A walk from Gravesend to the derelict Cliffe Fort and back, along the opening stretch of the Saxon Shore WayRead More
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!Read More
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!Read More
I recently watched the 2018 British horror film Possum, written and directed by Matthew Holness, adapted from his own 2008 short story of the same name. Holness is well-known for the excellent horror spoof Garth Marenghi’s Darkplace, and it’s fascinating to see him now playing the horror straight – and in this case, a pitch black and deeply strange example of English weird fiction.Read More
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!
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.
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.
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.
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 Griffin, The 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.
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.
A lovely review over on Goodreads for the This Dreaming Isle (Unsung Stories) anthology – my contribution ‘Hovering (or, a Recollection of 25 February 2015)’ had the following, very kind, write up:
Another fantastic story from Budden, who is fast becoming one of my favourite current writers of weird fiction and whose approach – being as it is so closely tied to ideas about Britishness and the mythical nature of landscape – is absolutely perfect for this anthology. It is framed as a story told to the author by a friend, and as with many of Budden's stories, it's hard to figure out whether it's entirely fictional. It feels very densely layered, a patchwork of memories and history, emphasising how a place can be shaped by what has happened there.
February 12th 2019, I am running a workshop at the Idea Store in Whitechapel – HOW TO USE PLACE AND SETTING IN YOUR FICTION. All the information can be found here: https://www.spreadtheword.org.uk/events/how-to-use-place-and-setting-in-your-fiction-with-gary-budden/
ABOUT THE EVENT
In this two-hour workshop the author of Hollow Shores, Gary Budden, will talk you through how to maximise the locations you use to set your fictions in, discussing what role the landscapes – rural, suburban and urban – play in the stories we tell and how they affect the narrative.
Looking at key examples in fiction followed by writing exercises, this session will give you the tools to you make the most of your setting, be it an evocative background or the central driver of your narrative.
It was immense fun yesterday to walk the stretch of salt marshland, estuary tidal coast, pylons, mudflats, sheep, oystercatchers, rusting boats and substations that stretch between the towns of Faversham and Whitstable in Kent. The walk takes in the areas of Faversham Creek, the stretch of water called The Swale that seperates the Isle of Sheppey from the mainland, the Graveney Marshes (under threat from a potential solar power station), the Hollow Shore itself, and onto the town of Whitstable for a pint in The Old Neptune. These landscapes will be familair to anyone who has read Hollow Shores; it remains one of my favourite landscapes.
I wanted to revisit this territory that informs so much of my writing, and I took with me my good friend and brilliant writer of Marshland, The Stone Tide and the upcoming Car Park Life, Gareth E. Rees. Usually our walks are bedeviled by torrential rain and conditions only lunatics would go walking in, so it was a pleasant surprise to have gorgeous hazy blue skies and golden winter sunlight. It was like walking through a Maxim Peter Griffin picture.
“Who are the ghosts again, us or our dead? Maybe they imagined us first, maybe we were conjured out of the deep past by other minds.”
I have a memory, from when I was perhaps eleven or twelve, attending a re-enactment show recreating life during the period of the English Civil War. The details are fuzzy. But I was with my father and I believe we were in Eastbourne on the south coast of England. I was enthusiastic about history, especially the bits involving war and violence, as many children are. Watching the re-enactors, singing a song of the era that they wished to revive, it disturbed me. I couldn’t fathom their reasons, and to this day I still can’t; not fully.
Outside the town of Battle in 2016, again with my father, at the 950th anniversary of the Battle of Hastings, I felt the same emotions, seeing the mock-Saxons and mock-Normans camped out in their muddy fields. The wood smoke fires and animal skins and authentically whittled items had a definite appeal, and created an evocative idea of the past. But we could never truly know, could we? All of it could only ever be a projection of something, a yearning, a desire enacted and performed. A desire for escape; desire for authenticity in a word now deemed fake; desire for simplicity, perhaps. The desire to be someone and something else.
I find history, and British history, a fascinating space to investigate. The endless interpretability of it and all the different versions of histories I thought I knew will keep me interested until the end of my life. All writers of fiction must have an interest in these topics. How could you not? But I lack the desire to recreate it.
In my previous post, I alluded to my worries about the rise I see in bogus folk ethno-nationalism. It seems appropriate, then, that this week I read the astounding new novel from Sarah Moss, Ghost Wall.
I was a newcomer to Moss’s work before reading this; and now I consider myself a convert to her writing and am going to track down all her backlist. The blurb to Ghost Wall immediately grabbed me:
Teenage Silvie and her parents are living in a hut in Northumberland as an exercise in experimental archaeology. Her father is a difficult man, obsessed with imagining and enacting the harshness of Iron Age life. Haunting Silvie's narrative is the story of a bog girl, a young woman sacrificed by those closest to her, and the landscape both keeps and reveals the secrets of past violence and ritual as the summer builds to its harrowing climax.
That her father is a ‘difficult man’ is an understatement; he yearns for an unbroken and pure lineage of British identity, allegedly resisting wave after wave of invaders over the centuries. He is an amateur historian and archaeology enthusiast, and he is a racist, and he is a misogynist who believes women have their place in the natural order – he’s the hunter, they’re the gatherers. He fetishes the gruesome (yes, admittedly, fascinating) deaths of the ‘bog people’ found preserved in the north of England – the victims often young women or girls, murdered and sacrificed to the land for reasons now obscure to us. He believes the deep past was a better place and that modernity is poisonous. He beats his daughter for her perceived sleights and immodesties. He would have taken the news about Cheddar Man badly, shall we say.
Although Ghost Wall is set at some-point in the nineties, it is impossible to read this book and not see it in the light of Brexit, and see parallels with the very folk-fascists haranguing people like @FolkloreThursday online and generally irritating the hell of me.
