Huntingtower was a departure for John Buchan. Published between the third and fourth of his tremendous Richard Hannay novels, the book’s protagonist is not a soldier-turned-spy, but instead a retired Scottish grocer who joins a quixotic effort to rescue a Russian noblewoman from Bolsheviks. Adventure literature exegetes agree that with this novel, Buchan was attempting to take the curse of irony off the word “adventure” — that is, to bring adventure into everyday life.
HiLobrow is pleased to serialize John Buchan’s Huntingtower, which was first published in 1922. A new installment will appear each week for sixteen weeks.
The three days of storm ended in the night, and with the wild weather there departed from the Cruives something which had weighed on Dickson’s spirits since he first saw the place. Monday — only a week from the morning when he had conceived his plan of holiday — saw the return of the sun and the bland airs of spring. Beyond the blue of the yet restless waters rose dim mountains tipped with snow, like some Mediterranean seascape. Nesting birds were busy on the Laver banks and in the Huntingtower thickets; the village smoked peacefully to the clear skies; even the House looked cheerful if dishevelled. The Garple Dean was a garden of swaying larches, linnets, and wild anemones. Assuredly, thought Dickson, there had come a mighty change in the countryside, and he meditated a future discourse to the Literary Society of the Guthrie Memorial Kirk on “Natural Beauty in Relation to the Mind of Man.”
It remains for the chronicler to gather up the loose ends of his tale. There was no newspaper story with bold headlines of this the most recent assault on the shores of Britain. Alexis Nicolaevitch, once a Prince of Muscovy and now Mr. Alexander Nicholson of the rising firm of Sprot and Nicholson of Melbourne, had interest enough to prevent it. For it was clear that if Saskia was to be saved from persecution, her enemies must disappear without trace from the world, and no story be told of the wild venture which was their undoing. The constabulary of Carrick and Scotland Yard were indisposed to ask questions, under a hint from their superiors, the more so as no serious damage had been done to the persons of His Majesty’s lieges, and no lives had been lost except by the violence of Nature. The Procurator-Fiscal investigated the case of the drowned men, and reported that so many foreign sailors, names and origins unknown, had perished in attempting to return to their ship at the Garplefoot. The Danish brig had vanished into the mist of the northern seas. But one signal calamity the Procurator-Fiscal had to record. The body of Loudon the factor was found on the Monday morning below the cliffs, his neck broken by a fall. In the darkness and confusion he must have tried to escape in that direction, and he had chosen an impracticable road or had slipped on the edge. It was returned as “death by misadventure” and the Carrick Herald and the Auchenlochan Advertiser excelled themselves in eulogy. Mr. Loudon, they said, had been widely known in the south-west of Scotland as an able and trusted lawyer, an assiduous public servant, and not least as a good sportsman. It was the last trait which had led to his death, for, in his enthusiasm for wild nature, he had been studying bird life on the cliffs of the Cruives during the storm, and had made that fatal slip which had deprived the shire of a wise counsellor and the best of good fellows.
The tinklers of the Garplefoot took themselves off, and where they may now be pursuing their devious courses is unknown to the chronicler. Dobson, too, disappeared, for he was not among the dead from the boats. He knew the neighbourhood and probably made his way to some port from which he took passage to one or other of those foreign lands which had formerly been honoured by his patronage. Nor did all the Russians perish. Three were found skulking next morning in the woods, starving and ignorant of any tongue but their own, and five more came ashore much battered but alive. Alexis took charge of the eight survivors, and arranged to pay their passage to one of the British Dominions and to give them a start in a new life. They were broken creatures, with the dazed look of lost animals, and four of them had been peasants on Saskia’s estates. Alexis spoke to them in their own language. “In my grandfather’s time,” he said, “you were serfs. Then there came a change, and for some time you were free men. Now you have slipped back into being slaves again — the worst of slaveries, for you have been the serfs of fools and scoundrels and the black passion of your own hearts. I give you a chance of becoming free men once more. You have the task before you of working out your own salvation. Go, and God be with you.”
Before we take leave of these companions of a single week I would present them to you again as they appeared on a certain sunny afternoon when the episode of Huntingtower was on the eve of closing. First we see Saskia and Alexis walking on the thymy sward of the cliff-top, looking out to the fretted blue of the sea. It is a fitting place for lovers, above all for lovers who have turned the page on a dark preface, and have before them still the long bright volume of life. The girl has her arm linked with the man’s, but as they walk she breaks often away from him, to dart into copses, to gather flowers, or to peer over the brink where the gulls wheel and oyster-catchers pipe among the shingle. She is no more the tragic muse of the past week, but a laughing child again, full of snatches of song, her eyes bright with expectation. They talk of the new world which lies before them, and her voice is happy. Then her brows contract, and, as she flings herself down on a patch of young heather, her air is thoughtful.
