William T Hornaday, The bird tragedy of Laysan Island (Review)

William Temple Hornaday (1854-1937), whose article “The bird tragedy of Laysan Island” was a recent Library of America (LOA) Story of the Week offering, is a tricky man to write about. Originally a taxidermist, he became one of the pioneers of the wildlife conservation movement in America after he realised, around the 1880s, the dire situation regarding the country’s bison population. In this LOA article,  published in 1913, he chronicles the bird massacre on Laysan Island and the role played by President Theodore Roosevelt in helping to end the plumage trade. But he wasn’t without controversy, of which I’ll write more a little further on.

Laysan Island

Laysan Island. By Robert J. Shallenberger, U.S. Fish and Wildlife Service (http://www.doi.gov/photos/06152006_photos.html) [Public domain], via Wikimedia Commons)

“The bird tragedy” is a powerful piece which starts by describing the island as “sandy, poorly planted by nature, and barren of all things likely to enlist the attention of predatory man” but as the home of many varieties of birds, including the “Laysan albatross, black-footed albatross, sooty tern, gray-backed tern, noddy tern, Hawaiian tern, white tern, Bonin petrel, two shearwaters, the red-tailed tropic bird, two boobies and the man-of-war bird.” It was a “secure haven” for them, and, since 1891, had been viewed as “one of the wonders of the bird world”.

But, along came “man, the ever-greedy” looking for ways to make money, first via guano and egg collecting, then feathers for the plumage trade. The culprit was Max Schlemmer, who also introduced rabbits and guinea-pigs which multiplied and started to destroy the vegetation. Hornaday describes the horrendous massacre in 1909 of 300,000 birds for their wings. According to LOA, Hornaday is somewhat wrong in ascribing the massacre to Schlemmer. The say a biography of Schlemmer argues that he was ‘”cash-strapped” and sold the rights to the island to a Japanese entrepreneur. Whatever the situation, the destruction of the birdlife was massive in number and horrific in cruelty. Fortunately, it was stopped before complete destruction by a Zoology Professor who called the Government who in turn sent in the Navy – as you do!

Hornaday’s language makes clear his disapprobation of what happened and of the people who carried it out. His description of the massacre is horrifying, some of it quoted from a report by a 1911 scientific expedition to the island. This report notes that their “first impression” was that the island had been stripped of its birdlife:

Only the shearwaters moaning in their burrows, the little wingless rail skulking from one grass tussock to another, and the saucy finch remained. It is an excellent example of what Prof. Nutting calls the survival of the inconspicuous.

Hornaday says that if the Government had not intervened

it is reasonably certain that every bird on Laysan would have been killed to satisfy the wolfish rapacity of one money-grubbing white man.

Fortunately – albeit a little after the horse had bolted – Roosevelt, in 1909, created “the Hawaiian Islands Reservation for Birds” which includes Laysan and which, Hornaday writes, will ensure that

for the future the birds of Laysan and neighboring islets are secure from further attacks by the bloody-handed agents of the vain women who still insist upon wearing the wings and feathers of wild birds.

However, as Bill McKibben, the environmentalist whose memoir Oil and honey I’ve reviewed, writes in the headnote to the article, Hornaday had his own controversy. He became, in the late 1890s, the head of the New York Zoological Park (the Bronx Zoo), but, as McKibben writes,

a rough sense of the reasons why the social justice and environmental movements have often parted ways may be garnered from the fact that he saw nothing wrong with exhibiting a live African pygmy, named Ota Benga, in the zoo’s monkey house, later remarking that it was the “most amusing passage” in the institution’s history. His 1913 book Our Vanishing Wild Life … has a strongly nativist edge: immigrants and negroes are singled out as villains for their hunting of indigenous fauna.

According to Wikipedia, he was criticised, including by African-American clergymen James Gordon, who said that “Our race … is depressed enough, without exhibiting one of us with the apes … We think we are worthy of being considered human beings, with souls.” With the controversy, Benga was released to roam the zoo, even though Hornaday did not see anything wrong with what he’d done. Benga was later released to Gordon’s custody, but eventually committed suicide at the age of 33 when the start of World War 1 prevented his return to Africa.

Another wonderful LOA offering in a genre I always enjoy reading – nature or environmental writing.

William T Hornaday
“The bird tragedy of Laysan Island”
First published: Our vanishing wild life, 1913
Available: Online at the Library of America

Monday musings on Australian literature: ABDA 2017 Shortlist

Five years ago, I wrote a Monday Musings on book design, in which I featured three book designers. I’ve mentioned book design occasionally since then but, having just seen the shortlist for this year’s ABDA (Australian Book Design Awards) which are sponsored by the ABDA (the Australian Book Designers Association), I’ve decided to write another post on this aspect of the thing we love – books!

