Homegrown National Park

In “Nature’s Best Hope,” entomologist and author, Doug Tallamy brings one of conservation’s best new ideas alive: to connect isolated land reserves via biological or wildlife corridors. And it’s something we can all practice in our front and back yards.

Through much of the 20th century, the dominant idea in conservation was to protect land for its inherent beauty as well as for animals. Despite that, animal populations have continued to dwindle because the protected land is too small and too isolated. The reserves need to be connected so that animals can roam freely, particularly because one of the effects of climate change is to force animals to move from their preferred habitat.

This is the idea behind the Yellowstone to Yukon Initiative, or Y2Y, a protective corridor that will ensure animals can travel freely over its length of 3200 kilometers (2000 miles). In the early 1990’s radio-collar data showed that over two years a wolf roamed over an area ten times the size of Yellowstone and fifteen times the size of Banff National Park. Other animals like lynx, cougars and golden eagles were also found to travel distances as great as 1600 kilometers (1000 miles). Much of that roaming would be outside protected areas.

While most of us will not be safeguarding habitat for wolves and cougars in our yards, we can provide habitat for insects, birds and other small animals. All we have to do is plant native plants.

Plants are the foundation of all food webs, but as Tallamy points out, our gardens tend to emphasize ornamental plants that originated in other ecosystems and are often ignored by local bees, butterflies and birds. So while they look pretty, they are ecologically sterile and don’t contribute to local food webs.

The reason they don’t contribute to local food webs is because plants generate toxins to avoid being eaten. But over millions of years, insects like caterpillars – primary food for birds – have developed ways to circumvent plant defenses and make a meal. Because each plant has its own defenses, each insect restricts its diet to one or just a few lineages.

For example, monarch butterflies have restricted their diet to just a single plant: milkweed. When milkweed declined thanks to the ramped up use of the weedkiller, Roundup, or glyphosate, monarch populations plummeted.

So by restricting our gardens to a handful of exotic ornamentals that local insects have no relationship with, insect populations will continue to decline. Yet insects are how plant energy is transmitted elsewhere in food webs, so this is a decline we can and must reverse.

Further, in the US, turfgrass has replaced native plant communities in more than forty million acres, which is larger than the ten largest national parks combined. By converting half of that turfgrass back to native plants, we could have a new national park – homegrown – that is literally everywhere.

We visit national parks to satisfy our curiosity about places we’ve long heard about, and to experience wonder and awe. Homegrown National Park will be on a totally different scale – right in front of our eyes – and will appeal to our sense of self-discovery. We’ll be able to tune into natural cycles and experience the excitement of seeing living things thrive under our care, in addition to helping local food webs. It will allow us to create an affinity for all kinds of creatures that visit our yards, provide natural stress relief and help us pass our stewardship on to our children. Truly, it’s an idea whose time has come.

The North American Native Plant Society has tips to start gardening with native plants (start small – even with one plant!) here: http://nanps.org/how-to-start-gardening-with-native-plants/

In the US, you can find guides for what to plant in your area at https://www.audubon.org/plantsforbirds
and https://www.nwf.org/nativeplantfinder/

Remembrance Day for Lost Species 2017

The reasons we need Remembrance Day for Lost Species are the same reasons I wrote my book, “Brief Eulogies for Lost Animals: An Extinction Reader.” The introduction to the book follows below. (You can also find audio and video versions.)

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“Forgetting is another kind of extinction,” artist Todd McGrain said to me when I interviewed him in 2012. For ten years he had been creating larger-than-life sculptures of birds formerly common in North America, such as the passenger pigeon, to memorialize them. “These birds are not commonly known,” he has written elsewhere, “and they ought to be… It’s such a thorough erasing.”

