This chapter considers the observation, comparison and visual representation of a range of altitudinal limits in the Himalaya: plants, animals, crops and human habitation. These limits were addressed especially through the lens plant geography. The chapter begins by examining the absolute limits of vegetation and attempts to divide up the Himalaya using a vocabulary of verticality borrowed from the horizontal (tropical, temperate and arctic). The second section extends these debates to animals. The third section examines debates over the ‘tropicality’ of the Himalaya, and inconsistences in the line of perpetual snow. The fourth section considers the altitude limits of cultivation, firewood and human habitation. The final section considers attempts to represent and understand these altitude limits visually by considering charts made by William Griffith and Richard Strachey. The chapter argues that as much as from abstract scientific interests, observations of altitude thresholds were wrapped up with the concerns of empire. Ultimately, applying existing horizontal divisions meant simultaneously overwriting pre-existing local cosmologies, and broader South Asian imaginings.

This chapter on Henry David Thoreau puts in relief the ecological commons and historiography of nature that issue from the environmental relations illustrated by the sketch. Connecting Thoreau’s Cape Cod to his “Dispersion of Seeds,” the chapter describes these relations in terms of the dispersal that follows from waves rising and receding upon the shore and tossing up weeds, corpses, and all kinds of salvage materials left from shipwrecks. The sketch’s seeing—and enacting—of relation as a littoral erosion and disintegration presents an alternate sense of how one lives with, pressed up against, familiarly or strangely, other species and races. If a romantic ecology might envision relations in the form of an interconnected cobweb, Thoreau’s late manuscripts release those slight silky threads to the air and lets them fly apart and ray out prismatically. This chapter follows how Thoreau’s sketches embody the ways in which text becomes a natural history of casualty, attending to species and race, and engaging with them by way of an environmental optics. The tenuous lines of sight draw a partial ecology that stretches and cleaves the liminalities between “nature” and Thoreau’s “I,” even as it disperses those very entities.