The wilderness is much closer than you think. Passed through, negotiated, unnamed, unacknowledged: the edgelands - those familiar yet ignored spaces which are neither city nor countryside - have become the great wild places on our doorsteps. In the same way the Romantic writers taught us to look at hills, lakes and rivers, poets Paul Farley and Michael Symmons Roberts write about mobile masts and gravel pits, business parks and landfill sites, taking the reader on a journey to marvel at these richly mysterious, forgotten regions in our midst. Edgelands forms a critique of what we value as 'wild', and allows our allotments, railways, motorways, wasteland and water a presence in the world, and a strange beauty all of their own.

The companion novel to the New York Times bestselling NIGHTFALL Thousands of miles due south from the Polar North is is the island of Edgeland. Here, day and night last for 72 hours. And here is one of the natural wonders of this world: a whirlpool thirty miles wide and a hundred miles around. This is the Drain. Anything sucked into its frothing, turbulent waters is never seen again. Wren has spent most of her life on Edgeland, watching people bring their dead to the island's famous bone houses to be blessed and prepared for the afterlife. There the dead are loaded into boats with treasure and sent over the cliff, and into the Drain. Orphaned and alone, Wren dreams of escaping Edgeland, and her chance finally comes when furriers from the Polar north arrive with their dead, and treasure for their dead. With the help of her friend Alec, Wren plans to loot one of the boats before it enters the Drain. But the boat - with Alec and Wren onboard - is sucked into the whirlpool. What they discover over the abyss is beyond what either of them could have imagined.

The dark will bring your worst nightmares to light in this gripping and eerie survival story! On Marin’s island, sunrise doesn’t come every twenty-four hours—it comes every twenty-eight years. Now the sun is just a sliver of light on the horizon. The weather is turning cold and the shadows are growing long. Because sunset triggers the tide to roll out hundreds of miles, the islanders are frantically preparing to sail south, where they will wait out the long Night. Marin and her twin brother, Kana, help their anxious parents ready the house for departure. Locks must be taken off doors. Furniture must be arranged. Tables must be set. The rituals are puzzling—bizarre, even—but none of the adults in town will discuss why it has to be done this way. Just as the ships are about to sail, a teenage boy goes missing—the twins’ friend Line. Marin and Kana are the only ones who know the truth about where Line’s gone, and the only way to rescue him is by doing it themselves. But Night is falling. Their island is changing. And it may already be too late.

This volume was first published by Inter-Disciplinary Press in 2016. We are captivated by the monstrous. The monstrous encapsulates a variety of emotions, actions, behaviors, and re-sponses. In general usage it draws attention to the physicality of bodies, the fear and repulsion that have so often driven societal response, and the marginal status of those defined by such terms. Monstrous geographies draw on the unease and uncanniness at the core of the monstrous while shifting the consideration from bodies to places and spaces, away from corporeality and toward the sites or landscapes within which bodies move; away from the mon-strous form of a creature like the Yeti and toward the environment in which the Yeti thrives, an environment that must be monstrous to produce and sustain such a being. Considering such geographies allows for a nuanced under-standing of the places, both real and imagined, subtle and fantastic, that make up our world.

Edward Chell investigates motorway landscapes, linking these with eighteenth century ideas of the Picturesque which were formed at a time when commerce and tourism drove the development of roads and laid the foundations of today's network.Soft Estate features art works by Chell which explore the interface between history, ecology and speed, alongside essays giving new perspectives on how roads and travel have shaped both what we see and how we look at it.'These verges and 'island' hyper-landscapes, pulsing with wildlife, contain worlds where our rapid through-transit alters our sense of scale, which is simultaneously diminished and increased,' says Chell. 'Through making these paintings I've become acutely aware of the visual and metaphorical richness of these fragile, yet self-sustaining and tough environments.'The publication, with foreword by Bluecoat director Bryan Biggs includes essays by curator Sara-Jayne Parsons, artist and academic, Edward Chell and the environmental activist and author Richard Mabey.This publication accompanies the exhibition, Soft Estate at the Bluecoat, Liverpool, December 2013 - March 2014.

On a series of solitary walks around London, a woman recalls the rivers she's encountered in prose reminiscent of Sebald.

In 'Farmed' Paul Hart reveals the bleak beauty of the Fens, Britain's largest man-made landscape.

This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. In the last decade there has been a proliferation of landscape writing in Britain and Ireland, often referred to as 'The New Nature Writing'. Rooted in the work of an older generation of environment-focused authors and activists, this new form is both stylistically innovative and mindful of ecology and conservation practice. The New Nature Writing: Rethinking the Literature of Place connects these two generations to show that the contemporary energy around the cultures of landscape and place is the outcome of a long-standing relationship between environmentalism and the arts. Drawing on original interviews with authors, archival research, and scholarly work in the fields of literary geographies, ecocriticism and archipelagic criticism, the book covers the work of such writers as Robert Macfarlane, Richard Mabey, Tim Robinson and Alice Oswald. Examining the ways in which these authors have engaged with a wide range of different environments, from the edgelands to island spaces, Jos Smith reveals how they recreate a resourceful and dynamic sense of localism in rebellion against the homogenising growth of “clone town Britain.”

Orphaned Wren and her friend Alec live on Edgeland, where the dead are prepared for the afterlife, but when they are accidentally sucked into the Drain, they find something unimaginable.

This book provides an insight into the everyday lives and experiences of people who live with dogs as companions; and glimpses aspects of the lives of the dogs who share their homes. It is framed sociologically and as such, considers the various forms of power relations which shape the lives of those kept as pets and their human owners. In recounting stories of companion humans and dogs, the co-constituted quality of life is clear. However, while dogs – as agential beings with needs, desires and a point of view – are able to shape outcomes and change aspects of their lived experience, the world they inhabit is profoundly geared to human inhabitants; and the most privileged ones at that. The book revisits the notion of pet keeping as the interplay between domination and affection arguing that these do not exist as a continuum, but a mesh of complex relations played out in the use of homespace, in the kitchen, the bedroom, the in the public world of park and the street. Those living with dog companions, as well as the dogs themselves, find their lives are muddied, both literally and figuratively; boundaries are tested and recast and the complications of inter-species cohabitation negotiated by all parties. Through an innovative theoretical contribution, Cudworth conceptualizes human relations with companion dogs in terms of complex social relations that involve both systemic forms of domination as well as nonhuman agency in shaping social relations and social forms.