“I have been back among fairy tales,” she says. “I do not quite understand, Alesha. Those gallant little boys! They are youth, and youth is always full of strangeness. Mr. Heritage! He is youth, too, and poetry, perhaps, and a soldier’s tradition. I think I know him…. But what about Dickson? He is the petit bourgeois, the épicier, the class which the world ridicules. He is unbelievable. The others with good fortune I might find elsewhere — in Russia perhaps. But not Dickson.”
“No,” is the answer. “You will not find him in Russia. He is what we call the middle-class, which we who were foolish used to laugh at. But he is the stuff which above all others makes a great people. He will endure when aristocracies crack and proletariats crumble. In our own land we have never known him, but till we create him our land will not be a nation.”
Half a mile away on the edge of the Laver glen Dickson and Heritage are together, Dickson placidly smoking on a tree-stump and Heritage walking excitedly about and cutting with his stick at the bracken. Sundry bandages and strips of sticking plaster still adorn the Poet, but his clothes have been tidied up by Mrs. Morran, and he has recovered something of his old precision of garb. The eyes of both are fixed on the two figures on the cliff-top. Dickson feels acutely uneasy. It is the first time that he has been alone with Heritage since the arrival of Alexis shivered the Poet’s dream. He looks to see a tragic grief; to his amazement he beholds something very like exultation.
“The trouble about you, Dogson,” says Heritage, “is that you’re a bit of an anarchist. All you false romantics are. You don’t see the extraordinary beauty of the conventions which time has consecrated. You always want novelty, you know, and the novel is usually the ugly and rarely the true. I am for romance, but upon the old, noble classic lines.”
Dickson is scarcely listening. His eyes are on the distant lovers and he longs to say something which will gently and graciously express his sympathy with his friend.
“I’m afraid,” he begins hesitatingly, “I’m afraid you’ve had a bad blow, Mr. Heritage. You’re taking it awful well, and I honour you for it.”
The Poet flings back his head. “I am reconciled,” he says. “After all ”tis better to have loved and lost, than never to have loved at all.’ It has been a great experience and has shown me my own heart. I love her, I shall always love her, but I realise that she was never meant for me. Thank God I’ve been able to serve her — that is all a moth can ask of a star. I’m a better man for it, Dogson. She will be a glorious memory, and Lord! what poetry I shall write! I give her up joyfully, for she has found her true mate. ‘Let us not to the marriage of true minds admit impediments!’ The thing’s too perfect to grieve about…. Look! There is romance incarnate.”
He points to the figures now silhouetted against the further sea. “How does it go, Dogson?” he cries. “‘And on her lover’s arm she leant’ — what next? You know the thing.”
Dickson assists and Heritage declaims:
“And on her lover’s arm she leant,
And round her waist she felt it fold,
And far across the hills they went
In that new world which is the old:
Across the hills, and far away
Beyond their utmost purple rim,
And deep into the dying day
The happy princess followed him.”
He repeats the last two lines twice and draws a deep breath. “How right!” he cries. “How absolutely right! Lord! It’s astonishing how that old bird Tennyson got the goods!”
After that Dickson leaves him and wanders among the thickets on the edge of the Huntingtower policies above the Laver glen. He feels childishly happy, wonderfully young, and at the same time supernaturally wise. Sometimes he thinks the past week has been a dream, till he touches the sticking-plaster on his brow, and finds that his left thigh is still a mass of bruises and that his right leg is wofully stiff. With that the past becomes very real again, and he sees the Garple Dean in that stormy afternoon, he wrestles again at midnight in the dark House, he stands with quaking heart by the boats to cut off the retreat. He sees it all, but without terror in the recollection, rather with gusto and a modest pride. “I’ve surely had a remarkable time,” he tells himself, and then Romance, the goddess whom he has worshipped so long, marries that furious week with the idyllic. He is supremely content, for he knows that in his humble way he has not been found wanting. Once more for him the Chavender or Chub, and long dreams among summer hills. His mind flies to the days ahead of him, when he will go wandering with his pack in many green places. Happy days they will be, the prospect with which he has always charmed his mind. Yes, but they will be different from what he had fancied, for he is another man than the complacent little fellow who set out a week ago on his travels. He has now assurance of himself, assurance of his faith. Romance, he sees, is one and indivisible….
