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Winner of the 2020 Andrew Carnegie Medal for Excellence in Nonfiction * Finalist for the 2020 Kirkus Prize for Nonfiction * Finalist for the PEN/E.O. Wilson Literary Science Writing Award A “delving, haunted, and poetic debut” (The New York Times Book Review) about the awe-inspiring lives of whales, revealing what they can teach us about ourselves, our planet, and our relationship with other species. When writer Rebecca Giggs encountered a humpback whale stranded on her local beachfront in Australia, she began to wonder how the lives of whales reflect the condition of our oceans. Fathoms: The World in the Whale is “a work of bright and careful genius” (Robert Moor, New York Times bestselling author of On Trails), one that blends natural history, philosophy, and science to explore: How do whales experience ecological change? How has whale culture been both understood and changed by human technology? What can observing whales teach us about the complexity, splendor, and fragility of life on earth? In Fathoms, we learn about whales so rare they have never been named, whale songs that sweep across hemispheres in annual waves of popularity, and whales that have modified the chemical composition of our planet’s atmosphere. We travel to Japan to board the ships that hunt whales and delve into the deepest seas to discover how plastic pollution pervades our earth’s undersea environment. With the immediacy of Rachel Carson and the lush prose of Annie Dillard, Giggs gives us a “masterly” (The New Yorker) exploration of the natural world even as she addresses what it means to write about nature at a time of environmental crisis. With depth and clarity, she outlines the challenges we face as we attempt to understand the perspectives of other living beings, and our own place on an evolving planet. Evocative and inspiring, Fathoms “immediately earns its place in the pantheon of classics of the new golden age of environmental writing” (Literary Hub).
"If you liked American Gods by Neil Gaiman or Circe by Madeline Miller, be sure to pick this one up." -- Timeworn A sweeping tale of forbidden love and warring gods, where a young Inuit shaman and a Viking warrior become unwilling allies in a war that will determine the fate of the new world. There is a very old story, rarely told, of a wolf that runs into the ocean and becomes a whale. . . Born with the soul of a hunter and the spirit of the Wolf, Omat is destined to follow in her grandfather's footsteps-invoking the spirits of the land, sea, and sky to protect her people. But the gods have stopped listening and Omat's family is starving. Desperate to save them, Omat journeys across the icy wastes, fighting for survival with every step. When she encounters Brandr, a wounded Viking warrior, they set in motion a conflict that could shatter her world. . .or save it.
From his childhood fascination with the gigantic Natural History Museum model of a blue whale, to his abiding love of Moby-Dick, to his adult encounters with the living animals in the Atlantic Ocean, the acclaimed writer Philip Hoare has been obsessed with whales. The Whale is his unforgettable and moving attempt to explain why these strange and beautiful animals exert such a powerful hold on our imagination.
Originally written in Dutch, Adriaen Coenen's illustrated manuscripts represent the first European natural history of whales and other marine animals.
The Whale in the Living Room follows the thrilling adventures of film-maker, John Ruthven, as he travels the globe, dives into our oceans and passionately recounts his life-affirming experiences. What creatures could remain undiscovered in the 95 per cent of the seas that have not been thoroughly explored? How vast, really, are our oceans? The surface of Mars and Venus are better known to us than Earth's seabed. Yet to map the world's ocean to even 100-metre blocks of accuracy, something that environmentalists say is essential for its protection, could take another 300 years. Even creatures that are known to us, like the giant squid, have proved too difficult to accurately capture on film. Quite literally immersed in his subject, John can help readers understand the magnitude of our planet's oceans and why it is so important for us to protect our seas and the creatures that inhabit them. He is the only producer to have worked full-time on both series of Blue Planet, as well as nearly fifty other films about the sea. Through his first-hand experience, John shows us the loneliness of whale calves in the deep blue, the fear of seals as they dodge great white sharks near the coast, or the curiosity of octopus staring back at us through the camera. His book takes us through the blue rings of South Pacific coral atolls, on submarine rides into the abyss with ancient life forms, and up close and personal encounters with singing humpback whales that make you feel the water around you. The Whale in the Living Room, like the proverbial 'elephant in the room', is also about how, until recently, we have been largely blind to our polluting of the seas. John, for example, explores how plastic 'went wild' in the ocean; tries to understand how we got into this mess; and see if we can ever untangle the oceans from its grip.
A child and a whale embark on a beautiful journey together in this lyrical, gorgeously illustrated picture book about friendship, hope, and love for the world around us in the vein of The Fisherman & the Whale and Cynthia Rylant’s Life. Where land becomes sky and sky becomes sea, I first saw the whale and the whale first saw me. A child joins a friendly whale for a magical journey of discovery. They sail the blue ocean, dance with dolphins, and tail-splash seagulls. But the child also sees an ocean filled with plastic trash. And that inspires a promise of help, for the whale and all earth’s creatures.
The legend of the Great Spotted Whale has never been proven until two whale watchers set out on a journey fifty years later to find the mythical animal. When they finally see it, they discover another surprise even bigger than they imagined.
In The Sounding of the Whale, D.
As a mythical creature, the whale has been responsible for many transformations in the world. It is an enchanting being that humans have long felt a connection to. In the contemporary environmental imagination, whales are charismatic megafauna feeding our environmentalism and aspirations for a better and more sustainable future. Using multispecies ethnography, Whale Snow explores how everyday the relatedness of the Iñupiat of Arctic Alaska and the bowhead whale forms and transforms “the human” through their encounters with modernity. Whale Snow shows how the people live in the world that intersects with other beings, how these connections came into being, and, most importantly, how such intimate and intense relations help humans survive the social challenges incurred by climate change. In this time of ecological transition, exploring multispecies relatedness is crucial as it keeps social capacities to adapt relational, elastic, and resilient. In the Arctic, climate, culture, and human resilience are connected through bowhead whaling. In Whale Snow we see how climate change disrupts this ancient practice and, in the process, affects a vital expression of Indigenous sovereignty. Ultimately, though, this book offers a story of hope grounded in multispecies resilience.
George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. Politics vs. Literature, the fourth in the Orwell’s Essays series, is, at heart, a review of Jonathan Swift’s Gulliver’s Travels. Having been given a copy of the book on his eighth birthday, Orwell knows it inside out, and thinks highly of it; it is ‘pessimistic’, though, he says – ‘it descends into political partisanship of a narrow kind,’ designed to ‘humiliate man by reminding him that he is weak and ridiculous.’ Using the book as an example of enjoying a book whose author one cannot stand, Orwell goes on to say that he considers Gulliver’s Travels a work of art, leaving the reader to reconsider the books on their own shelves. 'A writer who can – and must – be rediscovered with every age.' — Irish Times