However many times it has been done, the act of casting off the warps and letting go one's last hold of the shore at the start of a voyage has about it something solemn and irrevocable, like marriage, for better or for worse. Mostly Mischief's ordinary title belies four more extraordinary voyages made by H.W. 'Bill' Tilman covering almost 25,000 miles in both Arctic and Antarctic waters. The first sees the pilot cutter Mischief retracing the steps of Elizabethan explorer John Davis to the eastern entrance to the Northwest Passage. Tilman and a companion land on the north coast and make the hazardous crossing of Bylot Island while the remainder of the crew make the eventful passage to the southern shore to recover the climbing party. Back in England, Tilman refuses to accept the condemnation of Mischief's surveyor, undertaking costly repairs before heading back to sea for a first encounter with the East Greenland ice. Between June 1964 and September 1965, Tilman is at sea almost without a break. Two eventful voyages to East Greenland in Mischief provide the entertaining bookends to his account of the five-month voyage in the Southern Ocean as skipper of the schooner Patanela. Tilman had been hand-picked by the expedition leader as the navigator best able to land a team of Australian and New Zealand climbers and scientists on Heard Island, a tiny volcanic speck in the Furious Fifties devoid of safe anchorages and capped by an unclimbed glaciated peak. In a separate account of this successful voyage, Colin Putt describes the expedition as unique - the first ascent of a mountain to start below sea level.

The evolution of the surfboard, from traditional Hawaiian folk designs to masterpieces of mathematical engineering to mass-produced fiberglass. Surfboards were once made of wood and shaped by hand, objects of both cultural and recreational significance. Today most surfboards are mass-produced with fiberglass and a stew of petrochemicals, moving (or floating) billboards for athletes and their brands, emphasizing the commercial rather than the cultural. Surf Craft maps this evolution, examining surfboard design and craft with 150 color images and an insightful text. From the ancient Hawaiian alaia, the traditional board of the common people, to the unadorned boards designed with mathematical precision (but built by hand) by Bob Simmons, to the store-bought longboards popularized by the 1959 surf-exploitation movie Gidget, board design reflects both aesthetics and history. The decline of traditional alaia board riding is not only an example of a lost art but also a metaphor for the disintegration of traditional culture after the Republic of Hawaii was overthrown and annexed in the 1890s. In his text, Richard Kenvin looks at the craft and design of surfboards from a historical and cultural perspective. He views board design as an exemplary model of mingei, or art of the people, and the craft philosophy of Soetsu Yanagi. Yanagi believed that a design's true beauty and purpose are revealed when it is put to its intended use. In its purest form, the craft of board building, along with the act of surfing itself, exemplifies mingei. Surf Craft pays particular attention to Bob Simmons's boards, which are striking examples of this kind of functional design, mirroring the work of postwar modern California designers. Surf Craft is published in conjunction with an exhibition at San Diego's Mingei International Museum.

Shifting Currents is an original and comprehensive history of swimming. It examines the tension that arose when non-swimming northerners met African and Southeast Asian swimmers. Using archaeological, textual and art historical sources, Karen Eva Carr shows how the water simultaneously attracted and repelled these northerners - swimming seemed uncanny, related to witchcraft and sin. Europeans used Africans' and Native Americans' swimming skills to justify enslaving them, but northerners also wanted to claim water's power for themselves. They imagined that swimming would bring them health and demonstrate their scientific modernity. This unresolved tension still sexualizes women's swimming and marginalizes Black and Indigenous swimmers today. The history of swimming is a new lens through which to gain a clearer view of race, gender and power on a centuries-long scale.