Cultic Fringe

Grasses, Ferns, Mosses & Lichens by Roger PhillipsGrasses, Ferns, Mosses and Lichens of Great Britain and Ireland, Roger Phillips (1980)

Language doesn’t create the world, but it can manipulate the way we see it or can focus our attention on things we were overlooking. When I read a book on architecture and learnt about the three classic forms of column – Doric, Ionic, and Corinthian – I started to see them everywhere in towns and cities. Something similar happened to me because of this book. After leafing through its colour photos, I suddenly started noticing moss much more. And it’s worth noticing, both scientifically and aesthetically. It’s a humble but fascinating plant and has a surprising beauty and variety: Thuidium tamariscinum, common tamarisk-moss, for example, looks as though it should be with the ferns, because it has a similar branching structure. Lichens aren’t beautiful in their own right like mosses, but they can create beautiful patterns and colours on rock and stonework. And like mosses, they’re something humble that should make us humble: they’ve been around for much longer than we have and may be around long after we’re gone.

The same is true of ferns and grasses, though I have to admit that I still find it hard to see much interest in grasses. I know that interest is there, but they still seem dull. Ferns don’t, despite being a simpler plant. But they have a romance that grasses lack. You could call them the Celts of the vegetable kingdom: pushed to the fringes by later invaders. Where once they ruled the world, now they’re confined to specialized habitats. Damp ones. Meeting ferns at home can be refreshing in all sorts of ways: the air is cool and moist and their green is easy on the eye. I like their fractal structure too and there’s even a fern that refreshes the nose: mountain fern, Oreopteris limbosperma, which has a “strong almost citron scent released by brushing past or rubbing the leaves”. The scientific names are fascinating too and books like this are spiritually refreshing in our increasingly soulless, mechanized and electronic world. Leafing through Grasses, Ferns, Mosses and Lichens is like taking a walk through woods and mountains without leaving your chair. Lots of people like flowers and trees, and lots of places host them. These botanical groups are much more specialized and easy to overlook, confined to the fringes of our world, and have a cult-appeal that reminds me of obscure forms of music or art.

Pre-previously posted (please peruse):

Mushrooms, Roger Phillips

For the Love of Mycology

Mushrooms, Roger Phillips, assisted by Derek Reid, Ronald Rayner, Geoffrey Kibby, and Alick Henrici, designed by Jill Bryan (MacMillan 2006)

In 1981, Roger Phillips began his career in natural history publishing with a book on mushrooms. In 2006, he was back for another bite at the chanterelle. And it would have been a fitting way to end his career, because this is one of the most important books ever published on fungi. It puts its best photo forward for hundreds of pages and hundreds of species, all the way from the massive, like the Giant Puffball, Calvatia gigantea, which can be bigger than a man’s head, to the minute, like the Conifer Disco, Lachnellula subtilissima, which is smaller than a baby’s fingernail. En route, it takes in the gorgeous, the gaudy, and the grotesque, like the Angel’s Wings, Pleurocybella porrigens, the Vermilion Waxcap, Hygrocybe miniata, and the Goliath Webcap, Cortarius praestans. With the g-crew come the delicious, the deadly, and the delicate: the Oyster Mushroom, Pleurotus ostreatus, the Destroying Angel, Amanita virosa, and the Milky Bonnet, Hemimycena lactea. And let’s not forget the phantasmagoric, the phosphorescent, and the phallic: the Devil’s Fingers, Clathrus archeri, the Jack O’ Lantern, Omphalotus illudens, and the Stinkhorn, Phallus impudicus. Which is Latin for “shameless dick”. Fungi can also look like ears, brains, and birds’-nests: the Jelly Ear, Auricularia auricula-judaei, the Morel, Morchella esculenta, and the Common Bird’s Nest, Crucibulum laeve. Oh, and they can look like cages, clubs, and coral too: the Red Cage, Clathrus ruber, the Giant Club, Clavariadelphus pistillarius, and the Violet Coral, Clavaria zollingeri.