Since the year 1500, nine hundred species have become extinct, yet their stories are not being told. This loss is a crisis in human values, as our relatives on the tree of life are disappearing under our watch and because of our actions. Aside from a few high profile extinctions, like the passenger pigeon and the dodo, most lost species are unknown to the general public, and the danger of forgetting part of our biological heritage is great. There are no historical parallels here. Aldo Leopold said, “For one species to mourn another is a new thing under the sun.”

brief eulogies, lost animalsThe recent animal extinctions include twenty-eight reptiles, thirty-four amphibians, sixty-three fish, sixty-three insects, ninety-two mammals, one hundred and sixty-six birds and more than three hundred mollusks. Who are these animals? Where did they live? What do we know of their biology and natural history? Each animal had its own evolutionary history, ecological niche and characteristics that made it a unique form of life. But they have disappeared from the Earth due to our actions and without proper recognizance. The beginning of wisdom, the Chinese say, is to call things by their rightful names. In many cases, the names are known by scientists and what little is known of the animal’s habits is hidden away in scientific papers. These details need to be brought to light to make the species come alive, at least in our imagination, to help bring the enormity of what has and is happening within our grasp.

Evidence abounds that the present species extinction rate is more than one thousand times the historical rate measured in the fossil record — an indication that we are in a mass extinction. Life on Earth has seen five mass extinctions, the most recent being sixty-five million years ago when the dinosaurs were wiped out. This sixth extinction is human-caused with habitat alteration, over-exploitation, introduction of invasive species and pollution the major factors.

Naturalist William Beebe wrote in 1906 that, “when the last individual of a race of living beings breathes no more, another heaven and another earth must pass before such a one can be again.” Our heaven exists now and by memorializing and celebrating what is now gone, we can perhaps keep what we still have.

 

Three short films about extinct animals

Urania Sloanus
Urania Sloanus — described as the most beautiful moth in the world

How to raise awareness about recently extinct animals? We need to know and see what we’ve lost, both to remember and celebrate them even as we mourn them.

There’s something about an image – a photograph or even a film clip – something that recreates the likeness, that helps to bring the subject alive.

Here are three short films from my book, “Brief Eulogies for Lost Animals: An Extinction Reader” (available at the Pen and Anvil website).

  1. The Song of the O’o. The Kauai O’o was known as one of the finest singers in all of the Hawaiian Islands.
  2. The Laysan Rail. This rail, from the island of Laysan, in the NW Hawaiian Islands, is one of the few extinct birds for which film footage exists.
  3. Urania Sloanus at Sunrise. Urania Sloanus lived in Jamaica and was often described as the most beautiful moth in the world. This film, based on eyewitness reports, hints at why.

More about my book can be found here.

More films to come soon!

Reviews of “Brief Eulogies for Lost Animals”

Two reviews have been published of my book, “Brief Eulogies for Lost Animals: An Extinction Reader,” with more to come.

Over at Neon Books, writer and publisher Krishan Coupland lauds the “sheer poetry” of the writing and “the power of these vignettes… to render these animals real.”

Read the whole review at neonbooks.org.uk, and while you’re there, check out the other cool things that Krishan is up to at Neon Books.

A second review was written by biologist and writer, Mike Shanahan, who asks, “Can eulogies for lost species help prevent future extinctions?” Read Shanahan’s thoughtful response at his e-home Under the Banyan.

Other reviews are forthcoming. Get in touch if you would also like to review my book.

Now Available: Brief Eulogies for Lost Animals

Announcing my new book: BRIEF EULOGIES for LOST ANIMALS: An Extinction Reader.

Since the year 1500, nine hundred species have become extinct, yet their stories are not being told. This loss is a crisis in human values as our relatives on the tree of life are disappearing under our watch and because of our actions.

There are no historical parallels here. Aldo Leopold said, “For one species to mourn another is a new thing under the sun.”

BRIEF EULOGIES for LOST ANIMALS: An Extinction Reader fills an important niche by remembering these animals in lyrical but factual stories that allow us to celebrate, grieve, and memorialize what is now gone.

