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This is an unusual book in terms of the range of its discrete and varied chapters. Its strongest continuing themes are ecology and the Sundarbans. Despite an occasional lack of context and connection, each section is of interest, and some are original and thought-provoking.
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.