AN INVITE TO ETERNITY

An Invite to Eternity. Tales of Nature Disrupted, takes its cue from John Clare to address the most pressing issue humanity is facing: anthropogenic climate change.  Edited by Marian Womack and myself, and with a foreword by Helen Marshall.

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EGRETS AND BOATS

The White Heron Beneath the Reactor is coming ever-closer to completion. Maxim is working on the final artwork and the book will be going to the typesetter ASAP. 

Here are two brand new images from the book to give more of a flavour of what the finished work will look like. 

Thanks, as ever, for your patience with us. More updates very soon!

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THE WHITE HERON APPROACHES

I am happy to say that the text of The White Heron Beneath the Reactor is complete and being proofread, and that Maxim has been going above-and-beyond with the artwork – something you can now judge for yourselves, as we are pleased to be sharing some images from the book and a short extract. Enjoy!

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BUILT ON SAND ARRIVES

Last week saw the arrival of the new novel published by Influx Press, BUILT ON SAND by Paul Scraton. I’ve been out and about with Paul, visiting various bookstores to sign copies of the book, and launching the novel at Burley Fisher Books in London, and the The Book Corner, Halifax

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SUITE 212

You can now listen to my interview on Resonance FM, on the Suite 212 show hosted by Tom Overton and Juliet Jacques.

I was on the show discussing Hollow Shores, Judderman and the upcoming The White Heron Beneath the Reactor, covering a range of topics including Derek Jarman, Dungeness, punk rock, birdwatching and the apocalypse. Enjoy!

IN THE FADE

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Late February and the air is already full of spring, too early; worry caused by mild weather. At the harbour, the asphalt plant shimmers in a misted haze coming off the waters of the Thames estuary. The water is at low ebb, slutch visible, glistening. The sun is bright and the mist has a chilled bite. A sky unclouded, deep tangible blue. The world is unfocused, either fading in or fading out. You imagine things appearing or slipping out of view forever in the mist; a sea-giant made of salt spray and coastal haze. But nothing ever does.

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A WALK THROUGH THE DANGER HOUSES – 21/2/19

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A walk through unseasonable February sun to the Oare Gunpower Works, outside the town of Faversham, Kent. Gunpowder was manufactured here for many centuries, finally finishing in the 1930s.

On 2 April 1916, 108 people died in a blast at a munitions factory at Uplees, about a mile away from here.

Brian Dillon’s book, The Great Explosion, is an excellent history of the gunpowder industry in the area and the tragic accident of 1916.

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BURNING

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I can see where it began to unravel. That summer; the one the whole country remembers. I was twenty-five-years-old, the tarmac of London oozing in the heat. Hotter than Spain, screamed the headlines. Much flesh on display.

The city was burning. Five night of riots, triggered by something so common we’d almost all forgotten it was a travesty. The police choked a young black lad squeezed the life out of him, as they’d done to so many before. It was out Wood Green way.

PK and I had taken our fair share of batterings out on the demos, and Andy once took a beating in the cells of Stoke Newington for having too much of a mouth on him. But we considered ourselves lucky – we put ourselves in those situations. I see that now. The police didn’t come looking for us.

For whatever reason, people weren’t having it that summer. Who can blame them. Push people too far, then punish them for having the gall to react – the sheer nerve of it. The put-upon of London reacted with torched squad cars, bricks through the windows of Currys, looting all those things they were told they needed to be a proper person, but could not afford.

Petrol bombs burst on riot shields, a gorgeous, compelling and frightening sight. The memories of London streets lit at night by oily flame, so beautiful. Rip it up, tear it down, smash, start again. If only it had been that way.

Even back then I knew the violence, the unhappiness and unrest, was nothing new to London. This ancient city, my home, a place I knew like one of its rats, eking life out in the cracks and gaps. I had this… what’d you call a gift. A gift that isolated me.

I could see the ghosts of the all the cities London had been. I’d often catch glimpses of men and women in outdated clothing, and wonder. It was so hard to tell who was living and who was dead – with retro fashion booming, second-hand chic a thing, even skinhead fashion suffering a fashionable re-appreciation, how could I tell when anyone was from? And who was I, anyway, to pass judgment on this? Whether I was decked out, like I was back then, in the black and white t-shirts of bands from the early eighties, or smartened up in polo shirts, when the hell was I from? I burned with nostalgia for times that never really happened.

The weight of the city I lived in crushed me. I couldn’t verbalise it. It was a drug. I’d sit and watch old Pogues videos, flick through my shelves of London fiction, stare out high as a kite over the view from London Bridge at five am as the sun came up, and the knowledge of where I was, what this city was and the fact that I lived in it – I lived in it – became unbearable. Like a pill you’d taken that you knew was too strong, with the rush of emotions feeling enough to buckle me at the spine. I never knew what to call those feelings. Some kind of extra, unnecessary, sensitivity.

I saw the spriggan on Parkland Walk struggling to get free of the brickwork when no one else could; I knew the golem in Stamford Hill was real. I studied the tarot, I loved weird fiction, and took an interest in things like the collective unconscious. I had taken mushrooms, acid, even DMT down on the south coast in Hastings, an experience which almost made me believe in an afterlife.

That night as the city burned, we thought we’d nose out what was going on, try and live up to some of the creeds we claimed to adhere to. I can still see Jess, in her light denim jacket with covered in patches promoting causes that mattered in those days, plain black T shirt, hair shaved along one side of the head like the girls used to do back then. It was before we really got together, and way before it all turned to shit.

