back of some reedbed – was balanced on top of a bramble, from where it delivered its song with gusto: a high-frequency staccato my ears would now strain to hear, the sound like a fishing line being reeled in. Across the mud shimmered the brooding, blocky mirage of the Pilgrim Hospital, which my father had entered a few weeks before and never left.
For me this is a melancholy place, haunted by the ebbs and flows of its past associations.
In the final paragraph of Waterland, as Tom Crick scans the surface of the Great Ouse for his lost brother, Swift surely alludes – ‘We row back against the current …’ – to one of the great last lines of literature, and a book, The Great Gatsby, I was to study a few months after wheeling my mother in her chair along the bank, all those memories ago: ‘So we beat on, boats against the current, borne back ceaselessly into the past.’
Out on the Wash a group of shrimp trawlers cluster together in what is left of the dying daylight.
I shall not rush to return.
Seven miles as the brent goose flies, though a winding eighteen by car, and I am between a white lighthouse and the canal-straight channel of the Nene. ‘Down here the river has a surging life of its own, compensating (for those attuned) for the flatness of the surrounding country,’ states Robert Aickman, author of forty-eight hard-to-classify ‘strange tales’ and also, perhaps somewhat incongruously, the co-founder of the Inland Waterways Association.** The building before me is Sutton Bridge’s East Lighthouse; its near-identical twin is located on the opposite bank. Built between 1829 and 1833 and designed by John Rennie, the architect of Waterloo Bridge, to delineate the river’s mouth, the East Lighthouse was an early home of the conservationist Peter Scott, son of the ill-fated Antarctic explorer Captain Robert Falcon Scott. Aged twenty-four, Scott arrived at this secluded stretch of river in 1933 to find a purpose for himself; he was to live here, on and off, for the next six years. It was the place where he honed his wildlife painting and wrote his first two books, and where he kept his original collection of wildfowl on the expansive pools that used to be found on the saltings between the lighthouse and the Wash.
Those tidal lagoons have long gone, reclaimed in the 1960s and 70s into arable fields that stretch as far as you can see. My father brought me here one Sunday afternoon to an open day being held by the local farmer, and often we would detour along the top of the Nene’s east bank on the way back from visiting my grandmother in Norfolk. Later Dad got me a summer job alongside my brother at a nearby, dusty vegetable-canning factory; we looked out over the wavering wheat towards Scott’s erstwhile home as we stacked boxes of tinned baked beans bound for Saddam Hussein’s Iraq, while the shed’s sole soft-rock cassette compilation, Leather and Lace, played in a never-ending loop. That summer was among my best times, I sometimes think, even though the work was tedious and physically challenging – I was sixteen and my world was awash with possibilities, had yet to start coming apart.
Despite the transformation of Scott’s marshland, there are still a couple of ponds behind the lighthouse that hold a remnant selection of exotic waterbirds, including a pair of beautiful red-breasted geese and a sextet of sneering snow geese (a line of black that contrasts with the pink of the rest of the bill – the so-called ‘grinning patch’ – really does give the snow goose a contemptuous expression). This latter North American species gave the title to the bestselling novel by Paul Gallico, who loosely based his story of a reclusive lighthouse-dwelling painter on Scott and a wild pink-footed goose that, in 1936, took up residence among the lighthouse’s fledgling bird collection, returning again in following winters.††
Robert Aickman’s guide to boating holidays, Know Your Waterways, also namechecks Scott’s lighthouse as a notable landmark. Aickman knew Scott – who happened, in addition, to write the introduction to Aickman’s barge book – and the two men, surprisingly, remained friends after Scott’s first wife, the writer Elizabeth Jane Howard, left the conservationist in August 1947 for the thickly bespectacled and besotted Aickman. The couple’s relationship itself ended a little over four years later (in Howard’s memoir Aickman comes across as a rather jealous and controlling figure), though not before the couple had collaborated on a debut 1951 collection of supernatural stories, We Are for the Dark. Each of them contributed three tales, including Howard’s supremely ominous ‘Three Miles Up’, my favourite in the slim volume, which displays the enigmatic qualities we now regard as key characteristics of an ‘Aickman-esque’ story – pointing perhaps to the uncredited influence that Howard’s writing was to have on her lover as, mainly during the 1960s and 70s, he wrote the majority of his critically lauded work. ‘Three Miles Up’ seems autobiographical in its depiction of a narrowboat journey gone awry, and possibly prefigures the rivalries and eventual falling out between Aickman and Tom Rolt, as well as Howard and Aickman’s own parting soon after the publication of their joint collection. The story’s ending offers a purgatorial, nightmare-inducing vision that’s hard to beat:
The canal immediately broadened, until no longer a canal but a sheet, an infinity, of water stretched ahead; oily, silent, and still, as far as the eye could see, with no country edging it, nothing but water to the low grey sky above it.
The unspecified inland English canal setting of ‘Three Miles Up’ was relocated to the Fens in an effective, though loose BBC adaptation of Howard’s story, with the transformation of the central male characters into a pair of estranged brothers, and the addition of a supernatural whistle that could be straight out of M. R. James’s ‘Oh, Whistle, and I’ll Come to You, My Lad’. The drama’s final scenes were shot at the mouth of my own River Welland, the waterway that flowed along the top of my street and which I crossed each day on my walk to school. The crew had only a risky two-hour window, the director Lesley Manning tells me, filming where the river enters the Wash downstream of my grandfather’s Seas End bungalow and adjacent to the marshes of Shep Whites. Those inundated mudflats make a good match for the ‘infinity’ of water that opens out before the reader at the story’s grim conclusion.‡‡
The Nene flowing hurriedly before me now, which has dropped precipitously on the retreating deluge to reveal sludgy cliff-like banks, has its source in Northamptonshire, and runs through an artificially straightened channel past Peterborough, where it becomes tidal. The river’s outfall was completed around 1830, with 900 men and 250 horses labouring to dig out the last seven-mile stretch that replaced the meandering former route. And although in Waterland’s final act Graham Swift has Tom Crick and his father scanning the waters of the Great Ouse – located a few miles away at King’s Lynn – for a sign of his drowned brother Dick, the adaptation of Swift’s novel shot the scene here on the Nene, with Scott’s old lighthouse appearing briefly in frame. The mud of the river and the marshes around Sutton Bridge is often also cited as a possible resting place of King John’s fabled lost treasure. The story finds its way into a book partly set around these same creeks and channels that is regarded by many M. R. James devotees as one of the few great novels in his tradition: The House on the Brink.
In November 2017 I noticed an obituary in my local paper, the Eastern Daily Press, announcing the death of John Gordon – a 92-year-old Norfolk-based children’s author of whom I was unaware. Jack Gordon, as he was known to his friends and family, was born in Jarrow, Tyne and Wear, in the industrial heartland of England’s north-east, before moving in 1937 as a twelve-year-old outsider to Wisbech, with its antithetical landscape of apple orchards and its boundless fields of sugar beet and potatoes. In his memoir he recalled his Tolly-esque arrival in the Fenland town: ‘A full tide from the Wash had lifted the river’s face to within a foot or two of the roadway and we seemed to be riding through a flood.’ In many regards the place seemed magical to the young Jack, far removed from the abject poverty of post-Depression Jarrow. Later, after a stint in the navy at the end of the Second World War, he returned and became a newspaper reporter for the Isle of Ely and Wisbech Advertiser, where he furthered his knowledge of the town and its surroundings. This familiarity