As the writer Adam Nicolson described in The Seabird’s Cry, “What may be featureless to us, a waste of undifferentiated ocean, is for them rich with distinction and variety, a fissured and wrinkled landscape, dense in patches, thin in others, a rolling olfactory prairie of the desired and the desirable, mottled and unreliable, speckled with life, streaky with pleasures and dangers, marbled and flecked, its riches often hidden and always mobile, but filled with places that are pregnant with life and possibility.”