We were running down a side road off the Green Lanes, fleeing it as a whole unit of riot police done up like a dystopian enforcers marched down the street. Turks and kurds leaning out of their windows above the kebab shops and grocery stores. I have a memory of a tipped-over box of Turkish peppers, those pale green ones your cook up with eggs in a metal pan, arranged like an absurd, crushed corona on the tarmac

 Some of the Turks were out on the street, tooled up with cleavers and bats that should have been hitting softballs in London’s parks. They were a community that knew how to look after themselves, and I always respected them for that. They were defending their property from the looters, people we presumed they knew as neighbours.

We ran down the alley as the Green Lanes went up in flames and came down in smashed glass and scorched brick. Jess and I had lost the others, and it felt like we were in theold Alex Cox movie, Sid & Nancy, excited and adrenalised by the fact that things were happening and for once the status quo was wobbling. We kissed in the shadow behind a green industrial recycling bin, a piece of smouldering cardboard wafting above us like a burning angel.

SINKER (A DARK CADENCE)

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You were talking about the past, and the things we had done before we knew what to do. I recalled how the sun died tired in our back garden, green that stretched out like a landing strip towards the cemetery. Over the wooden fence was where the dead lived and dreamed their dreams of London, trodden on by crackheads and the men seeking sex from men like themselves. I felt the slower we went the better, easy-does-it over the fence boys, but a night of heavy drinking had impaired an already stiff and unagile body. When I fell, into the realm of the dead, my brittle collarbone snapped on a ruined grave and my head poured blood from its left side. I blacked out, and when I came to, had lost my filter and spoke openly of the things that preoccupied me but I felt too embarrassed to express in daylight. This troubled you, who ushered me through the dank and dripping tombs to where we had summoned a flashing ambulance. A man from the council was summoned to unlock the Victorian gates; all advised that trying to scale the boundaries of the necropolis a second time was foolish. The paramedics took my heartbeat, asked if I’d taken something, my chest was thudding fast and hard, so of course I had to answer yes.  

But what were you saying about… what were you saying?

Because all I could think about was that night in the cemetery; the mossed statues didn't make for easy conversation. What we failed to speak of was how we got ourselves through the dark days and made it all make sense; how we tried to lighten our dark cadence, and stop ourselves sinking.

 

THE UNCONSCIOUS ECHO

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I’ve been greatly impressed with this record from 2018 by Cinder Well – The Unconscious Echo. I have been listening to it all week.

It’s very dark, doomy and atmoshperic folk, like a mixture of Lankum and Godspeed! You Black Emperor with some of the weirder parts of British 70s folk rock (bands like Trees and Pentangle), with vocals that remind me of American dark-folk singers like Allysen Callery (her album The Song the Songbird Sings is well worth checking out).

They describe themselves as ‘doomy folk from the depths’ which was enough to get me hooked.

NOSTALGIC MELANCHOLY

Another great review of the This Dreaming Isle (Unsung Stories, 2018) anthology. They had the following to say about my story ‘Hovering (Or, a recollection of 25 February 2015)’.

‘Budden’s offering is a well-researched, cleverly written and prettily described tale. He has managed some impressively complex characterisation, considering that he only has a few pages to tell Iain’s story. His descriptions of this half-forgotten patch of Kentish coastline are charming and laced with a nostalgic melancholy that doesn’t outstay its welcome or romanticise the poverty that afflicts this area. Another contender for my favourite entry in the anthology!’

Read the full review at Fantasy Faction here: http://fantasy-faction.com/2019/this-dreaming-isle-edited-by-dan-coxon-an-anthology-by-unsung-stories

THE WHITE HERON BENEATH THE REACTOR

A fully illustrated 64-page hardback book about Dungeness, white egrets, climate change, Europe and apocalypse. LIMITED TO 100 COPIES.

White herons. Nuclear power. The desert of the south-east.

Gary Budden, a lifelong bird-lover, returned to Dungeness in Kent – famous for its shingle desert, its nuclear power station, and Derek Jarman’s cottage – in the autumn of 2018 on a bird-watching trip. In the car park of the RSPB reserve, he watched greenfinches on a bird-feeder for the first time in several years – birds once commonplace, now under threat of extinction.

Entering the reserve, he saw the bird he had come to see: the great white egret, a towering white heron among the reeds, visible to the naked eye even from afar. Common on mainland Europe, but, a rarity and a source of excitement in the United Kingdom. Until now.  

As part of Kickstarter's Make 100 initiative, and working with renowned landscape artist Maxim GriffinThe White Heron Beneath the Reactor is an illustrated landscape punk essay exploring the bleak, otherworldly and captivating landscapes of Dungeness, the effects of climate change and a warming world, our relationship with continental Europe, and the looming fear of apocalypse.


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The author and artist have collaborated on a number of previous projects (such as Heaven is a Marsh in Winter), as well as continuing their ongoing solo investigations into the strangeness of the British landscape. They like working together and seeing how words and images can work together; how collaboration produces something unique that neither individual would have produced. 

Inspired by their favourite limited releases from obscure punk, psychedelic and folk labels, and the lavishly produced, extremely limited weird fiction books they covet, Gary and Maxim decided to create something similar. The Make 100 initiative seemed perfect for what they wanted to create. The White Heron Beneath the Reactor is a poetic interrogation of place and landscape in the current political climate; it is also a beautifully produced collector's item for the bibliophile in all of us. 


The book is LIMITED TO 100 hardback copies, with full colour illustrations.

With your help, we make this book a reality.  

Pledge here: https://www.kickstarter.com/projects/1194866830/make-100-the-white-heron-beneath-the-reactor