Notes Introduction 1. E.M. Forster, Howards End (London: Edward Arnold, 1910), pp.164–165. 2. Forster, Howards End, p.164. 3. Alun Howkins, ‘The Discovery of Rural England’, in Englishness, Politics, and Culture, 1880–1920, ed. by Robert Colls and Philip Dodd (London: Croom Helm, 1987), pp.66–88; Martin Wiener, English Culture and the Decline of the Industrial Spirit, 1850–1980, 2nd edn (Cambridge: Cambridge University Press, 2004). 4. Patrick Wright, The Village that Died for England, 2nd edn (London: Faber and Faber, 2002), p.xvi. Wright’s book focuses on the village of Tyneham and the area around Lulworth. 5. For a discussion of the genealogy of the term “microhistory”, see Carlo Ginzburg, ‘Microhistory: Two or Three Things That I Know about It’, in Threads and Traces: True False Fictive, trans. by Anne C. Tedeschi and John Tedeschi (Berkeley: University of California Press, 2012), pp.193–214. Ginzburg’s identification of a form of ‘narrative history’ that breaks with the narrative conventions of ‘late-nineteenth-century novels’ and does not transform ‘the gaps in the documentation into a smooth surface’ is particularly significant in this context. Ginzburg, ‘Microhistory’, p.204. 6. Ysanne Holt, British Artists and the Modernist Landscape (Aldershot: Ashgate Publishing, 2003), p.151. 7. Holt, British Artists, p.148. 8. Raymond Williams, ‘When Was Modernism?’, in The Politics of Mod- ernism: Against the New Conformists, ed. by Tony Pinkney (London: Verso, 1989), pp.31–35 (p.35). 9. Examples of these differences can be found in Kathleen Jamie’s crit- icisms of Robert Macfarlane in the London Review of Books (Kathleen Jamie, ‘A Lone Enraptured Male’, London Review of Books, 6 March 2008, pp.25–27), or Paul Farley and Michael Symmons Roberts’s sideswipe at those who try to ‘discover true solitude in the wilds of northern Scotland’ in Edgelands: Journeys into England’s True Wilderness (London: Jonathan Cape, 2011), p.8. 10. Macfarlane holds up this dying culture as one in which speech is ‘a way literally to en-chant the land – to sing it back into being, and to sing one’s being back into it’. Robert Macfarlane, ‘A Counter-Desecration Phrasebook’, in Towards Re-enchantment: Place and its Meanings, ed. by Gareth Evans and Di Robson (London: Artevents, 2010), pp.107–130 (p.114). 11. Macfarlane, ‘Counter-Desecration Phrasebook’, p.117. 12. Kathleen Jamie, ‘Pathologies: A Startling Tour of Our Bodies’, in Granta: The New Nature Writing, 102 (2008), 35–50. 144 Notes 145 13. Ken Worpole, ‘East of Eden’, in Towards Re-enchantment: Place and its Meanings, ed. by Gareth Evans and Di Robson (London: Artevents, 2010), pp.61–81 (p.65). 14. Paul Farley and Michael Symmons Roberts, Edgelands: Journeys into England’s True Wilderness (London: Jonathan Cape, 2011). 15. Farley and Symmons Roberts, Edgelands,p.9. 16. Derived from the Greek “chora”, place or country, as opposed to“geo”, earth. See Stan Mendyk, ‘Early British Chorography’, The Sixteenth Century Journal, 17 (1986), 459–481. 17. The Works of Michael Drayton, ed. by J. William Hebel, 5 vols (Oxford: Basil Blackwell, 1931–1941, repr. 1961), Vol. 4 (1933), Poly-Olbion,p.1.(Line8). 18. Poly-Olbion, p.1 (Lines 12–16). 19. Poly-Olbion, p.15. 20. Poly-Olbion,p.vi∗. 21. Poly-Olbion,p.i∗. 22. Poly-Olbion, p.viii∗. 23. Poly-Olbion, p.viii∗. 24. Anne Lake Prescott, ‘Marginal Discourse: Drayton’s Muse and Selden’s ‘Story”, Studies in Philology, 88 (1991), 307–328 (p.308). 25. I take the term ‘topographical-historical’ from Stan Mendyk, although when I apply it to modern and contemporary writing there is necessarily a stretching of what its constituent terms comprehend. See Mendyk, ‘Early British Chorography’, and Stan Mendyk, ‘Speculum Britanniae’: Regional Study, Antiquarianism, and Science in Britain to 1700 (Toronto: University of Toronto Press, 1989), pp.21–24. 26. Poly-Olbion, p.viii∗; on Selden’s non-linear history, see Prescott, ‘Marginal Discourse’, p.327. 27. Vernon Lee, The Golden Keys and Other Essays on the Genius Loci (London: The Bodley Head, 1925), p.x. 28. Lee, The Golden Keys,p.xi. 29. Vernon Lee, Genius Loci: Notes on Places (London: Grant Richards, 1899), p.5. 30. Lee, The Golden Keys, p.248. 31. Lee, The Golden Keys,p.xi. 32. Lee, Genius Loci, pp.7, 4. 33. Boym’s thinking in this area relates to the critic Victor Shklovsky, who was also using the concept of the knight’s move in his writ- ings of the 1920s. See Svetlana Boym, ‘The Off-Modern Condition’, Svetlanaboym.com <www.svetlanaboym.com/offmodern.html> [accessed 27 January 2012]. 34. Boym, ‘The Off-Modern Condition’. 35. Ian Davidson’s Ideas of Space in Contemporary Poetry (Basingstoke: Palgrave Macmillan, 2007) and Andrew Thacker’s Moving Through Modernity: Space and Geography in Modernism (Manchester: Manchester University Press, 2003) have both applied a range of spatial theorists to contemporary and modernist writers. 