Why I wrote Flood Waters Down

Surfleet Seas End - one of the atmospheric settings for Flood Waters Down.

People often ask where the idea for Flood Waters Down came from. The answer isn't a single news story or scientific report, but the intersection of decades spent as a journalist covering science, climate and the environment, and a lifelong connection with the Lincolnshire Fens. The following Author's Note, originally published with the novel, explains some of that journey.

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I'VE spent much of my professional life as a journalist writing about technology and space travel. There have been many highlights, among them visiting the launch pad of Yuri Gagarin in Kazakhstan and reporting from the Kennedy Space Center on the final flights of the Space Shuttle. While these great symbols of humanity’s progress bring optimism and perspective, they also reveal how small and fallible 21st century life is.

My early days as a reporter, with many long hours in courts and local government meetings, taught me to assiduously follow the facts. The crafting of fiction, however, has offered the freedom to explore consequences in this modern world of ours. When it comes to climate change, for example, news reports might still define the contours, but fictional stories inhabit the reality.

When I first began sketching the outline for Flood Waters Down, it wasn’t from a desire to predict or warn about some of the dire consequences that might be awaiting humanity, but to examine a question that has been quietly fermenting beneath much of modern life for several decades. What happens when the systems we built to protect and support us become the instruments of our undoing?

The novel grew from that uneasy thought – a mixture of recognition and inevitability – and became a story about people, water and the limits of control.

The Fens of South Lincolnshire, where I spent my formative years, provided the ideal canvas on which to explore two main themes – the calamity of anthropogenic climate change and the insidious growth of artificial intelligence (AI).

The oceanic flatness of the landscape, its sweeping horizons and vast panoramas are part of my DNA. Like many areas of the world, this is a land of understatement, a man-made illusion with its intricate artificiality of dykes, pumps and watery channels designed to keep the sea and rivers at bay. For centuries, people have conspired with gravity and ingenuity to make it habitable, as if permanence could be engineered. But the truth of the Fens is that they are always waiting to return to water.

Flood Waters Down takes that latent tension – between cultivation and reclamation, order and entropy – and follows it to a logical conclusion. The narrative is troubled by the effects of accelerating climate change, and also by the human capacity for denial, greed and self-interest – forces as elemental as any flood tide.

The characters inhabit an egotistic world that has gone beyond complacency to the edge of catastrophe. Some cling to the remnants of bureaucracy and hierarchy; others attempt to forge new lives, closer to the margins. What binds them all is the struggle to define meaning when the accepted norms of the past have disappeared.

Technology drifts through the world of Flood Waters Down, not as a marvel to be worshiped, but as a symptom. AI records, predicts, optimises – and, in doing so, renders human judgement obsolete. The absence of empathy, disguised as efficiency, is bureaucracy perfected. AI doesn’t hate or lie – it simply doesn’t care. The danger isn't that machines will outthink us, but that they already reflect us perfectly – our appetite for convenience and comfort, and our willingness to delegate morality and responsibility.

If there’s satire within the story, it’s the dry, shaken-not-stirred sort, the humour of dogged human persistence, of denial and the absurdity of our faith in possessions and objects. The Fens are testimony to precisely that impulse – the rearrangement and taming of nature until it looks like reason.

A work of fiction, however, allows something more generous – the possibility of resilience, and of rethinking the terms of adaptation and human existence. Beneath the dystopian veneer, there are still gestures of tenderness and hope, though people generally adapt because they must, and only sometimes because they want to.

Writing Flood Waters Down often felt like walking a tightrope stretched between realism and allegory. The setting is near future but, even as I write these words, the pressures are building: the slow-motion disaster of climate neglect, the monetisation of scarcity, the quiet capture of truth by systems too complex to question. The Fens – low, mutable and fragile – become a lens through which to experience it all.

In some ways, this novel is less a warning or parable, more a meditation on cause and effect, on what we choose to preserve, and on the truths we believe or deny. If it has a single contention, it is that the future is never as distant as we imagine. It’s a slow, steady progression, often only visible after the rising water laps at the door.

Thank you for stepping into this part real, part imagined landscape of the near future. I hope you find in it not only the unease of recognition but also the quiet persistence that defines the human condition; the urge to overcome and rebuild, even as the landscape and the civilisation that built it sink into oblivion.

