John Buchan’s “The Island of Sheep”

I have over the past couple of years blogged on all of John Buchan’s Richard Hannay thrillers, with the exception of The Island of Sheep (known in some American editions as The Man From the Norlands), published in 1936 and the last pure thriller Buchan wrote before his untimely death in 1940, during his period of office as Governor-General of Canada.

I first read John Buchan when I was in my teens. He remains one of my favourite authors; to my mind nobody quite did what he liked to call ‘shockers’ quite as well. I can well remember my first teenage reading of The Island of Sheep, by candlight in a tent on a camping expedition. The story gripped me then and has since, though I know it almost by heart.

Richard Hannay is the hero of some of Buchan’s finest novels, from The Thirty-Nine Steps, through Greenmantle and Mr Standfast, to The Three Hostages. Rather like its author, the Hannay of The Island of Sheep is growing old. He feels himself to be sluggish, out of sorts, his adventurous past just memories.

Then an incident from his distant past, when he was a mining engineer in South Africa, comes back to haunt him. He recalls a siege against villains, when he came to the assistance of a Norse fortune-seeker called Haraldsen. At its resolution, Haraldsen makes Hannay and his friend Lombard swear an oath to come to the protection of himself and his family should the need ever arise.

A promise forgotten over the decades. Hannay is now a middle-aged country squire, Lombard an overweight and out of condition banker, and the third member of the trio – Peter Pienaar, the Boer hunter who appears in several Buchan novels, killed in the Great War.

Haraldsen is dead too, but his son is alive, being pursued by a gang of blackmailers and extortioners. The younger Haraldsen meets Hannay again in Norfolk, worn out, a man on the run. So Hannay and Lombard – aided by Sandy Arbuthnot, the hero of Greenmantle – find themselves secreting Haraldsen away, first at Hannay’s home in the Cotswolds, and then at Sandy’s home in the Scottish Borders.

Along the way are many adventures, including a magnificent car chase up the Great North Road – perhaps the best car chase in thrillerdom, certainly the best written.

There is another pleasing addition to the gang of allies, Hannay’s son Peter John, a keen naturalist whose knowledge of the ways of wild geese helps to save the day. Peter John is very much a chip off the old block – he is based on Buchan’s own eldest son, who himself wrote splendid memoirs of his life in Scotland and adventures in natural history. Buchan dedicated this book to his son.

After alarms and excursions in the Scottish borders, the action moves to Haraldsen’s home, the Island of Sheep of the title, set in the wild landscapes of the Faeroe Islands, where the action comes to an exciting climax in what can only be described as a Viking ending.

To my mind, no writer comes close to Buchan in describing wild landscapes, whether it be the meadows and woodlands of the Cotswolds, the glens and hillsides of the Scottish Borders, or the windswept islands of the north Atlantic. His knowledge of the land came from his own explorations. He was, for all his life, a great walker and considerable rock climber. He captures the spirit of the place in a way that haunts your mind long after you’ve finished reading one of his books.

I’ve walked many of the landscapes which inspired Buchan. He got them right. He was also a very fine literary artist. Probably one of the best writers who turned his hand to writing thrillers. No matter how many times I read his books, I always want to start again.

If any writer inspired me to write the kind of books I do, it is John Buchan, though I make not the slightest claim to have anything like his great genius for such stories. My own Scottish thriller Balmoral Kill is my own small tribute to this wonderful writer.

It is pleasing to see that Buchan is now taken seriously as a great Scottish novelist, after years of being sidelined and saddled with misconceptions by critics who rarely actually read what he wrote or studied the truth about his life.

The Island of Sheep is a fine conclusion to the Richard Hannay stories.

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John Buchan’s “Greenmantle”

John Buchan’s classic thriller “Greenmantle” – first published a hundred years ago this October – is the second of his novels to feature the character Richard Hannay, whom Buchan introduced in “The Thirty-Nine Steps” (see blogs passim).

The plot covers an attempt by the Germans, for their own strategic advantage in World War One, to persuade the Turks to participate in a Jihad against the Allies. This makes it singularly relevant for modern times, when the word Jihad is constantly banded about. (Jihad is usually interpreted as meaning the summoning of a holy war; it actually means working for Islam in all sorts of ways).

