The Lost Spells Un libro encantador y hermoso para los amantes del mundo natural (edición en inglés): An enchanting, beautiful book for lovers of the natural world

Product Information

The book began as a response to the removal of everyday nature words - among them "acorn", "bluebell", "kingfisher" and "wren" - from a widely used children’s dictionary, because those words were not being used enough by children to merit inclusion. But The Lost Words then grew to become a much broader protest at the loss of the natural world around us, as well as a celebration of the creatures and plants with which we share our lives, in all their wonderful, characterful glory."

A book about spells that succeeds in being spell-binding in its own right . . . It already feels like a true classic. Buy one copy for yourself and any others for as many children as you can afford' Books for Keeps Puffin is an imprint of Penguin Random House, the world’s number-one publisher representing a vibrant community of publishing houses marked by unparalleled success. Through our world of stories, Puffin aims to open up the world to every child. Our mission is to inspire children to feel they can be and do anything, and to create readers for life. Since the Lost Words’ publication in October 2017, this book has had a transformative effect on all who have encountered it, not least the Folk by the Oak festival team who were inspired to conceive and commission Spell Songs. After Macfarlane read the ‘Pokémon paper’ (a study published in Science in 2002 by Professor Andrew Balmford from Cambridge’s Department of Zoology), he started to gather other evidence of a loss of ‘nature-literacy’. A National Trust survey, for instance, showed that half of children couldn’t tell the difference between a wasp and a bee, yet almost all could name a Dalek; and a three-year RSPB research project found only one in five children in Britain are ‘positively connected to nature’.

Key info

The relationship between naming, knowing and nature has long interested Macfarlane. The Lost Words grew out of research for his book Landmarks (2015), which examined the work of a dozen British and American writers of place, and gathered and organised over 2,000 terms for nature, landscape, creatures and weather from more than 30 languages, dialects and sub-dialects of Britain and Ireland. The book ended with a chapter called ‘Childish’, about the relationship of childhood and nature. As with The Lost Words, the publishers of The Lost Spells have commissioned Eva John to create an 'Explorers' Guides', but this time the guide has been designed to follow the seasons, and updatededitions will be made available as the year progresses.

What we might call the ‘nature of childhood’ has changed dramatically in Britain over recent decades,” says Macfarlane, a Reader in Environmental Humanities in Cambridge University's Faculty of English. Asked whether there was an environmental message in The Lost Spells, Morris said: “It’s a celebration of the nearby wild. If there is a message there, it is simply wonder and awe at the beautiful complexity of the non-human. And respect, for the wisdom of trees, the shape of a bird, the wild of the fox.” Puffin started out as a non-fiction publisher, with its first title appearing in 1940. As the most iconic and well-known children’s book brand in the UK today, we are always on the lookout for innovative ways to tell the world’s favourite stories and for brilliant new debut talent and brands that connect with today’s young readers, from newborn up to twelve years old. The book has taken on a 'wild life' of its own with the sparks of inspiration taking it in numerous creative directions. Educated at Nottingham High School, Pembroke College, Cambridge and Magdalen College, Oxford, he is currently a Fellow of Emmanuel College, Cambridge, and teaches in the Faculty of English at Cambridge.

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As some of you may know, I'm an illustrator myself, and one of my favorite things to illustrate is wildlife, nature and landscapes. A major work for children’s choir and orchestra has been co-commissioned from composer James Burton by the Boston Symphony (USA) and Hallé Orchestra (Manchester, UK) for premiere performances in 2019 (Boston) and 2020 (Hallé).