Editor's note: This post reproduces the Author's Note from Flood Waters Down with the permission of Cliftop Publishing. The novel was published in April 2026 and is available through bookshops and online retailers in paperback and ebook editions. For author signings, talks or literary festivals please contact Clive Simpson direct.

 

When reality catches up with fiction

 

EVERY so often, reality catches up with fiction. Watching Europe endure another brutal heatwave this week, I found myself thinking back not to a scientific paper or a news report, but to a passage I wrote for Flood Waters Down several years ago.

It comes from the opening of Chapter 3, introducing one of the novel's principal characters at his Surfleet Seas End houseboat home.

It was barely nine o'clock in the morning, and already the outside temperature was edging towards thirty degrees centigrade as the sun climbed into a cloudless sky of menacing blue. Jack Craft had become accustomed to the energy-sapping heat of such days that now interspersed the frequent storms like a distorted form of meteorological punctuation.

The more temperate and predictable seasons of the past had never been part of his experience. He often wondered what it would have been like to live a life that was, in meteorological terms at least, almost carefree compared with the harsh realities of survival he now faced each day.

Reading those words today gives me no satisfaction. If anything, it is deeply unsettling because the novel is set 20 years or more in the future, whereas the conditions that inspired it are seemingly becoming steadily less fictional.

This June, temperatures across Europe climbed into territory once regarded as exceptional. Hospitals have come under pressure. Wildfires have flared. Roads have buckled. Railways have slowed. And before the continent has had time to recover, forecasters are already warning that another spell of intense heat may arrive within days.

It is tempting to dismiss each event as simply another extraordinary summer but that misses the point. Prof Sir Jim Skea, Chair of the UN's Intergovernmental Panel on Climate Change, expressed it succinctly during an interview on BBC Radio.

"One heatwave by itself doesn't tell you that climate change is happening. But if it becomes a pattern, if they keep coming back, and if the long-term temperature records are an upward rise, it's a sure sign,” he stated

Such distinctions do matter because climate is measured over decades and centuries not afternoons or years. Yet patterns are becoming increasingly difficult to ignore. Records that once stood for generations are now broken frequently. Events described as "once in a century" seem to arrive with unsettling regularity.

Conversation is changing too. For years, much of the debate focused on preventing future warming. Now it is increasingly about adapting to the warming that is already here and locked in.  That is assuming we can adapt at large.

As Prof Skea observed, much of Britain's infrastructure was built for a different climate. Our homes, hospitals, railways and roads were designed for weather that is becoming part of history rather than everyday experience. He argues that even as temperatures continue to rise, we have not paid enough attention to adaptation.

The world’s oceans tell an equally worrying story. New figures released this week show that global ocean surface temperatures reached their highest June level on record. That’s relevant because the oceans are Earth's great heat reservoir, regulating weather, influencing rainfall, feeding storms and sustaining marine ecosystems.

Samantha Burgess, Deputy Director of the European climate service Copernicus, explained that warmer oceans affect almost everything: marine ecosystems come under stress, sea levels continue to rise through thermal expansion, storms gain energy and even fish populations begin to shift.

Perhaps most strikingly, she noted that changing ocean temperatures are already altering European weather patterns, making summer heatwaves “more intense, more frequent and more longer lasting than they were historically speaking”.

In other words, what we are experiencing is not simply bad luck. It is easy to become overwhelmed by statistics. Every few weeks seems to bring another record, another graph trending upwards, another headline declaring the "highest ever".

But climate change is not really experienced through graphs. It is experienced through cancelled train journeys, sleepless nights, reservoirs running low, rivers shrinking, forests burning and communities beginning to wonder whether the weather they once regarded as normal has quietly slipped into history.

When I began writing Flood Waters Down, I was interested not in predicting the future but in exploring where today's trends might eventually lead. As a space and environmental journalist, I had spent years reporting on climate science, flooding and changing landscapes. Fiction offered something journalism could not: the opportunity to imagine what it might actually feel like to live inside those changes.

The novel focuses on rising seas because it impacts the landscape of the Lincolnshire Fens that has always fascinated me. But flooding is only one chapter of the climate story. Heat, drought, wildfire, rising sea temperatures and more violent storms are all connected. They are different expressions of the same changing planet.

Science provides the evidence. Fiction asks a different question: what does it feel like to live there?

That was one of the issues I wanted to explore in Flood Waters Down. Looking across Europe today, it feels rather closer to home than when I first wrote the opening lines of that chapter.

