They come from the sun, the lesser celandines – like particles blown in on solar winds they flower, sun-like. Open buttercups with heart-shaped leaves, the lesser celandines are some of the first flowers, and they like the soggy waysides. They can emerge as single teasers or erupt in sudden brassy flashes in that where-have-you-been time of year when a splash of colour is needed by insects and people alike.
Common and taken for granted once, they spark up the yellow pulse that includes primroses, cowslips and daffs, but they will slip back into the unconscious when the drama of spring takes hold. Each year, fewer wild plants return from the mud of memory. Once common and taken-for-granted flowers are fading away.
Last weekend’s launch of The Flora and Vegetation of Shropshire saw a gathering of botanical and conservation clans at Preston Montford, near Shrewsbury. Produced from 350,000 records collected by more than 1,000 volunteer naturalists and written by Sarah Whild and Alex Lockton, The Flora is a wonderful collection of botanical records, distribution maps, illustrations and photographs, and the story of the changing nature of Shropshire’s flora.
The last really important county flora was the Ecological Flora of Shropshire, first published in 1985. Ian Trueman, one of its authors, told me that comparing data from the 30 years between these works it appears we’re good at maintaining the very special places but terrible at keeping the plants of common waysides and hedges.
Many plants are being lost. One botanist lamented yellow pansies, so numerous you trod on them at every step for miles across a hill, now confined to one little field. Another was concerned there was less political will for conservation now.
It’s hard to believe that in the most environmentally aware decades the loss of wild plants has accelerated. This marks a failure of the stumbling conservation movement we all have to share. The diligent and heart-felt work of amateur naturalists and conservationists is easily lost in the noise of human progress. However, I see each bite of data, each act of witness as bright and vital as a lesser celandine flower, humble in its title but brilliant in its presence – a collective joy.
A ghostly tale inspired by the story of Alice Glaston, a child who died at the gallows.
'Paul Evans narrates a ghostly tale inspired by the true story of Alice Glaston who at eleven years old was the youngest person to be hung. She was hung from the gallows tree in Much Wenlock in Shropshire in 1545. When writer Paul Evans who was born here, later returned to live here and discovered the story of Alice Glaston from a passing reference in a local history book, he was both shocked and intrigued. The more he thought about the story, the more he felt a responsibility to tell the story as a way to free Alice's ghost. It is the landscape and its stories which have inspired this poem, and this landscape is powerfully evoked through sound recordings by Chris Watson. Alice is played by Bettrys Jones. Producer: Sarah Blunt'
The calyx tubes of bladder campion flowers inflate with a breath first exhaled at the turning of the year and now filling them to bursting on the summer solstice. The little bladders pop and skirts of white cleft petals dressing the flower privates of styles and stamens open with a twirl. The unopened ones, ribbed and burgundy-striped, hold the light like paper lanterns.
Guardian Country Diary written by Paul Evans author of Herbaceous
Herbaceous is the fist of a new series of books celebrating the very best in contemporary nature writing. A cross between New Naturalist and King Penguin, the series invites a wide range of authors and artists to choose a particular building, plant, animal, person or landscape, and through this object of their fascination tell us wider stories about the British Isles.
John Vidal enjoys a set of tightly told and amusing reflections on plants
'Human history and culture for Evans is right at the heart of nature. I liked the story of the gardeners's mortal enemy, ground elder, being no more eradicable than the instinctive feeling of danger one gets in a dark urban car park, and the image of Serbian Olga eating a sausage sandwich in a British layby, staring out from a chip van at a field of Oxeye daisies that came, like her, from the Balkans'.
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