Scotland is a nation of dramatic weather and breathtaking landscapes - of nature resplendent. And, over the centuries, the people who have lived, explored and thrived in this country have developed a rich language to describe their surroundings: a uniquely Scottish lexicon shaped by the very environment itself. A Scots Dictionary of Nature brings together - for the first time - the deeply expressive vocabulary customarily used to describe land, wood, weather, birds, water and walking in Scotland. Artist Amanda Thomson collates and celebrates these traditional Scots words, which reveal ways of seeing and being in the world that are in danger of disappearing forever. What emerges is a vivid evocation of the nature and people of Scotland, past and present; of lives lived between the mountains and the sky.

LONGLISTED FOR THE WAINWRIGHT PRIZE FOR NATURE WRITING LONGLISTED FOR THE HIGHLAND BOOK PRIZE 2022 Reflecting on family, identity and nature, Belonging is a personal memoir about what it is to have and make a home. It is a love letter to nature, especially the northern landscapes of Scotland and the Scots pinewoods of Abernethy - home to standing dead trees known as snags, which support the overall health of the forest. Belonging is a book about how we are held in thrall to elements of our past. It speaks to the importance of attention and reflection, and will encourage us all to look and observe and ask questions of ourselves. Beautifully written and featuring Amanda Thomson's artwork and photography throughout, it explores how place, language and family shape us and make us who we are.

Essays exploring interrelated strands of material ecologies, past and present British politics, and the act of writing, through a rich variety of case studies. Much as the complexities of climate change and the Anthropocene have queried the limits and exclusions of literary representation, so, too, have the challenges recently presented by climate activism and intersectional environmentalism, animal rights, and even the power of material forms, such as oil, plastic, and heavy metals. Social and protest movements have revived the question of whether there can be such a thing as an activist ecocriticism: can such an approach only concern itself with consciousness, or might it politicise literary criticism in a new way? Attempting to respond, this volume coalesces around three interrelated strands: material ecologies, past and present British politics, and the act of writing itself. Contributors consider the ways in which literary form has foregrounded the complexities of both matter (in essays on water, sugar, and land) and political economics (from empire and nationalism to environmental justice movements and local and regional communities). The volume asks how life writing, nature writing, creative nonfiction, and autobiography - although genres entrenched in capitalist political realities - can also confront these by reinserting personal experience. Can we bring a more sustainable planet into being by focusing on those literary forms which have the ability to imagine the conditions and systems needed to do so?