Die When I Say When – extracts

INTRODUCTORY SYNOPSIS: Several wealthy elderly men have committed suicide under mysterious circumstances, and Quinn suspects his long-lost school friend, Falin MacNaught, is responsible. To uncover the truth, Quinn forms an uneasy alliance with Raina, another ex-friend of Falin’s, his old form-master, Dr Sandy Falconer, and the retired spy Doyle Brogue. Together, they must journey to Saxain Manor in the Peak District, where Falin has fled with his next intended victim: the elusive baronet, Sir Rafael Mordkine

In this extract from Chapter Eleven, Falconer convinces a reluctant Brogue that they should use Owls’ Nest, an ex-army hut on the moors owned by the school, as the base for their expedition.

Chapter Eleven

Checkmated, Brogue’s face turned a shade of chateaubriand. Despite his reluctance to admit it, his military instincts must have told him Falconer’s plan was the better option. He realised he was still fidgeting with his keys, stopped, and walrussed smoke from his nostrils.

“Feck it, I suppose four make up a mess. Reet— Sandy, sit up front.” He ground out his cigar butt with a sound as satisfying as the crunch of a bone to a dog. “You can start by reading us those directions.”

Falconer grinned, “That’s the spirit, laddie,” and folded his gown over his arm. Under it, he wore a tweed jacket woven to blind. He was not, Quinn reflected, altogether miscast as an outdoorsy biology teacher. “Dinnae worry,” he burred, catching Brogue’s dubious stare as he bent into the car, “I’ve got a change of gear at the Nest.”

He glanced at Quinn in the wing mirror, subtilising the dynamics of student-teacher into a wink of connivance. Brogue huffed with forced good humour and twisted the ignition key. The warm motor caught at once, and they accelerated through Alderley into Wilmslow, settling on a quiet seventy through the silver-birched and golf-coursed Cheshire countryside. They reached the A34 junction, and Brogue took it.

The short winter’s day was duskening by the time they left the Footballer Belt and entered Manchester. It had only been a half hour’s ride at Brogue’s speed, this journey from streets of fatalistic wealth to streets of fatal poverty, but for Quinn, it felt as if they’d driven through his life story in reverse. Brogue wrestled the car through the treeless streets of brick back-to-backs, past boarded-up shops and offies with iron grilles. The Cadillac’s prow-like bonnet caught the dying gold of the setting sun, a gold that had been debased to a copper and decaying lead along the million terrace roofs. Starlings fell on the chimneys like rain, shrieking their cries of doom. Brogue cast a wry smile into his rearview mirror.

“Nice to be back, eh?”

Quinn mmhmed as he stared across the broken-bottlescapes of goose grass, bricked-up windows and arsoned warehouses. Strange, he admitted, how Manchester—the city that sparked global industrialisation and gave birth to the Modern World—so openly displayed its poverty and degradation for all that world to see. Over towards Deansgate, towers of scaffolding drew crisscross patterns of bars in a monstrous tartan upon the sky. But even these new skyscraping flats—rushed up to stave off the general decline— already looked in the grip of decay. White clouds, drifting from the Irish Sea, reflected in their grubby glass fronts, a low scud muffling twilight.

Falconer said, “The skies look grimly, Doyle. Think it’s going to rain?”

“According to my knee,” answered the old chief, obscurely patting his bad leg.

After leaving Manchester, the bungaloid miles clicked by like the leaves of a book. Gorton gave way to Hyde, and Hyde to Dinting Vale. Through the rearview mirror, Quinn watched the old hills of Cheshire, like aged men, fade away. The Edge’s magical influence waned with each passing kilometre, and the landscape grew wilder and bleaker. Soon, barren pastures stretched in every direction, revetted with drystone walls and furrowed with snowy windrows. By Moorfield, the only signs of civilisation left were a few ancient and rocky farmsteads strewn across the valley slopes, while behind them, the city receded to a greyish blur, dwindling rapidly beneath a dark massing of cloud.

Light thickened now along the road, and up ahead loomed the Peaks, rising sheer and cold into the already-red sky. The sun had set a third of the way behind their jagged crests, the last splinters of its light ruddling the gritstone faces of Black Hill and Laddow Rocks. In a few minutes, it would disappear entirely behind the moorland ridges and flood the road and valley below with night. 

