Fascism in fiction has been in vogue for a while now: the television versions of The Handmaid’s Tale and The Man in the High Castle, Penguin’s republication (on the day of Trump’s inauguration) of Sinclair Lewis’s It Can’t Happen Here, people scurrying to the bookshelves to note all the pre-echoes of Steve Bannon’s politics in Philip Roth’s The Plot against America. I don’t know what emotional need these might-have-beens and could-it-yet-bes serve, unless it’s a version of ferreting around in Nostradamus for strings of words that might be contorted into a prediction of something that’s just happened: things feel more manageable when you can tell yourself that someone saw this coming.
The single-lane road cuts through an almost empty grassland plateau. Every so often there are signs warning drivers not to wander, at risk of death from unexploded bombs. A burned-out tank punctuates the horizon, its gun raised in salute. The road continues like this for a good twenty minutes before reaching a small car park outside a village church. On the morning of New Year’s Day the car park was almost full. People were getting out of their cars and making their way up the hill to the church: families with children and elderly relatives, a dog-walker in a camouflage anorak, a young couple in quilted jackets and Union Jack wellies.
The photographer Marc Atkins and I are working on a project called Fields of England. We go into fields we have known for a long time, and others we just know about, but have never seen: battlefields, minefields, deserted village fields, fields undersea, gathering places, burial grounds, places of execution, places where treaties have been signed – but this is a list of field-genres. If we have learned one thing, it is the limitation of genre. There are as many genres as there are fields. And almost as many Englands.
From the terrace at Cliveden, with its western and southern panorama, the Thames and its floodplain are partly obscured by woodland, and so yesterday you couldn't judge the extent of the flooding in the valley below. But that didn't appear to matter to the large number of people visiting the house and its gardens, on the first gale-free day in some time, many of whom had turned out to see what they could of the floods. Disaster tourism?