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Editor's note: The picture at the head of this article is based on an original photo by the author from a shop window display during a visit to Manitou Springs, Colorado. The book title was added subsequently. 

Flood Waters Down (2026) is available now in paperback and ebook from bookshops and online.

When the Water Wins

 

Upper River Welland in flood (Feb 2026).                        Photo: Ian Bateman

There is a particular kind of dread that comes not from sudden catastrophe, but from slow acceptance: the point at which something once shocking becomes familiar, then normal, then mere background noise.

In recent weeks, flood warnings have scrolled across our phones, met with only fleeting attention. Roads close. Trains stop. Fields disappear beneath shallow seas. Insurers quietly retreat from whole postcodes. Phrases like “managed retreat” and “once-in-a-century event” lose their meaning through overuse.

Last week, that background noise briefly came into focus with the story of Clydach Terrace in Ynysybwl, South Wales.

The local authority in Rhondda Cynon Taf agreed to spend up to £2.6 million to buy up and demolish 16 homes on a residential terrace that has repeatedly flooded – including during Storm Dennis in 2020, when water inside homes reached almost two metres deep.

The homes, on a floodplain beside the Nant Clydach, were deemed so dangerous that there is no economically viable way to protect them. Natural defences are no longer viable; the risk to life is judged “high”.

Journalists covering the story described this as the first time in the UK that a whole street has been bought out and will be demolished because of climate-linked flood risk: a de facto announcement of the country’s first climate evacuees – though the word itself remains carefully unspoken.

The most frightening thing about climate collapse is not the spectacle of it, but how quickly we absorb it into everyday life.

That sense of quiet inevitability – the feeling that something fundamental has shifted beneath our feet – is what led me to write Flood Waters Down.

I live on the edge of the South Lincolnshire Fens, a landscape that exists only because we forced it into submission. Drained, straightened, regulated, pumped. A triumph of engineering and agricultural efficiency – and a reminder of a very old human habit: believing control to be the same as permanence.

The Fens are flat, exposed and deceptively fragile. They sit mostly at or below sea level, held in place by embankments, lock gates and sluices – and by faith in powerful pump engines that must work perfectly, all the time. As the atmosphere warms and the seas rise, that bargain begins to look increasingly brittle.

Historically, when the water returns to the Fens, it does not do so politely. It spreads. It lingers. It reshapes the land and the people who live on it.

The phrase – the water always wins – became a quiet mantra while I was writing Flood Waters Down. Not as a slogan, but as an observation. Nature does not need to be dramatic to be unstoppable. It only needs time.

So why turn to fiction this time, rather than reportage?

I’ve spent much of my career reporting on complex systems – space, technology, the environment. Good, honest journalism is vital. It tells us what is happening, who is responsible and why it matters.

But it has limits. In the context of climate change it struggles to capture what collapse feels like from the inside. How it alters relationships, priorities, morality. How people adapt not in heroic arcs, but in compromises and retreats. How systems designed to protect us quietly begin to outlive us.

Fiction offers the possibility of stepping beyond the headline and into the atmosphere. To explore not just submerged landscapes, but flooded institutions. Not just environmental breakdown, but the psychological weather of a society learning, slowly, that it may not recover.

Flood Waters Down is not set in some far-off, abstract tomorrow. It occupies the narrow band of time where today’s assumptions still mostly hold – but are beginning to fail.

Its lineage owes more to J.G. Ballard than to blockbuster dystopia: environments that shape behaviour, infrastructures that become characters in their own right, and futures that feel uncomfortably adjacent to the present.

The flooded Fens become a fragmented, part-rewilded zone of survivors and renegades. Elsewhere, enclaves of wealth retreat behind technology and automation, convinced they can outlast the chaos. Over it all hangs the presence of increasingly autonomous systems, designed to manage crisis, but quietly redefining what “order” means.

None of this requires a leap of imagination. We are already living with early versions of these dynamics: climate adaptation by postcode, algorithmic governance, uneven resilience, the quiet return of sovereign rule, the outsourcing of responsibility to systems no one fully controls.

Nothing transforms the world overnight – the future arrives with more of a shrug than a bang. But fiction can change how we pay attention.

Climate fiction, at its best, is not about predicting the future. It is about rehearsing emotional and ethical responses to the futures we are already drifting towards. It asks uncomfortable questions: Who adapts? Who retreats? Who decides? What do we cling to when the structures we trusted begin to dissolve?