Below him by the edge of the stream he sees the encampment of the Gorbals Die-Hards. He calls and waves a hand, and his signal is answered. It seems to be washing day, for some scanty and tattered raiment is drying on the sward. The band is evidently in session, for it is sitting in a circle, deep in talk.
As he looks at the ancient tents, the humble equipment, the ring of small shockheads, a great tenderness comes over him. The Die-Hards are so tiny, so poor, so pitifully handicapped, and yet so bold in their meagreness. Not one of them has had anything that might be called a chance. Their few years have been spent in kennels and closes, always hungry and hunted, with none to care for them; their childish ears have been habituated to every coarseness, their small minds filled with the desperate shifts of living…. And yet, what a heavenly spark was in them! He had always thought nobly of the soul; now he wants to get on his knees before the queer greatness of humanity.
A figure disengages itself from the group, and Dougal makes his way up the hill towards him. The Chieftain is not more reputable in garb than when we first saw him, nor is he more cheerful of countenance. He has one arm in a sling made out of his neckerchief, and his scraggy little throat rises bare from his voluminous shirt. All that can be said for him is that he is appreciably cleaner. He comes to a standstill and salutes with a special formality.
“Dougal,” says Dickson, “I’ve been thinking. You’re the grandest lot of wee laddies I ever heard tell of, and, forbye, you’ve saved my life. Now, I’m getting on in years, though you’ll admit that I’m not that dead old, and I’m not a poor man, and I haven’t chick or child to look after. None of you has ever had a proper chance or been right fed or educated or taken care of. I’ve just the one thing to say to you. From now on you’re my bairns, every one of you. You’re fine laddies, and I’m going to see that you turn into fine men. There’s the stuff in you to make Generals and Provosts — ay, and Prime Ministers, and Dod! it’ll not be my blame if it doesn’t get out.”
Dougal listens gravely and again salutes.
“I’ve brought ye a message,” he says. “We’ve just had a meetin’ and I’ve to report that ye’ve been unanimously eleckit Chief Die-Hard. We’re a’ hopin’ ye’ll accept.”
“I accept,” Dickson replies. “Proudly and gratefully I accept.”
The last scene is some days later, in a certain southern suburb of Glasgow. Ulysses has come back to Ithaca, and is sitting by his fireside, waiting on the return of Penelope from the Neuk Hydropathic. There is a chill in the air, so a fire is burning in the grate, but the laden tea-table is bright with the first blooms of lilac. Dickson, in a new suit with a flower in his buttonhole, looks none the worse for his travels, save that there is still sticking-plaster on his deeply sunburnt brow. He waits impatiently with his eye on the black marble timepiece, and he fingers something in his pocket.
Presently the sound of wheels is heard, and the peahen voice of Tibby announces the arrival of Penelope. Dickson rushes to the door and at the threshold welcomes his wife with a resounding kiss. He leads her into the parlour and settles her in her own chair.
“My! but it’s nice to be home again!” she says. “And everything that comfortable. I’ve had a fine time, but there’s no place like your own fireside. You’re looking awful well, Dickson. But losh! What have you been doing to your head?”
“Just a small tumble. It’s very near mended already. Ay, I’ve had a grand walking tour, but the weather was a wee bit thrawn. It’s nice to see you back again, Mamma. Now that I’m an idle man you and me must take a lot of jaunts together.”
She beams on him as she stays herself with Tibby’s scones, and when the meal is ended, Dickson draws from his pocket a slim case. The jewels have been restored to Saskia, but this is one of her own which she has bestowed upon Dickson as a parting memento. He opens the case and reveals a necklet of emeralds, any one of which is worth half the street.
“This is a present for you,” he says bashfully.
Mrs. McCunn’s eyes open wide. “You’re far too kind,” she gasps. “It must have cost an awful lot of money.”
“It didn’t cost me that much,” is the truthful answer.
She fingers the trinket and then clasps it round her neck, where the green depths of the stones glow against the black satin of her bodice. Her eyes are moist as she looks at him. “You’ve been a kind man to me,” she says, and she kisses him as she has not done since Janet’s death.
She stands up and admires the necklet in the mirror. Romance once more, thinks Dickson. That which has graced the slim throats of princesses in far-away Courts now adorns an elderly matron in a semi-detached villa; the jewels of the wild Nausicaa have fallen to the housewife Penelope.
Mrs. McCunn preens herself before the glass. “I call it very genteel,” she says. “Real stylish. It might be worn by a queen.”
“I wouldn’t say but it has,” says Dickson.