And that covers only their appeal, or offence, to the eye and the taste-buds: they can also appeal to, or offend, the nose and fingertips. On olfactory side there are the Coconut Milkcap, Lactarius glyciosmus, the Pear Fibrecap, Inocybe fraudans, the Geranium Brittlegill, Russula fellea, the Mousepee Pinkgill, Entoloma incanum, the Iodine Bolete and Bonnet, Bolitus impolitus and Mycena filopes, and the “Stinking” set: the Brittlegill, Russula foetens, the Dapperling pair Lepiota cristata and L. felina, and the Earthfan, Thelephora palmata. On the tactile side, there are the various Velvets: the Bolete, Suillus variegatus, the Brittlegill, Russula violeipes, the Shank, Flammulina velvutipes, the Shield, Pluteus umbrosus, the Tooth, Hydnellum spongiosipes, and the Toughshank, Kuehneromyces mutabilis. There are too many shaggies, slimies, and slipperies to list, like the Shaggy Parasol, Macrolepiota rhadoces, the Slimy Waxcap, Hygrocybe irrigata, and the Slippery Jack, Suillus luteus. All in all, mushrooms make me muse on Middle-earth. Tolkien’s world is full of richness and variety. So is the world of fungi. The folk and things of Middle-earth can be beautiful or ugly, delicate or sturdy, colourful or drab, tasty or deadly, lovers of light or dwellers in dark. Mushrooms, toadstools, and their smaller relatives are the same. You could find one or more species in this book to match all of Tolkien’s creations: men, wizards, hobbits, elves, dwarves, orcs, trolls, ents, and more. The Cortinarius genus is hobbit-like, for example: stocky, sturdy, and coloured mostly in earthy ochres, yellows, and reds. More elf- and wizard-like are the genera Lepiota and Macrolepiota: these mushrooms are taller and more attractively proportioned. For pre-Tolkienean elves, look to the small and slender Micromphale, Omphalina and Mycena genera, shaped like little umbrellas, bonnets, and parachutes.

For the dark side of Tolkien’s world, look everywhere: almost every group of fungi can supply poisons and sicken or slay the incautious or ignorant. But the deadliest of all are the Amanitas. There’s something suitably and sardonically Sauronic about the modus operandi of the Deathcap, Amanita phalloides:

Poisoning by the Deathcap is characterized by a delay of 6 to 24 hours between ingestion and the onset of symptoms, during which time the cells of the liver and kidney are attacked… The next stage is one of prolonged and violent vomiting and diarrhoea accompanied by severe abdominal pains, lasting for a day or more. Typically this is followed by an apparent recovery, when the victim may be released from hospital or think their ordeal is over, but death results from kidney and liver failure in a few days. (pg. 144-45)

No antidote has yet been discovered to the amatoxins, as the most dangerous compounds are called, and the mortality rate from Amanita poisoning is “still up to 90%”. The Fly Agaric, Amanita muscaria, with its red, white-spotted cap, is the most famous in the genus, but not responsible for the most fatalities. It’s trippily toxic: “a strong hallucinogen and intoxicant, and used as such by the Sami of northern Scandinavia” (pg. 140). Phillips suggests that the Sami began to use A. muscaria by “observing its effects on reindeer”, which “like it so much that all one has to do to round up a wandering herd is to scatter pieces of Fly Agaric on the ground.” Elsewhere in Europe, it was used against flies: the common English name “comes from the practice of breaking the cap into platefuls of milk… to stupefy flies.” Fungi are not plants and form a separate kingdom in biological classification, but they are like plants in the way they can be either delicious, deadly, or dementing.

