Weatherland

A lively look at the English literary and artistic responses to the weather from Chaucer and Shakespeare to Keats and Ian McEwan In a sweeping panorama, Weatherland allows us to witness England’s cultural climates across the centuries. Before the Norman Conquest, Anglo-Saxons living in a wintry world wrote about the coldness of exile or the shelters they had to defend against enemies outside. The Middle Ages brought the warmth of spring; the new lyrics were sung in praise of blossoms and cuckoos. Descriptions of a rainy night are rare before 1700, but by the end of the eighteenth century the Romantics had adopted the squall as a fit subject for their most probing thoughts. The weather is vast and yet we experience it intimately, and Alexandra Harris builds her remarkable story from small evocative details. There is the drawing of a twelfth-century man in February, warming bare toes by the fire. There is the tiny glass left behind from the Frost Fair of 1684, and the Sunspan house in Angmering that embodies the bright ambitions of the 1930s. Harris catches the distinct voices of compelling individuals. “Bloody cold,” says Jonathan Swift in the “slobbery” January of 1713. Percy Shelley wants to become a cloud and John Ruskin wants to bottle one. Weatherland is a celebration of English air and a life story of those who have lived in it.

Writers and artists across the centuries, from Chaucer to Ian McEwan, and from the creator of the Luttrell Psalter in the 14th century to John Piper in the 20th, looking up at the same skies and walking in the same brisk air, have felt very different things and woven them into their novels, poems and paintings. Alexandra Harris's subject is not the weather itself, but the weather as it is daily recreated in the human imagination. She builds her remarkable story from small evocative details and catches the distinct voices of compelling individuals: 'Bloody cold', says Jonathan Swift in the 'slobbery' January of 1713; Percy Shelley wants to become a cloud and John Ruskin wants to bottle one... Weatherland is both a sweeping panorama of cultural climates on the move and a richly illustrated, intimate account - for although weather is vast, it is experienced physically, emotionally and spiritually; as Harris cleverly reveals, it is at the very heart of English life and culture.

In Light as Experience and Imagination from Medieval to Modern Times, David S. Herrstrom synthesizes and interprets the experience of light as revealed in a wide range of art and literature from medieval to modern times. The true subject of the book is making sense of the individual’s relationship with light, rather than the investigation of light’s essential nature, while telling the story of light “seducing” individuals from the Middle Ages to our modern times. Consequently, it is not concerned with the “progress” of scientific inquiries into the physical properties and behavior of light (optical science), but rather with subjective reactions as reflected in art, architecture, and literature. Instead of its evolution, this book celebrates the complexity of our relation to light’s character. No individual experience of light being “truer” than any other.

Winner of the 2010 Guardian First Book Award: a groundbreaking reassessment of English cultural life in the thirties and forties. In the 1930s and 1940s, while the battles for modern art and modern society were being fought in Paris and Spain, it seemed to some a betrayal that John Betjeman and John Piper were in love with a provincial world of old churches and tea shops. Alexandra Harris tells a different story: eclectically, passionately, wittily, urgently, English artists were exploring what it meant to be alive at that moment and in England. They showed that “the modern” need not be at war with the past: constructivists and conservatives could work together, and even the Bauhaus émigré László Moholy-Nagy was beguiled into taking photos for Betjeman’s nostalgic An Oxford University Chest. A rich network of personal and cultural encounters was the backdrop for a modern English renaissance. This great imaginative project was shared by writers, painters, gardeners, architects, critics, and composers. Piper abandoned purist abstracts to make collages on the blustery coast; Virginia Woolf wrote in her last novel about a village pageant on a showery summer day. Evelyn Waugh, Elizabeth Bowen, and the Sitwells are also part of the story, along with Bill Brandt and Graham Sutherland, Eric Ravilious and Cecil Beaton.

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What can a gardener learn from Tchaikovsky's Fourth Symphony? Are perennial plants symbols of friendship? Is gardening in the Whig tradition? Are 'non-native' plants 'aliens'? Can the art of writing a novel be compared to gardening? Is Monty Don right about the presence of flowers in the great Renaissance Italian gardens? Do gardens exhibit Late Style? Can mowing be a creative activity? Why is the creation of a new path such a delightful experience? Should gardens open to the public be 'reviewed' in the same way as exhibitions of paintings and newly-published books? Minding The Garden: Lilactree Farm combines brief commentaries on garden history, on rare and familiar plants, on the tantalizing connections between the garden as art form and the other arts, on the pleasures and follies of gardening, in a collection of 125 'Notes' presented in the context of a composite gardening year. Discover how Lilactree Farm evolved over the years, through six retrospective 'plans, ' spaced sequentially throughout the text, and through Des Townshend's spell-casting photographs. Minding The Garden: Lilactree Farm is sure to captivate gardeners, both armchair and active, in the English-speaking world and perhaps beyond....

Christians often don't know how to respond to the climate crisis and messages of possible destruction caused by human activity. Frances Ward shows how Christians can live and act with hope and faith in God in the face of eco-anxiety.

Protecting the Ozone Layer: Lessons, Models, and Prospects Since the mid-1980s, the international community has adopted several significant instruments designed to reverse the degradation of the life support systems of the planet. None of these international agreements have been as successful as the 1987 Montreal Protocol in creating the incentives and mechanisms for protecting the ozone layer. Through the efforts of industry, government and public interest groups, national commitments and achievements have progressed further and faster than expected, while the list of controlled chemicals has expanded. Now in its second decade, the Protocol enters a crucial phase of its implementation. Protecting the Ozone Layer: Lessons, Models, and Prospects presents a wealth of information about the scientific, legal-political, and technological hurdles that we will have to overcome if humanity is to reverse its self-destructive course. The technology section in particular should appeal to industries affected by ozone layer protection as well as those affected by climate protection, since this is the first ozone publication featuring insights by the companies that spearheaded the major technological breakthroughs. Every initiative to improve the environmental performance of industry has been accompanied by pronouncements of economic devastation, from acid rain to auto emissions standards, from auto mileage improvements to the protection of the ozone layer. Each new initiative brought claims from industry that this situation was different, yet none of their predictions have come true. At a time when industry fights efforts to protect the environment, the ozone experience shows both how technical breakthroughs have enabled environmental protection policies to work in the past and how they will work again in the future. Protecting the Ozone Layer: Lessons, Models, and Prospects is the product of a Colloquium that was organized in September 1997 to celebrate the tenth anniversary of the Montreal Protocol. Contributions have been gathered from researchers and practitioners in the field, including some of the very same scientists whose work awakened the international community to the seriousness of the danger that humanity now faces. Other contributors include the scholars and diplomats who wrote and negotiated the text of the Protocol and its amendments, and the key figures who have been influential in convincing industry to support the process.