This thesis utilises the walking-writing method to produce a work of creative non- fiction that explores the issues of memory, time and queer identity in rural spaces. The body of work about the walking-writing method has covered rural spaces and queer geographies, but rarely do they intersect. Structured on a series of walks, or dérives, in Quantock Country and along the North Somerset coastline, the thesis returns to the site of Hinkley Point C at varying phases of construction. Beginning with an analysis of Hinkley Point as a vector of what John Urry has termed 'technological landscape guilt',1 the thesis turns to the industrial history of Somerset and the representation of rural spaces as menacing and uncanny.