Brogue seemed to relax, driving the Cadillac as if it were a Jaguar now, his seat erect and far back, arms extended, leather-clad hands holding opposite sides of the wheel. The road narrowed, and the hills appeared to come suddenly nearer and to frown down upon them. Two posts stood sentinel at the entrance to the national park, and between them hung the sign: NOW ENTERING DARK PEAK. As if to emphasise the point, the road swung abruptly upward into bleak moor and forbidding black cliffs.

Taking his eyes off the ascent, Brogue glanced back at Quinn, demanding that he be told about the morning’s events. A treacherous hairpin loomed ahead, and Quinn broke into a cold sweat as he answered. But when he mentioned Mottram Hall and the suitcases, Brogue mercifully circled his gaze back to the road. He punched a number into his mounted mobile.

“Joan, it’s Doyle. I need a favour. Run this name through the database, would you: Falin, Falin Mac Naught. Aye, it’s Searlas’s grandson. Try Xavier Flynn, too. Christ, try Sebastian Melmoth while you’re at it—” he swerved at eighty round the bend. Without missing a beat, he added, “I know, I know. I’m retired. But I wouldn’t be asking if it weren’t important. Call me when you find anything—and alert airport security, would you?”

He hung up. His eyes re-joined Quinn’s in the rear-view, entreating him to continue.

“Christ,” he said when Quinn had finished. “And to top it all off, the old josser turns out to be Raffy Mordkine….” 

That caused him to stop speaking. Mordkine. It even unsettled Quinn how he said the name. Brogue could have been speaking of an old fort where great losses had been taken.

They screeched across a Y-junction and onto an even steeper pass. The sleet-glazed road curved into switchbacks through the writhen hills, which gathered themselves and climbed up, scarp upon scarp, into the great gritstone plateau of Kinder Scout. Scree cliffs reared over Raina’s side, while a sheer drop to a river valley fell away on Quinn’s. The pass went on like this for some miles, undulating like a snake rearing on its tail.

“That’s where we’re headed,” Falconer said abruptly, pointing to a tongue of pines that tapered to a black speck on the upland. “Owls’ Nest.”

Everybody looked, but nobody answered—each gazed mutely with the vagueness of unrest. All around the car now the violence of the sunset was failing, and the light was crumbling momently from the crags. Something glinted in Falconer’s wing mirror. Quinn glanced back at the slanting fells, and in a fold of darkness between two slopes, he spotted a pair of headlights spring to life, dim, and die out. Had they been trailing them since the Y-junction? Maybe he was being paranoid — or maybe not paranoid enough. He stared at the road disappearing under the faint reflection of their tail lamps, sensing they had entered a trap: that in Alderley, they had been free — no matter how out of their depth they had been —but here, they were free no longer. He gave up staring and leaned his uneasy head against the seatbelt. The peaks sharpened against the dying sunset, and a pale violet gloam spread over the moor like ink dispersing in water.

Cdunk-cdunk!

They vibrated over a cattle grid, necks bouncing on headrests. Quinn jerked awake, startled out of his troubled nightmare of a doze, shocked to find the Cadillac climbing through a pine forest. A heavy fog, with holes in it, like artillery fire, rowed against the windows. Raina’s fingers tightened on his wrist. “I don’t feel safe…”

He held his smile but let the uneasiness out, like a slowly expelled breath, his mind still half-steeped in dreams. He felt in his pocket for the picture of Falin. In his hypnopompic state, he’d seen himself back on that school lawn, playing chess with his old friend, the same thick fog eddying around them, closing in without their notice. He had just opened with the Ruy López, a move Father Patrizio had taught him, and Falin had countered with the Arkhangelsk. Patrizio had said if you studied openings well enough, you could play on equal terms with a far superior opponent for the first eight or so moves. After that, he warned, you were ‘out of the book’…

Quinn stole a glance over his shoulder. The headlights were gone, swallowed by the south-fog. He let out a pent-up sigh and slumped back, but a second later, the headlights reappeared. Before he could mention it, they vanished again, as swiftly as if covered by a grey kerchief.

Brogue thumped his fuzzed SatNav with sudden indignation: “Sandy, are you sure this is the way to Saxain?”