But if some weren’t so delicious, some others wouldn’t have dealt death so often: the Amanitas are similar in appearance to the Wood mushrooms in the genus Agaricus and can be found in similar places. Agaricus contains some of the most widely eaten of all mushrooms, including the Cultivated Mushroom, A. bisporus, “believed to be the wild form of the many cultivated crop varieties” (pg. 242). But literally cultivated mushrooms don’t compare to wild-grown: I can still remember the richness and flavour of some Field Mushrooms, A. campestris, I picked near the witches’ haunt of Pendle Hill in Lancashire. My other gastro-mycological excursions have included wild-grown puffball and a large Oyster Mushroom that had sprouted from the wood of a sea-side ice-cream stand. It fell off under its own weight, or I wouldn’t have carried it off: Oyster Mushrooms aren’t just good to eat, they’re also good to look at and I would have left it undisturbed otherwise. But picking a mushroom is rather like picking an apple or pear: the visible part is a fruiting body that sprouts from the thread-like hyphae growing in soil, wood, compost, or dung. So you don’t necessarily kill a fungus by picking the part you can see, though you do obviously interfere with its reproduction. The part you can see is what this book is about: unlike David N. Pegler’s Pocket Guide to Mushrooms and Toadstools, there are no drawings of the microscopic spores, merely descriptions: for example, “9-12×5-7μ, elliptical to almond-shaped. Spore-print dark purplish-brown. Chrysocystidia absent. Cheilocystidia lageniform, thin-walled” is in the entry for the Blueleg Brownie, Psilocybe cyanescens.

The fungus itself is described as “hallucinogenic” and “said to be extremely strong” (pg. 253). This book isn’t just for those seeking succulence: it can guide the searcher for synaesthesia too. The Liberty Cap or Magic Mushroom, Psilocybe semilanceata, doesn’t just open the doors of perception: it can throw down the walls of the senses too and make you hear sights or taste colours. The psycho-active psilocybes are all covered and described, but I’ve preferred to leave psycho-mycology alone and get my mental thrills from the look of, and language about, fungi. The scientific names, as always, are interesting, informative, and occasionally uninspired: with a common name like Angel’s Wings, Pleurocybella porrigens has a disappointing scientific name. But there’s a surprisingly complex descriptive vocabulary to learn if you’re interested in acquiring an expertise in these apparently primitive plant-alikes. You’ll even have to dabble in chemistry: the simplest way to distinguish some species is to dip them. The “chrysocystidia” mentioned above are cells “that turn yellowish” – Greek chrysos, “golden”, is hyperbolic – in “alkali solutions”. That’s from the glossary on page 13, but the weird and wonderful words – chlamydospore, dendrophyses, gloeocystidia, lageniform, merulioid, sphaeropedunculate – aren’t illustrated, only defined. This isn’t a textbook of mycology, but an identification guide. And I wouldn’t say it was a work of art like Pegler’s Pocket Guide. It’s well-designed and aesthetically pleasing, but photographs have a superficiality, even a triviality, that Pegler’s drawings don’t. Yes, you can see exactly how the fungi look from a photograph, but there’s no room for the wit and quirkiness I described in my review of the Pocket Guide: the closest you get to the extra-mycological touches I described there is an occasional pine-cone, as in the photos for the Pine Milkcap, Lactarius musteus, the Pinecone Cap, Strobilurus tenacellus, and the Rosy Spike, Gomphidius roseus.

But David Pegler covered far fewer species in a smaller and more subjective book. His science was stronger because he included images of spores, but Roger Phillips has contributed more to mycology, let alone to other fields of natural history. If I had to choose between the two books, I would choose the Pocket Guide, because it’s richer and earthier, and also more minor, in a way that suits its topic better. Fortunately, I don’t have to choose: both books are available for mycophiles and both help explain what is fascinating about fungi. But there are universal aspects to their appeal, beside the particularity of their fungality: maths, the Magistra Mundi, or Mistress of the World, reigns among mushrooms as She reigns everywhere else. Like beetles, though rather more so, fungi are topological variants on a theme: evolution has shaped, squeezed, slendered, squattened, and swollen them over millions of years to produce the huge variety on display in this book. I think architecture can illuminate how they grow: fungi face some of the same problems as architects in erecting and securing their fruiting bodies, but they’re working with less sturdy material. Fungal flesh doesn’t have the toughness and flexibility of wood or the solidity and sturdiness of stone, but it can do surprising things: the Pavement Mushroom, Agaricus bitorquis, is “sometimes found growing through asphalt” (pg. 241).

