The first launch event is at San Serriffe bookstore in Amsterdam on 5 September ; I will present something and appear in conversation with Sam Dolbear. It took enormous effort to pull these lowlands out of the wetness: dam and dyke building; peat dredging; draining the lakes and ponds; and erecting thousands of windmills for pumping water from the ground and sending it towards the redirected rivers and constructed canal systems.
The process, of course, is never finished. It takes ongoing management to push the swamp away. The grand old Amsterdam canal houses lean into each other as the underground poles that stabilise them rot in the moist depths.
Land reclamation fights with swamp reclamation, because the swamp always remembers where it was. Bearing witness to the national project of separating land from water in the Dutch Golden Age, van Goyen often painted muddiness as his subject matter. He also, according to Shaw, painted as if he were re-enacting the land reclamation process.
He was known for painting wet on wet—slathering his panels with puddles of gloopy oil paint before gradually differentiating legible forms and drawing them out from the primordial ooze. As Shaw writes:. I finished reading the chapter shortly before landing at Schiphol Airport.
I wondered. When I looked it up, I discovered it was right underneath me. Strange feeling. All of us on the tarmac were on top of a disappeared lake; the whole wetland area was drained in the nineteenth century, and Schiphol was built on the dried-out ground.
