend: Green Party MP Caroline Lucas and Labour peer Baroness Barbara Young conversed with Michael McCarthy on the topic “Can Conventional Politics Save the Environment?” Both decried short-term thinking, the influence of corporations and the media, and government departments not working together. No one was ever elected on the promise of “less,” McCarthy suggested, but in reply Lucas talked about redefining terms: less of what? more of what? If we think in terms of quality of life, things like green energy and the sharing economy will become more appealing. She also believes that more people care about green issues than we think, but, e.g., a London mum might speak out about air quality without ever using the word “environment.” Baroness Young concluded that “adversarial politics, flip-flopping between parties, isn’t working” and we must get beyond it, at the local level if nothing else. That rang true for me for American politics, too.

Young, McCarthy and Lucas. Photo by Chris Foster.

Before the day ended with a drinks reception, we were treated to a completely different presentation by Lloyd Buck, who raises and trains birds, mostly for television footage. So, for instance, the greylag geese flying in formation alongside the boat in David Attenborough’s 2012 Sixty Years in the Wild TV special had imprinted on Lloyd’s wife, Rose. Buck spoke about bonding with birds of very different personalities, and introduced the audience to five starlings (who appeared in Poldark), a peregrine, a gyrfalcon, a golden eagle, and Bran the raven, who showed his intelligence by solving several puzzles to find hidden chunks of meat.

I purchased two books of poetry from the bookstall – I had no idea Darlington had written poetry before her nature books – and the conference brochure itself is a wonderful 75-page collection of recent artwork and short nature writing pieces, including most of the presenters but also Patrick Barkham, Tim Dee, Paul Evans, Philip Hoare, Richard Mabey, Helen Macdonald and Chris Packham – a keynote speaker announced for next year. I’ve been skipping through the booklet and have most enjoyed the pieces by Melissa Harrison and Helen Scales so far. Altogether, an inspiring and worthwhile weekend.

Would any of the conference’s themes or events have interested you?

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Thoughts on the Wellcome Book Prize Longlist

The 2018 Wellcome Book Prize longlist is here! From the prize’s website, you can click on any of these 12 books’ covers, titles or authors to get more information about them.

Some initial thoughts:

I correctly predicted three of the entries (or 25%) in yesterday’s post: In Pursuit of Memory by Joseph Jebelli, With the End in Mind by Kathryn Mannix, and I Am, I Am, I Am by Maggie O’Farrell. I’m pretty shocked to not see Fragile Lives or Admissions on the list.

Of the remainder, I’ve already read one (Midwinter Break) and DNFed another (Stay with Me). Midwinter Break didn’t immediately suggest itself to me for this prize because its themes of ageing and alcoholism are the background to a story about the disintegration of a long marriage. Nonetheless, it’s a lovely book that hasn’t gotten as much attention as it deserves – it was on my runners-up list from last year – so I’m delighted to see it nominated. Stay with Me was also on the Baileys Prize shortlist; it appears here for its infertility theme, but I wouldn’t attempt it again unless it made the Wellcome shortlist.

As to the rest:

  • I’m annoyed with myself for not remembering The Butchering Art, which I have on my Kindle. Sometimes I assume that books I’ve gotten from NetGalley are USA-only and don’t check for a UK publisher. I plan to read this and With the End in Mind (also on my Kindle) soon.
  • I already knew about and was interested in Mayhem and The White Book.
  • Of the ones I didn’t know about, Plot 29 appeals to me the most. I’m off to get it from the library this very afternoon, in fact. Its health theme seems quite subtle: it’s about a devoted gardener ‘digging’ into his past in an abusive family and foster care. The Guardian review describes it thus: “Like Helen Macdonald’s H Is for Hawk, this is a profoundly moving account of mental trauma told through the author’s encounters with nature. Jenkins sees his garden as a place where a person can try to escape from, and atone for, the darkness of human existence.” This is the great thing about prize lists: they can introduce you to fascinating books you might never have heard of otherwise. Even if it’s just one book that takes your fancy, who knows? It might end up being a favorite.
  • While I’m not immediately drawn to the books on the history of vaccines, the evolution of human behavior, and transhumanism, I will certainly be glad to read them if they make the shortlist.