“Pavement Mushroom”, like “Orange Peel Fungus”, “Purple Stocking Webcap”, “Rooting Poisonpie”, and “Snaketongue Truffleclub”, is one of the odd common names that may catch your eye in the detailed index, which offers specific and generic names, including the outmoded ones that Phillips wanted to update from his early book. But he’s expanded as well as revised, adding some oversea species that “travellers might find on their visits abroad” (introduction, pg. 6). Or might find unexpectedly at home: the Plantpot Dapperling, Leucocoprinus birnbaumii, is a “tropical species that can be found in heated greenhouses” and is shown growing with a potted cactus on page 135. Not illustrated, but mentioned in the entry for the Deathcap, is the “tropical fungus Galerina sulcipes”, which “has a higher α-amanitin content” and is “occasionally found in hothouses” (pg. 145). That would be a sinister note to end on, so instead I’ll end on the Scarlet Elfcup, Sacroscypha austriaca. This is one of my favourite fungi in the book. It is indeed scarlet, it does indeed look like a cup, in the early stages of its growth at least, and its common name is a reminder of why mushrooms are associated with magic and fungi with the fantastic. They can appear very suddenly in unexpected places and have a special association with the melancholy and mystery of autumn. The more elaborate and evolved plant and animal kingdoms are more obvious and found in more places, but they couldn’t exist without fungi, which “break down leaf litter and dead wood and thus ensure that the surface of the world has a fertile layer of soil rather than being a heap of detritus” (pg. 6). In other words: no fungi, no flowers, firs, or figs. In short: no mushrooms, no man. The fungal kingdom isn’t, and can’t be, conscious of the debt owed to it by the other two kingdoms, but this book can be seen as part payment. To see the inhabitants of that mycological Middle-earth in all their variety and strangeness, look no further, because you’ll find no fungaller.

Beyond Gold: A Weevil

Cover of Living Jewels by Poul Beckmann

Living Jewels: The Natural Design of Beetles, Poul Beckmann (2001)

Richard Dawkins wrote about the Blind Watchmaker, but the Blind Watchmaker often works in collaboration. This book is about his brother, the Blind Jeweller, who creates the cases for the watchwork of beetles. Sometimes those cases are gorgeous, sometimes they’re grotesque, and sometimes they’re both at once. Beetle #77 in this survey, Phanaeus igneus floridanus, is a squat giant with a huge curving horn on its head, but its thorax and abdomen shimmer with metallic purple, green, red, and gold. If that beetle’s a glam-rock sumo-wrestler, then beetle #49, Julodis hiritiventris sanguinipilig (sic – should be hirtiventris sanguinipilis), is pure punk: green legs and a long dark-blue body scattered with tufts of yellow-orange bristles. Elsewhere you’ve got New Romantics with elaborately patterned bodies and sweeping, dandyish antennae (Rosenbergia straussi and Batus barbicornis), death-metal-heads with gleaming black bodies and fearsome-looking but completely harmless horns (Xylotrupes gideon and Allomyr(r?)hina dichotomus taiwana), and even Status-Quo-ites wearing what looks like worn, work-stained denim (various Eupholus species).

It’s entertaining to look through this book and imagine whose backing band or album cover a particular beetle should play in or sit on, but sometimes you won’t be able to match a beetle to a band, because there are more kinds of beetle than musical genres. Beetles, or rather evolution, has invented more than human beings have, but the same forces have been at work. Topologically speaking, a doughnut is identical to a tea-cup, because one is a distorted variant of the other. Similarly, all the beetles in this book are distorted topological variants of each other: like genres of popular music, they’re variants on a theme. Evolution hasn’t altered the ingredients of beetles, just the quantities used to cook each species: changing the width and shape of the thorax, the length and design of the antennae and legs, and so on. But topology isn’t psychology, and just as glam-rock sounds quite different to punk, though the common ancestor is clearly there if you listen, so a doughnut looks quite different to a teacup and Phanaeus igneus floridanus looks quite different to Julodis hirtiventris sanguipilis.