READ GORGEOUS PAPERBACKS: HiLoBooks has reissued the following 10 obscure but amazing Radium Age science fiction novels in beautiful print editions: Jack London’s The Scarlet Plague, Rudyard Kipling’s With the Night Mail (and “As Easy as A.B.C.”), Arthur Conan Doyle’s The Poison Belt, H. Rider Haggard’s When the World Shook, Edward Shanks’ The People of the Ruins, William Hope Hodgson’s The Night Land, J.D. Beresford’s Goslings, E.V. Odle’s The Clockwork Man, Cicely Hamilton’s Theodore Savage, and Muriel Jaeger’s The Man with Six Senses. For more information, visit the HiLoBooks homepage.
SERIALIZED BY HILOBOOKS: Jack London’s The Scarlet Plague | Rudyard Kipling’s With the Night Mail (and “As Easy as A.B.C.”) | Arthur Conan Doyle’s The Poison Belt | H. Rider Haggard’s When the World Shook | Edward Shanks’ The People of the Ruins | William Hope Hodgson’s The Night Land | J.D. Beresford’s Goslings | E.V. Odle’s The Clockwork Man | Cicely Hamilton’s Theodore Savage | Muriel Jaeger’s The Man With Six Senses | Jack London’s “The Red One” | Philip Francis Nowlan’s Armageddon 2419 A.D. | Homer Eon Flint’s The Devolutionist | W.E.B. DuBois’s “The Comet” | Edgar Rice Burroughs’s The Moon Men | Charlotte Perkins Gilman’s Herland | Sax Rohmer’s “The Zayat Kiss” | Eimar O’Duffy’s King Goshawk and the Birds | Frances Hodgson Burnett’s The Lost Prince | Morley Roberts’s The Fugitives | Helen MacInnes’s The Unconquerable |
Geoffrey Household’s Watcher in the Shadows | William Haggard’s The High Wire | Hammond Innes’s Air Bridge | James Branch Cabell’s Jurgen | John Buchan’s “No Man’s Land” | John Russell’s “The Fourth Man” | E.M. Forster’s “The Machine Stops” | John Buchan’s Huntingtower
ORIGINAL FICTION: HiLobrow has serialized three novels: James Parker’s The Ballad of Cocky The Fox (“a proof-of-concept that serialization can work on the Internet” — The Atlantic); Karinne Keithley Syers’s Linda Linda Linda (which includes original music); and Robert Waldron’s roman à clef The School on the Fens. We also publish original stories and comics. These include: Matthew Battles’s stories “Gita Nova“, “Makes the Man,” “Imago,” “Camera Lucida,” “A Simple Message”, “Children of the Volcano”, “The Gnomon”, “Billable Memories”, “For Provisional Description of Superficial Features”, “The Dogs in the Trees”, “The Sovereignties of Invention”, and “Survivor: The Island of Dr. Moreau”; several of these later appeared in the collection The Sovereignties of Invention | Peggy Nelson’s “Mood Indigo“, “Top Kill Fail“, and “Mercerism” | Annalee Newitz’s “The Great Oxygen Race” | Charlie Mitchell’s “A Fantasy Land” | Joshua Glenn’s “The Lawless One”, and the mashup story “Zarathustra vs. Swamp Thing” | Adam McGovern and Paolo Leandri’s Idoru Jones comics | John Holbo’s “Sugarplum Squeampunk” | “Another Corporate Death” (1) and “Another Corporate Death” (2) by Mike Fleisch | Kathryn Kuitenbrouwer and Frank Fiorentino’s graphic novel “The Song of Otto” (excerpt) | “Manoj” and “Josh” by Vijay Balakrishnan | “Verge” by Chris Rossi, and his audio novel Low Priority Hero | EPIC WINS: THE ILIAD (1.408-415) by Flourish Klink | EPIC WINS: THE KALEVALA (3.1-278) by James Parker | EPIC WINS: THE ARGONAUTICA (2.815-834) by Joshua Glenn | EPIC WINS: THE MYTH OF THE ELK by Matthew Battles | TROUBLED SUPERHUMAN CONTEST: Charles Pappas, “The Law” | CATASTROPHE CONTEST: Timothy Raymond, “Hem and the Flood” | TELEPATHY CONTEST: Rachel Ellis Adams, “Fatima, Can You Hear Me?” | OIL SPILL CONTEST: A.E. Smith, “Sound Thinking | LITTLE NEMO CAPTION CONTEST: Joe Lyons, “Necronomicon” | SPOOKY-KOOKY CONTEST: Tucker Cummings, “Well Marbled” | INVENT-A-HERO CONTEST: TG Gibbon, “The Firefly” | FANFICTION CONTEST: Lyette Mercier’s “Sex and the Single Superhero”