¶¶ When I later examine the solid-feeling shelves, I find they contain first editions of Alan Garner’s Red Shift and The Owl Service – two more important books from my childhood in which the past parallels the present. Neither, however, was the volume that flew out into the room; its identity must remain a mystery, as in the excitement I forgot to check.
*** Lloyd Parry provides the introduction to Lucy Boston’s posthumously published collection of stories written in the 1930s, Curfew & Other Eerie Tales; the title piece is particularly effective, along with the menacing water tower of ‘Pollution’.
Chapter 2
Something of a dread feeling starts to rise inside me as I cross the Great Ouse, a mud-edged monument to river engineering that in 1981 became home for a few days to a disorientated immature walrus that was eventually repatriated by air to Greenland. At the roundabout a few hundred yards past the bridge, close to where King’s Lynn’s now-demolished sugar beet and Campbell’s Soup factories once formed distinctive waymarkers, I turn my car onto the A17. I’m slipping back in time, back to my childhood, though time itself has seemed to slow as the traffic is moving at a slug’s pace, the line of cars in front of me having their progress curtailed by an inevitable tractor. Elsewhere, such hold-ups at least allow drivers space to appreciate their surroundings, but here, on a soot-grey day, there’s little to savour, just endless brown fields that merge into the horizon, broken up by occasional mean stands of poplars or ugly, asbestos-roofed agricultural buildings.
It’s an artificial, man-made landscape, reclaimed in part from the sea. We learnt about it at school, about Cornelius Vermuyden and the Dutch-led drainage of the seventeenth century, and of the earlier history of this ague-ridden backwater: the watery world where in 1216 King John is said to have lost his royal treasure on an ill-fated crossing of one of the estuaries of the Wash, having a few days before in King’s Lynn contracted the dysentery that would shortly kill him; or of the Anglo-Saxon rebel Hereward the Wake who led Fenland resistance to the newly arrived Normans, but was more familiar through having lent his name to the Peterborough-based radio station my classmates and I would listen to – in particular hoping they’d read out the name of our school on a snowbound day and that it wouldn’t be opening, a rare mythic event that actually came to pass on two occasions. Mostly though, the story of the area’s past is vague in my mind, like the inconstant lie of the land in the days prior to pumping stations. Even my own connections with the region seem increasingly tenuous, liable to be leached away by one of the local rivers: the Great Ouse, the Nene, the Welland. Or the River Glen, which my grandfather – a real-life incarnation of a character from Graham Swift’s Waterland – lived alongside.
Waterland was published in 1983 and was shortlisted for the Booker Prize in the same year. It is a novel about the forces inherent in human nature that tear people and families apart, how past events haunt the present. But, above all, for me it’s a book about the unnerving flat landscape of my youth. Though I must qualify this, because it would be wrong to regard the Fens as forming a solid, distinctive whole; the country of my childhood had its own boundaries based upon the places we’d visit regularly as a family, stretching a varying number of miles in each direction from our house, but outside of which the more removed outposts of flatness seemed alien and otherworldly. One such locality that we occasionally passed through was the tiny cluster of residences that formed the village of Twenty. In 1982 it acquired a new black-lettered sign that sat below its official name – ‘Twinned with the Moon’ it read; soon afterwards some local joker spray-painted the retort ‘No Atmosphere’ beneath.
In my reading of the novel, Waterland has its setting among the ‘Black Fens’ beyond Wisbech, a town which is itself reworked by Swift into Gildsey, with the real Elgood’s brewery standing in for the book’s fictional Atkinson’s. Despite being only a forty-minute drive from my home, Wisbech was an unacquainted place, less familiar to me than the geographically more distant London, which most years we would make a pilgrimage to on the train. Wisbech was merely somewhere we skirted on visits to Welney, where my mother took us to watch the winter gatherings of wild swans that sought refuge on the dark fields – terrain only slightly more hospitable than their native Iceland and Siberia.
Thomas Bewick, the eighteenth-century illustrator and author of the landmark History of British Birds, whose surname is commemorated by those squat-necked Arctic swans we would watch feeding on potatoes on the floodlit washes, also features tangentially in M. R. James’s story ‘Casting the Runes’. A victim of the story’s black-magic curse is sent in the post one of Bewick’s woodcuts that ‘shows a moonlit road and a man walking along it, followed by an awful demon creature’. If he has not concocted his own work by Bewick, James is most likely referring to the same tailpiece vignette that so disturbs the young Jane Eyre in Charlotte Brontë’s novel – a tiny extraneous illustration tucked into the blank space at the end of the 1804 ornithological tome’s chapter on the black-throated diver.* According to Brontë’s heroine, Bewick’s terrifying etching depicts a ‘fiend pinning down the thief’s pack’. And though there’s nothing that necessarily identifies the man as a law-breaker, the act of carting a heavy bag down a dark country lane does seem suspicious; the attached medieval-looking winged devil that’s doing its best to pry open the contents of the sack does little to assuage our suspicions that the bearer has been up to no good and is getting his hellish comeuppance.
The narrator of Waterland, Tom Crick, is a history teacher who is being encouraged to take early retirement due to budgetary restraints at his school. ‘We’re cutting back on history,’ his headmaster drily informs him, though ultimately it’s the mental breakdown of his wife that speeds the process along. A precocious boy in his class questions the point of learning about what has gone before: ‘What matters,’ Price declares, ‘is the here and now. Not the past.’ So, in order to demonstrate how history does still result in consequences for the here and now, Tom Crick begins to tell them of his own eddying past, the history of the watery landscape of the ‘fairy-tale place’ of his youth.
Waterland swirls between earlier days and the present, between the personal family dramas of the Crick and Atkinson families, and of the shifting silts of greater events such as the Napoleonic or First World Wars, whose eventual settling has a future effect on the imprecise borderlands of the far-off Fens. And, in a nod to Melville’s Moby-Dick, there is even an eight-page digression into the slippery natural history of the European eel, a species my grandfather, a keen angler, was well acquainted with.
I read the novel aged sixteen, a year or two after my brother had first turned its pages. It’s testament to the book’s power that my father, who usually distracted himself with the crime novels of Ed McBain or the thrillers of Frederick Forsyth (who he recalled meeting when they both worked in King’s Lynn at the end of the 1950s), and my grandfather – more comfortable with the westerns of Louis L’Amour – both seemed to take to it. For me, I think (and probably for them too), Waterland’s initial magic came from its setting; although its events largely occurred in a time well before I was born and in a skewed version of a place some twenty miles distant, it was still a landscape I felt I knew – and a landscape I’d never seen depicted in fiction before.
The key attraction, however, was that the Cricks were lock-keepers. Because Grandad had been one too, looking after the antiquated sluices at the confluence of the Welland and the Glen,