ABDA describes the awards as celebrating “the bravest and brightest, the most original and beautiful books published in Australia each year”. This year’s awards are the 65th! 65 years of celebrating book design! That’s wonderful, really. They make awards in sixteen categories, including four awards in Children’s and YA categories, and awards for specialist areas like Cookbooks, Fully-illustrated books, and Educational books.

I couldn’t possibly list all these, but if you are interested you can find them at the link I gave in the first paragraph. I will just focus on two categories, Literary Fiction and Non-fiction:

Heather Rose, The museum of modern loveLiterary Fiction

  • George Orwell’s 1984 (Text): WH Chong
  • Ellen van Neerven’s Comfort food (University of Queensland Press): Josh Durham (Design by Committee)
  • Melissa Ashley’s The birdman’s wife (Affirm Press): Christa Moffit
  • Heather Rose’s The museum of modern love (Allen & Unwin): Sandy Cull (GoGo Gingko)

Maxine Beneba Clarke, The hate raceNon-fiction

  • Ashleigh Wilson’s Brett Whiteley: Art, life and the other thing (Text): WH Chong
  • Damon Young’s The art of reading (Melbourne University Press): Mary Callahan
  • Maxine Beneba Clarke’s The hate race (Hachette Australia) (my review): Allison Colpoys
  • Andrew Hankinson’s You could do something amazing with your life (Scribe): Jenny Grigg

I’m impressed by the number of smaller publishers here. Seems they support good design too, and carefully “curate” the whole work. Certainly Melissa Ashley seems to think so …

Melissa Ashley,The birdman's lifeMelissa Ashley, author of the shortlisted The birdman’s wife, has posted on her blog about the shortlisting of her book’s cover. The novel, historical fiction, is about Elizabeth Gould the wife and accomplice of the famous ornithologist and artist, John Gould. Ashley writes:

It was my secret hope that Elizabeth Gould’s iconic, hand-coloured lithograph of the superb fairy wren featured in the cover design for The Birdman’s Wife. You can imagine how chuffed I felt when my editor, publisher, and book-designer felt the same way.

Authors don’t always have a say in their covers, but clearly Ashley did, and she was thrilled with the result. She praises “the visionary generosity of Affirm Press”. She loves not just the cover but the book’s whole design because, of course, book design is not just about the cover.

Back in 2012, I named three book designers – Dean Gorissen (who was one of the designers used by Affirm Press), WH Chong (who worked for Text Publishing – and still does, as their Design Director) and Sandy Cull (who has her own company, GoGoGingko). You’ve probably noticed in the lists above that Affirm Press is still employing great designers, and that Chong and Cull are still producing quality, award-attracting designs.

As well as sponsoring these design awards, ABDA also maintains a hall of fame, whose eight members include:

  • Alec Bolton (an independent publisher whom I’ve mentioned here before)
  • W.H. Chong (link above)
  • Patrick Coyle (the first nominee to the Hall of Fame, in 1994)
  • Sandy Cull (link above)
  • Arthur Stokes (a book designer and previous judge of the awards. A report on the 1978/9 awards, commented on the “lively” two days of judging, and that “Arthur Stokes kept remarkably calm but did complain that the other judges ‘kept sitting down and reading the books'”.)

Interestingly, while I was researching the hall-of-famers, I found a report on the 1972/73 design awards. Apparently the judges that year were disappointed in the quality, and they named some of the issues. For example, they said that “there was little awareness of contemporary design” and a lack of imagination. “Typography,” they said, “lacked detailed decisions” particularly regarding “sans serif and serif type faces – sans serif was often used inappropriately”. I was once told to use serif type for text, and sans serif for headings. I wonder if that’s what they were referring to, and whether this is still recommended practice?

They talked about the jackets, and the type used being either “out of character with the book” or comprising “a multitude of different faces”. Yes! I remember, years ago, reading an article titled “Font shock”. It was when word processing first became a tool used by all of us and the temptation was to throw every font available in the one document, but it reminded me once again that “less is more” or to “kiss“.

They also commented on poor cropping and sizing of photographs. Hmm, I hope they never look at my blog!

I found all this fascinating.

I briefly mentioned (or inferred) what I like in a book design in my 2012 Monday Musings post so won’t repeat it here. Instead, I’ll say what I don’t like! I don’t like:

  • small print (because my eyes aren’t as good as they used to be)
  • low contrast between paper and print so that the print is not easy to read
  • cheap paper that feels nasty
  • binding that stops the book falling open easily
  • tiny margins (which prevent easy marginalia writing)
  • no index (in non-fiction books)
  • covers that stereotype
  • covers that mislead regarding their content

I’d love to know what you like or don’t like in book design, and if you want to name a recent favourite or two, do go ahead and share it with us.