Cirrus@Austlit

'The celebrated, Walkley Award-winning author on how global warming is changing not only our climate but our culture. Beautifully observed, brilliantly argued and deeply felt, these essays show that our emotions, our art, our relationships with the generations around us – all the delicate networks that make us who we are – have already been transformed.

'In Signs and Wonders, Falconer explores how it feels to live as a reader, a writer, a lover of nature and a mother of small children in an era of profound ecological change.

'Building on Falconer’s two acclaimed essays, ‘Signs and Wonders’ and the Walkley Award-winning ‘The Opposite of Glamour’, Signs and Wonders is a pioneering examination of how we are changing our culture, language and imaginations along with our climate. Is a mammoth emerging from the permafrost beautiful or terrifying? How is our imagination affected when something that used to be ordinary – like a car windscreen smeared with insects – becomes unimaginable? What can the disappearance of the paragraph from much contemporary writing tell us about what’s happening in the modern mind?

'Scientists write about a 'great acceleration' in human impact on the natural world. Signs and Wonders shows that we are also in a period of profound cultural acceleration, which is just as dynamic, strange, extreme and, sometimes, beautiful. Ranging from an ‘unnatural’ history of coal to the effect of a large fur seal turning up in the park below her apartment, this book is a searching and poetic examination of the ways we are thinking about how, and why, to live now.' (Publication summary)

'Recently, I found myself longing to reread John Steinbeck’s Log from the Sea of Cortez. I first read it when I was a teenager studying one of his novels at school; anxious for me to succeed, my parents purchased other Steinbeck books in the cheap Pan editions featuring naïve illustrations constrained by circular borders, as if seen through a telescope. The book is the author’s account, a decade after the event, of his travels in 1940 with marine biologist Ed Ricketts, who would become the model for ‘Doc’ in Cannery Row.  Under the pretext of a loosely conceived scientific expedition, the men hire and equip a small purse seiner, a fishing boat, and set out from Monterey, in northern California, for the Sea of Cortez (also known as the Gulf of California), between the Baja California Peninsula and Mexico.  Over six weeks, they pull creatures from the low coastal waters, to collect specimens for Rickett’s marine biological business, but also for the sheer pleasure of gathering them in their plenitude and seeing how these small animals propel themselves and behave...' (Introduction)