100 Books Like The Making of the English Landscape

Oliver Rackham is to historical landscape ecology what W.G. Hoskins is to landscape history.

More than anyone else, Rackham had the vision to understand that the pattern of woods, fields, hedges, moors, and marshes that defines the English countryside, although seemingly natural, was in fact created by a delicate and constantly shifting balance between human intervention and geological, climatological and ecological influences. 

The Chiltern beechwoods I’ve enjoyed walking in since childhood, for example, exist partly because the timber was valuable for the chair-making industry that once flourished there, while the species-rich hay meadows of Swaledale that entranced me on a recent cycle tour were part and parcel of the local dairy-farming tradition, and have been put at risk by its decline.

Six hundred and fifty pages and every one fascinating, in the true sense of the word, i.e. it cast a spell on me. I read this the one and only time I joined a book club led by a visual artist, which made perfect sense as the book is not only richly illustrated with extraordinary images of paintings, sculpture, and drawings, the author argues that our experience of nature is entirely mediated by art.

We can’t, for example, see a tree, except from an inner perspective shaped by mythic trees seen in some paintings, even a picture postcard or poem from our Grade 8 reader. Using the most extraordinary (have to use that word again) examples, Schama convinced me that every natural thing I see is a mythological artifact.

Landscapes like the White Cliffs of Dover, the Cotswolds, or the Lake District are celebrated icons of national identity. 

David Matless shows how, in the first half of the twentieth century, these landscapes became sites of contestation between different visions of the nation. For some, committed to landscape preservation but also to a self-consciously modernizing planning ethos, Englishness was about neat, tidy landscapes, free from litter, pollution, and poverty. For others the real England was traditional, hierarchical, and unplanned, exemplified by the great estates with their country houses and landscape gardens. 

The fundamental question this book raised for me, one I’m still turning over in my mind, was whether and how we can find ways to harmonize our sometimes very different visions of the landscapes we care so much about.

I’ve been lucky enough to hear Paul speak on many occasions. He has a bright engaged manner and restless energy, ideas and examples pouring out almost too quickly to absorb. It’s the intellectual equivalent of standing under a waterfall.

Storied Ground reflects that energy and originality, prompting us to rethink many longstanding assumptions about the relationship between landscape and national identity. Was the English love of landscape a backwards-looking, conservative force, or a reassuring source of continuity that eased our passage into the modern age? Was it true, as Stanley Baldwin once claimed, that ‘England is the country, and the country is England’, or did the civic pride of prospering towns contribute to national identity too?

To these and many other questions, Paul gives surprising, sometimes challenging and always thought-provoking answers.

Complex worldbuilding and the alternate history genre often go hand in hand, and they’re the part I enjoy most when reading reimaginings of our world. This book intertwines history with spirituality and shows how a small set of characters can enact a large change to the universe, which is something that is shown to be both optimistic (if the characters are good) and pessimistic (if the characters are evil/selfish).

It echoes so much of what I believe—that karma is a real force and depends on how it’s released into the world—so I found it refreshing to see these themes echoed in the storyline. History can change life for the better—or the worse—because of what we believe in.

As well as horror and the supernatural, I love historical fiction; partly why this book appealed to me. Karen Maitland obviously knows her history, making the background darkly believable.

The story has a bleak setting: Mid-1300s, England. Sustained severe weather leads to widespread starvation and poverty. A mean-spirited man who owns a horse and cart finds himself travelling with a group of misfits, including a distinctly odd, very creepy, little girl. 

All the characters have intriguing secrets in their pasts. I really enjoyed finding out about them, who they really are, what they are running away from. They are all trying to outrun the Plague, which is never far behind for the whole story, almost like a living entity itself.

I still think about this book from time to time, especially the ending, but no spoilers here.

One of the most masterfully-wrought novels I’ve had the pleasure to read.

Here we follow a bitter, veteran knight, Thomas, wounded at the Battle of Crecy and divested of his landholdings, as he leaves behind a life of brigandage in order to deliver a young oddball girl to Avignon.

All the while France descends into chaos, not just because of the bubonic plague, but because the forces of heaven and hell are locked in a battle for the fate of humankind. Freighted with pathos and lyrical in its allegory, this is a novel that will both inspire and terrify you.

There is so much going on in this book in terms of plot, drama, and relationships, but why I especially love it is because Caris, one of the protagonists, breaks the mold of the typical powerless medieval woman. When the Black Plague comes to Kingsbridge, Caris is the only one who uses observation and common sense to realize that the disease spreads by contact. In a world that revolves around religion and superstition, this doesn’t go over well. Though forced to sacrifice the love of her life, and put on trial as a witch, Caris sticks to her guns and enacts the medical policies she knows will save lives. Eventually, she gains the townspeople’s trust, ultimately ascending into a position of power within the town. Get it, girl!

Cantor’s book showed me that when a lethal pandemic arrives, it can change society in ways that make “returning to normal” impossible, because the conditions that made “normal” possible no longer exist. The Black Death - probably a bubonic plague pandemic - wiped out as much as half of China’s population, before traveling the silk road to Europe where, from 1347-1351, a third of the population died. The pandemic also suffocated the feudal order, created the conditions for capitalism, the Reformation, and the Enlightenment, breathed new life into art, and transformed the legal system. In effect, the pandemic plowed the seedbed for the modern Western world. Covid may be a similar epidemiological juggernaut, sweeping away human institutions that we know, leaving us a novel world that will be strange and different in ways we can’t yet imagine.

If I hear someone who has never studied medieval history once in their life refer to the “Dark Ages” as a time when “Science” was banned by the Church one more time, I will actually die, and this book does an amazing job of explaining how ignorant those old myths are.

Falk laces this book with delicious tidbits of the weird and wonderful of medieval scientific (or, to be nerdy, what we would call natural philosophical) ideas. Goat fat enemas? Sure. But there is also the transcription of Persian manuscripts, the invention of mechanical clocks and eyeglasses, and the creation of the University.

The book brings to life a vibrant, interconnected intellectual world and is a testament to how clever medieval people were in circumstances that were much more difficult than our own.