Falconer tapped his window-pane. “Aye. Down there.” Quinn peered over the fog-bound pines and across the valley to the steeps of the Kinder massif. Becks poured like molten lead from Kinder Downfall, melting into an eye-achingly silver reservoir. Falconer indicated the reservoir’s black-wooded rim. “See those lights ower yonder?” A scatter of turreted windows glowed beyond the shine of the water, remote and inaccessible, like a witch’s house in a forest. “That’s Sir Rafael’s place, all right. Saxain Manor.”

Brogue grunted as though none of Falconer’s replies were above suspicion. “What now, then?’

“Get ourselves changed at the Nest,” Falconer said, “then go and take a closer look. An’ thank Christ all the lights are on—at least we’re not too late.”

Brogue grunted again. “A man does not necessarily choose to die in the dark.”

A few miles of silent driving later, a narrow granite bridge appeared, crossing over a streamlet that flowed into an old mill. Beyond the bridge, black contours dipped into a fog-carpeted valley that rose sharply to another ridge.

“How far to go?” came Raina’s voice. Quinn glanced at her. A clean girl’s look lay upon her face, as if she had been watching a horse which had broken its leg and was now simply miserable before the proportions of things.

Brogue jutted his chin toward the far ridgeline.

“‘Bout twenty minutes. Traffic-dependent. Ha ha.”

They slowed over the bridge’s rustic hump and tore down through the moss-coated hamlet of Furness Vale. Soon after, the road ascended again, twisting snakewise through holt and heath. The gaunt grey flanks of the distant impassable peaks re-emerged above the crags, and the wind stirring the fogforetold of the dark and limitless moor awaiting them. After climbing past the Bow Stones, the corkscrew road levelled off onto the high peak plateau. Brogue flicked up his headlamps, and the Cadillac soared lonelily across a barren moonscape of bare peat. He stared straight ahead, the chevrons blinking white under his headlights like the bones of Jacobites long dead.

 “There’s the turning,” Falconer said suddenly, and told Brogue to switch into a lower gear. An ivory-white signpost grew larger before them, and Brogue indicated right. The Cadillac stirred up a blizzard as it jerked up a steep sleet-gritted track and coughed to a stop. At the top of the gorse-clad hill— up to its knees in restlessly tossing cotton grass—stood Owls Nest. Quinn glanced back at the infinite moor behind, reassured that nothing was visible and feeling nervous for the same reason. Falconer rubbed his hands together. “Just like old times, eh Roseblade?”

Just the opposite, thought Quinn. No, there was no Tennysonian afterglow shining on this trip. This time, they were out of the book.

Chapter Thirteen

Brogue’s headlights tunnelled down through the trees, the wind-blown rain smearing like jam on the window. Through the branches, Quinn caught a dim glimpse of the reservoir, its oily shimmer reminiscent of the bottom of a sardine tin. Beyond the water, Saxain’s turrets, like great charcoal drawings, suddenly began to expose their structure, the layers of knuckled masonry rising stone after grey stone above the forest, their lichened slates wet with starlight. A second later, the headlights sprayed on a red-lettered sign: Private Road. No Trespassing. The Cadillac slowed to a crawl. A faint glow soaked through the trees, announcing the moon’s rise over Kinder Scout. Brogue deadpanned: ‘Lovely night for a murder.’ No one replied.

Their wheels hushed as they drove deeper into the cedarn gloom, crossed a brook, and broke before a five-barred gate to which another flaking sign was nailed, this one hand-lettered: TRESPASSERS WILL BE SHOT. Beyond that, the ghost of some obsolete road expired in thistles and purple heather. Brogue cut the headlights, cocked his chin at the forest and said:

“We’re on foot from here.”

Raina checked directions on her phone, looking as reluctant as a young bitch carried to a hunt. “But that’s such a hike, man. And it’s raining pipe-stems out there.”

Brogue yanked his key out of the ignition. “I did say you didn’t have to come.”

She stuck out her tongue tip at him as though it were a small almond. They tightened scarves and zippered up coats, and Brogue unlocked the car. Like a football crowd, the freezing rain charged and rushed them at the opening of the doors. Bodies braced, they ran for cover under the wind-shaked trees, following Falconer’s army-and-public-school voice: “Stick close tae me chaps, or we’ll be solitaires! And stay off the path! There’s an awfy big ditch!”

Raina took Quinn’s arm and put it around her waist. “You think Sandy knows where he’s going? This track isn’t marked.”

