WITH A NEW INTRODUCTION BY MARGARET ATWOOD Featured in the vast majority of mythologies and religions, birds are generally associated with creativity and the human spirit. From the Christian dove to Quetzalcoatl (the Aztec plumed serpent), and from Raven Man to Plato's description of the soul growing wings and feathers, birds have represented the soul in contrast to the body, the spiritual as opposed to the earthly. The Bedside Book of Birds is an unexpected and fascinating treasure trove of paintings, drawings, essays and scientific observations: it marvellously conveys the hope, the longing and the enchantment that birds have evoked in humans in all cultures and all times. Beautifully produced, the book contains more than one hundred illustrations, ranging from early cave paintings through works by Audubon, Morris and Gould, to Inuit and other works created in the twentieth century. There are writings by naturalists like W.H. Hudson, Laurens van der Post, Peter Matthiessen and Barry Lopez, and by classical authors such as Shakespeare, Coleridge, Melville and Poe. There is also a rich seam of contemporary work by Jorge Luis Borges, Ted Hughes, Italo Calvino, Bruce Chatwin and Haruki Murakami, among many others. The Bedside Book of Birds is a book to explore, to savour, and to learn from - a book for the winged soul in all of us.

A lavishly illustrated companion to The Bedside Book of Birds explores the relationships between predators and prey, drawing on mythology, nature writings, and other sources to provide coverage of both real and fictional creatures.

The distinctive and amazing songs and calls of birds: a meditation and a lexicon. “A miraculous little book: a compressed encyclopedia of our fascination with avifauna.” —The Nation “A charming, funny, and eccentric book.” —Times Literary Supplement “An elegant tribute to the beauty of its subject.” —Los Angeles Times Birds sing and call, sometimes in complex and beautiful arrangements of notes, sometimes in one-line repetitions that resemble a ringtone more than a symphony. Listening, we are stirred, transported, and even envious of birds' ability to produce what Shelley called “profuse strains of unpremeditated art.” And for hundreds of years, we have tried to write down what we hear when birds sing. Poets have put birdsong in verse (Thomas Nashe: “Cuckoo, jug-jug, pu-we, to-witta-woo”) and ornithologists have transcribed bird sounds more methodically. Drawing on this history of bird writing, in Aaaaw to Zzzzzd John Bevis offers a lexicon of the words of birds. For tourists in Birdland, there could be no more charming phrasebook. Consulting it, we find seven distinct variations of “hoo” attributed to seven different species of owls, from a simple hoo to the more ambitious hoo hoo hoo-hoo, ho hoo hoo-hoo; the understated cheet of the tree swallow; the resonant kreeaaaaaaaaaaar of the Swainson's hawk; the modest peep peep peep of the meadow pipit. We learn that some people hear the Baltimore oriole saying “here, here, come right here, dear” and the yellowhammer saying “a little bit of bread and no cheese.” Bevis, a poet, frames his lexicons—one for North America and one for Britain and northern Europe—with an evocative appreciation of birds, birdsong, and human attempts to capture the words of birds in music and poetry. He also offers an engaging account of other methods of documenting birdsong—field recording, graphic notation, and mechanical devices including duck calls and the serinette, an instrument used to teach song tunes to songbirds. The singing of birds is nature at its most sublime, and words are our medium for expressing this sublimity. Aaaaw to Zzzzzd belongs in the bird lover's backpack and on the word lover's bedside table, an unexpected and sui generis pleasure.

Set in southern Ontario in the late nineteenth century, at a time when the machine age was coming into its own, Perpetual Motion chronicles the fortunes of settler Robert Fraser, a man obsessed with power and control. Driven by the idea of inventing a perpetual motion machine which will utilize natural energy, he neglects and destroys not only the nature around him but his own family too, as his overbearing rationality becomes a kind of tragic lunacy. First published in 1982, Perpetual Motion is Graeme Gibson’s superb evocation of a time when faith in material progress is still challenged by superstition and a lingering belief in magic. It is an ironic yet compassionate examination of the painful consequences of human folly.

What draws us to the beauty of a peacock, the flight of an eagle, or the song of a nightingale? Why are birds so significant in our lives and our sense of the world? And what do our ways of thinking about and experiencing birds tell us about ourselves? Birdscapes is a unique meditation on the variety of human responses to birds, from antiquity to today, and from casual observers to the globe-trotting "twitchers" who sometimes risk life, limb, and marriages simply to add new species to their "life lists." Drawing extensively on literature, history, philosophy, and science, Jeremy Mynott puts his own experiences as a birdwatcher in a rich cultural context. His sources range from the familiar--Thoreau, Keats, Darwin, and Audubon--to the unexpected--Benjamin Franklin, Giacomo Puccini, Oscar Wilde, and Monty Python. Just as unusual are the extensive illustrations, which explore our perceptions and representations of birds through images such as national emblems, women's hats, professional sports logos, and a Christmas biscuit tin, as well as classics of bird art. Each chapter takes up a new theme--from rarity, beauty, and sound to conservation, naming, and symbolism--and is set in a new place, as Mynott travels from his "home patch" in Suffolk, England, to his "away patch" in New York City's Central Park, as well as to Russia, Australia, and Greece. Conversational, playful, and witty, Birdscapes gently leads us to reflect on large questions about our relation to birds and the natural world. It encourages birders to see their pursuits in a broader human context--and it shows nonbirders what they may be missing.

The bird book for birders and nonbirders alike that will excite and inspire by providing a new and deeper understanding of what common, mostly backyard, birds are doing—and why: "Can birds smell?"; "Is this the same cardinal that was at my feeder last year?"; "Do robins 'hear' worms?" "The book's beauty mirrors the beauty of birds it describes so marvelously." —NPR In What It's Like to Be a Bird, David Sibley answers the most frequently asked questions about the birds we see most often. This special, large-format volume is geared as much to nonbirders as it is to the out-and-out obsessed, covering more than two hundred species and including more than 330 new illustrations by the author. While its focus is on familiar backyard birds—blue jays, nuthatches, chickadees—it also examines certain species that can be fairly easily observed, such as the seashore-dwelling Atlantic puffin. David Sibley's exacting artwork and wide-ranging expertise bring observed behaviors vividly to life. (For most species, the primary illustration is reproduced life-sized.) And while the text is aimed at adults—including fascinating new scientific research on the myriad ways birds have adapted to environmental changes—it is nontechnical, making it the perfect occasion for parents and grandparents to share their love of birds with young children, who will delight in the big, full-color illustrations of birds in action. Unlike any other book he has written, What It's Like to Be a Bird is poised to bring a whole new audience to David Sibley's world of birds.

Early bird wakes up and begins a search for breakfast.