Some statistics on this year’s longlist, courtesy of the press release I was sent by e-mail:

  • Three novels, three memoirs, and six nonfiction titles
  • Five debut authors
  • Three titles from independent publishers (Canongate and Granta/Portobello Books)
  • The authors are from the UK, Ireland, USA, Nigeria, Canada, and – making their first appearance – Sweden (Sigrid Rausing) and South Korea (Han Kang)

Chair of judges Edmund de Waal writes: “The Wellcome Book Prize is unique in its reach across genres, and so the range of books that we have considered has been exhilarating in its extent and ambition. This is a remarkable time for readers, with a great flourishing of writing on ideas around science, medicine and health, lives and deaths, histories and futures. After passionate discussions we have arrived at our longlist for the Wellcome Book Prize 2018 and are proud to be part of this process of bringing to a wider public these 12 tremendous books that have moved, intrigued and inspired us. All of them bring something new to our understanding of what it is to be human.”

The shortlist is announced on Tuesday, March 20th, and the winner will be revealed on Monday, April 30th.


Are there any books on here that you’d like to read?

A Wood of One’s Own by Ruth Pavey

In 1999 Ruth Pavey bought four acres of Somerset scrubland at a land auction. It wasn’t exactly what she’d set out to acquire: it wasn’t a “pretty” field, and traffic was audible from it. But she was pleased to return to her family’s roots in the Somerset Levels area – this “silted place of slow waters, eels, reeds, drainage engineers, buttercups, church towers, quiet” that her father came from, and where she was born – and she fancied planting some trees.

There never was a master plan […] I wanted to open up enough room for trees that might live for centuries […] I also wanted to keep areas of wilderness for the creatures […] And I wanted it to be beautiful. Not immaculate, that was too much to hope for, but, in its own ragged, benign way, beautiful.

This pleasantly meandering memoir, Pavey’s first book, is an account of nearly two decades spent working alongside nature to restore some of her land to orchard and maintain the rest in good health. The first steps were clear: she had to deal with some fallen willows, find a water source and plan a temporary shelter. Rather than a shed, which would be taken as evidence of permanent residency, she resorted to a “Rollalong,” a mobile metal cabin she could heat just enough to survive nights spent on site. Before long, though, she bought a nearby cottage to serve as her base when she left her London teaching job behind on weekends.

Then came the hard work: after buying trees from nurseries and ordering apple varieties that would fruit quickly, Pavey had to plant it all and pick up enough knowledge about pruning, grafting, squirrel management, canker and so on to keep everything alive. There was always something new to learn, and plenty of surprises – such as the stray llama that visited her neighbor’s orchard. Local history weaves through this story, too: everything from the English Civil War to Cecil Sharp’s collecting of folk songs.

Britain has seen a recent flourishing of hybrid memoirs–nature books by the likes of Helen Macdonald, Mallachy Tallack and Clover Stroud. By comparison, Pavey is not as confiding about her personal life as you might expect. She reveals precious little about herself: she tells us that her mother died when she was young and she was mostly raised by an aunt; she hints at some failed love affairs; in the acknowledgments she mentions a son; from the jacket copy I know she’s the gardening correspondent for the Hampstead & Highgate Express. But that’s it. This really is all about the wood, and apart from serving as an apt Woolf reference the use of “one” in the title is in deliberate opposition to the confessional connotations of “my”.

Still, I think this book will appeal to readers of modern nature writers like Paul Evans and Mark Cocker – these two are Guardian Country Diarists, and Pavey develops the same healthy habit of sticking to one patch and lovingly monitoring its every development. I was also reminded of Peri McQuay’s memoir of building a home in the woods of Canada.

What struck me most was how this undertaking encourages the long view: “being finished, in the sense of being brought to a satisfactory conclusion, is not something that happens in a garden, an orchard or a wood, however well planned or cultivated,” she writes. It’s an ongoing project, and she avoids nostalgia and melodrama in planning for its future after she’s gone; “I am only there for a while, a twinkling. But [the trees and creatures] … will remain.” This would make a good Christmas present for the dedicated gardener in your life, not least because of the inclusion of Pavey’s lovely black-and-white line drawings.


A Wood of One’s Own was published on September 21st by Duckworth Overlook. My thanks to the publisher for a free copy for review.

