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2.0
Fictionalised history…
Kirstie Haldane has returned to her childhood home at Gleneagles to visit her family, bringing with her her new husband, Black William Macintosh of Borlum. Although Black William didn’t come “out” for the Young Pretender two years earlier in the uprising of 1745, his Jacobite sympathies are well documented – indeed, he spent several years exiled in America following the failed uprising of 1715. Most of the Haldanes are Whigs, so there is bound to be some political tension among the company, although all sides have now finally accepted that the Jacobite cause is lost, and all are agreed it’s time to begin healing the wounds. However, the government is still hunting rebels from the ’45, and when one such rebel turns up at the house seeking refuge, Kirstie’s young cousins hide him in the attic.
Oh, dear, I wish I was going to be saying how wonderful this book is, but I fear I’m not. I gave up just over halfway through because it was becoming a struggle to pick it up and read even a few pages each day. It has its good points, but it fails in the major criterion of what makes a good novel – it has no plot to speak of, certainly not one that builds any suspense or tension, or makes the reader care about the outcome. At the point I abandoned it, the only questions to be resolved were, firstly, will the young Jacobite be caught? I don’t care because he has been given no personality or involvement in the story. He has merely been stuck in the attic and left there. Secondly, will Kirstie discover that William once went through a form of marriage with a Native American woman during his exile? I don’t care, because I know enough about Kirstie to know she’ll easily forgive him, so what does it matter whether she finds out or not? And lastly, will young cousin Catherine and young cousin James, casting lingering glances at each other over the dinner table, get it together in the end? I expect so.
However, as I said, it has strong points in its favour too, which is why I stuck with it for as long as I did. Mitchison is a descendent of the Haldanes of Gleneagles, and really this is more a fictionalised history of her family than a novel, hence, presumably, the lack of a strong plot. Many of the characters are real people, and the family is prominent enough that there would be documentary evidence of much of their lives, so I presume most of the background facts are true, such as allegiances during the rebellions, and the work that Mungo, the current head of the family, was doing to improve the estate. Kirstie and Black William are apparently inventions, however, although they have been given the names of people who appear on the real family tree, but about whom nothing much is known. Talking of the family tree, it covers four full pages and I never truly got to grips with how the innumerable cousins who appear were connected to each other.
Mitchison has clearly researched the period thoroughly and well, and gives a very credible account of the lives of the minor Scottish aristocracy of the time. She has her characters discuss all kinds of political and cultural changes that were taking place at this time – the land improvements that would soon become the basis of the Highland Clearances, the ongoing debate over the benefits or otherwise of the still new political Union with England, the repression of the Highland clans following the failed uprisings, the appalling conditions of the new class of industrial workers, the ongoing blight of serfdom in the mining industries, the still lingering superstitions around witchcraft, the impact of Enlightenment thinking on life in Edinburgh, and so on. She also gives very detailed descriptions of the everyday things of life – the food people ate, how they dressed, the kind of religious practices that would have been observed in Haldane’s Whig household and how they would differ from those held in Black William’s episcopalian home.
At first, I found this all quite interesting, although I did wonder how much of it would be comprehensible to anyone without a reasonable understanding of this period already – for instance, when she has her characters bicker over the relative merits of short leases and long leases in farming. But it soon palled, as Mitchison repeats and repeats – I lost count of how often she had her characters discuss the benefits of tree-planting, for example.
So I have mixed feelings about it. I rather wish she had simply done what she clearly wanted to do: that is, tell a straight history of her family at this period of time – the post-Jacobite era. In that way, she could have structured the discussions better and avoided the rambling and repetitive nature of them. I felt she did create a great picture of how they would have all lived, but the plot, such as it was, added nothing. Her use of language is great, though – standard English, as would indeed mostly have been spoken by this class at that time, but with plenty of Scottish flavour and rhythm to give it an authentic feel. But in the end, it’s too unstructured and messy to be a history, and yet doesn’t have a strong enough story to stand up to the weight of historical detail.
