By Andrew LownieDavid R. Godine
"There is a dry wind blowing through the East, and the parched grasses wait the spark." I can remember the frisson I felt when I first read that line, as I can recall the faint sense of absurdity that accompanied the thrill. People don't really talk like that, as I half understood when I was twelve, but then, they don't really talk like Kipling's believable soldiers either. The words—which occur in the opening pages of John Buchan's Greenmantle—are uttered in a secret office near Whitehall, in London, as Sir Walter Bullivant briefs Richard Hannay on the extreme hazard and implausibility of his upcoming mission to save the empire. Even at that age I preferred Bullivant's style to the affected gruffness of "M" as he summoned Commander James Bond to a confidential session on the newest Red Menace supervillain.
In several respects Buchan is as different from Fleming as chalk is from cheese. The hero Hannay is uninterested in sex, revolted by all forms of cruelty, and ill at ease in the modern world of cleverness and greed and deceit. He is a late-Edwardian version of the strong, silent type that upheld chivalric values while playing "The Great Game," and he is doomed to see most of his friends immolated in the trenches of the Western Front. But Buchan spanned the gap between Kipling and Fleming, and his stories furnished a crossover point for beginning readers between the straightforward "adventure" book and something resembling the adult novel. I like to think that they still do, and this in spite of their occasional preposterousness ("There are some things," Hannay reflects near the beginning of Mr. Standfast, "that no one has a right to ask of any white man").
Buchan's following in America probably derives chiefly from The Thirty-Nine Steps—the first of the Hannay tales, and the one that was famously transferred to celluloid by Alfred Hitchcock. Here one has a very well shaped thriller, with many vertiginous shifts of plot and scene, a dastardly set of foes, and a game played for exceedingly high stakes. The reliance on coincidence or the fortuitous is often questionable, but the results at the same time are never quite incredible. And the hero is, as I hinted before, more of an innocent abroad than a calculating agent. He is actuated principally by loyalty, either to friends or to country, and when he meets sheer evil, he is often baffled as well as repelled. This innocence may or may not be the counterpart of his creator's rather alarming sense of integrity. What is a modern and wised-up reader to make, for example, of Hannay's encounter (again in Mr. Standfast) with the lovely Mary Lamington: "I didn't even think of her as pretty, any more than a man thinks of the good looks of the friend he worships"? Since Mary is also described as having a boylike grace of movement, even the least jaded attention is inevitably drawn to what is apparently being disowned. We do not nowadays think of the British Secret Service as a place where the polymorphously perverse was unknown.
One of the merits of Niall Ferguson's recent work on the British Empire is the reminder it provides of how Scottish that empire was. Not only did the Scots provide a vast proportion of the soldiers and miners and ship's engineers of the system (I have seen it argued that Scotty on Star Trek is a tribute to this grand tradition), but several colonies bore a distinctly Caledonian stamp. Even today a visitor to New Zealand or Canada is bound to notice the influence of Scottish architecture and of the Scottish educational and religious heritage; and in the Cameron Highlands of Malaysia, and the city of Blantyre, in Malawi, the imprint of Scotland is to be felt in numerous distinctive ways. The battle flag of the Confederacy, indeed, displayed the cross of Saint Andrew; and I recently read an account of the revolution in Texas in which one of the proclamations under discussion featured a stirring line from the poetry of Robert Burns—the more impressive because it was unattributed and assumed to be familiar in the context.
Scotland, Christianity, and empire were the air in which Buchan moved. Born to a struggling minister of the Free Church of Scotland (a congregation that had seceded from the established local church and stood for a flinty Calvinism), he revered the epic story of David Livingstone as a missionary in Africa, went out to serve as a member of Sir Alfred Milner's governing team during and after the Boer War, was elected to Parliament as a Scottish member (on a liberal Conservative and Ulster Unionist platform), and ended his days in 1940 with the title of Lord Tweedsmuir and the office of governor-general of Canada. In his fiction Highland and Lowland dialects are employed in almost every chapter, and there are recurrent allusions to Scottish vernacular poetry and song.
The famous contrast in the Scottish character is between the dour, stoic, and economical and the romantic, passionate, and rebellious. Buchan was a salient instance of this contradiction, which expressed itself mainly in the contrast between his life and his writing. He was continent in all matters; punctilious as to time and bookkeeping; deeply attached to his national Church; and a tightly buttoned scholar, civil servant, politician, and diplomat. His every leisure moment was devoted to writing, with an output of novels, biographies, and histories that amounted to graphomania. His chief recreational outlets were riding, climbing, and walking. An ulcerated stomach compelled a strict dietary regime. No breath of scandal touched his public or private life. His attitude to authority and empire was trustful and loyal. But his writing shows an attraction first to the exotic and the numinous, and second to the underdog, the rebel, and the outsider. In many of his novels there are mysterious and evil women with hypnotic, magical properties—including the bewitching Hilda von Einem, in Greenmantle, and a female in The Three Hostages whose hands "were laid on the arms of the chair"; "hands more delicate and shapely I have never seen, though they had also the suggestion of a furious power, like the talons of a bird of prey."