The book starts with Hannay, recovering from wounds received on the Western Front, being summoned to see spymaster Sir Walter Bullivant (from “The Thirty-Nine Steps”), who gives him a slip of paper with three very slender clues, and then despatches him to discover their meaning.

Hannay, disguised as a South African of Dutch origins, makes a perilous crossing of Germany, partly in the company of the Boer Peter Pienaar, and the American John Blenkiron. In my view these German-set passages are the most interesting in the book. While the chief villain, von Stumm, is portrayed by Buchan as something like the baddie of anti-German propaganda of the time, the rest of the Germans are represented with considerable sympathy. Which is quite surprising for a British writer in 1916.

Hannay, in his disguise, is introduced to the Kaiser, whom Buchan portrays with surprising understanding, showing him as much a victim of events as anyone else caught up in the Great War. He also gives us a German engineer called Gaudian, whom Hannay likes very much (he reappears in the later Hannay adventure “The Three Hostages”).  Even von Stumm is shown as a balanced figure – you can see where he is coming from.

There are passages where Hannay is ill and given shelter by a German family, and a chapter where he works in great harmony with the German captain of a barge travelling down the Danube. Hannay learns from his experiences that the horror of the war is that it often pits decent people against each other.

Given the anti-German propaganda of the time, this is all the more remarkable. Buchan has too often been labelled as a racist and anti-Semite (usually by people who’ve never read him). He is neither. His humanity shines through his work. If his characters sometimes use expressions that sound uneasy on the modern politically-correct ear, it is because that is the way people spoke at the time. And the views of a writer’s characters do not represent what the writer might believe anyway.

In this book we are introduced to Sandy Arbuthnot (based mostly on Buchan’s university friend Aubrey Herbert.) Sandy is a master of disguise, a man who has lived rough in many parts of the east, and can pass himself off as a native in many countries. The character might sound far-fetched, but the real-life Aubrey Herbert did all of that and more. Peter Pienaar is a hunter from the African veldt, a simple man of great courage. Blenkiron abandons the American neutrality of the time to work for the Allies. Buchan was very fond of Americans and this character is a tribute to many friends.

The other villain of the piece is the German agent Hilda von Einem, who has an obviously sexual obsession for Sandy Arbuthnot, even as he is thwarting her plans to inspire Jihad.

Eventually the four heroes of the book find themselves in Constantinople, a city portrayed in a very claustrophobic and threatening way. Here they discover the secret of Greenmantle, before journeying to the front line in the war, at Erzurum, where the Germans, Austrians and Turks are fighting off a Russian advance. Buchan shows sympathy for the Turks, despite the fact that they are Hannay’s enemies. Sandy is shown to have a considerable empathy with the Turkish people.

The novel ends with our heroes surrounded and fighting against massive odds. I won’t say more because I think you should read “Greenmantle” for yourself. But I think it interesting that Buchan, against the fashion of British thrillers of the time, is not afraid to make Hannay and the others scared.

John Buchan was a great writer in so many ways. He is particularly good at describing landscapes, taking the reader right in there with his characters. You really feel you have undertaken Hannay’s journey across Europe to Turkey.

A century on, “Greenmantle” is still an exciting read. More than that, it is prophetic, given the circumstances of the modern world.

John Buchan’s “The Three Hostages”

In previous blogs I’ve looked at two earlier Richard Hannay novels by John Buchan. But “The Three Hostages” is very different from “The Thirty-Nine Steps” and “Mr Standfast”. It is more contained than the Hannay spy novels set during the Great War. Here the conspiracy is a criminal plot. And there is one prime villain, a member of the British Establishment. A gentleman about town, a member of Parliament, no less, a popular character on the London scene.

Today we tend to view politicians with considerable suspicion, supposing, fairly or unfairly, that most of them are lining their own pockets at our expense. Only in it for what they can get. Reading “The Three Hostages” you have to remember that Buchan lived and wrote during a more reverential age, when politicians were viewed as genuine public servants – there, even if you disagreed with their political stance, to contribute to what was perceived as the greater good. The idea of making such a man a sinister villain might have been a tad more shocking for the readers of 1924 than it is now.

This is very much a novel about the breakdown of society and order after the chaos of a world war. Quite topical when you think of the rise of Mussolini and Hitler in the reality of the 1920s.

