An End to Autumn (21 page)

Trevor feels overwhelmed with guilt, for having neglected his brother for so long. He imagines him penniless now, a down-and-out, drunk in the gutter; or perhaps even lying in a pauper’s grave. He resolves that he must trace him, and travels to Sydney to begin his search. The search takes him to government offices, police stations, the Salvation Army, a squalid doss-house; and his experiences drive him into a state of panic.

But why does he feel so compelled to search? As Douglas, that ambiguous Iago-like figure who first phoned him, now says, Norman won’t be at all the younger brother of eighteen years ago; he’ll be a stranger. If he’s an alcoholic, he may be violent. He’s unlikely to thank Trevor for seeking to patronise him by ‘rescuing’ him. Trevor has asked himself – and it’s the basic question that faces the reader too – ‘Am I my brothers’ keeper?’ Does he really care about his brother, or is he acting from a sense of duty?

This is the novel’s crux, and Trevor’s cross, which he bears with him to a highly ironical conclusion. It’s an absorbing study of conscience and responsibility, written with all of Crichton Smith’s quiet authority.

A Field Full of Folk

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The world, in Iain Crichton Smith’s vision is a field full of folk; and one Scottish village is its microcosm. Here, the Minister wrestles with his loss of faith, and his cancer, concealing them even from his wife, but she had divined them. Mrs Berry cultivates her garden assiduously, and when Jehovah’s Witnesses come quoting their texts, she tells them that the hill at the end of the village can be climbed by many paths. Old Annie has no doubts about her path: she has no use for Christianity (‘Protestants and Catholics, nothing but guns and fighting’) and finds her answer in the East. On more mundane levels, Morag Bheag worries about her son serving in Northern Ireland, and Chrissie Murray shocks the village by leaving her husband and making for Glasgow – taking only a radio with her, that’s what shocks most. Murdo Macfarlane vehemently urges his puritanical views – about, for instance, the use of the church hall for a young people’s dance – and David Collins nurses his hatred of Germans, but cannot insult them when they come as tourists.

In short, it’s a village much like any other, with its prejudices and certainties and kindliness and heartbreak: the whole and the small part. As the Minister sees in his visionary moment at the annual sports, when the petty disputes over the wheel-barrow race and the tragic news of young Bheag’s death come together in his realisation that it’s all a part of ‘this supremely imperfect and perfect earth.’

Mr Crichton Smith’s novels never carry any superfluous weight: they’re as spare as sprinters. He writes with a poet’s concentration, and never more precisely, or more movingly, than here, in what amounts to a gentle, compassionate meditation on life and death, with a warm, affirmative conclusion.

An End to Autumn

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Tom and Vera Mallow, who are in only their early thirties, might indeed be said to be in the autumn of their lives already, they are school teachers, both of them, but without any strong feeling for children, and without nay children of their own. Their outlook is wary; they hold themselves apart. When they invite Tom’s mother to share their home, they do so from a sense of duty rather than love.

But after autumn, we find, comes summer; and it is the mothers – Tom’s and, later Vera’s – who in surprising ways reverse the march of the seasons: Mrs Mallow as irritant, with her incongruous friendship with Mrs Murphy, a Catholic and of a lower social class; and then Angela, the vivacious ex-actress, from the a different world, to provide catharsis.

Here is a sympathetic and unusual study of a marriage that, surprisingly and against the odds, takes the right turning; though lest anyone should feel that Crichton Smith is succumbing to sentiment, the novel’s last page echoes the veiled foreboding of it first. Once again he reminds us, with oblique irony, of the poet lurking behind the novelist.

On the Island

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For an eleven-year-old boy, living with his widowed mother and younger brother in a remote seaside village on one of the Western Isles of Scotland, growing up has its difficulties, as well as its idyllic pleasures.

Iain Crichton Smith’s vivid evocation is loosely based on memories of his own childhood on Lewis. There are so many discoveries to be made, along the shore and on the moor. Crossing a field under snow has its perils; exploring an empty cottage has its imaginative terrors; you might be humiliated by a village woman when your mother has sent you to a neighbour to borrow half-a-crown until her pension comes through: or playing along the shore with Pauline, a visitor from London with her wider knowledge of the world, you might find your own certainties called into question. There is poverty and richness; and eventually the war casts its shadows across your world.

Iain Crichton Smith has brought to life a gallery of distinctly memorable figures: the sure-footed Blinder with his amazing sense of the island terrain; Stork with his wooden leg; Speedy, the reluctant footballer; Jim returned after twenty years in America with such stories … The author’s own sense of the terrain, and of the characters who inhabit it, is equally sure and beautifully precise; his book will evoke for all ages the inner-emotions of growing up, as well as the outward sights and scents of an island experience.

Goodbye, Mr Dixon

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The titular Mr Dixon is not the novel’s main character but the creation of the novel’s main character, Tom Spence. Spence describes himself as “an embryo novelist”; he has had the odd job – for example, delivering mail – but is largely without skills and has bet all on his career as a writer. Unfortunately he has “never brought a novel to a successful conclusion” never mind had one published, and, unable to live the dream, has instead dreamed it through his protagonist, Drew Dixon. His novel has ground to a halt because he has decided Dixon will “meet a girl of twenty-five or thereabouts whose entry into his world was to change his life” but has no idea how to write it.

Fortuitously he meets a young woman, Ann, and, as their relationship develops we begin to sense that it will be Spence’s life that is changed rather than Dixon’s. As Spence’s isolation ends he revisits his past, attempting to contact the mother he hasn’t seen in years and returning to his old school to see the English teacher who he believes encouraged him to write. Increasingly his admiration for Dixon turns to hatred and Spence is forced to choose between life and art.

The Black Halo

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Although best known as one of Scotland’s greatest modern poets, Iain Crichton Smith was also prolific as a writer of short stories. These pieces form a central part of his oeuvre, demonstrating the full range and versatility of his literary talent. From humour to tragedy, from inner monologues to extrovert surrealism, the diversity of his writing indicates the extraordinary range of his own reading and mental world. Crichton Smith wrote short stories throughout his life. Some are fragments, others almost novellas, and the best of them all show him to be an author of unique sensitivity and intelligence. These two collections, comprising the complete English stories, include over 45 stories never before published in book form, as well as others that have been out of print for many years, thus making it possible to judge Crichton Smith's achievement as a writer in full. Incorporates stories from The Hermit, Murdo, Mr Trill in Hades and Selected Stories.

The Red Door

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Although best known as one of Scotland's greatest modern poets, Iain Crichton Smith was also prolific as a writer of short stories. These pieces form a central part of his oeuvre, demonstrating the full range and versatility of his literary talent. From humour to tragedy, from inner monologues to extrovert surrealism, the diversity of his writing indicates the extraordinary range of his own reading and mental world. Crichton Smith wrote short stories throughout his life. Some are fragments, others almost novellas, and the best of them all show him to be an author of unique sensitivity and intelligence. These two collections, comprising the complete English stories, include over 45 stories never before published in book form, as well as others that have been out of print for many years, thus making it possible to judge Crichton Smith's achievement as a writer in full. Incorporates stories from Survival Without Error, The Black and the Red and The Village.