As Flood Waters Down moves towards publication, I find myself less interested in whether readers find it frightening than whether they find it recognisable. That quiet click of understanding. That sense of yes, this feels plausible.

Because once a future becomes imaginable, it becomes discussable. And once it is discussable, it becomes harder to ignore. The water, after all, does not need our belief. It only needs our inaction.

 

 

 

 

 

 

 

 

Flood Waters Down is released in paperback by Cliftop Publishing on 9 April 2026 and is available for pre-order.

Fighting for the Fens

 

The Fens of South Lincolnshire and Cambridgeshire have always been precarious – a landscape engineered by human determination, machinery and hard labour.

Now, as ageing infrastructure meets rising seas and volatile weather, the vast area of low-lying land faces its gravest threat since it was drained in the 17th century.

According to a report on the Lincolnshire Live website (Jamie Waller, 29 September 2025), the county could be forced to “surrender the Fens” back to the sea unless billions of pounds are spent on new defences.

As someone who lives on the edge of the Fens, I read his account from Lincolnshire County Council’s Environment Committee with unease – it could almost have been lifted from the pages of my upcoming novel Flood Waters Down (to be published Spring 2026).

Amy Shaw, flood risk manager for the Environment Agency (EA), didn’t sugar-coat it. “The cost is likely to be billions, not millions,” she told councillors. “The problem will be here before 2100 – within the next 10 or 15 years we will need to have a clear direction.”

This is no longer a hypothetical dilemma for the future. Decisions made now will determine whether the Fens and low-lying lands of Lincolnshire remain habitable for future generations.

Breaking point
Most of the area’s pumping stations and sluices were commissioned in the 1960s and recent Environment Agency studies show what would happen if those pumps stopped: vast swathes of Lincolnshire and Cambridgeshire would be under 1.5 metres of water.

Combine this with rising sea and tide levels, and it’s clear why the issue is urgent. Daniel Withnall, chief executive of the Black Sluice Internal Drainage Board, laid out the scale of the threat. “If we do nothing, we are surrendering the south of Lincolnshire – that’s how drastic it is,” he said.

The Fens 2100+ partnership (a consortium of local authorities and interested organisations) has begun preparing proposals to bid for government funding. But the scale of the ask is daunting and political priorities are often short-term.

Councillors at the meeting made no attempt to disguise the severity of the problem. Tom Ashton (Conservative) said: “I’m pleased our ambition to defend the Fens matches the ambition of our ancestors to create it. It will come down to money, and a huge amount of it. It’s unfortunate that river maintenance money is going down, not up.”

Raymond Whitaker (Reform UK Ltd) warned about the decrepit state of existing infrastructure: “If we have a couple of big storms, the pumping stations could break down and Lincolnshire could flood.”

And Ashley Baxter (Independent) brought both history and climate politics into the room, citing an ancestor who first came to the country as a refugee to help drain the Fens. “Now, four centuries later,” he warned, “climate change is the elephant in the room.”

Battling against nature
The Fens have never been entirely “won”. Every field, every straightened river and drainage channel is part of a centuries-long battle against water.

In dry summers, the black peat soils shrink and crack. In wet seasons, pumps groan under the strain while the North Sea, higher now than at any time in recent history, creeps upward year by year.

Locals know this instinctively. Farming families talk about the land “sitting on borrowed time.” And yet, the Fens are more than well-drained soil: they are one of the UK’s most productive agricultural regions. A third of the nation’s vegetables come from these fields.

Foreshadowing reality
When I began writing Flood Waters Down, my aim was to push the current fragility of the Fens into the future, imagining a scenario where sea defences are neglected, climate extremes accelerate and political will falters.

The novel explores the consequences for communities forced to adapt to flooded landscapes – some clinging on with technology, others turning to new ways of living. It’s a speculative narrative rooted in the science of climate change and infrastructure decay.

Blurring the lines
It’s rarely comfortable when fiction and reality come together. Reading the Lincolnshire Live report felt like opening a chapter of my own novel – except this time the decisions rest not with imagined characters but with government ministers, councillors, engineers and all of us who live in this landscape.

The Fens have always been a battleground between human ingenuity and nature. Four centuries ago, our ancestors chose ambition and succeeded. Today, the question remains: do we defend or retreat – or just prevaricate until nature decides for us?

