This journey through the changing seasons at Rowfoot Farm - tupping time in the autumn, winters as wet, bleak and cold here in Cumbria as elsewhere, lambing and the glories of spring, a bucolic, bee-filled Eden Valley summer with its many shows and fairs - will reveal much that you need to know about the countryside, its quirky customs and ways, and most likely a great deal that you don't. They no longer burn witches (not because they're lily-livered, it's just that getting the necessary timber from sustainable forests is a real chore). You'll find nothing here about welly-wanging either. Jackie doesn't wang her wellies, she just gets them muddy. You won't need to, of course, as this book will ensure you experience rural life vicariously and very cleanly. Along the way, Jackie bumps into friends old and new, peeps back over her shoulder every now and then to recall times past, oh and it wouldn't be her if she didn't have the occasional impassioned rant or take the odd pop at the establishment, but rest assured she's quite gentle with them. So join Jackie (and Katie the Lurcher, Blossom the Cob and Rowfoot's many other residents, four- and two-legged) as she recounts the occasional pitfall and many pleasures of running a small farm in one of the most beautiful parts of England.

Set sail on a hilarious romp on the high seas with a group of pirate sheep and their big emotions! Join them as they bumble their way to a lost island and find the best treasure of all -- friendsheep! Baa-hoy! Captain Hoof and his crew of sheep pirates are headed home with their treasure. Then -- SMASH! CRASH! BAM! -- the flock has been SHEEPWRECKED. They're cursed! They're lost forever! They'll never make it home! Until. . . a long-lost pirate helps the ragtag flock calm their nerves and see that things aren't all that bad. All's wool that ends wool in this hilariously absurd, adventurous picture book from the creator of Witch & Wombat.

Preservation of natural and cultural heritage is often said to be something that is done for the future, or on behalf of future generations, but the precise relationship of such practices to the future is rarely reflected upon. Heritage Futures draws on research undertaken over four years by an interdisciplinary, international team of 16 researchers and more than 25 partner organisations to explore the role of heritage and heritage-like practices in building future worlds. Engaging broad themes such as diversity, transformation, profusion and uncertainty, Heritage Futures aims to understand how a range of conservation and preservation practices across a number of countries assemble and resource different kinds of futures, and the possibilities that emerge from such collaborative research for alternative approaches to heritage in the Anthropocene. Case studies include the cryopreservation of endangered DNA in frozen zoos, nuclear waste management, seed biobanking, landscape rewilding, social history collecting, space messaging, endangered language documentation, built and natural heritage management, domestic keeping and discarding practices, and world heritage site management.

Winner of the ASLE-UKI Book Prize 2023. The commons and enclosure are among the most vital ways of thinking about poetry today, posing urgent ecological and political questions about land and resource ownership and use. Poetry & Commons is the first study to read postwar and contemporary poetry through this lens, by putting it in dialogue with the Romantic experience of agrarian dispossession. Employing an innovative transhistorical structure, the book demonstrates how radical Anglophone poetries since 1960 have returned to the 'enclosure of the commons' in response to political and ecological crises. It identifies a 'commons turn' in contemporary lyric that contests the new enclosures of globalized capital and resource extraction. In lucid close readings of a rich field of experimental poetries associated with the 'British Poetry Revival', as well as from Canada and the United States, it analyses a landscape poetics of enclosure in relationship with Romantic verse. Canonical Romantic poetry by Wordsworth and Clare is understood through the fine-grain textures of the period’s vernacular and radical verse and discourse around enclosure, which the book demonstrates contain the seeds of neoliberal political economy. Engaging with the work of Anne-Lise François and Anna Tsing, Poetry & Commons theorizes commoning as marking out subsistence 'rhythms of resource', which articulate plural, irregular, and tentative relations between human and nonhuman lifeworlds.

This book is a compilation of papers derived from talks, presented at TransCultural Exchange’s 2018 International Conference on Opportunities in the Arts. The aim of these talks was to inspire artists to think across disciplines and cultures and to suggest other career models beyond the typical studio to gallery/museum model. Much of this content is unique in that it not only addresses the practical needs of artists but, even more importantly, it does so in the context of today’s global reality. As artists have noted on post-Conference surveys, this information is “the missing link in the art world; the bridge between academic and real-world practice; between a local and international career in the arts.” By making this information available long-after the Conference’s end and to those who could not directly participate in the Conference, many more artists will have access to where to find jobs/residency programs and funding for their work, information on how to put together successful residency applications, how to market their work, and other professional development programming. In addition, they (and interested members of the public) will have access to the Conference talks on what leading artists are doing across disciplines, with new technologies, and in the public sphere.

The proceedings of the 2017 Oxford Symposium on Food and Cookery includes 43 essays by international scholars. The topics included agro-ecology, food sovereignty and economic democracy in the agricultural landscape, argued by Colin Tudge, James Rebanks on family life as a hill-farmer in the Lake District, and many talks that illustrate Catalan historian Joseph Pla's axiom that 'Cuisine is the landscape in a saucepan'.

As an investigative journalist, Monbiot found a mission in his ecological boredom, that of learning what it might take to impose a greater state of harmony between himself and nature. He was not one to romanticize undisturbed, primal landscapes, but rather in his attempts to satisfy his cravings for a richer, more authentic life, he came stumbled into the world of restoration and rewilding. When these concepts were first introduced in 2011, very recently, they focused on releasing captive animals into the wild. Soon the definition expanded to describe the reintroduction of animal and plant species to habitats from which they had been excised. Some people began using it to mean the rehabilitation not just of particular species, but of entire ecosystems: a restoration of wilderness. Rewilding recognizes that nature consists not just of a collection of species but also of their ever-shifting relationships with each other and with the physical environment. Ecologists have shown how the dynamics within communities are affected by even the seemingly minor changes in species assemblages. Predators and large herbivores have transformed entire landscapes, from the nature of the soil to the flow of rivers, the chemistry of the oceans, and the composition of the atmosphere. The complexity of earth systems is seemingly boundless."