An imposing, life-size oil painting dominates the main meeting room at the RSPB’s base in the heart of England: ‘the man above the fireplace’ – always present, rarely mentioned. Curious about the person in the portrait, the author began a quest to rediscover William Henry Hudson (1841–1922). It became a mission of restoration: stitching back together the faded tapestry of Hudson’s life, re-colouring it in places and adding new threads from the testaments of his closest friends. This book traces the unassuming field naturalist’s path through a dramatic and turbulent era: from Hudson’s journey to Britain from Argentina in 1874 to the unveiling by the prime minister of a monument and bird sanctuary in his honour 50 years later, in the heart of Hyde Park – a place where the young immigrant had, for a time, slept rough. At its core, this extraordinary story reveals Hudson’s deep influence on the creation of his beloved Bird Society by its founding women, and the rise of the conservation movement. It reveals the strange magnetism of this mysterious man from the Pampas – unschooled, battle-scarred and once penniless – that made his achievements possible, and left such a profound impression on those who knew him. By the end of his life, Hudson had Hollywood studios bidding for his work. He was a household name through his luminous and seminal nature writing, and the Bird Society had at last reached the climax of a 30-year campaign, working to create the first global alliance of bird protectionists. A century after Hudson’s death, this is a long-overdue tribute to perhaps our most significant – and most neglected – writer-naturalist and wildlife campaigner.

This book critically examines how movies that feature real or imagined explorers and expeditions creatively feature the geography of Latin America. It focuses on how locales are scripted into film plots and artistically depicted, and demonstrates that place is as important as any character in a film, especially in this genre. Nineteen key films are analyzed. Some, like Aguirre, the Wrath of God, Fitzcarraldo, The Other Conquest, Embrace of the Serpent, and The Lost City of Z are based on the exploits of real explorers. Others are fictional, including Apocalypto, Indiana Jones and the Kingdom of the Crystal Skull, and Dora and the Lost City of Gold. The author also discusses the evolution of exploration-discovery films, including trends that will likely be found in forthcoming movies.

In Gauchos and Foreigners: Glossing Culture and Identity in the Argentine Countryside Ariana Huberman discusses the relationship between the gaucho figure and the 'foreigner' in Argentine rural literature. The narratives of William Henry Hudson, Benito Lynch and Alberto Gerchunoff present English scientists and travelers, as well as Jewish and Italian immigrants, in direct contact with the gaucho in the Argentine and Uruguayan countryside. The book shows how the intent to define and translate terms from the national glossary the gaucho, his lifestyle and habitat and from 'foreign' cultures, ultimately questions these terms' capacity to represent a specific culture. It traces a series of writing practices that challenge the concepts of 'native' and 'foreign' as stable categories of representation by conveying identity and culture across multiple linguistic, social and cultural registers. The reading of these unique practices of translation hopes to offer a fresh approach to the multicultural scope of Argentine literature.

“My task which I am trying to achieve is, by the power of the written word, to make you hear, to make you feel—it is, before all, to make you see. That—and no more, and it is every-thing.” So wrote Joseph Conrad in the best-known account of literary impressionism, the late nineteenth- and early twentieth-century movement featuring narratives that paint pictures in readers’ minds. If literary impressionism is anything, it is the project to turn prose into vision. But vision of what? Michael Fried demonstrates that the impressionists sought to compel readers not only to see what was described and narrated but also to see writing itself. Fried reads Conrad, Stephen Crane, Frank Norris, W. H. Hudson, Ford Madox Ford, H. G. Wells, Jack London, Rudyard Kipling, Erskine Childers, R. B. Cunninghame Graham, and Edgar Rice Burroughs as avatars of the scene of writing. The upward-facing page, pen and ink, the look of written script, and the act of inscription are central to their work. These authors confront us with the sheer materiality of writing, albeit disguised and displaced so as to allow their narratives to proceed to their ostensible ends. What Was Literary Impressionism? radically reframes a large body of important writing. One of the major art historians and art critics of his generation, Fried turns to the novel and produces a rare work of insight and erudition that transforms our understanding of some of the most challenging fiction in the English language.

This book shows how Victorian naturalists transformed their encounters with South America into influential accounts of biological change.

Edited collection from acclaimed contemporary Woolf scholars, exploring Virginia Woolf’s complex engagement with the natural world, an engagement that was as political as it was aesthetic.