A waking dream on the margin between two universes
Marshland – Nightmares and Dreams on the Edge of London
Gareth E. Rees
Illustrated by Ada Jusic
“Cocker spaniel by his side, Rees wanders the marshes of Hackney, Leyton and Walthamstow, avoiding his family and the pressures of life. He discovers a lost world of Victorian filter plants, ancient grazing lands, dead toy factories and tidal rivers on the edgelands of a rapidly changing city. Ghosts are his friends. As strange tales of bears, crocodiles, magic narrowboats and apocalyptic tribes begin to manifest themselves, Rees embarks on a psychedelic journey across time and into the dark heart of London. It soon becomes clear that the very existence of this unique landscape is at threat. For on all sides of the marshland, the developers are closing in… Marshland is a deep map of the East London marshes, a blend of local history, folklore and weird fiction, where nothing is quite as it seems.” (Taken from the blurb.)
It is hard to write a considered review of a book that has affected one emotionally. This book is inspiring, emotive and eye-opening.
I have never been to Hackney. I fear London. There is a side of me that despises it. This is the seat of our utterly disappointing government, the home of evil bankers, vacuous celebrities and relentless musical theatre. London decides what to watch, what to visit, what is best and fashionable to wear, what to listen to, to read, to eat. It is faceless and monstrous, the twisted soul of our country.
I initially approached this book with some trepidation, did I want to spend days trawling through a text that explored an area of this city? After exploring the blurb and the fantastic quote pulled from its recesses:
“I had become a bit part in the dengue-fevered fantasy of a sick city.”
I figured that the writer could be singing from the same hymn-sheet. In many ways his book reveals an attitude far more complex than that. Whilst he despairs at the encroaching development of London into the edges of the Marshland in Hackney it is also clear that were it not for earlier developments such as the railway it would not exist. Significantly it is the meeting of these two worlds – this island of nature and the bizarre mix of architecture and industry – that creates a synergy. A little universe in which the strange will occur. A world in which the mundane and the surreal collide. This little world sticks its middle finger up at the city with such defiance that it crackles with an other-worldly energy.
“Wherever you’ve got a margin between two types of culture and two types of landscape you often get a deeper awareness of the supernatural and the spiritual.” – Revd. Tony Redman – (taken from M.R.James: Ghost Writer – BBC)
It is this margin that Gareth Rees explores. Like a 21st Century Kay Harker, he explores a world in which the lines between imagination and reality are continually blurred. In Masefield’s “The Midnight Folk” we constantly question whether Kay is dreaming or awake and the sensation is similar here. By placing the real; the architecture, news reports and stringent historical research, alongside the unreal, we are plunged into a vortex of monsters, bears, time-slips, shamen and hallucination.
The book explores the geographic reality of the Hackney Marshes, but overlaying this in soft swirls of mystical graffiti are utterly compelling tales inspired by or pulled from Mr Rees’ study of the area. It appears that his study is a mix of hard graft and rambling through the Marshes with his dog Hendrix.
Rees introduces us to a man who transforms into a bear, two unfortunate time-travellers and an unhappy couple who find themselves possessed and changing into the occupants of a demolished factory. We meet the occupants of a barge from London’s netherworld, explore the legacy of the Olympic Village whilst visiting a mystical peddler in contraband antique books. This scratches the surface and I would urge you to seek out this book to discover more.
What strikes me about this book is how it has opened my eyes to my own town. I live in Reading which like many urban sprawls contains a weird mix of old and new. It was on finishing the final chapter that I took my children out for a walk. We have been to the nature reserve in Reading but on our way there we decided to try a different route and found ourselves on an old railway line. This ran high above the water meadows. On one side the beauty of the floods were framed by pink-grey tower blocks, while on the other streams and rivers snaked through swathes of green before the drab majesty of the town dump in the distance. We discovered:
dumped mattresses, ceiling fans and wheelbarrows vomited out of the backs of broken garden fences
the remnants of an old fire on the old railway bridge, made from its tumbling bricks
a lake of glass (my son’s words)
two rusted metal fences that framed the path creating “a gate to Narnia” (my daughter’s words)
It was into this margin that a deer ran across our path.
We were in the town yet not in the town.
We were in the country yet not in the country.
I had discovered the margin between worlds.
I hadn’t looked for it before.