Heatwave 1971: Naughtie's novel The Madness of July is set over an airless 1970s London summer. Photo: Getty
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Highland flings: on two new novels by the “Tartan Beebists”, James Naughtie and Kirsty Wark

The debut novels of two Tartan Beebists, whose hearts clearly belong in Scotland despite years of working in Westminster.

The Madness of July
James Naughtie
Head of Zeus, 352pp, £12.99

The Legacy of Elizabeth Pringle
Kirsty Wark
Two Roads, 437pp, £14.99

One of the less-discussed consequences of Scottish independence would be if the newly liberated country were kicked out of the EU and Scots no longer had the right to work in the rump of the UK. Just think of all the plum media jobs that would be up for grabs. Adios, Andrew Marr! Adieu, Andrew Neil! Zài jiàn, Nicky Campbell!

What led me to measure up the curtains of the BBC’s current affairs programming in my head? Oh yes, reading the debut novels of two more Tartan Beebists, Jim Naughtie and Kirsty Wark. Both of these journalists have come late to fiction – Wark is 59, Naughtie 62 – and clearly their hearts belong to Scotland despite many years of working in Westminster.

Naughtie’s novel, The Madness of July, is mostly set in an airless 1970s London summer following the discovery of a body in a cupboard in the House of Commons. Yet it only comes alive when the protagonist, an anxious halibut of a man called Will Flemyng, returns to his childhood home in the Highlands. There are misty peaks, herds of deer and even a huge gillie called Tiny. Dark secrets are found in a strongbox. Meaningful looks are exchanged between granite-like men. It’s great.

Naughtie has kept his thriller taut by condensing the action over a single long weekend and layering several disparate plotlines. In England, there is Flemyng, a junior minister at the Foreign Office with a background in the intelligence services. In Scotland, there is his brother Mungo, piecing together the family history (their mother was apparently a bit of a goer in her day), along with their faithful manservant Babble.

In America, there is Abel, who – spoiler alert – turns out also to be Flemyng’s brother. Something untoward happened on a mission behind the Iron Curtain, it is intimated, and he decided to reinvent himself in America, working for the intelligence services there. Abel has a female boss who is revealed to be a lesbian. The book is studiously casual about both of these facts, but you get the sense Naughtie is quite pleased with his own progressive panache in having included a female character who sleeps with other women.

Not that she does so on the page, as it were. This is a novel that ruthlessly eschews all the frippery normally associated with thrillers: femmes fatales, helicopter gunships, people being sent body parts in the post, creepy sex basements, villains with monocles, silver thumbs or other improbable distinguishing features, pitched battles on the roof of iconic buildings, et cetera. It proceeds mainly by middle-aged men having repressed, tense conversations in anonymous Whitehall rooms. (It’s hard to convey drama when all you’ve got is men in an anonymous enclosed space, which leads to such sentences as: “Paul stood up to join in Flemyng’s stately progress round the table. They speeded up gently as they went, getting energy from each other.” I’m sorry, people are talking about state secrets and sleeper agents while chasing each other round a desk? Come back, implausible weaponry, all is forgiven.)

The sections set in Scotland are by far the best: Naughtie evidently feels a deep affinity with the country’s exhilarating scenery, where the mist curdles over the loch “like the guilty secrets of a multitude of hidden smokers”. Perhaps the same sense of nostalgia for his birthplace drove the writing of this book and his decision to leave the Today studios to cover the independence referendum for the BBC?

Kirsty Wark, who recently wrote in this magazine about the many hours she has spent on the Caledonian sleeper train, is also animated by Scotland’s landscape. Her setting is the Isle of Arran and, most particularly, a little house overlooking the sea across to Holy Isle. It is owned at the start of the novel by the elderly Elizabeth Pringle, who decides to leave the property to a young woman she saw pushing a buggy many years ago, and who left her a note asking to buy the place if it ever came on the market. By the time Elizabeth is ready to vacate her house – for a nursing home and, shortly after that, a grave – the young woman has grown up and has an adult daughter of her own, called Martha.

The book interweaves Elizabeth’s story of thwarted love, and loss, and loneliness, with Martha’s attempt to reunite her family even as her mother, Anna, succumbs to dementia. It is happy to dwell on domestic life, and better for it – I found it easier to care about Elizabeth’s lost lover than the imminent downfall of western civilisation against which Will Flemyng is fighting. Sometimes a smaller canvas allows for finer brushwork.