To stand still is to gamble because, as Councillor Whitaker pointed out, one or two big storms could push fragile pumping stations past breaking point.

Perhaps this is the true value of stories like Flood Waters Down – to bring perspective and help us imagine potential consequences before they unfold. Either way, the clock is ticking.

Flood Waters Down, with an introduction by Derek Turner, was published in April 2026 and is available through bookshops and online (paperback and ebook). 

For review copies or author events please contact Cliftop Publishing.

When climate fiction feels real

 

Humanity’s climate emergency no longer lurks in some distant, abstract future. It is encroaching – slowly and unevenly – into our daily lives, politics and psychology.

We are living in a time when yesterday’s dystopias are starting to feel like tomorrow’s headlines, and the Danish TV drama Families Like Ours, which I’ve just finished watching (BBC 4 and iPlayer), could hardly be timelier.

Set in a recognisably near-future world, the series imagines a country that will soon become unliveable due to rising sea levels. 

The nation is forced to evacuate in order to avoid the worst effects of climate collapse – an unsettling premise that turns the tables on our assumptions about migration, power, and privilege.

These are not just speculative ideas for me. Similar themes – a fractured country grappling with inundation, social disintegration and a creeping authoritarianism born of environmental breakdown – are explored in my own forthcoming novel.

Watching Families Like Ours, I felt as though I was viewing an alternative version of my own future world – an unsettling “what if”, unfolding not in an alien realm or distant century but just around the next political and climatic corner.

Drama of denial

What’s particularly powerful – and is also noted in The Guardian’s excellent review – is the drama’s restraint in the midst of crisis.

There are no Hollywood-style disasters, no CGI tsunamis or blazing infernos. The apocalypse arrives in the form of an official government directive urging people to evacuate for their own good.

It’s slow, procedural and quietly bureaucratic – a polite but chilling, “Leave while you still can”. It’s not the bang of destruction but the whimper of compliance.

As the review puts it: “The creeping horror comes from how normal everyone is trying to pretend it all is.”

That line haunted me because in many ways it captures the most terrifying part of our own present: the societal impulse to look away from impending disaster.

Denial – especially around the politics of human-driven climate change – is one of the most potent forces of our age. It manifests not only in outright scepticism, but in the performative optimism of politicians and social media commentators, the greenwashing of corporations and the general inertia of daily life.

We’re encouraged to adapt, to “build back better”, to install air conditioning or move to higher ground – all without seriously confronting the root causes or long-term consequences.

In my upcoming novel Flood Waters Down, I explore how denial calcifies into something darker: a form of authoritarianism cloaked in pragmatism. When people become desperate for security, they often look to ideology, to borders, to technological fixes and political scapegoats.

The regime that emerges in my novel doesn’t rise through a coup. It grows organically, incrementally, from the fertile soil of fear, apathy, and obscene wealth.

That’s the genius of Families Like Ours. It shows how easily we might slide into such a world – not with jackboots and firestorms but via polite emails, official notices and a quietly panicking population.

Climate as character

Another powerful parallel is how the environment itself becomes a kind of character – not a passive backdrop, but an active force that shapes events, relationships and identities.

For the Danish series, the land is turning against its people. It’s no longer safe or reliable, forcing individuals and families to make choices they never imagined – not just about where they live but about who they are.

In this context, Flood Waters Down uses the English Fens as a landscape transformed by flooding into a waterlogged no-man’s-land of shifting loyalties and fragile settlements.

It is at once beautiful and treacherous, steeped in memory and myth, but altered beyond recognition. My characters must navigate not just physical terrain but the moral geography of a broken society.

A question that looms large in both the TV drama and climate fiction like mine is: who gets to stay, and who is forced to go?

In Families Like Ours, the reversal of current refugee and migration narratives is pointed. Suddenly, it is affluent Europeans who must flee. The usual script is flipped, inviting viewers to reconsider the racial, economic, and geopolitical dynamics of climate migration.

By contrast, Flood Waters Down focuses on those who are left behind. Those who remain in the Fens – whether by choice, circumstance or resistance – are seen as dangerous or irrelevant by the centralised regime. The government has moved on. Sovereign individuals are given free rein, exploiting the fears of the wealthy.

The people left behind, ghosted from the national narrative, become the seedbed of something new – an insurgent hope, a counterculture rooted in resilience and memory.

