Boston and the politics of denial

 

The Lincolnshire market town of Boston lies at the heart of the Fens, within striking distance of the North Sea. Its church – St Botolph’s, known locally as Boston Stump – dominates the surrounding flatness.

The area, famous as the starting point for the Pilgrim Fathers’ journey to the New World, is today defined by industrial-scale monoculture farming and food processing factories, employing a large immigrant workforce.

Perhaps not surprisingly, its once staunch Conservative political leanings have recently been swayed by the rhetoric of Reform UK Ltd.

This week, a report in The Guardian adds a third dimension, describing a town increasingly defined by flood risk, rising insurance costs and the slow erosion of confidence in the sea and river defences meant to protect it.

The article, ‘Seriously wrong’: flood-hit Lincolnshire residents at odds with Reform MP over climate, by Priya Bharadia and Matthew Taylor, notes that flooding is becoming a regular expectation for residents rather than an exceptional event, something already reshaping daily life.

From The Guardian article:

"Boston, nestled at the northern end of the Fens, is on the frontline of the UK’s flooding crisis, which experts say could lead to some towns being abandoned as climate breakdown makes many areas uninsurable."

"According to the Environment Agency, 91 percent of buildings in the Boston and Skegness constituency are at some level of flood risk – more than in any other English constituency. And the science is clear that winters are getting wetter in the UK due to climate breakdown, with warmer air holding more water vapour, meaning heavier downpours."

This is not some future prophecy. It's present tense. And yet, into this reality steps a populist political narrative that seeks to deny, deflect and diminish the underlying cause.

Mainstream challenge 

Richard Tice, MP for Boston & Skegness and a leading figure in Reform UK, has questioned the extent to which climate change is driving increased flood risk – reflecting a broader stance within the party that challenges mainstream climate science and policy responses.

There is something revealing about this disconnect. Flooding is not abstract. It is not ideological. It is not a matter of opinion. It is water, moving through landscapes according to physical laws – shaped by rainfall, sea level, drainage and, increasingly, by a warming atmosphere.

Boston is already experiencing the compounded pressures of tidal flooding, heavier rainfall and – despite increased spending in recent years – the physical limitations of existing defences. “Flooding is now part of life here,” one resident told The Guardian bluntly.

In practice, climate-driven change rarely arrives as a single catastrophic event. More often, it manifests as a gradual redefinition of what is considered safe, viable or sustainable. It is precisely this gradualism that makes denial politically convenient.

If catastrophe were instantaneous, the response would be immediate and unavoidable. But when change arrives incrementally – another flood, another insurance refusal, another breach of a raised embankment – it can be framed as coincidence, mismanagement or simply bad luck. Anything but systemic transformation.

That framing matters. Because if flooding is treated as an isolated problem, it will be addressed with isolated solutions: higher walls, bigger pumps, more funding for local defences. All necessary – but ultimately limited.

Political narratives 

In contrast, when it is understood as part of a broader climatic shift, the implications become more profound. Who gets protected? At what cost? And for how long?

The Guardian article makes clear that these questions are already pressing in Boston, where concerns about affordability, insurance and long-term viability are no longer theoretical but lived realities. The sense of permanence that once underpinned the town’s housing and infrastructure is beginning to erode.

What is striking – and troubling – in a town like Boston, and elsewhere, is how often political narratives lag behind lived experience.

Residents dealing with repeated flooding and uncertain futures are not engaging in abstract debate. They are responding to material change.

To suggest that the underlying drivers are exaggerated or irrelevant – in the face of mounting local evidence – is not simply misleading. It risks creating a widening gap between political language and physical reality.

There is also a deeper cultural dimension at work. For decades, climate change has been positioned as something distant – geographically, temporally and psychologically. Something that happens elsewhere, or in the future. Reality is eroding that.

The story of Boston is part of a wider national and global shift. Climate impacts are becoming local, immediate and difficult to ignore. They intersect with housing, insurance, infrastructure and identity. They reshape not just landscapes, but expectations.

Understanding the future 

And this is where storytelling – whether journalistic or fictional – becomes important. It's because we are dealing not just with data, but with meaning: how people understand what is happening to them, and what it implies for their communities and their lives.

In my own climate fiction novel, FloodWaters Down, I explore a near-future version of the Fens shaped by many of these pressures – rising water, strained systems, self-interested behaviour and fragmented responses. Increasingly, it feels less like speculation and more like extrapolation.

What Boston illustrates, with uncomfortable clarity, is that the key tension is no longer between alarm and complacency, but between experience and interpretation.

The water is rising, whether we acknowledge it or not. The question is not whether we can stop that entirely – we cannot – but how we respond to it. Whether we align our politics, planning and language with the realities emerging around us – or continue to argue with the tide.