I don’t think I’m spoiling anything by saying right here and now that the villain of the piece is one Dominick Medina. Buchan makes this obvious from almost the start of the novel.

The basic premise is simple. In order to safeguard his criminal conspiracy, Medina has kidnapped three hostages with Establishment connections. Before Scotland Yard can close the net on the criminals Richard Hannay has to find and rescue them all.

As with all good thrillers, there is a tight deadline and Hannay only has a piece of doggerel verse to work from as a clue.

Hannay, snatched from the peace and quiet of life as a country gentleman, is also put at a considerable disadvantage by falling victim to the sinister hypnotic powers of Medina himself. The scenes where Hannay becomes – or so Medina believes – his stooge are some of the most powerful that Buchan ever wrote. Buchan himself once expressed the great fear of what it must be like to find your mind being taken over, the horror of losing self-control. It might all sound far-fetched, but remember how characters like Hitler manipulated an entire nation, in a similar bout of near mass-hypnosis.

Unlike the earlier novels, “The Three Hostages” is rooted very firmly in London, though there are episodes in the Cotswolds, Norway and Scotland. In an early Buchan novel “The Power House”, which is rather unfairly neglected these days, we saw how cleverly Buchan portrayed the dangers of London, the sinister quarters of the city which lurk just below respectability.

Here we have a similar portrayal of menace. Buchan is as good at evoking shadier areas of Fitzrovia and Gospel Oak as he is the wild landscapes of the Highlands. There is a sense of claustrophobia in this novel – a feeling that the outdoorsman Hannay is also having to fight his surroundings as much as the chief villain.

Buchan also poses an interesting dramatic situation for his hero. How can Hannay have the freedom to search for the hostages and investigate Medina when he is at the beck and call of Medina for most of the time.

The author uses other familiar characters from the earlier novels to give Hannay moral and practical support. We have here the hero of “Greenmantle” Sandy Arbuthnot (now Lord Clanroyden), Hannay’s wife Mary, the airman Archie Roylance. Buchan reprieves the character of the German Herr Gaudian, from “Greenmantle”, an ally now in Hannay’s quest, rather than an enemy. A sympathetic German in English fiction in 1924 shows Buchan’s horror at what had just happened in the trenches. It was not a very fashionable viewpoint in a Europe where vengeance was the greater motivation.

As matters are revealed there is a dramatic conclusion in the Scottish Highlands. Perhaps the finest duel in thrillerdom. A chase and gunfight on a bleak mountainside.

Now as it happens I’ve just written a similar battle myself, where two men fight it out in the Scottish mountains, in my own thriller “Balmoral Kill”.

And I found it incredibly hard to do. I stand in awe of John Buchan who raised the bar so high that any attempt to do anything similar is daunting to say the least.

The only other writer I know who comes anywhere close is Geoffrey Household in his thriller “The Watcher in the Shadows” (see blogs passim), though his location is a meadow in the Cotswolds.

Buchan was so good at these sort of scenes because of his vast experience of mountain climbing in the Highlands, the long days out in all weathers. Buchan may not have had to fight personal tournaments in such places, but he knew the locations backwards. And it shows. I climb mountains myself and I’ve undertaken long walks in Scotland and elsewhere. I can vouch for Buchan’s veracity. No writer of Scottish fiction gets the spirit of place quite so right as John Buchan.

And it’s interesting that, despite Hannay being in this wider landscape rather than the disturbing back-rooms of Medina’s London, the sense of menace – of danger creeping ever near – never goes away. Buchan makes a mountain range seem almost as ominously claustrophobic as the shadowed streets of inner London.

And as Hannay is attacked mentally as well as physically we find ourselves previewing many of the thriller plots that came along later in the twentieth-century. Where the mind and spirit are subdued every bit as much as the body. Where the survival of the individual’s moral conscience is often very much in doubt.

“The Three Hostages” is probably the best constructed of all the Hannay novels – and I don’t mean that disparagingly, for the Hannay novels in total are a hallmark of excellence in the world of thriller writing.

But here Buchan had obviously considered the plot and the issues within for a long time before he took up his pen. He produced, in my view, not only a classic thriller but one of the finest novels of the 1920s. A state of the nation piece, which makes Buchan’s homeland, coming as it was away from the traumas of the Great War, a very uncomfortable place indeed.