Walking out of this World

Stephen Ford’s Walking Out of This World begins as a story about a group of walkers exploring the English countryside, but it soon transforms into something far deeper: a meditation on life, memory, and what might exist beyond the boundaries of the physical world. Set in the misty hills and woodlands of Surrey, the novel invites readers to consider not only the landscape outside but the terrain within each character’s heart and mind.

At the center of the story is Eddie, a recently widowed man in his early sixties who finds solace and structure in long-distance walking. As a leader in the Far and Fast Walks Society, Eddie thrives on order, discipline, and routine, qualities that mirror the precision of the treks he organizes. But Ford soon disrupts that sense of control with the arrival of Miles Miteby, a mysterious newcomer dressed in glowing amber and yellow, who joins one of Eddie’s Sunday walks. Miles’ otherworldly presence introduces an undercurrent of unease and curiosity, and when the group follows him to the strange, seemingly forgotten village of Miteby, time, memory, and reality begin to dissolve.

One of the novel’s central themes is the fragility of memory and the pull of the past. Eddie’s encounters in Miteby force him to relive pivotal moments from his youth: his first love, Susan; his shame over a humiliating teenage mistake; and the guilt and longing that have haunted him for decades. The village seems to exist outside of time, serving as both a physical space and a metaphor for the human subconscious, a place where buried emotions and unresolved regrets return to demand attention. Ford handles this with subtlety, creating an atmosphere that feels both familiar and eerie, much like walking into a fog and recognizing shapes that may or may not be real.

There is also a strong spiritual and philosophical thread woven throughout the narrative. Ford poses questions about life, death, and the essence of nature: Is the world itself alive? Can inanimate things possess spirit? The novel never gives easy answers, but instead allows the reader to walk alongside Eddie as he searches for meaning. Even the recurring image of the amber-hued toadstools serves as a symbol of renewal and decay, the cycle of life continuing in unexpected forms.

Ford writes with an appealing mix of realism and lyricism. His descriptions of the English countryside are precise and textured. You can almost feel the dampness of the leaves and hear the crunch of boots on wet earth. Yet beneath that realism lies a touch of the mystical, reminiscent of authors like Robert Macfarlane or Alan Garner. The pacing is unhurried, much like the walks themselves, giving readers space to reflect and interpret.

Walking Out of This World will particularly resonate with readers who appreciate literary fiction, quiet mysteries, and nature writing infused with metaphysical depth. It’s for those who have ever felt the tug of nostalgia or questioned the unseen forces that shape our lives. While the story unfolds gently, its emotional weight builds steadily, culminating in a deeply moving reflection on love, loss, and the human spirit. Ford’s debut feels both grounded and transcendent, a rare combination that rewards readers willing to walk a little slower and look a little deeper.