Water does not negotiate. It does not respond to rhetoric. And, in the end, it does not care whether we believe in it.

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Flood Waters Down is released by Cliftop Publishing on 9 April 2026 and is available now on pre-order from bookshops and online. 

It will also be published as an ebook. 

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For interviews, review copies, book signings, etc, email: books(at)cliftop.co.uk

Climate fiction meets reality

 

On the final day of The London Book Fair last week, a panel discussion featuring Lucy Stone, Founder and Executive Director of Climate Spring, and broadcaster and Climate Fiction Prize judge Simon Savidge offered a timely reflection on the state of climate fiction.

It came just ahead of the announcement (18 March) of the Climate Fiction Prize shortlist on – a moment that increasingly feels less like a niche literary event and more like a marker of where contemporary storytelling is heading.

What emerged from the discussion was not simply that climate fiction is growing, but that it is changing.

A decade ago, much of what we might have called climate fiction was rooted in warning – speculative futures designed to jolt readers into recognising the scale of the crisis. Those stories had a clear purpose and, arguably, played an important role in helping to translate abstract science into something more tangible and human.

But as both speakers made clear, that distance between fiction and reality has narrowed, perhaps to the point of disappearance.

Climate fiction is no longer primarily about imagining what might happen. It is increasingly about exploring what is already happening – and what it feels like to live through it.

This shift changes the tone as much as the subject matter. While there are still dystopian elements, the books being discussed from the longlist are not uniformly bleak. What stood out was their emotional range: anger, certainly, but also hope, resilience, even moments of humour and tenderness. These are not simply stories of collapse, but of people navigating systems under strain – social, environmental and technological.

That human focus is key. As Stone suggested, fiction has a unique capacity to answer a question many people are now asking, often implicitly: what does this mean for us? Not in terms of policy or targets, but in terms of daily life – relationships, communities, choices.

Savidge echoed this from a reader’s perspective, noting that many of the longlisted works resist being didactic. The most effective climate fiction does not preach. Instead, it reveals – drawing readers into situations where the implications of climate change are lived rather than explained.

Another striking aspect of the discussion was just how broad the field has become. Climate fiction is no longer a clearly bounded genre. It now cuts across literary fiction, speculative work, thrillers, even elements of romance and historical narrative. In that sense, it is less a category than a lens – one that increasingly shapes how stories are told, regardless of form.

Certain themes do recur. Questions of inequality and access – who is able to adapt, and who is left exposed – are central. So too is the idea of community: how people come together, or fragment, under pressure. Technology, particularly artificial intelligence, is beginning to intersect with these narratives in interesting ways, raising questions about control, agency and dependency.

And underpinning much of it is a shifting relationship with the natural world. Not nature as something separate, but as something we are inextricably part of – a perspective long understood in other traditions, now reasserting itself in contemporary fiction.

What is perhaps most significant is that none of this feels imposed. Many of the writers being discussed did not set out to write “climate novels” as such. Rather, as the conversation suggested, the climate crisis has become impossible to exclude. It sits within the fabric of storytelling, just as it now sits within the fabric of everyday life.

For those of us who have spent years writing about climate, science or technology in a journalistic context, this evolution feels both inevitable and necessary. Journalism remains essential in explaining what is happening and why. But fiction operates differently. It allows us to inhabit situations, to test emotional and ethical responses, to experience – however briefly – the texture of a changing world.

In that sense, the rise of climate fiction is not simply a literary trend. It is a cultural response to a shifting reality.

As the shortlist for the Climate Fiction Prize is announced, it offers a snapshot of that response – a set of stories attempting, in different ways, to make sense of where we are.

And perhaps that is the point. Not prediction, but recognition.

Because if there is one thing the discussion at the London Book Fair made clear, it is this: the future climate fiction once warned us about is no longer approaching. We are already inside it.

It is a perspective I’ve explored in my own forthcoming novel, Flood Waters Down, set in a flooded version of the English Fens – a landscape that, like many others, may be closer to that future than we would like to think.

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Climate Fiction Prize 2026 longlist

Dusk by Robbie Arnott (Chatto & Windus, Vintage); Every Version of You by Grace Chan (VERVE books); The Tiger’s Share by Keshava Guha (John Murray Press, Hachette); Helm by Sarah Hall (Faber & Faber); Albion by Anna Hope (Fig Tree, Penguin Random House); Awake in the Floating City by Susanna Kwan (Simon & Schuster); The Price of Everything by Jon McGoran (Solaris, Rebellion Publishing); Hum by Helen Phillips (Atlantic Books); Endling by Maria Reva (Virago, Little, Brown); The Book of Records by Madeleine Thien (Granta Books); Juice by Tim Winton (Picador, Pan Macmillan); and Sunbirth by An Yu (Harvill, Penguin Random House).

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.