Not all of them are heroes. Some are lost, vengeful, morally compromised. But they refuse to disappear. They refuse to comply with the tidy story of evacuation and erasure.

And maybe that’s what climate fiction, at its best, can offer. Not just warnings but alternatives. Not just despair but a glimpse of the radical imagination we’ll need to survive – and adapt.

Edge of reality

Stories about what the future has in store matter because they help us feel the unfolding crisis – not just understand it intellectually but inhabit it emotionally. What would you do? How would you respond? What would you cling to, and what would you let go of?

Climate fiction is not about predicting the future with accuracy. It’s about preparing ourselves with clarity and courage to meet what materialises. And it may yet prove to be one of our most powerful tools in confronting the climate emergency.

The Danish drama ends not with neat resolution but with the unsettling knowledge that something has irrevocably changed – and that our familiar categories of nation, family, identity and home may no longer apply.

Flood Waters Down concludes too not with triumph but with possibility. With characters who have chosen to fight for a different kind of future, even as the old world sinks beneath the waterline and a new, uncertain one begins to emerge.

The climate emergency is already here. The question is: what stories will we tell about it – and what kind of world will we shape in its wake?

Painting pictures with words

THE window from my hotel room high on the tenth floor offered a truly spectacular view over the city of Lisbon whatever time of day or night.

Awake early, I pulled back the heavy curtains and my eyes were immediately drawn across shadowy trees in the park below to a sinister block of a building with brilliant red warning lights on its roof, flashing in unison every few seconds.

In the half-light before dawn their brightness and intensity was strangely unnerving.

No matter we were close to the landing path for Lisbon airport, it triggered my imagination and helped me complete a short description I had already penned as part of an early chapter in my novel 'Flood Waters Down'.

Tulip Haven’s twin towers, once giant cooling chimneys, still dominated the otherwise featureless landscape for mile upon mile in every direction. During the hours of darkness the building’s angular and functional architecture loomed menacingly, its red warning lights blinking in unison. 

To the casual onlooker their brightness and intensity seemed to convey a strange sense of hidden power, as if from a sinister lighthouse overseeing a forbidden landscape and somehow delivering a subversive message to humanity itself.

So, if you are a budding writer or author, my message is always take ideas from what you see in your everyday environment.

Develop a writer’s eye and jot down some free-flow prose whilst observing your surroundings. You never know where a moment’s inspiration might take you.

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Note: This author is seeking contact with agents or publishers for his first novel Flood Waters Down, a dystopian, futuristic, eco thriller set in the Fens of eastern England, a first draft of which is now complete.

A reviewer of some initial chapters described it as "extremely evocative” with a "poetic and atmospheric writing style" that draws the reader "with a sense of unease and anticipation".

Make contact here: Clive Simpson

England’s forgotten county

Lincolnshire's wild North Sea coast at Sutton on Sea.                   Photo: Clive Simpson

 

England’s second-largest, yet least well-known, county comes under the literary spotlight in a new book full of evocative and often elegiac descriptions of landscape and wildlife, alongside fascinating reflections on the area's history, countryside and people, from prehistory right up to the present day.

 

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IN THE early 1960s my parents relocated from their birth town of Derby (it was only consigned city status in 1977 despite having always had its own cathedral) to start a new life in rural Lincolnshire, the second largest county in England.

I was therefore destined not to grow up in the peaks and valleys of Derbyshire but in the flat Fenlands surrounding the small market town of Spalding, renown at the time for its tulips, sugar beet and potatoes. It is where I attended secondary school and subsequently began my journalistic career on the local newspaper.

So, it is with residential impunity and a little insider knowledge, that I can assert with some authority that the county of Lincolnshire has always had something of a reputation as a political, economic and cultural backwater. By the same token, the propensity of its adult population - at least up to the present time - to vote conservatively in such large numbers was always a bit of a mystery to me.

In the referendum of 2016 it was not hard to predict therefore that such entrenched voting behaviour would culminate with a huge tranche of the county - and most notably the towns of Grimsby, Boston and Spalding - voting to deliver one of the country’s highest collective ‘anti-Europe’ votes.

But the sprawling county, with a surprisingly varied topography allied with an indistinct coastline that barely defines its boundary with the North Sea around The Wash, is so much more than the political summation of its largely ageing and traditional population.

