TestMarket - 🌿 The Moor: Journey into the English Wilderness - Sale Now On! 🌳

🌿 The Moor: Journey into the English Wilderness - Sale Now On! 🌳

Date:
Jun 15, 2024 07:16 pm
🌿 The Moor: Journey into the English Wilderness - Sale Now On! 🌳
Category: Education
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Rating: 4.20
Total Rating Count: 99
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Embark on a thrilling journey into the heart of the English wilderness with 'The Moor'. Get your exclusive discount of 31% off now and save big on this captivating read. Act fast before it sells out! Old Price: £10.99, New Price: £7.58, Saving: £3.41. Shop and save now!

Title: I think perhaps it does assume some knowledge of the moors on the part of the reader - a book for those who know the moors but w
Content: An interesting and detailed book that engages with different aspects of moorland, but especially the lives of those who have tried to live on it. It is well written and evocative; I think perhaps it does assume some knowledge of the moors on the part of the reader - a book for those who know the moors but would like to go deeper - but I am sure the newcomer will find inspiration here as well. I also enjoyed the bathos of his lunches ...
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Title: The Moor: Lives Landscape Literature
Content: In The Moor the author, William Atkins, strolls through moorlands, relating to its history, its people and, the reason why I bought the book, literary references, such as Daphne du Maurier’s Jamaica Inn and Arthur Conan Doyles’ Hound of the Baskervilles, among others. The Moor is the type of book I like dipping into; the kind of book that will probably appeal to you if you’ve read any of the works by Francis Pryor, which cover, similarly to The Moors, the history of the landscape, though, usually, with a greater focus on archaeology. The book also has a sense of adventure to it; reading through some of the chapters, you can almost imagine being there, walking the soggy grounds, and taking special care of your footing so as not to end up sucken, beyond rescue, in one of the moors’ deadly spots. In one of the chapters, in which the author relates to grouse shooting, and how it has changed over the years, you get a comparison to a painting by Turner, which I particularly liked. Atkins points to how the landscape has changed since the completion of the work: ... In the painting, (Turner) and his companions, including his patron and host Walter Fawkes, are walking over the moor, accompanied by loaders and packhorses and pointers. What is curious about the painting is its colours: perhaps they have faded, but Beamsley Beacon, on the first day of the grouse season in 1816, is not purple but brown and khaki; heather, in other words, is not dominant. Other passages offer wonderful descriptions, too, and you’d think, if you weren’t reading a non-fiction text that you’d picked up one of John Buchan’s adventure stories, just before the protagonist heads up a mountainside, runs across a marshy landscape or hides under a bridge. So well done are some of the descriptions by the author. Here’s one such example which I think is brilliantly done: ... He had the silhouette and carriage of one who has gone on being active despite failing health – the broadened waist, the limp, the hand pressed to the lower back when he stood; and yet a litheness and alertness in his movements, and lean legs, and a bright, sun-burnished face under the pale grey beard. There are also some wonderful similes used in the text, like this one, which describes the sudden appearance of a lapwing from the shrub: ... a lapwing rose up, like a paperback blasted from a cannon. Snippets like this about the lives of poets, I also relished: ... I was reminded of Thomas De Quincey’s claim that Wordsworth had, in the course of his life, walked 180,000 English miles, and that it was to this ‘mode of exertion’ that ‘he has been indebted for a life of unclouded happiness, and we for much of what is most excellent in his writings’. Not all of the book was of interest to me, though, and I felt the author padding out the text, in parts. I also felt that the text skips around a little too much; eg, after coming across a paragraph or two referencing an actual event or character from a literary source, Atkins moves on, only returning to the incident later in the text. This meant having to flick back and forth in order to jog my memory of the initial event or literary reference that had now been lost in the following pages. Recently, I read Ghostland by Edward Parnell, which is a similar book to The Moors. They cover slightly different ground, but are similar in ways, in their descriptions of landscape, eg, and reference to literature and wildlife. Parnell’s book, though, I found, overall, more readable than The Moor; the style less long-winded, more crisp, and nuanced in a way to keep the text more interesting throughout. A second (though slight) irritation with The Moor is that the author would occasionally quote a phrase or sentence, say, in French, without always putting in its English equivalent or meaning. Not a problem if you are familiar with such languages. But I found myself having to continually Google them to find, or clarify, their meaning. Better, I’d have thought, if an accessible footnote was placed in the text or its English equivalent placed alongside the phrase or sentence like this: Comme s’il cherchait un objet perdu. (As if looking for a lost object.). For readers like me, this would have been a big help, and made the narrative more accessible. And although the author occasionally does include the meaning, it only appears once. So, when you come across the phrase again, unless you’ve memorised it or written it down, you’re once again having to search for its meaning. Other than these few (minor) shortcomings I found The Moor an enjoyable read. I hope you find my review helpful
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Title: Perfect sense of space, time and place accessible to all of us
Content: This book you keep by your bedside and for the next twenty years or more you can dip in and out of it and smell the earth, hear the wind, feel the rain and the sun and your aching muscles.
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Title: GLOOM, DOOM AND SPLENDOUR
Content: CAPTURES THE FEEL OF THOSE WINDSWEPT AREAS, WITH ITS TALES OF ITS DWELLERS FACT AND FICTION, A GREAT RELAXING READ THAT YOU CAN DIP INTO WHENEVER YOU PLEASE.
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Title: It's groughs not griffs
Content: It was okay but nothing to suggest it is worth a short list for a Wainright award. I found it rather plodding and it is certainly not an easy read. As a walker on the hills and moors for over fifty years, I was saddened to see a basic mistake in the Peak District section (Kinder Scout, Bleaklow, Saddleworth moors) where the author states the gullies in the peat are called 'griffs', this is incorrect they are known as 'groughs' pronounced 'gruffs'. However, overall not too bad.
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Title: The wonderful world of peat
Content: Ex-fiction editor William Atkins' 'The Moor' is a bid to join the slowly burgeoning list of writers, headed by Robert McFarlane (and the matchless Patrick Keillor in the world of film), whose interests lie in the margins of the British landscape; edgelands, holloways, the - to use a phrase applied to certain moorlands - 'Less Favoured Areas'. Atkins' fascination with a small stretch of moor close to his childhood home in Bishop's Waltham opens the book, which then takes a south-to-north tour round these moody, unstable and uniquely British landscapes. In each section, the narrative cuts frequently between the lives of individuals, both past and present, who have struggled to make a living (and/or stay sane) in these boggy, mostly barren spaces, the literary writers – both well and lesser known – whose imaginations have responded to their emptiness (RD Blackmore, Henry Williamson, Ted Hughes, WH Auden, the Bronte Sisters, amongst others) and Atkins' own commentary, as he tramps - 'landlopes' - across the endless heaths and bogs, these 'blacklands', scoffing junk food and trying to inveigle himself with the locals. The book is eloquently written, well researched and highly informative. There are illuminating encounters with gamekeepers and landowners, farmers, birders, poets. Its only problem is that the descriptions of landscape inevitably become repetitious; moorland to look at has a very British mundanity to it (even if the weather there is capricious, even duplicitous): you certainly won't read another book in which the words 'peat' and 'sphagnum' are repeated quite as regularly; the manuscript could easily have been cut by 25 pages. But as a paean to the ambiguous attractions of the imperious spaces that sit damply and darkly in the British psyche, ‘The Moor’ is well worth exploring.
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