The Plot

An intriguing and elegant chronicle of a wild and woolly patch of England ... Bunting is on finest form dealing with recent history, particularly when she exposes the modern "cultural myth of the rural idyll" and the very English idiocy of preserving this view while the environment dies. Her scholarship ultimately produces a persuasive argument for a more potent sense of place in rootless, mobile Britain * Sunday Times *
Bunting's exploration of the relationships between place and people is wide-ranging, researched with great intelligence and richly supported by detail * Guardian *
A startling, willed, one-off book ... What she sets out to do is to look at the acre of land "in the middle of nowhere", with scholarly zest, until it becomes no longer a nowhere but a somewhere, known and minutely understood. She is an exemplary guide ... Her greatest achievement is to work a single acre to produce a more general portrait of England ... Above all, she questions what belonging is and discovers that it is about "commitment rather than possession" * Observer *
Madeleine Bunting's multidimensional chronicle is among the very best pieces of non-fiction to have been published in a long while about what it is like to be English -- Simon Schama * Financial Times *
Madeleine Bunting writes angelically about a place that embraces so much history -- Nicolas Bagnall * Sunday Telegraph *
Delightful and fascinating, it also includes a particularly excellent chapter on the many unexpected medieval uses of sheep * Metro *
Well researched and beautifully written, Bunting's story builds, stone by stone, to offer a historical narrative about England, an environmental analysis of the effects of industrial agriculture, and a meditation on belonging -- Jo Littler * Guardian *
Madeleine Bunting in her haunting and supple book The Plot offered what she called a biography of an English acre" ... Bunting sought to discover its significance in her family history and, inseparably, the cross-winds of English history that have shaped it * New Statesman *