“But it’s here. So put your phone away and watch the real thing.”

“Fokker. I’ve lost signal anyway.”

She leaned closer to him, and his fingers felt the rocking of her delicate toy spine, neat as the couplings of a small boy’s locomotive. They yomped through the frozen rushes and sphagnum mosses, their eyes screwed against the sneaping wind. Falconer strode jerkily ahead, his cape fluttering over his tweed suit like Peter Cushing in The Hound of the Baskervilles. Quinn, meanwhile, soggy with mud from the knees down, looked about as cheerful as Heathcliff in a stage musical.

“Sir, which way now?”

The game trail Falconer was following could be headed in any direction under the whitewashed canopy of branches, and sleet pelted their eyes whenever they lifted their faces. Falconer signalled downhill with his alpenstock.  

“There. Head for that shooting hut.”

What he pointed to wasn’t a hut at all, but a squat brick corpse, its near side palsied and sagging into the marsh. They huddled under its tin overhang while Falconer wrestled the O.S. map, crackling and billowing, from his jacket. He flattened it against the wall and turned his pen torch on it.

“Right, chaps. Saxain’s ower this next hill. But be careful. See that upturned rock yonder? That’s an old merestone.”

Raina strained her eyes into the blustery dark. “A what stone?”

“A boundary marker.”

She made a face at Quinn. “Why didn’t he just say that then?”

The moon slashed through the wrack of clouds hanging over the festering Peaks, lightening the darkness. Falconer folded the map and said they’d better hurry. The track sloped up to the woodland’s crest, emerged from the shadow of the trees, and opened out onto a heather-strewn clearing frozen into black and silver by the patchy moonlight. The finest grouse shooting ground in the county, Falconer observed with academic inutility. The woods pressed against it on three sides, but northward, the ground fell away steeply, and the tops of wet gables and towers were just visible at the bottom of the slope.

Brogue looped his cane over his arm and passed Quinn his binoculars, almost spitting the word: “Saxain.” Quinn looked closer and did not like what he saw. At the far edge of the clearing, cowled in shadow, stood a gaunt-turreted mansion — more a tiny castle than a hunting lodge — its crags and its stark walls of granite pocked with nameless windows. The rain smutched its outlines, but its battlemented and spired silhouette looked as sharp as if cut with an engraving knife.

Raina let out a low whistle. “Sheesh, Falin must be paranoid to hole himself up in there.”

Brogue grunted and said, “If he’s ‘owt like his grandfather, he’ll be too schizoid to be paranoid.”

“Just like you’re too paranoid to be schizoid,” Quinn almost replied, but stopped himself just in time.

Urged on by Falconer, the four scurried down the slope and into the cover of a gorse thicket. They were now but a rifle shot from the main gates: a maze of queer tracery in wrought iron, with ragged stone pillars on either side, weather-bitten and surmounted by the lions’ heads of the Mordkines. The manor’s shadow hung like black water along the drive and over their huddled figures, uncompromising and stark for all its theatricality. Quinn spotted a dim, hostile hearth flickering in one of the corner turrets, framed against a backdrop of darkly swaying willows. Brogue, following his gaze, whispered breathily,

“If you can get into the garden, you could try listening in.”

Quinn, struggling to hear over the orchestral swell of the rain, shot back,

“Why aren’t you coming too?”

“No. I’d best stay put,” his hands clasped over the handle of his blackthorn cane, panting, “Some daft sod’s got to watch your back.”

Quinn shrugged in agreement, supposing Brogue would make a rather conspicuous and tardy-gaited shadow, what with that bloody limp. They left him behind and trailed Falconer across the dead ground to the stone perimeter wall, crouched like three snatchers. With heads bent against the foul wind, they noticed the grass underfoot was strewn with frozen remnants of shotgun shells — hundreds of spent cartridges scattered like dead lipsticks in the snow. Falconer glanced up, gesturing toward the stables set diagonal to the main house, like a corner pocket on a pool table. One ivy-shaggy section of the wall looked climbable.

“You two get in there. I’ll find another way in.”