It is a gorgeously written novel and with a real feeling of unease and tension packed into its pages, leading up to a disturbing, troubling ending that has stuck in my head for several days after reading it. Ghost Wall is an expert examination of the topics of landscape, history, gender politics, and national identity – and crucially how our attitudes to these things are all intrinsically intertwined.
I had an excellent weekend up in Chester at Fantasycon, which involved a lot of books, beer, and writing talk. It was as fun as ever, so roll on Glasgow next year! A highlight was reading with the writers Priya Sharma, D.A. Northwood and Tim Major on the Saturday night – all writers whose work I respect a great deal – and reading to a crowd of peers and contemporaries and writers I am frankly in awe of. Seriously, it’s easier reading to a hostile crowd of drunks than a group of people you respect and whose opinion you care about.
Photos appropriated from Tim Major.
I was also very pleased to get my hands on my contributor’’s copy of THIS DREAMING ISLE, a new anthology of strange fiction with a tight focus on the landscapes of the United Kingdom. As anyone who has read my work will know, this essential link between the weird, the eerie and the uncanny with place and landscape is something that obsesses me. Therefore it has been fantastic to have the opportunity to share space in a book with writers like Jenn Ashworth, Catriona Ward, Gareth E. Rees and Aliya Whiteley, as well as horror legends like Ramsey Campbell and Stephen Volk.
The introductory essay to the book, written by editor Dan Coxon, feels particularly pertinent this week. Explaining strongly how the stories in THIS DREAMING ISLE resist unpleasant notions of nationalism and nativism, both essay and book come out in a week when the #FolkloreThursday Twitter account is under attack from neo-volkish racists hell bent on imagining a pure ethnic heritage where none exists. These people are dangerous idiots, and I am glad to be aligned with writers who refuse such easy notions of the past and what landscape means. Sadly, I feel this battle is going to continue for a long time yet.
Everyone should have a listen to this recent episode of Backlisted Podcast about Adam Thorpe’s majestic 1992 novel, ULVERTON. One of the first, and best, books, to get me interested in the uncanny power of the landscapes we live in. Coincidentally, one of the guest’s is Tom Cox, whose new book from Unbound, HELP THE WITCH, just landed on my desk at Titan today.
I cannot recommend ULVERTON enough, so do go read it.
Music-wise, I have been loving the new Current 93 album, The Light Is Leaving Us All, and Grand Collapse’s brutally intense album Along the Dew, which features this apt anti-fascist song ‘Chalk and Flint’. You should listen to it.
‘There is a writhing worm in all of us, waiting to be freed.’
– From The Salvage Song of the Larks, and Other Stories, by Michael Ashman
I have a story in the latest Coffin Bell Journal that you can read here.
I have a piece today in The Quietus, looking back at the film adaptation of Watership Down on its fortieth anniversary in relation to Michael Moorcock’s ‘Epic Pooh’ essay, the music of Fall of Efrafa and Richard Adams’ claim that the story has no allegorical aspect to it.
You can read the piece here.
An image dredged from memory came to me the other day: a degenerate being, a creature monstrous and hungry, doll-like, like a beakless platypus with tendrilled hair. I dated the image from sometime in the early nineteen nineties, in Kent near the waters of the Hollow Shore.Read More
Extract from the introduction to Magnesium Burns: The Collected Zines, 1999–2011 (Punk Positive Press), by Melissa Eider.
The 'landscape punk' scene of the mid-to-late-2000s was formed around the nexus (some said unholy trilogy, some said bunch of wankers, depending on your view on the whole thing) of NOMADIC TRIBE, DEAD INDUSTRIAL ATMOSPHERE and SCARP.
Ranging from gypsy-traveller style folk-punk to dark and brooding epic crust and post-hardcore, the scene took a great deal of inspiration from not only classic works of eco-themed English literature like Richard Adams' WATERSHIP DOWN and THE PLAGUE DOGS (the Brighton-based FALL OF EFRAFA being the most noticeable band to do this), but also the popular genres of London-focused psychogeography, deep topography and urban landscape writing as popularised by writers such as Nick Papadimtiou, the politically charged landscape writing of American writers like Rebecca Solnit, the weird fictions of people like Joel Lane, and crucially the Incognita series of books republished by Malachite Press.
The Incognita series included lost classics by Alexander Baron, Hecate Shrike, Maureen Duffy, Michael Ashman and D.A. Northwood, among many others, resurrecting a valuable archive of hidden London literature. The tracks 'Juddering' and 'Demon of Woodberry Down' by SCARP, both references to Northwood, became iconic of the scene and have remained enduring classics of the punk, post-rock and hardcore underground well into the twenty-teens.
NOMADIC TRIBE released only one album, the critically- regarded but commercial flop, 'Concrete Palimpsest', a record heavily indebted to nineties underground hardcore acts like SCATHA, A FIELD IN ENGLAND and SEDITION.
DEAD INDUSTRIAL ATMOSPHERE (their name of course an homage to the great LEATHERFACE) are still going strong. Albums like 'City of Worms' and 'Miracle at New Cross Gate' are considered staples of any discerning underground music fan's collection. They tour regularly across the UK and Europe, but have distanced themselves somewhat from the landscape punk scene.
SCARP split acrimoniously and with much bad blood, effectively ending the scene; something which has been well documented elsewhere (in the pages of Magnesium Burns in fact – read on).
A meadow of endless asphodel flowers, a plant ghostly and pale itself. And if that sounds harsh I don’t mean it to be because it’s more about atmosphere and the mood and the vibe that this weather creates than anything else, and anyway, I would be destined for the Asphodel Meadows myself. A strange nowhere land (never say liminal) between one thing and the other is a kind of heaven itself.Read More