There’s much more to beetles than their appearance, of course, but one of this book’s shortcomings, because it’s a coffee-table conversation-piece rather than a scientific survey, is that it tells you almost nothing about the ecology and behaviour behind the photographs. And the book’s title is misleading, in fact, because the jewels aren’t living: all the photos are of dead beetles on white backgrounds. The book also tells you very little about the meaning and history of the (sometimes misspelt) scientific names, even though these are fascinating, beautiful, and grotesque in their own right. Instead, there’s a brief but interesting – and occasionally wrong: Chrysophora isn’t Latin – introduction, then page after page of the gorgeous and grotesque photographs people will be buying this book for. Finally, there are some brief “Beetle Profiles”, describing where individual species were caught and how their family lives and feeds. I would have liked to know much more, though the beetles’ beauty is in some ways increased by its mystery and by what might be called the futility of its appearance. Countless millions of these beetles have lived and died without any human brain ever appreciating their beauty and strangeness, and if human beings disappeared from the planet they would continue to live and die unappreciated. They’re not here for us, but without us they could never be recognized as the living jewels they are. Some might draw metaphysical conclusions from that and conclude that they are here for us after all, but I draw a mathematical conclusion: mathematics governs the evolution of both beetles and brains, which is why beetles can appeal to us so strongly.

Living Jewels – Website accompanying the book and its sequel.

Cover of Living Jewels 2 by Poul Beckmann

Bat’s the Way to Do It!

I think Britain would be much better off without three things that start with “c”: cars, canines, and coos (sic (i.e., pigeons)). But perhaps I should add another c-word to the list: cats. I like cats, but there’s no doubt that, in terms of issues around negative components/aspects of conservation/bio-diversity issues vis-à-vis the feline community/demographic, they’re buggers for killing wildlife:

A recent survey by the Mammal Society was based on a sample of 1,000 cats, countrywide, over the summer of 1997. The results included only “what the cat brought in” and ignored what it ate or left outside. Leaving aside this substantial hidden kill, it still concluded that cats killed about 230,000 bats a year. This is equivalent to more than the entire population of any species other than the two most common pipistrelles. If these 1,000 cats are typical, and there is no reason to believe that they are not, cats kill many more bats than all natural predators combined. They are one of the biggest causes of bat mortality in Britain, perhaps the biggest. (Op. cit., chapter 6, “Conservation”, pg. 139)

Cover of British Bats by John D. Altringham

That is the unhappy conclusion in John D. Altringham’s very interesting and educative book British Bats (HarperCollins, 2003). Accordingly, I’d rather have fewer cats and more bats. Anyone but a cat-fanatic – and cat-fanatics are found in one or two places – should feel the same, and even the fanatics might reconsider if they read this book. The cat family contains some of the most beautiful and athletic animals on earth; the bat family contains some of the strangest and most interesting. In fact, all bats are strange: they’re mammals capable of sustained powered flight. Little else unites them: in chapter two, Altringham describes the huge variety of bats around the world. They live in many places and live off many things. Some drink nectar, some drink blood; some eat fruit, some eat fish. Some roost in caves, some in trees. Some hibernate, some migrate. Some use echolocation and some don’t. Bats are much more varied than cats and scientifically speaking are much more interesting.

Although echolocation isn’t universal, it is the most interesting aspect of bats’ behaviour and it’s used by all the species found in Britain, from the big ones, like the noctule and greater horseshoe bat, Nyctalus noctula and Rhinolophus ferrumequinum, to the small ones, like the whiskered bat and the pipistrelles, Myotis mystacinum and Pipistrellus spp.[1] Two of the pipistrelles are in fact most easily distinguished by the frequencies they call at: the 45 kHz pipistrelle, Pipistrellus pipistrellus, and the 55 kHz pipistrelle, Pipistrellus pygmaeus. As their English names suggest, one calls at an average of 45 kilo-Herz, or 45,000 cycles a second, and the other at an average of 55. The two species weren’t recognized as separate until recently: they look almost identical, although the 55 kHz is “on average… very slightly smaller”, and they forage for food in the same places, although the 55 kHz is “more closely associated with riparian habitat” (that is, it feeds more over rivers and other bodies of water). But examine their calls on a spectrograph, an electronic instrument for visually representing sounds, and there’s a much more obvious difference. This is a good example of how much the scientific study of bats depends on technology. Human beings didn’t need science to know about and understand the ways a cat uses its senses, because they’re refinements of what we use ourselves. We might marvel at the acuity of a cat’s eyes or ears, as we might marvel at the acuity of a dog’s nose, but we know for ourselves what seeing, hearing, and smelling are like.

