In Flemington and Tales from Angus, Canongate, 2013, 291 p, including 16 p introduction, 1 p each Acknowledgements, Note on the Text and Author’s Note, 14 p Notes and 6 p Glossary.
Another from the 100 Best Scottish books list. Again from a local (well, 9 miles away) library. The novel was first published in 1911.
As soon as the years in which this is set, 1745-6, are discovered certain expectations might arise, a focus on Bonnie Prince Charlie or his entourage, following the rising tide of his fortunes from the standard raising at Glenfinnan through his initial triumphs to Edinburgh and on down to England before the fatal loss of nerve at Derby and thence to his downfall. Jacob, however, is more subtle than this. The events of that last Jacobite rebellion are present here, to be sure, (the Battle of Prestonpans – here rendered as Preston Pans – the advance to and retreat from Derby, the Battles of Falkirk and of Drummossie Moor, otherwise known as Culloden, the bloody and vengeful aftermath of that final battle on British soil) but they occur offstage. Jacob’s focus is relentlessly on individuals, not the broad sweep of history or “great events”. Though the Duke of Cumberland does appear in Flemington’s pages as a character (and not in a flattering portrait) the Young Chevalier never does, except as the driving force for the dilemma into which our titular protagonist falls. The action takes place exclusively in the county of Angus and specifically in the area linking the towns of Forfar, Brechin and Montrose. It is in Montrose harbour that the sole military engagement described in the book – a fictionalisation of a very minor naval incident in the ’45 rebellion – takes place.
To prevent his mother compromising Prince Charlie, protagonist Archibald Flemington’s father was badly used by the Old Pretender in exile at St Germain. Archie was subsequently orphaned and put in the care of his grandmother who, due to those earlier experiences, is now a full supporter of the Hanoverian dynasty. Flemington is a painter but also a government spy trying to discern the plans of the rebel James Logie; to which end he turns up at the door of Logie’s brother, a retired judge. While Flemington is still undercover Logie reveals to him a personal confidence – unrelated to any Jacobite sympathies. This engenders in Flemington a sympathy for Logie which he will not thereafter compromise and so the central tragedy of the story unfolds.
The novel is full of well-drawn and memorable characters: Flemington; his grandmother; Skirlin’ Wattie, the no-legged bagpiper who travels about on a cart drawn by dogs; Callander, the Government Army officer who is dutiful to a fault. Despite his confidence granted to Flemington, James Logie is a shadowier character, though his brother Balnillo is portrayed in all his preposterousness. Wattie is the only one who speaks broad Scots. The context provides clarity enough but the glossary is there if needed.
One chapter begins, “April is slow in Scotland, distrustful of her own identity, timid of her own powers. Half dazed from the long winter sleep, she is often bewildered, and cannot remember whether she belongs to winter or to spring.” How true – especially redolent when reading it in Scotland, in April, and the passage is characteristic of Jacob’s writing which is especially strong on landscape description.
Flemington is an illustration on an individual human scale of the dislocations and traumas, the disruptions, which a Civil War brings in its train and of how character can both resist circumstances and be a victim of them.
I took the precaution of not reading the introduction before the story. Wisely, as the usual spoilers in such things were present.
Pedant’s corner:- I found the reference to English parents strange in a passage contrasting the thoughts of a Scots woman who had spent a long time in France with those who hadn’t. Also mentioned were English dragoons at Culloden. (I haven’t checked. Any dragoons may have been English, though certainly a large part of Cumberland’s army was Scots.) Dulness with one ‘l’?