Essays

We were passengers forced to jump into the water when our ship, the 2020, after years of creaking, cracked in half and sank down into the darkness. The ship was long thought to be beautiful. For it gleamed in the sunlight. And it gleamed in the moonlight. It throbbed like a beacon, could be seen across great distances. And since it was like a beacon it was taken for a beacon. 

We’re a worried bunch, we Americans. We’re anxious. We’re gloomy, even doomy. We’re angsty, despairing, depressed. There’s a widespread sense that things are certainly not right with the world, and perhaps not right with us. If Dickens were with us, he might call it the most uncool of times.

The man appeared suddenly, out of the darkness and around the bend. He was standing to the side of the asphalt, near the edge of the floodlights illuminating a barricade of orange traffic barrels and, beyond, a great pile of dirt disappearing into the night. Half of the mountain road was blocked off—was, in fact, no road at all past the barricade and the pile.

The town of Dunwich, once a thriving medieval port on England’s Suffolk Coast, has for centuries been crumbling into the sea. All that now remains of the old structures is a small collection of hilltop ruins, flanked by a nineteenth-century church and a handful of newer homes built far from the water’s edge. Served by a single pub and a few guesthouses, the local economy has long catered principally to visitors, many of whom are part of a long line of artists and poets who have been drawn here since the Victorian age to contemplate the town’s picturesque decay.