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Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
At the very end of the road is a six-bar metal gate. It is chained
and padlocked and marks the exact line where the tarmac stops.
Beyond that is a track, twelve pasture and hay fields, and an area
of saltmarsh, bounded on one side by a river and on the other by
vast tidal mudflats. Deep in the west of England, this is a place
sculpted by the wind and painted by the tides. It is a place full
of wildlife. This immersive and carefully crafted book of place
explores the impact of season and tides and weather upon this land
at the edge through a series of literary pictures crafted through
lyrical imaginative language. The author attempts what few, if any,
have tried to do, namely to render meticulous observations of the
intimate details of wildlife and landscape to depict a place as
faithfully and transparently as possible. This is a bold book, one
that tries to capture the elusive soul of a place; a daring
examination of both what makes a place and how it is remade daily
through the interactions between landscape and observer. It is also
radical for its approach challenges the current orthodoxy of nature
writing that in order to supply a connection between author,
subject, and reader, some sort of narrative framework of human
emotion is required to provide it with a rationale. So, although
the prose is subjective, the book is framed in such a way as to
remove the author's presence almost completely. There is no story
save that of the eternal change of the seasons, no narrative
connection, no focus on a single species, no discussion or allusion
to the environmental issues of our age, no characters. Indeed,
there is barely any mention of people at all. Although it rarely
tries to explain or educate, it simply places observations at
centre stage. Yet in trying to unearth what it is precisely that
constructs our relationship with place, the author has,
paradoxically, produced one of the most deeply personal and unusual
nature books.
Volume 1: 478 p., plate, facsimiles, music example. Volume 2: 386
p., facsimiles. Volume 3: 494 p., plates, facsimiles, music
example. Volume 4: 430 p., facsimiles. Volume 5: 374 p.
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