Botany

Plants are one of the first things you notice when you arrive in Australia: the swathes of olive-green trees and a crisp eucalypt scent on the air. It was the first thing many explorers noted, too, whether in Abel Tasman’s 1642 description of an ‘abundance of timber’ or in Willem de Vlamingh’s 1694 descriptions of trees ‘dripping with gum’ and the ‘whole land filled with the fine pleasant smell’ of native Callitris pines. It did not take long for accounts and samples of Australian vegetation to make their way back to Europe, although it took significantly longer for any systematic scientific work to be completed on our distinctive flora.

The last photographs taken of Jean Galbraith show a wrinkled woman in her eighties, with wispy hair pulled back in a bun, wearing round tortoiseshell spectacles, thick stockings, and sensible shoes – the kind of person you might expect to see serving behind the counter of a country post office early last century, or pouring endless cups of tea at church fêtes. Yet her unprepossessing appearance belied the extraordinary woman within. For Australian nature lovers and botanists, Jean Galbraith was an icon. Over the seventy years of her writing career (her last article was published when she was eighty-nine), she turned botanical writing into an art form, branched into television and radio scriptwriting, wrote children’s books, lectured tirelessly on the beauty of Australia’s native flora, and became a fierce advocate for conservation. When she died in 1999, aged ninety-two, she had earned many awards and accolades, including the prestigious Australian Natural History Medallion.

John Thompson examines Germaine Greer’s sober, meditative, deeply moving account of her efforts to regenerate sixty hectares of degraded rainforest in the Gold Coast hinterland.

We are used to modern science being conducted as a collaborative effort involving teams of researchers in laboratories, but imagine a huge research project requiring thousands of researchers and covering every corner of an entire continent (and beyond) being organised successfully with no telephone or Internet.

This beautiful book showcases the botanical orchid illustrations of John Riley, a retired shearer whom some regard as Australia’s finest living botanical illustrator. Riley started drawing Australian orchids in the 1970s, and this volume includes subjects that date back to 1992. It lists 150 works. Those who take book titles literally will assume that this volume contains illustrations of all our native orchids. This is not the case. We have a rich flora of about 1,200 species. This, therefore, is the first in a planned series intended to describe and illustrate all our orchidaceous flora.