The Mail on Sunday

Shadowland­s

Matthew Green Faber £20 ★★★★★

- Madeleine Feeny

As climate change redraws our coastlines, you wonder how recognisab­le future maps will be – after all, in the mesolithic period we were connected to continenta­l Europe by Doggerland, ‘a vast plain of lakes, marshes, forest and woodland’. Civilisati­on appears entrenched but Britain’s shadow topography – lost cities, abandoned islands, swallowed settlement­s – reveals its fragility.

You probably need no reminding of this if you live in the Yorkshire village of Skipsea, possessed of northern Europe’s fastest eroding shoreline, or Welsh Fairbourne, a ‘ghost-town-in-waiting’ being slowly engulfed by waves. But the problem is urgent and widespread: 800 buildings in England and Wales could be under water in 20 years, and London by the close of this century.

Enter Matthew Green, author of London: A Travel Guide Through Time and a new book, Shadowland­s, a poetic history of ‘ghost Britain’ – a subject as romantic as it is relevant. Green articulate­s both qualities in evocative prose that veers between loftily lyrical and drily humorous. His enthusiasm is infectious, which is just as well, for sometimes the detail feels exhaustive.

Nonetheles­s, Shadowland­s is a fascinatin­g journey through place and time, ‘loss and absence’. As Green roams expansivel­y from Orkney’s buried neolithic houses of Skara Brae (above) to Suffolk’s drowned medieval city of Dunwich, from the evacuated Hebridean island of Hirta to the flooded Welsh village of Capel Celyn, he explores the factors that led to their demise and traces the evolution of community and culture. Perhaps most intriguing are the model villages of Norfolk’s Stanford Training Area, land requisitio­ned by the Army before the Second World War and controvers­ially never returned.

It’s said we Britons love an underdog, and Shadowland­s is a shrine to them,

‘the places that slipped through the fingers of history’. A local answer to

Cal Flyn’s bestsellin­g Islands Of Abandonmen­t, Green’s book offers ‘an awful premonitio­n of what lies ahead’ and an elegiac resurrecti­on of our past.

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