A brief, intense, and entirely enjoyable tour of nature.
An almanac provides meditations inspired by encounters with the natural world.
“When I go too far out, I need to gather my landmarks of home around me,” writes radio broadcaster and veteran almanac author Felker (Poor Will’s Almanac for 2018, 2017, etc.) in his short, aphoristic new work of reflections on nature. “Distant locations only make sense against my local gauge.” The more he understands where he is, he tells his readers, the more he understands himself. Consequently, he lavishes extraordinary care and attention on his small plot of field and woodland in Yellow Springs in southwestern Ohio, often characterizing the locus of home as the “prime meridian” in even the most far-ranging voyages. In the long tradition of nature diaries, he anchors dozens of short pieces on explorations of the seasons of the year, the moods of the weather, and, most of all, the characters and behaviors of all the animals he spots, particularly birds. Several of the architects of this kind of writing, from Ralph Waldo Emerson to John Burroughs, are quoted or paraphrased with obvious affection, and Felker’s animal portraits are warmly enhanced by what he freely admits is a liberal amount of anthropomorphizing. His birds and woodland creatures are often as metaphorical as they are material. He’s a careful and meticulous observer who nevertheless seldom falls into the trap reserved for scrupulous spectators: being tedious. He’s saved from this because he commands a light-footed prose style and he keeps his vignettes very brief. Felker has been crafting these almanac-style entries for many years, and his experience shows not only in the smoothness and economy of his storytelling, but also in the winning combination of humility and poetic insights he’s clearly mastered. He’s delightful company on the page, in everything from his subtle, sensory-heavy evocations of the seasons (winter being a specialty) to his accounts of the stars and his lush descriptions of the natural world’s various inhabitants, captured even in a quick list of the region’s bird life: “The sparrows, like starlings, staying tight to the motions of the flock; the acrobatic chickadees swooping in and out, remaining only seconds to grasp their sunflower seed and fly off; the wary, fluttering titmice; the blue jays, harsh and bullying; the hopping, syncopated nuthatches exploring upside down.” These passages are often layered with musings about the author’s moods—the immediate and sometimes-odd ways his feelings intersect with the flora and fauna he stumbles on (one of the book’s closing scenes, involving a group of pantry-raiding mice, is an especially touching example). The tone throughout remains highly personal, almost confessional, which often adds to the charm of the work. The author’s knowledge of the plants and animals in his realm is encyclopedic but never comes across as pedantic, and the resulting almanac is a tightly focused and wonderfully executed example of small-bore nature writing.
A brief, intense, and entirely enjoyable tour of nature.Pub Date: Nov. 15, 2017
ISBN: 978-1-5441-3462-8
Page Count: 110
Publisher: Green Thrush Press
Review Posted Online: Nov. 9, 2017
Kirkus Reviews Issue: Dec. 15, 2017
Review Program: Kirkus Indie
BOOK REVIEW
Unsentimental nature writing that sheds as much light on humans as on eels.
An account of the mysterious life of eels that also serves as a meditation on consciousness, faith, time, light and darkness, and life and death.
In addition to an intriguing natural history, Swedish journalist Svensson includes a highly personal account of his relationship with his father. The author alternates eel-focused chapters with those about his father, a man obsessed with fishing for this elusive creature. “I can’t recall us ever talking about anything other than eels and how to best catch them, down there by the stream,” he writes. “I can’t remember us speaking at all….Because we were in…a place whose nature was best enjoyed in silence.” Throughout, Svensson, whose beat is not biology but art and culture, fills his account with people: Aristotle, who thought eels emerged live from mud, “like a slithering, enigmatic miracle”; Freud, who as a teenage biologist spent months in Trieste, Italy, peering through a microscope searching vainly for eel testes; Johannes Schmidt, who for two decades tracked thousands of eels, looking for their breeding grounds. After recounting the details of the eel life cycle, the author turns to the eel in literature—e.g., in the Bible, Rachel Carson’s Under the Sea Wind, and Günter Grass’ The Tin Drum—and history. He notes that the Puritans would likely not have survived without eels, and he explores Sweden’s “eel coast” (what it once was and how it has changed), how eel fishing became embroiled in the Northern Irish conflict, and the importance of eel fishing to the Basque separatist movement. The apparent return to life of a dead eel leads Svensson to a consideration of faith and the inherent message of miracles. He warns that if we are to save this fascinating creature from extinction, we must continue to study it. His book is a highly readable place to begin learning.
Unsentimental nature writing that sheds as much light on humans as on eels.Pub Date: May 5, 2020
ISBN: 978-0-06-296881-4
Page Count: 256
Publisher: Ecco/HarperCollins
Review Posted Online: Feb. 29, 2020
Kirkus Reviews Issue: March 15, 2020
Drawings, words, and a few photos combine to convey the depth of a tragedy that would leave most people dumbstruck.
A new life and book arise from the ashes of a devastating California wildfire.
These days, it seems the fires will never end. They wreaked destruction over central California in the latter months of 2018, dominating headlines for weeks, barely a year after Fies (Whatever Happened to the World of Tomorrow?, 2009) lost nearly everything to the fires that raged through Northern California. The result is a vividly journalistic graphic narrative of resilience in the face of tragedy, an account of recent history that seems timely as ever. “A two-story house full of our lives was a two-foot heap of dead smoking ash,” writes the author about his first return to survey the damage. The matter-of-fact tone of the reportage makes some of the flights of creative imagination seem more extraordinary—particularly a nihilistic, two-page centerpiece of a psychological solar system in which “the fire is our black hole,” and “some veer too near and are drawn into despair, depression, divorce, even suicide,” while “others are gravitationally flung entirely out of our solar system to other cities or states, and never seen again.” Yet the stories that dominate the narrative are those of the survivors, who were part of the community and would be part of whatever community would be built to take its place across the charred landscape. Interspersed with the author’s own account are those from others, many retirees, some suffering from physical or mental afflictions. Each is rendered in a couple pages of text except one from a fellow cartoonist, who draws his own. The project began with an online comic when Fies did the only thing he could as his life was reduced to ash and rubble. More than 3 million readers saw it; this expanded version will hopefully extend its reach.
Drawings, words, and a few photos combine to convey the depth of a tragedy that would leave most people dumbstruck.Pub Date: March 5, 2019
ISBN: 978-1-4197-3585-1
Page Count: 160
Publisher: Abrams ComicArts
Review Posted Online: Nov. 25, 2018
Kirkus Reviews Issue: Dec. 15, 2018
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