All this, along with Lincolnshire’s unexpected role in defining significant eras of the nation’s history, is brought into sharp focus in the excellent new book ‘Edge of England - Landfall in Lincolnshire’ by Dublin-born novelist and poet Derek Turner. It’s publication by Hurst in the summer of 2022 was as impeccably timed as the content is revealing.

Unsurprisingly, the reader soon learns that after spending two decades exploring and reading about England’s “forgotten county” Turner is now a solid gold Lincolnshire “Yellowbelly” resident himself, keen to pay a long overdue homage to the land of big skies, mega agriculture and an ever-changing way of life.

While much of the book’s prosaic beauty lies in acute observations of time and place, noted in detail on every page via Turner’s poetic turn of phrase and language, the historic importance and influence of the county also comes as a revelation in itself.

Laying out his raison d’etre for his book in the introduction, Turner states that the “proverbial mentions” of Lincolnshire he found during his extensive research were all seemingly “disparaging”, showing the county as “decaying, boorishly rustic”, and even a target of “diabolical ire”.

When asked about Lincolnshire not many, he says, responded with a good word, while others seemed “nonplussed” even to be asked. “The mere word could almost be a conversation killer,” he writes. “Lincolnshire started to look like a continent apart - a large, and largely blank, space, almost islanded by cold sea, great estuaries, soggy wastes, and a filigree of fenny waterways.”

In the book’s opening, Turner defines the county as “an ill-defined, in-between transit zone lazily assumed to have no ‘must-see’ sights and little that was even interesting”. 

He goes on to say the county was “notable chiefly to agronomists and economists as a high-functioning English version of Ukraine, sometimes even called ‘the bread-basket of England’, where steppe-sized harvesters combed squared fields between equally angular chicken sheds. It was a county very hard to comprehend”.

Turner readily describes his book as "amorphous" and his narrative duly wanders amiably through the different regions, building as it does so a fascinating - and no doubt to many readers unexpected - portrait of landscape and place.

Indeed this county-wide tour covers pretty much every quarter, taking the reader from the "huge and muddy maw" of The Wash and the flat, reclaimed fenland of "South Holland" to Lincoln "the City on the Cliff" and the beautiful Wolds, before heading north-east to the Humber and the once great fishing town of Grimsby.

Turner thinks the county is already less distinctive than when he moved there because every day it becomes “a tiny bit more like everywhere else”. There are “more roads, more traffic, more bland homes, and fewer small shops, fewer mouldering old buildings, fewer quiet places, fewer wild animals”.

Lincolnshire, he also observes, has more than its fair share of bungalows with plastic windows, caravan parks, garden centres and chicken farms. “Is it so surprising that so many passing through shake their heads and tap the accelerator?” he asks.

The book is punctuated too with poignant insights and anecdotes, such as: “Lincolnshire people, like people everywhere, have often misused their environment, would probably have exhausted it long ago had they had the means, and must often have resented their lot. But some at least must have loved where they lived, finding a locus for patriotism in the disregarded plain, just as other English see Jerusalem in Barking or Huddersfield.”

As a true convert to an “unfashionable” county, Turner says he first alighted on the prairie-like plains and marshes of Lincolnshire in search of his own “understanding” and, in doing so, discovered a “huge new side to England”.   
                                           
“For all its problems - past, present or projected - Lincolnshire is still a county like no other,” he concludes. “This is an England time half-forgot, where you can still find an unabashed past inside an unpretentious present - and freedom and space on a little offshore island.”

For any potential visitor, armchair traveller or existing resident, whether born and bred in the county or a relative newcomer, this is so much more than a mere guidebook or informative travelogue.

Lincolnshire’s understated chronicles, unfashionable towns and undervalued countryside conceal fascinating stories, as well as unique landscapes - its Wolds are lonely and beautiful, its towns characterful, and its marshlands and dynamic coast metaphors for constant change.

Turner has produced a hauntingly beautiful and honest lament to a rural existence threatened by encroaching modernity, materialism and standardisation as well as the accumulating effects of climate change. If ever a county deserved a book all of its own then it must be the oft overlooked one of Lincolnshire. 

 

 

 

 

 

Editor's note: This review was written by Clive Simpson for the Central Bylines website and published under the title 'Testament to Lincolnshire' in January 2023.

'Edge of England - Landfall in Lincolnshire’ was published by Hurst in 2022, ISBN: 9781787386983. 

Purchase from your local independent bookshop!