Quinn scaled the damp stones, using the thick vines as toeholds, swung over the top, and dropped silently into the shadows below. He helped Raina scramble down after him, then pivoted to face the ill-preserved garden. Moonlight lay like a white shawl across what once had been, no doubt, a well-kept lawn, but was now rough and ragged, with a cold sea of nettles and coarse weeds struggling in the places of the flower beds. They tiptoed forth between rusted patio chairs, decollated statues, and pleached hedges like prisoners with wildly overgrown hair. Overhead arched the bare trees, wild-armed and too tall, clawing with studied malevolence at the black December sky. The manor itself exuded a deliberate air of nostalgic decay, yet there was nothing eldritch about the motion-sensor lanterns flanking the odd-pillared porch, nor the wireless alarm under the moss-grown gable.

“Stay off the grass,” Quinn said, pointing to the stepping stones that led to the corner turret. “It’s best not to leave footprints.”

They darted from one stone to the next, lucifugous as bats. The turrets loomed higher overhead, black as thunderheads, holding low clouds captive at their summits. Somehow, Quinn felt that these time-eaten spires — pierced with their countless slit-eyed windows — were leering at him, expecting him. Suddenly, like a flame, a red flash leapt across his vision. A fox! Raina gasped — too loudly — sending the fox scuttling toward the manor with a little volley of shrill yips. A few heartbeats later, the porch door burst open, spreading a tight fan of light across the grass. Quinn pressed Raina’s shoulder.

“Get down!”

They dropped behind the chairs, their hearts pit-a-patting like ducks’ feet in mud. A black figure emerged in the golden oblong of the doorway, tall and stooped as Irving’s Shylock. He scooped up the fox and shouted, “Who’s there?”

Raina dug her nails into Quinn’s palm. “It’s Sir Rafael”.

The backlit baronet scowled out from under the porch, his shadowed face, seignorial and aquiline, scouting gloomily towards them.

“Who’s there, I say? Sh-show yourselves!”

The two stayed crouched like galley slaves, not daring to move so much as a coat sleeve. Quinn’s pulse clanged in his heart: they were trapped! But just then, a voice hallooed from the gates:

“Sir Rafael? Is that you?”

“Y-y-yes… who the hell are you?”

“It’s Sandy, Sandy Falconer,” said a voice with insane calm. “Could you let me in? It’s feechie weather out here.”

The gates buzzed open; Quinn glanced down the drive and glimpsed the Daimler, lustrous as ebony, a polished docile monster lazing on its bed of pink gravel. Falconer strode by it, upright as the cedar, his sagacious profile upraised, his bony nose strong to break the wind. The old master snuck them a wink, then turned to face the porch. Sir Rafael’s voice lisped,

“Sandy, w-what the devil are you doing out on a night like dis?”

“Teacher’s retreat at the Nest, old boy,” Falconer carolled in his pan-loafiest voice. “I saw your lights from the highway and thought I’d swing by.”

“I see…” Something in Sir Rafael’s tone changed. “You should be careful walking on the hunting grounds. You might get shot.”

“Oh, dinnae worry, I’m not in season.”

From inside the mansion, a second voice called:

“Who is it?”

Quinn’s skin shifted like a jacket of lizard skin. He whispered, “That voice is Falin’s.”

Raina’s teeth clittered in the darkness.

“Can you see him?”

“No… I think he’s behind Mordkine.”

Quinn craned his neck, his gaze working upward from Sir Rafael’s feet, like in the movies when the cameraman is trying to be tantalising. First came the morocco slippers, then the hem of the red-satin dressing gown, purlfed with gold. Still higher, a burgundy pyjama shirt and a silk scarf loosely knotted about a wine-flushed neck. Quinn dared not raise his head another inch. But he knew the face must look Alderley as all hell.

A long half minute elapsed before they heard Falconer mount the steps and Sir Rafael usher him inside. The door slammed shut, and the latch clicked.

Ag nee!” Raina cried, casting her face down into the stiffened cups of her hands. “Ag nee, what have I done?”

Quinn strained her against him, her shivering body almost shaking his. “Come on; we’ve got to get out of here, now!”

He hoisted her to her feet, and they sprinted across the lawn, silent as their smote nerves would allow. The jarring of Raina’s boots shot fire up her ankles and through Quinn’s palms. They slipped through the fast-closing gates, and the button of her blouse popped undone, but she ran on, clutching at the gap with her free hand. A torch blinked twice ahead, and a paunched figure crutched forth from the dark, rising from the thicket like an antic root peeping out of a cracked tree trunk. It was Brogue. He seized Quinn by the collar, his eyes big as though exaggerated by blackface. “What the hell happened down there?”

