'It has been hand-planted by Tsarinas and felled by foresters. It has been celebrated by peasants, worshipped by pagans and painted by artists. It has self-seeded across mountains and rivers and train tracks and steppe and right through the ruined modernity of a nuclear fall-out site. And like all symbols, the story of the birch has its share of horrors (white, straight, native, pure: how could it not?). But, maybe in the end, what I'm really in search of is a birch that means nothing: stripped of symbolism, bereft of use-value . . . A birch that is simply a tree in a land that couldn't give a shit.' The birch, genus Betula, is one of the northern hemisphere's most widespread and easily recognisable trees. A pioneer species, the birch is also Russia's unofficial national emblem, and in The White Birch art critic Tom Jeffreys sets out to grapple with the riddle of Russianness through numerous journeys, encounters, histories and artworks that all share one thing in common: the humble birch tree. We visit Catherine the Great's garden follies and Tolstoy's favourite chair; walk through the Chernobyl exclusion zone and among overgrown concrete bunkers in Vladivostok; explore the world of online Russian brides and spend a drunken night in Moscow with art-activists Pussy Riot, all the time questioning the role played by Russia's vastly diverse landscapes in forming and imposing national identity. And vice-versa: how has Russia's dramatically shifting self-image informed the way its people think about nature, land and belonging? Curious, resonant and idiosyncratic, The White Birch is a unique collection of journeys into Russia and among Russian people.

One November morning, Tom Jeffreys set off from Euston Station with a gnarled old walking stick in his hand and an overloaded rucksack. His aim was to walk the 119 miles from London to Birmingham along the proposed route of HS2. Needless to say, he failed. Over the course of ten days of walking, Jeffreys meets conservationists and museum directors, ery farmers and suicidal retirees. From a rapidly changing London, through interminable suburbia, and out into the English countryside, Jeffreys goes wild camping in Perivale, ees murderous horses in Oxfordshire, and gets lost in a land ll site in Buckinghamshire. Signal Failure weaves together poetry and politics, history, philosophy and personal observation to form an extended exploration of people and place, nature, society, and the future. In part, Signal Failure is the story of the author's multiple shortcomings - his inability to understand the city he lives in, to forge a meaningful relationship with his home-county hometown, to emulate those great nature writers he admires so much, to put up a tent or read a map.It is also a wide-ranging critique of humanity's most urgent failures: of capitalism, of community, of the city and the suburbs, of architecture and agriculture, of bureaucratic democracy, and, in the end, of our age-old failure to nd our place in the world we live in.

'A beautiful and profound meditation on the way landscape shapes art and life. I was entranced by The White Birch, a book that comes close to encapsulating the vast enigma of Russia in the form of a single tree' Alex Preston, author of Winchelsea and As Kingfishers Catch Fire The birch. Genus Betula. One of the northern hemisphere's most widespread and easily recognisable trees, and Russia's unofficial national emblem. From Catherine the Great's garden follies and Tolstoy's favourite chair to the Chernobyl exclusion zone and drunken nights in Moscow, art critic Tom Jeffreys leads us across Russia's diverse land to understand its dramatically shifting identity. As we walk through lost landscapes, discover historic artworks, explore the secret online world of Russian brides, and relive encounters between some of Russia's greatest artists and writers, we uncover a myriad of overlapping meanings surrounding the humble birch tree. Curious, resonant and idiosyncratic, The White Birch is a unique collection of journeys that grapples with the riddle of Russianness.