Echolocation is something different. Bats don’t just see with their ears, as it were: they illuminate with their mouths, pouring out sound to detect objects around them. And the sound has to be very loud: “The intensity of a pipistrelle’s call, measured 10 centimetres in front of it, is as much as 120 decibels: that is the equivalent of holding a domestic smoke alarm to your ear.”[2] The “inverse square law”, whereby the intensity of sound (or light) falls in ratio to the square of the distance it travels, means that the returning echoes are far, far fainter than the original call. It’s as though Motörhead, playing at full volume, could hear someone at the back of the crowd unwrapping a toffee. How do bats call very loudly and hear very acutely? How do they avoid deafening themselves and drowning their own echoes? These are some of the questions bat-researchers have investigated and Altringham gives a fascinating summary of the answers. For example, they avoid deafening themselves by switching off their ears as they call. They’ve had to solve many other tricky acoustic problems to perfect their powers of echolocation.

Or rather evolution has had to solve the problems. The DNA of bats has changed in many ways as they evolved from the common mammalian ancestor (which also gave rise to you, me, and the author of this book) and those changes in DNA represent changes in their neurology, anatomy, and appearance. It’s easy to see that hearing is important for bats, because their eyes are relatively small and their ears are often large and rigid and come in a great variety of shapes. What isn’t easy to see is what those ears are supplying: the bat-brain and its astonishing ability to process and classify sound-data as though it were light-data. Bats can create sound-pictures of their surroundings in complete darkness. Of course, the feline or human ability to create light-pictures is astonishing too, but we’re too familiar with it to remember that easily. Bats aren’t just marvels in themselves: they should encourage us to marvel at ourselves and what our own brains can do. The digestive system of a bat, cat, or human needs food; the nervous system of a bat, cat, or human needs data. That’s what our sense-organs are there for and in principle it doesn’t matter whether we create a picture of the world with our eyes or with our ears.

Male noctule (Nyctalus noctula) calling from tree-roost to attract mates

Male noctule calling from tree-roost

In practice, there are some very important differences between sound and light. Light works instantly and powerfully on a terrestrial scale; sound takes its time and is much more easily diluted or blocked. A hunting cat can scan an illuminated or unilluminated environment for free, because it doesn’t have to generate the light it sees by or the sound it hears by. Hunting bats have to pay when they scan their environment, because they’re using energy to create sound and induce echoes. Once they’ve got their data, both cats and bats have to pay to process it: it takes energy to run a brain. But bat-brains are solving more complicated problems than cat-brains: Altringham describes the questions a flying bat has to answer when it detects the echo of an insect:

How far away is the insect?… How big is it?… In which direction does it lie?… How fast is it flying and in what direction?… What is it?… (ch. 3, “The Biology of Temperate Bats”, pp. 42-3)

Like insect-eating birds, bats can answer all these questions in mid-flight, but what is relatively easy for birds, using their eyes, is a much greater computational problem for bats, using their ears. “Computational” is the key word: brains are mathematical mechanisms and process sense-data using algorithms that run on chemicals and electricity. Bats were intuitively using mathematical concepts like doppler shift and frequency modulation (as in FM radio) millions of years before man invented mathematics, but man-made mathematics is an essential tool in the study of echolocation. For example, the concept of wavelength, or the distance between one crest of a sound-wave and the next, is very important in understanding how bats perceive objects. Light has very short wavelengths, so humans and other visual animals can easily resolve small objects. Sound has much longer wavelengths, so bats find it hard to resolve small objects. But some find it harder than others: Daubenton’s bat, Myotis daubentonii, and other Myotis spp. “can resolve distances down to about 5 millimetres when given tasks to perform in the laboratory”. But horseshoe bats, Rhinolophus spp., “can do little better than 12 millimetres.”

