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A Flat Place: Moving Through Empty Landscapes, Naming Complex Trauma
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89/99
Critics' Rating Index
44/99
Readers' Rating Index
79/99
Scholars' Citation Index
34/99
Volume of Reviews
64/99
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About This Book
A surprising and lyrical journey—part memoir, part nature book—meditating on the meaning of "flatness" and its literary tradition to find ways to understand ourselves and our trauma in one of nature's most undervalued wonders. Does the concept of "flat" have an undeservedly bad rap? There are centuries' worth of adoration for rolling hills and dramatic, mountainous landscapes. In contrast, flat landscapes are forgettable and seemingly unworthy of poetic or artistic attention. Noreen Masud suffers from complex post-traumatic stress the product of a profoundly disrupted and unstable childhood. It flattens her emotions, blanks out parts of her memory, and colours her world with anxiety. Undertaking a pilgrimage around Britain's flatlands, seeking solace and belonging, she weaves her impressions of the natural world with poetry, folklore and history, and with recollections of her own early life. Masud's British-Pakistani heritage makes her a partial outsider in these both coloniser and colonised, inheritor and dispossessed. Here violence lies beneath the fantasy of pastoral innocence, and histories of harm are interwoven with nature's power to heal. Here, as in her own family history, are many stories that resist the telling. She pursues these paradoxes fearlessly across the flat, haunted spaces she loves, offering a startlingly strange, vivid and intimate account of the land beneath her feet. Masud combines memoir, nature writing, and literary reflection to explore what can be drawn from these powerful places, and to understand her own experience of complex trauma and post-traumatic stress, as well as grief and loss. A Flat Place is a book that drives to the heart of what it means to experience place — bodily and psychologically — and the healing properties of literature and landscape.
Reviews
"But though these three strands are not necessarily compatible, they do prove complementary ..."
"But this memoir is too interested in what it means and feels to be alive in a landscape to be anything other than arresting and memorable."
"By the end of this sorrowful, tender, sometimes beautiful book, it becomes apparent that it is not those mythic Lahore fields that Masud has been trying to find, but rather a terrestrial analogue for her own sense of desolation."
"This combines as a challenge to the reader, although Masud is not intentionally issuing one."
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