Helen Lewis is deputy editor of the New Statesman. She has presented BBC Radio 4’s Week in Westminster and is a regular panellist on BBC1’s Sunday Politics.

This article first appeared in the 14 April 2014 issue of the New Statesman, Easter Double

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Broken and The Trial: From Sean Bean playing a priest to real life lawyers

A surprisingly involving depiction of a clergyman provides the saintly contrast to the sinner being judged by a real jury.

I was all set to scoff at Broken, Jimmy McGovern’s new series for BBC1 (30 May, 9pm). A drama about a Catholic priest and his impoverished parish in a “major northern city”, it sounded so hilariously McGovern-by-numbers (“Eh, lad, give us the collection bowl – the leccy wants paying”) that on paper it could pass for a spoof. Even funnier, Sean Bean, late of Game of Thrones, was to play the clergyman in question.

Naturally, I adore Bean, who comes from the major northern city that is Sheffield, as I do, and who is so terribly . . . virile (though when I interviewed him in a car park behind King’s Cross Station a few years ago, and a security guard in a high-vis jacket approached us furiously shouting the odds, he ran and hid in his trailer, leaving yours truly to face the music). But let’s face it: he’s not exactly versatile, is he? The idea of him in a cassock, or even just a mud-coloured cardigan, made me laugh out loud.

Settling down to watch the series, however, I soon realised that no scoffing would be taking place. For one thing, Broken is hugely involving, its Dickensian plot (no spoilers here) as plausible as it is macabre. For another, in the present circumstances, its script seems to be rather daring. Not only is Father Michael Kerrigan shown – cover my eyes with the collected works of Richard Dawkins! – to be a good and conscientious priest, but his faith is depicted as a fine and useful thing. If he brings his besieged parishioners solace, he is sure to be carrying vouchers for the food bank as well.

The flashbacks from which he suffers – in which his mammy can be heard calling him a “dirty, filthy beast” and a spiteful old priest is seen applying a cane to his hand – are undoubtedly clichéd. But they are also a device. Forty years on, he is happy to nurse his dying mother, and his love for God is undimmed: two facts that are not, of course, unrelated. How weirdly bold for a television series to set its face against the consensus that denigrates all things Christian as it never would any other faith.

I don’t for a minute buy Anna Friel as Christina, the gobby, broke single mother Kerrigan is determined to help. Even when covered in bruises – a bust-up at the betting shop – Friel manages to look glossy, and she never, ever quits acting (with a capital A), which is a drag. But Bean is such a revelation, I was able to ignore the voice in my head which kept insisting that a Catholic priest as young as he is – in this realm, “young” is a couple of years shy of 60 – would surely be Polish or African (I’m not a Catholic but I am married to one, for which reason I occasionally go to Mass).

He plays Kerrigan, whose overwhelming desire to be kind sometimes makes him cack-handed, with great gentleness, but also with an uninflected ordinariness that is completely convincing. Part of the problem (my problem, at least) with Communion is the lack of rhetorical passion in most priests’ voices, something he captures perfectly. One other thing: Line of Duty fans need to know that Adrian Dunbar – aka Ted Hastings – can also be seen here wearing a dog collar, and that he looks almost as good in it as he does in police uniform.

On Channel 4 The Trial: A Murder in the Family was an experiment in the shape of a murder trial in which the defendant – a university lecturer accused of strangling his estranged wife – and all the witnesses were actors but the lawyers and “jury” were real. Over five consecutive nights (21-25 May, 9pm), I found it pretty tiresome listening to jury members tell the camera what they made of this or that bit of evidence.

Get on with it, I thought, longing again for the return of Peter Moffat’s Silk. But I adored the lawyers, particularly the lead ­defence barrister, John Ryder, QC. What an actor. Sentences left his mouth fully formed, as smooth as they were savage, his charm only just veiling his mighty ruthlessness. Drooling at this performance – which was not, in one sense, a performance at all – I found myself thinking that if more priests came over like barristers, our dying churches might be standing room only.

Rachel Cooke trained as a reporter on The Sunday Times. She is now a writer at The Observer. In the 2006 British Press Awards, she was named Interviewer of the Year.

This article first appeared in the 25 May 2017 issue of the New Statesman, Why Islamic State targets Britain

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