Why this difference? You have to look at the nature of the sound being produced by the different species: the Myotis spp. use “high frequency FM calls”; the Rhinolophus use “predominantly CF [constant frequency] calls”. The mathematical nature of the call determines the bats’ powers of perception. Calls can also determine how easily a bat can identify an insect: “relatively long calls can have a ‘flutter detector’… If a call is 50 milliseconds long, then within one echo a bat can detect the full wingbeat of insects beating their wings at more than 50 Hz.”[3] So bats can tell one kind of insect from another, something like the way a blindfolded human can tell a bumblebee from a mosquito. But insects aren’t passive as prey and one of the most interesting sections of the book describes how they try to avoid being eaten. Some moths have “ultrasound detectors” and if a moth hears a calling bat, it “will either stop flying and drop toward the ground, or begin a series of rapid and unpredictable manoeuvres involving dives, loops and spirals”.[4] This kind of ecological interaction creates an “evolutionary arms race”: each side evolves to become better at capture or evasion.

The moth/bat air-battle is reminiscent of the air-battles of the Second World War, which involved radar trying to detect bombers and bombers trying to evade radar. One defensive technique was jamming, or attempts to interfere with radar signals or drown them in noise. Some moths may use this technique too. The tiger moths, the Arctiidae, don’t try to escape detection. Instead, they “emit their own, loud clicks”[5], perhaps to interfere with echolocation or startle a predatory bat. Alternatively, Altringham suggests, the clicks may be the aural equivalent of “bright warning colours and patterns”: the moths may be warning bats of their unpalatability. If so, it would be another example of the difference between the costs of sight and the costs of sound. An unpalatable insect in daylight doesn’t have to pay for its warning colours, after the initial investment of creating them, and doesn’t have to know when a predator is watching. An unpalatable insect in the dark, on the other, can’t send out a constant audible warning: it has to select its moment and know when a predator is nearby. Unless, that is, some insects use passive signals of unpalatability, like body modifications that create a distinctive echo.

Bat-researchers don’t know the full story: there is still a lot to learn about bats’ hunting techniques and the ways insects try to defeat them. But “cost” is a word that comes up again and again in this book, which is partly a study in bio-economics. Bats have to pay a lot for echolocation and flight, but flight is a more general phenomenon in the animal kingdom, so the economics of bat flight also illuminates (insonates?) bird and insect flight. Altringham points out a very important but not very obvious fact: that flight is expensive by the unit of time and cheap by the unit of distance. Movement on foot is the opposite: it’s expensive by the unit of distance and cheap by the unit of time. Bats, birds, and insects expend more energy per second in flight, but can travel further and faster in search of food or new habitats. However, bats don’t all fly in the same way: a bat expert can identify different species by their wings alone. The wings vary in “wing loading”, which is “simply the weight of the bat divided by the total area of its wings. Bats with a high wing loading are large and heavy in relation to their wing area, bats with small bodies and large wings have a low wing loading”.[6] Then there’s “aspect ratio”, the “ratio of wingspan to average wing width”, or, because “bats have such an irregular wing shape”, “wingspan squared divided by wing area.”