146 Notes 36. Michel de Certeau, The Practice of Everyday Life, trans. by Stephen Rendall (Berkeley: University of California Press, 1984), p.128. 37. de Certeau, Practice of Everyday Life, p.115. 38. de Certeau, Practice of Everyday Life, pp.129–130. 39. This idea of a triple tension is derived from Janet Wolff and Iain Biggs, who have both suggested that the essay should be pulled, as Biggs describes Wolff’s approach, ‘between three frames of reference: the auto- biographical, the concrete and particular instance, and the theoretical or abstract’. See Iain Biggs, ‘Essaying Place: Landscape, Music, and Memory (after Janet Wolff)’, in Process: Landscape and Text, ed. by Catherine Brace and Adeline Johns-Putra (Amsterdam: Rodopi, 2010), pp.149–171 (p.155), and Janet Wolff, Resident Alien: Feminist Cultural Criticism (Cambridge: Polity Press, 1995). 40. Denis Cosgrove, Social Formation and Symbolic Landscape (Beckenham: Croom Helm, 1984); Landscape and Power, ed. by W.J.T. Mitchell (Chicago: University of Chicago Press, 1994). 41. Carl Sauer, ‘The Morphology of Landscape’, in Land and Life: A Selec- tion from the Writings of Carl Ortwin Sauer, ed. by John Leighly (Berkeley: University of California Press, 1963), pp.315–350 (p.316) (first pub. in University of California Publications in Geography, 2 (1925), 19–54). 42. Sauer, ‘Morphology of Landscape’, p.326. 43. This etymological relationship is advanced by Kenneth Olwig, ‘Sex- ual Cosmology: Nation and Landscape at the Conceptual Interstices of Nature and Culture; or, What Does Landscape Really Mean?’, in Land- scape: Politics and Perspectives, ed. by Barbara Bender (Oxford: Berg, 1993), pp.307–343 (p.310). 44. Raymond Williams, The Country and the City (Oxford: Oxford University Press, 1973), p.120. 45. Christopher Tilley, ‘Metaphor, Materiality and Interpretation’, in The Material Culture Reader, ed. by Victor Buchli (Oxford: Berg, 2002), pp.23–26 (p.25). 46. Andreas Huyssen, ‘Authentic Ruins: Products of Modernity’, in Ruins of Modernity, ed. by Julia Hell and Andreas Schönle (Durham, NC: Duke University Press, 2010), pp.17–28 (p.25). 47. Bruno Reudenbach, Giovanni Battista Piranesi: Architektur als Bild (Munich: Prestel, 1979), p.44, trans. by and cited in Huyssen, ‘Authentic Ruins’, p.25. 48. Huyssen, ‘Authentic Ruins’, p.24. 49. Huyssen, ‘Authentic Ruins’, p.27. 50. The notion of historical affordance is being developed by Lina Hakim, in her doctoral work on scientific playthings. Lina Hakim, Personal Communication, 5 July 2012. 51. Bruno Latour, ‘Why Has Critique Run out of Steam? From Matters of Fact to Matters of Concern’, Critical Inquiry, 30 (2004), 225–248. 52. Indeed the volume Modernism on Sea: Art and Culture at the British Sea- side, ed. by Lara Feigel and Alexandra Harris (Oxford: Peter Lang, 2009) contributes to the latter proposition. Notes 147 1 Studland Beach 1. Paul Nash, ‘Swanage or Seaside Surrealism’, in Paul Nash: Writings on Art, ed. by Andrew Causey (Oxford: Oxford University Press, 2000), pp.125–129 (p.127) (first pub. in Architectural Review, 79 (April 1936), 151–154). 2. William Foot, Beaches, Fields, Streets and Hills: The Anti-Invasion Land- scapes of England, 1940 (York: Council for British Archaeology, 2006), pp.64–72. 3. Charles Harper, The Dorset Coast (London: Chapman and Hall, 1905), p.46, cited in Lisa Tickner, Modern Life and Modern Subjects: British Art in the Early Twentieth Century (New Haven: Yale University Press, 2000), p.129. 4. Bernard Becker, Holiday Haunts by Cliffside and Riverside (London: Remington, 1884), pp.5–6, cited in Rob Shields, Places on the Margin: Alternative Geographies of Modernity (London: Routledge, 1991), p.88. 5. See Lisa Tickner, Modern Life, pp.117–141. This chapter is indebted to her thorough account of the Bells’ relationship with Studland, and her reading of the painting Studland Beach. 6. C. Wright, The Brighton Ambulator (1818), cited in Alain Corbin, The Lure of the Sea: The Discovery of the Seaside in the Western World 1750– 1840, trans. by Jocelyn Phelps (Berkeley: University of California Press, 2004), p.78. 7. Corbin, Lure of the Sea, p.78. 8. Corbin, Lure of the Sea, p.254. 9. Turner published Picturesque Views in England and Wales in two vol- umes in 1832 and 1838. These featured ten coastal views, which as Elizabeth Helsinger has observed, obsessively repeated scenes of such seditious activities. See Elizabeth Helsinger, ‘Turner and the Representa- tion of England’, in Landscape and Power, ed. by W.J.T. Mitchell (Chicago: University of Chicago Press, 1994), pp.103–125 (p.116). 10. Philip Brannon, The Illustrated Historical and Picturesque Guide to Swanage and the Isle of Purbeck (London: Longman; Poole: R. Sydenham, 1858), p.39. 11. Brannon, Illustrated Historical and Picturesque Guide, p.41. 12. E.D. Burrowes, The Sixpenny Guide to Swanage (London: Marchant Singer, 1879), p.18.