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    Floodland
    Unavailable
    Floodland
    Unavailable
    Floodland
    Audiobook3 hours

    Floodland

    Written by Marcus Sedgwick

    Narrated by Amanda Root

    3.5/5

    ()

    Currently unavailable

    Currently unavailable

    About this audiobook

    What if the sea began to rise . . . and rise . . . until the land began to disappear? A brilliant futuristic fantasy by an acclaimed new writer.

    Global warming has caused the sea to rise until cities are turning into islands and civilization is crumbling. Ten-year-old Zoe discovers a small rowboat and keeps it a secret until she sets out alone on the great sea to find her parents. She lands on tiny Eels Island, where she must survive in a nightmarish world run by wild children, and stand up to its boy-leader, Dooby. Zoe and a boy called Munchkin escape from Eels Island and cross the sea to the mainland, where they find not only Zoe's parents but a new family and a new world.


    From the Trade Paperback edition.
    LanguageEnglish
    PublisherPenguin Random House Audio
    Release dateJul 9, 2002
    ISBN9780807210086
    Unavailable
    Floodland
    Author

    Marcus Sedgwick

    Marcus Sedgwick was one of this generation’s most lauded and highly regarded writers for children and young people, having published over forty books including acclaimed Midwinterblood and The Monsters We Deserve. He won multiple prestigious awards, most notably the Michael L. Printz Award, the Branford Boase Award, the BookTrust Teenage Prize and the Blue Peter Book Award.

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    Reviews for Floodland

    3.5/5

    2 ratings2 reviews

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    • 3/5
      A kind of modern Global Warming meets Lord of the Flies. Land is shrinking; government, food, and organization have all disappeared; and one girl, left behind in the chaos, struggles to survive to find her family.
    • 4/5
      Post-holocaust novels are now perhaps old hat, and the genre of the future will be post-climate-change novels. This is a worthy addition to the field, aimed at teenage readers. (Although I've tagged it "SF", the "science" label is scarcely apt for what is essentially a realistic novel set in an entirely mundane future England.)As the eastern counties of England are slowly drowned by the encroaching sea, Zoe is separated from her parents as they attempt to board the last boat west out of Norwich. Making her own escape from the isolated and increasingly chaotic town in a rowing boat, she is washed up on a small island dominated by a cathedral. (This, though named etymologically as "Eel Island", is clearly Ely, perched on its tiny mound above the fens.) It is inhabited only by a band of feral children, the adults having perished of disease or conflict with other tribal groups, except for the semi-lucid William Blake, a mild-mannered and educated lunatic, who wanders around quoting gnomic fragments from the works of his great namesake. Ely's chaos is held back from complete anarchy by the brutal Dooby, an unpleasantly amoral teenager who has made himself into a gangster leader, but he is intelligent enough to realise that the shrinking island is doomed, and Zoe survives only because he hopes to force her to take him to safety in her boat.Like much solid and readable speculative fiction, the book relies more on situation and atmosphere than character or personal relationships. Although comparisons of Sedgwick's Ely with Lord of the Flies are inevitable, little attempt is made to impede the flow of the story with detailed social or psychological analysis, and the characterization (like J. K. Rowling's) is sufficient to inform the reader, provide plausible motivations, and move the plot forward, without becoming a serious focus. There are moments of genuine pathos, and some realistic moral dilemmas. In a tale about flooding, I was relieved to find that the only biblical references were veiled allusions to large boats and the need for breeding pairs to sustain livestock, though Noah's ancient Near Eastern analogue Utnapishtim is unexpectedly named. The placing of the action in a claustrophobically tiny enclave of eastern England, out of touch with the rest of the world, is reminiscent of other post-catastrophic settings such as the Kent of Russell Hoban's Riddley Walker, the Oxfordshire of Brian Aldiss's Greybeard, or the "wherever it is" of Iain Banks's Song of Stone. The eventual ending is a slightly rushed resolution, but I don't think this is a major weakness, though most adult novels would probably have avoided it in favour of bleak pessimism.