It’s mathematics again: there are no explicit numbers in a bat’s life, but everything it does, from echolocating to flying, from eating to mating, is subject to mathematical laws of physics, ecology, and economics. Bats have to invest time and energy and make a profit to survive and have offspring. As warm-blooded, fast-moving animals with high energy needs, they’re usually nearer famine than feast, which is one reason they migrate or hibernate to avoid or survive through cold weather and scarcity. They also vary their diet during the year, to take advantage of changes in the abundance of one insect species or another, and seek out specialized feeding niches. Daubenton’s bat, for example, “habitually feeds very low over water”, using echolocation to catch not just flying insects but floating ones too. That is why it needs smooth water to feed over: ponds, lakes, canals and placid streams and rivers. The floating insects are easier to echolocate on a smooth surface, rather like, for humans, a black spider on a white wall. Once spotted, they “are gaffed with the large feet or the tail mechanism and quickly transferred to the mouth as the bat continues its flight”.[7]

Long-eared bat (Plecotus auritus) gleaning harvestman

Long-eared bat gleaning harvestman

One of the photos in the colour section in the middle of the book shows a Daubenton’s bat mirrored in smooth water, having just scooped up prey from the surface. Other photos show other species roosting, perching, or in flight, but the book also has excellent black-and-white illustrations mixed with the text, hand-drawn using a speckled or pointillist technique that suits bats very well. I particularly like the drawings on pages 48, 67 and 101. The first shows a long-eared bat, Plecotus auritus, “gleaning”, or snapping up, a “harvestman” (a long-legged relation of the spiders) from a leaf (ch. 3); the second shows a “male noctule calling from his tree roost to attract mates” (ch. 3); and the third shows a tawny owl trying to catch another long-eared bat (ch. 4).

Owls could be called the avian equivalents of bats: they’re specialized nocturnal hunters with very sharp hearing, but I think they’re both less interesting and more attractive. Bats, with their leathery wings, sometimes huge ears, and oddly shaped noses, are strange rather than attractive and some people find them repulsive. But some people, or peoples, find them divine or lucky: the introduction describes the Mayan bat-god Zotz, with his leaf-shaped nose modelled on that of the phyllostomids, or vampire bats.[8] The Chinese use a ring of five bats to symbolize the “five great happinesses: health, wealth, good luck, long life and tranquillity.”[9] Altringham blames the less positive image of bats in European cultures partly on Bram Stoker’s Dracula, which was first published in 1897. Before then, he says, “bats were not linked with witches, vampires and the evil side of the supernatural in any significant way.”[10] Dracula may have done for bats what the novel Jaws (1974) and its cinematic offspring did for sharks: encouraged human beings to harm the animal fictionally and falsely depicted as villainous.

Daubenton's bats (Myotis daubentonii) in a summer roost

Roosting Daubenton’s bats

If so, British Bats is partly redressing the balance. You can learn a lot from this book about both biology in general and bat-biology in particular. It stimulates the mind, pleases the eye, describes the appearance, ecology, and range of all British species, and points the way to further reading and research. So let’s not hear it for John D. Altringham! Without specialized equipment, that is, but that equipment is getting cheaper and more widely available all the time: you don’t have to be a professional zoologist to record and analyse bat-calls any more. There is still a lot for zoologists, both amateur and professional, to learn about bats. Okay, some of the research – like fitting miniature radio-transmitters to wild bats – seems intrusive and smacks of Weber’s Entzauberung, or “disenchantment”, but the more we know about bats, the more we will be able to help conserve them and their habitats. Bats aren’t villains: cats are. I like both kinds of mammal, but I hope we can find some way in future to help stop the latter preying so heavily on the former. If this book helps publicize the problem, it will be valuable for bat-conservation just as it is already valuable for bat-science. In short, no more brick-bats for Brit-bats: we should control our cats better.

Reviewer’s note: Any scientific mistakes, misinterpretations or misunderstandings in this review are entirely your responsibility.

NOTES

1. sp = species, singular; spp = species, plural.

2. ch. 3, “The Biology of Temperate Bats”, pg. 40

3. Ibid., pg. 45

4. ch. 4, “An Ecological Synthesis”, pg. 98

5. Ibid., pg. 99

6. Ibid., pg. 71

7. ch. 5, “British Bats, Past and Present”, pg. 117

8. ch. 1, “Introduction”, pg. 10. “Phyllostomid” is scientific Greek for “leaf-mouthed clan”.

9. Ibid., pg. 11

10. Ibid., pg. 9