In terse yet evocative writing, one hundred extinct animals from around the world are brought to life, from the freshwater mussels of Appalachia to the shrub frogs of Sri Lanka, and from the honeycreepers of Hawaii to the hopping mice of Australia, bringing the enormity of the present biodiversity crisis within our grasp.

BRIEF EULOGIES for LOST ANIMALS: An Extinction Reader is available from the publisher’s website: penandanvil.com/brief-eulogies, where you can also find excerpts of the book.

“Forgetting is another kind of extinction,” artist Todd McGrain has said about his Lost Bird Project. These animals deserve to be remembered, and with this book we can not only remember and mourn them, but honor them as well.

Order BRIEF EULOGIES for LOST ANIMALS: An Extinction Reader today from penandanvil.com/brief-eulogies or Amazon.

Artists and Extinction V: Brandon Ballengee

How can artists convey the idea of disappearance and extinction of species?

This has long been a question for Brandon Ballengee, a visual artist, biologist and environmental educator based in Louisiana, whose many art installations have been inspired by his ecological field and laboratory work.

Initially, Ballengee wanted to use silhouettes to show something as there but disappearing. But while experimenting with blacking out extinct animals in old nature magazines, he recalled that Robert Rauschenberg once created a work that was an erased de Kooning drawing. So, rather than erase extinct animals from books, he began to cut them out with an Exacto knife (as long as there were multiple copies of the book).

This led to the creation of his installation, “Framework of Absence.” Ballengee created the works from real historic artifacts that were around while the animal was fading into extinction. After the animal was excised from its source, the depiction was burned and the ashes were placed into black glass funerary urns etched with the names of the lost species.

At installations, viewers were asked to scatter the ashes, an act that Ballengee hoped would connect participants to the lost species and help prevent further extinctions.

A few examples show the power of the exhibit. Here is the Great Auk, missing from the North Atlantic:

2008Ð9. Extinct by the late 19th Century. Artist-cut print from the Bowen Editions Royal Octavo Birds (1840Ð71). Eighth edition printed and hand-colored in 1871 (just prior to plates being burned in warehouse fire). 6 3/4 x 10 3/8 inches. Photography by David W. Coulter.
2008Ð9.
Extinct by the late 19th Century.
Artist-cut print from the Bowen Editions Royal Octavo Birds (1840Ð71).
Eighth edition printed and hand-colored in 1871 (just prior to plates being burned in warehouse fire).
6 3/4 x 10 3/8 inches.
Photography by David W. Coulter.

Here is the Spectacled Cormorant, missing from the Kamchatka Peninsula:

1869/2014. Artist cut and burnt hand-colored stone lithograph, etched glass urn, and ashes. 30 5/8 x 74 5/8 inches. Species last observed 1850s. Photo by Casey Dorobek.
1869/2014. Artist cut and burnt hand-colored stone lithograph, etched glass urn, and ashes. 30 5/8 x 74 5/8 inches. Species last observed 1850s.
Photo by Casey Dorobek.

Here is the Guadalupe Caracara, missing from Guadalupe Island:

1860/2014. Artist cut and burnt wood engraving, etched glass urn, and ashes. 9 1/8 x 11 1/8 inches. Species last observed 1860s. Photo by Casey Dorobek.
1860/2014. Artist cut and burnt wood engraving, etched glass urn, and ashes. 9 1/8 x 11 1/8 inches. Species last observed 1860s.
Photo by Casey Dorobek.

And here is the Sea Mink, missing from the rocky coasts of New England and Atlantic Canada.

1849/2014. Artist cut and burnt print hand-colored stone lithograph, etched glass urn, and ashes. 13 5/8 x 16 inches. Species last observed 1870s. Photo by Casey Dorobek.
1849/2014. Artist cut and burnt print hand-colored stone lithograph, etched glass urn, and ashes. 13 5/8 x 16 inches. Species last observed 1870s.
Photo by Casey Dorobek.

More of Brandon Bellengee’s work can be found at his website.

Previous entries for my series on artists and extinction can be found starting here.