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Late June 2020 was an extraordinary time to be reading Animal City. COVID-19, a zoonotic disease, had already killed around 130,000 people in the United States, with urban areas suffering the highest death rates. In New York City alone, 30,000 people had died.
Environmental history is one of the most dynamic, innovative, and though-provoking areas of current academic enquiry, and the connection between environmental change, imperialism, and expanding global economies has recently received increased scholarly attention. Building on the foundational works of historians such as William Cronon, Co
John J. Navin offers a new account of the first half century of settlement in the colony of South Carolina, which he characterizes as The Grim Years.
50 or 60 years ago the market for organic food (as now defined) was vanishingly small, less than 0.1 per cent of the market in European countries, according to one estimate.(1) Organic farming at that time was derided by most farmers in the UK as a matter of ‘muck [i.e.farmyard manure] and mystery’.
Grootplaas, a produce farm that specialises in citrus and numbers around 900 hectares in size, is the subject of Maxim Bolt’s latest monograph, Zimbabwe’s Migrants and South Africa’s Border Farms: The Roots of Impermanence.
How fortunate are historians of that broad band of southern Somerset covered by seven topographical volumes of the Victoria County History (VCH) compared with those of most of the historic county for whom no such resource yet exists. It is the distant ideal of the complete set for Somerset that is most urgently required.
Horse and Man in Early Modern England presents itself as an historical overview of its subject-matter rather than as a brief for particular methodologies, ideologies or causes.
The genesis of this fine monograph occurred in a moment of confounding cultural confrontation when Christopher Ely first viewed Russian landscape painting of the nineteenth century. Perplexed, he jotted down a question for himself. Why, he asked, were these works so 'consciously unbeautiful'? Gazing at one dreary canvas after another, he wondered, 'What was this fascination with mud?' (p.