My rating:

Autumn Is Here, in Poetry and Prose

“The trees are undressing, and fling in many places –

On the gray road, the roof, the window-sill –

Their radiant robes and ribbons and yellow laces”

~from “Last Week in October,” Thomas Hardy (1928)

I recently learned that there are two different official start dates for autumn. The meteorological beginning of the season was on September 1st, while the astronomical opening is not until the 22nd. For the purposes of this review I’ll incline towards the former. I’ve been watching leaves fall since early last month, after all, but now – after a weekend spent taking a chilly boat ride down the canal, stocking the freezer with blackberries and elderberries, and setting hops to dry in the shed – it truly feels like autumn is here in southern England. Luckily, I had just the right book in hand to read over the last couple of weeks as I’ve been settling into our new place, Autumn: An anthology for the changing seasons.

autumnThis is the third of four seasonal volumes issued this year by the UK’s Wildlife Trusts, in partnership with London-based publisher Elliott & Thompson and edited by Melissa Harrison (see also my review of Summer). The format of all the books is roughly the same: pieces range from one to a few pages and run the gamut from recurring phenological records (Gilbert White and Thomas Furly Forster) and extracts from classic literature (poems by Shelley, Tennyson and Yeats) to recent nature writers (an excerpt from Helen Macdonald’s H is for Hawk; new work from Amy Liptrot and John Lewis-Stempel). Perhaps half the content has been contributed by talented amateurs, about 10 of them repeats from the first volumes.

This collection was slightly less memorable for me than Summer. A few pieces seem like school assignments, overly reliant on clichés of blackberry picking and crunching leaves underfoot. The best ones don’t attempt too much; they zero in on one species or experience and give a complete, self-contained story rather than general musings. A few stand-outs in this respect are Jo Cartnell chancing upon bank voles, Julian Jones on his obsession with eels, Laurence Arnold telling of his reptile surveying at London Wetland Center, and Lucy McRobert having a magic moment with dolphins off the Scilly Isles. I also enjoyed Kate Blincoe’s account of foraging for giant puffball mushrooms and Janet Willoner on pressing apples into juice – I’m looking forward to watching this at our town’s Apple Day in October.

I think all the contemporary writers would agree that you don’t have to live or go somewhere ‘special’ to commune with nature; there are marvels everywhere, even on your own tiny patch, if you will just go out and find them. For instance, South London seems an unlikely place for wildlife encounters, yet Will Harper-Penrose meets up with one of the country’s most strikingly exotic species (an introduced one), the ring-necked parakeet. Jane Adams comes across a persistent gang of wood mice in her very own attic, while Daphne Pleace spots red deer stags from the safety of her motorhome when on vacation in northwest Scotland.

A Japanese maple near the National Cathedral in Washington, D.C. Photo by Chris Foster.
A Japanese maple near the National Cathedral in Washington, D.C. Photo by Chris Foster.

Remarkably, the book’s disparate pieces together manage to convey a loose chronological progression, from the final days of lingering summer to the gradual onset of winter. Here’s Annie Worsley’s lovely portrayal of autumn’s approach: “In the woodlands the first trees to betray summer are silver birches: splashes of yellow dapple their fine, shimmering greenery. Here and there, long wavering larch tresses begin to change from deep green to orange and ochre.” At the other end of the autumnal continuum, David Gwilym Anthony’s somber climate change poem, “Warming,” provides a perfect close to the anthology: “These days I’ll take what Nature sends / to hoard for dour December: / a glow of warmth as autumn ends.”

A few more favorite lines:

  • “Dusk, when the edges of all things blur. A time of mauve and moonlight, of shapeshiftings and stirrings, of magic.” (Alexi Francis)
  • “Go down the village street on a late September afternoon and the warm burnt smell of jam-making oozes out of open cottage doors.” (Clare Leighton, 1933)
  • “There are miniature Serengetis like this under most logs, if you take the time to look.” (Ryan Clark)
  • “Ah, the full autumn Bisto bouquet comes powering to the nose: mouldering leaves, decaying mushrooms, rusting earth.” (John Lewis-Stempel)

My favorite essay of all, though, is by Jon Dunn: playful yet ultimately elegiac, it’s about returning to his croft on a remote Shetland island to find that an otter has been picking off his chickens.

All Saint's Church in Woolstone, Oxfordshire. Photo by Chris Foster.
All Saint’s Church in Woolstone, Oxfordshire. Photo by Chris Foster.

Like Summer, this gives a good sense of autumn as a whole, including its metaphorical associations. As Harrison puts it in her introduction, autumn “makes tangible a suite of emotions – wistfulness, nostalgia, a comfortable kind of melancholy – that are, at other times of the year, just out of reach.” It’s been my favorite season since childhood, probably because it combines the start of the school year, my birthday, and American holidays like Halloween and Thanksgiving. Whatever your own experience of autumn – whether it’s a much loved season or not; even if you call it “fall” instead – I can highly recommend this anthology’s chorus of voices old and new. There’s no better way for a book lover to usher in the season.

With thanks to Jennie Condell at Elliott & Thompson for the free copy for review.

My rating: 3.5 star rating