Linocuts don't really seem the most obvious medium for a naturalist artist - well, read/view this book and be convinced otherwise. You get a few hundred illustrations, which alone should justify the price - many of them are gorgeous. Gillmor is best known for his covers of the 'New Naturalist' series, and many of these are quite bright. But the ones I truly admire are the ones with just a few colours - say, his black guillemots; his 'Norfolk night' with two hares in silhouette, with a church by moonlight in the background; his spoonbills. The colours are spare, and few - the details are restrained; and with all this paring away he gets to the soul of the animal, or of the landscape. That is what the title means to me.
What you also get is the text. Here the lino-part of the cutting away is explained, a masterclass, showing how hours and days of observation, plus usually more than one print block translate into the final product. Most of the prints have their individual commentary too, alternating between the subject and the technique; fascinating stuff, this. But the proof of the cutting is in the product, and that is gorgeous.
Compliments also to the publishers - even when plates go over two pages, the usual hinge shift does not occur. This is a beautifully produced book of lovingly crafted plates. Craft into art!