A Road Trip to the End of the World

“Our name will be forgotten / In time / No one will remember our work [...] / And our lives will run like / Sparks through the rubble.” - Derek Jarman, Blue, 1993.

scenes of Dungeness

Sparks through the rubble. Traipsing across Dungeness' ascetic landscape, you are overwhelmed by a sense of rubble, that these scree-like shingle shards stabbing below foot and those petrifying fishing huts seemingly stuck stagnant in time are the rubble of something that once was, the forgotten vestiges of bygone human life. Listen closely and you may hear their voices carrying on the ocean breeze, see their spectres incarnated in the frantic eye of a seabird but obliviously passing by. What happened here? This land that nature reclaimed, is reclaiming. The brutalist skeleton of a nuclear power station that haunts the headland like a great apparition seems a clue, but an unhelpful one at that. An abstract piece to an even more abstract puzzle. What happened here?

Dungeness is an oddity in the verdant Garden of England, a seemingly sickly wart growing from its underfoot on the south-eastern coast of Kent. A road trip here, to one of Britain’s most isolated corners, feels like a road trip to the end of the world, to a time without time. The presence of not one but two nuclear power stations that slash into the otherwise desolate skyline only enhances this apocalyptic aura, the remnants of a British fervour for nuclear energy that was lost somewhere in the quagmire of the Cold Era and its looming promises of atomic catastrophe. But these two beasts - whose monstrous bodies evoke something of the twin giants Otos and Ephialtes from Greek myth - are deceptive in their brooding. Because murderous they are not. Rather, like much of what seems inhospitable, uninhabitable, within the alien world of tiny Dungeness, it is actually these power stations that breathe life into the landscape, and not just in their capacity to inject masses of energy into the National Grid.

the fascinating fauna and flora...

Because, despite the desolate terrain, Dungeness is one of the most fertile enclaves in the UK. Over six-hundred species of plant can be found here, a third of all those found in Britain. Among them are varieties almost non-existent in the rest of the UK, as if the plants themselves have fled to this barren corner of Great Britains in a do-or-die effort to escape encroaching mankind: the vibrant petals of red hemp-nettle, the ghost-like flowers of the Nottingham catchfly, or the sunbeam hues of the yellow vetch. These endangered flowers glimmer like jewels, sparks even, scattered through the shingle, nestled in the rich plant colonies that have risen from the ground here, as if by miracle.

The fauna is just as diverse and just as fascinating as the flora. The latter begets the former, plethora species attracted to Dungeness by the vegetal capillaries that course through it. One example is the Sussex emerald moth, whose silken green wings are found only in Dungeness, where it nestles between the patches of sea carrot to lay its caterpillar eggs. In the various flooded freshwater pits of Dungeness you may also find some seemingly primitive beasts, these tiny oases holding some of the UK’s most stable populations of oddities like the great-crested newt and the medicinal leech.

another scene of Dungeness

However it’s the nuclear power stations that are perhaps the most generous lifegivers perched on the headland. This is because the hot waste-water that they regurgitate back into the seas below has created a spot amongst the waves that local anglers have named “the boil”, its warmer temperatures attracting myriad sealife and seabirds who find refuge in this special microclimate. Patches of early spider orchid are similarly scattered along the peripheries of these nuclear monuments, the rare plant seemingly taking solace in the scars their unnatural presence have left on the land (one of the few other places the early spider orchid grows in the UK is near Dover, on the chalk spoil dumping grounds left during the construction of the Channel Tunnel, suggesting a taste for the disturbed). Man meets nature here in beautiful, if not somewhat tense, harmony, modernist monstrosities harbouring new life within this forgotten natural paradise.

road to nowhere, Dungeness

- © Lara Ra / Shutterstock

Man meets nature elsewhere along Dungeness too. The Old Lighthouse is another landmark on the serendipitous coast, built as a replacement for an older model when the construction of the power stations blocked the latter’s vital light. The lighthouse - still in use - is scalable by visitors for panoramic views of the headland. The detritus beach shacks and the skeletons of abandoned shipping boats that constitute the sparsely-populated hamlet of Dungeness give unique opportunity for a sort of post-urban exploration, a wade through the end times. Like the flowers that decorate the otherwise colourless landscape, these shacks are kaleidoscopic in their variety: whites and reds and yellows and blues erupting from stone-bound floor.

But there's one home, and the mythology it lends to the landscape, that has reshaped Dungeness more than any other: Prospect Cottage. A humble black timber structure tucked within Dungeness' modest settlement, this was the former home of English artist, writer, and filmmaker Derek Jarman in the final years of his life. Jarman was a visionary creator and this little home became the toolbox of a defiantly gay man dying of HIV at the nadir of Britain Thatcherite frenzy. The work that Jarman made during his ‘Prospect Cottage period’ (1987 until his 1993 death) was poignantly and unrelentlingly political. His film The Garden (1990) - recorded on super 8 in Dungeness over the course of the previous year - pastiches the biblical tale of Christ’s crucifixion to recount a tale of queer persecution under Thatcher’s Tory government, culminating in the execution of a gay man on a cross and Jarman’s reading of an elegy to those friends he had already lost to the HIV crisis. The ‘Queer’ painting series he made during his time at Dungeness is also brimming with a righteous anger inspired by a lifetime of injustice, inscribed with mantras such as ‘Spread the Plague’.

Jarman came to Dungeness as a retreat from the cruelties of a world, the garden he cultivated at Prospect Cottage becoming for the dying artist both a means of and a metaphor for his survival within a world that would have rather seen him dead. And, now forever infused with the essence of one of Britain’s last great artists, Dungeness has become a post-modern pilgrimage site for both queer people and lovers of the artist alike.

by Jude JONES
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