Exploring how the bird has been celebrated in proverbs, folk stories, art, and ceremonies, Barwell shows how people marvel at the way the albatross soars through the air, covering awe-inspiring distances with little effort thanks to its impressive wingspan. He surveys the many approaches people have taken to thinking about the albatross over the past two hundred years—from those who devoted their lives to these birds to those who hunted them for food and sport—and discusses its place in the human imagination. Concluding with a reflection on the bird’s changing significance in the modern world, Barwell considers threats to its continued existence and its prospects for the future. With one hundred illustrations from nature, film, and popular culture, Albatross is an absorbing look at these beautiful birds.

The second novel in Anaïs Nin’s Cities of the Interior series, Children of the Albatross is divided into two sections: “The Sealed Room” focuses on the dancer Djuna and a set of characters, chiefly male, who surround her; “The Café” brings together a cast of characters already familiar to Nin’s readers, but it is their meeting place that is the focal point of the story.

As always, in Children of the Albatross, Nin’s writing is inseparable from her life. From Djuna’s story, told in “The Sealed Room” through hints and allusions, hazy in their details and chronology, the most important event to emerge is her father’s desertion (as Nin’s father did) when she was sixteen. By rejecting realistic writing for the experience and intuitions she drew from her diary, Nin was able to forge a novelistic style emphasizing free association, spontaneity, and improvisation, a technique that finds its parallel in the jazz music performed at the café where Nin’s characters meet.

Children of the Albatross is divided into two sections: “The Sealed Room” focuses on the dancer Djuna and a set of characters, chiefly male, who surround her; “The Café” brings together a cast of characters already familiar to Nin’s readers, but it is their meeting place that is the focal point of the story.

As always, in Children of the Albatross, Nin’s writing is inseparable from her life. From Djuna’s story, told in “The Sealed Room” through hints and allusions, hazy in their details and chronology, the most important event to emerge is her father’s desertion (like Nin’s) when she was sixteen. By rejecting realistic writing for the experience and intuitions she drew from her diary, Nin was able to forge a novelistic style emphasizing free association, spontaneity, and improvisation, a technique that finds its parallel in the jazz music performed at the café where Nin’s characters meet.

Hob Osterlund moved to Hawai'i after being visited in a dream by an ancestor, Martha Beckwith, author of the monumental classic, Hawaiian Mythology. It was there, on the island of Kaua'i, where she happened upon a few courting albatross and felt an inexplicable attraction to the birds—an attraction too powerful to be explained by their beguiling airbrushed eye shadows, enormous wingspans, and rollicking dances.
 
In Hawaiian mythology, ancestors may occupy the physical forms of animals known as 'aumakua. Laysan albatross—known as moli—are among them. Smitten with these charismatic creatures, Osterlund set out to learn everything she could about moli. She eventually came to embrace them as her 'aumakua—not as dusty old myths on a museum bookshelf, but as breathing, breeding, boisterous realities.
 
Albatross sport many superlative qualities. They live long—sometimes longer than sixty years—and spend the majority of their time airborne, gliding across vast oceanic expanses. They are model mates and devoted parents, and are among the only animals known to take long-term same-sex partners. In nesting season, they rack up inconceivable mileage just to find supper for chicks waiting on the islands of the Hawaiian archipelago.
 
It is from the island of Kaua'i that Holy Moli takes flight.  Osterlund relates a true tale of courage, celebration and grief—of patience, affection and resilience. This is the story of how albatross guided the author on her own long journey, retracing distances and decades, back to the origin of a binding bargain she struck when she was ten years old, shortly after her mother’s death.
 
Holy Moli is a natural history of the albatross, a moving memoir of grief, and a soaring tribute to ancestors. Within its pages are lyrics of wonder—for freedom, for beauty, and for the far-flung feathered creatures known to us as albatross.