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Kirstie Haldane has returned to her childhood home at Gleneagles to visit her family, bringing with her her new husband, Black William Macintosh of Borlum. Although Black William didn’t come “out” for the Young Pretender two years earlier in the uprising of 1745, his Jacobite sympathies are well documented – indeed, he spent several years exiled in America following the failed uprising of 1715. Most of the Haldanes are Whigs, so there is bound to be some political tension among the company, although all sides have now finally accepted that the Jacobite cause is lost, and all are agreed it’s time to begin healing the wounds. However, the government is still hunting rebels from the ’45, and when one such rebel turns up at the house seeking refuge, Kirstie’s young cousins hide him in the attic.
Oh, dear, I wish I was going to be saying how wonderful this book is, but I fear I’m not. I gave up just over halfway through because it was becoming a struggle to pick it up and read even a few pages each day. It has its good points, but it fails in the major criterion of what makes a good novel – it has no plot to speak of, certainly not one that builds any suspense or tension, or makes the reader care about the outcome. At the point I abandoned it, the only questions to be resolved were, firstly, will the young Jacobite be caught? I don’t care because he has been given no personality or involvement in the story. He has merely been stuck in the attic and left there. Secondly, will Kirstie discover that William once went through a form of marriage with a Native American woman during his exile? I don’t care, because I know enough about Kirstie to know she’ll easily forgive him, so what does it matter whether she finds out or not? And lastly, will young cousin Catherine and young cousin James, casting lingering glances at each other over the dinner table, get it together in the end? I expect so.
However, as I said, it has strong points in its favour too, which is why I stuck with it for as long as I did. Mitchison is a descendent of the Haldanes of Gleneagles, and really this is more a fictionalised history of her family than a novel, hence, presumably, the lack of a strong plot. Many of the characters are real people, and the family is prominent enough that there would be documentary evidence of much of their lives, so I presume most of the background facts are true, such as allegiances during the rebellions, and the work that Mungo, the current head of the family, was doing to improve the estate. Kirstie and Black William are apparently inventions, however, although they have been given the names of people who appear on the real family tree, but about whom nothing much is known. Talking of the family tree, it covers four full pages and I never truly got to grips with how the innumerable cousins who appear were connected to each other.
Mitchison has clearly researched the period thoroughly and well, and gives a very credible account of the lives of the minor Scottish aristocracy of the time. She has her characters discuss all kinds of political and cultural changes that were taking place at this time – the land improvements that would soon become the basis of the Highland Clearances, the ongoing debate over the benefits or otherwise of the still new political Union with England, the repression of the Highland clans following the failed uprisings, the appalling conditions of the new class of industrial workers, the ongoing blight of serfdom in the mining industries, the still lingering superstitions around witchcraft, the impact of Enlightenment thinking on life in Edinburgh, and so on. She also gives very detailed descriptions of the everyday things of life – the food people ate, how they dressed, the kind of religious practices that would have been observed in Haldane’s Whig household and how they would differ from those held in Black William’s episcopalian home.
At first, I found this all quite interesting, although I did wonder how much of it would be comprehensible to anyone without a reasonable understanding of this period already – for instance, when she has her characters bicker over the relative merits of short leases and long leases in farming. But it soon palled, as Mitchison repeats and repeats – I lost count of how often she had her characters discuss the benefits of tree-planting, for example.
So I have mixed feelings about it. I rather wish she had simply done what she clearly wanted to do: that is, tell a straight history of her family at this period of time – the post-Jacobite era. In that way, she could have structured the discussions better and avoided the rambling and repetitive nature of them. I felt she did create a great picture of how they would have all lived, but the plot, such as it was, added nothing. Her use of language is great, though – standard English, as would indeed mostly have been spoken by this class at that time, but with plenty of Scottish flavour and rhythm to give it an authentic feel. But in the end, it’s too unstructured and messy to be a history, and yet doesn’t have a strong enough story to stand up to the weight of historical detail.
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