“It was my fault,” Raina panted, her breasts rising and falling like an exhausted runner’s.

Unelated, Brogue released Quinn. “Whatever. Get back to the car and start the engine.” He tossed Quinn the keys, attached to a metal boar keyring. “I’ll deal with this.”

He turned his crookback to them, grumbling andgritting bad teeth, and retrainedhis binoculars on the manor’s grim-mullioned turrets. Resisting the temptation to argue, Quinn took Raina’s arm and steered her thrashing into the vast and gloomy woods, hurtling headlong in what he hoped was the right direction. From stile to gate, through pricking gorse and thorns, the two ran, splashing through the trackless undergrowth in search of any known landmark.

The wind came in fierce bursts now, clawing at their faces, driving the sleet with a vengeance against their nithering bodies. All they could see through their clenched eyelids were the streaking pellets, which seemed not to fall but fill the air in throngs of swirling eddies. To keep to one direction—the approximate direction of the Cadillac—was more a matter of luck than sense. They could not find the track through which they had descended the wood; every way was like every other way, a grey whirl through which they struggled, blind as untamed falcons.

When, just for variety’s sake, their route bore uphill again—against the wind now—Raina glimpsed at some distance, as if hovering there in the frost-fretted tangle of branches, the pale silhouette of a brick shack. Quinn thanked his kind saint—it was the shooting hut! Shoulders braced, they made for the chimerical wrack, which thrice vanished and re-appeared in the stormy murk, and when they finally reached it, scarce breathing, they spied the Cadillac just up ahead, the smoke-blue frame lit by one argent wedge of moonlight. Quinn ran to it, keys ajangle, and no sooner had he unlocked the doors than Raina collapsed on the cream leather seats, breathing from the top of her lungs, her eyes riveted on the trees.

“I’m so sorry, Quinn…. But when I saw that fox… it gave me such a skirk.” Her throat jammed, her golden hair dripped, darkened at the forehead by sweat. “It was the same one from Brogue’s garden, I’m telling you—”

Quinn pushed the hair over her eyes and shushed her.

“Don’t be silly. It could have been any fox.”

“Should we go back?”

 “No. If Falconer’s in trouble, Brogue’ll handle it.” He reached over and started the wipers, of a sudden less confident. “Give it a half hour, anyway.”

She nursed her bloodied boy-knee, her bare throat throbbing, the hollow between her dress and the locket she wore beating like the ruby heart of Salvador Dali. After a minute, its pulse calmed, and she let her head fall back.

“At least Sir Rafael’s still alive. I couldn’t believe how well he looked—all dressed up like some Victorian count.”

Quinn smirked. “A what?”

“A count. C-o-u-n-t.”

“Must be a new way of spelling it.”

She bit her lip to keep herself from smiling. Quinn took Brogue’s duster and wrapped it around her shoulders. A shiver of tenderness rippled her features as a breeze does a reflection. Her eyes crinkled at the corners, staring up at him in gratitude, and her lips took on the frame of his name without saying it. She curled her head on his chest. After a bit of a while, she smiled. In the middle of that smile, she fell asleep.

Photos: Luke Gilfedder

The Outsider and The Enemy: Colin Wilson on Wyndham Lewis

The Good and Evil Angels, by William Blake
LUKE GILFEDDER examines the differences – and parallels – between two original thinkers

In 1956 Colin Wilson published The Outsider, an overnight literary sensation which saw the 24-year-old autodidact hailed as a prodigy and the first home-grown British existentialist. He sent a copy to T.S. Eliot, who, in a prompt and kind reply, said it was a pity to have missed Wyndham Lewis out of the book, for Lewis was surely an ‘archetypal outsider’1. Wilson would make up for this omission – albeit 33 years later – with the excellent but sadly neglected essay ‘Wyndham Lewis: A Refracted Talent?’. Published in a long out-of-print collection 1989 Existentially Speaking, it is to the good fortune of Wilson and Lewis scholars alike that the title still survives in the British Library archives.

Colin Wilson

Wyndham Lewis was born in circumstances quite distinct from Wilson’s Leicesterian upbringing, on his father’s yacht off Amherst, Nova Scotia, in 1882. Yet by the time he died, in 1957, Lewis was based just a few streets away from the then-rising star Wilson in a Notting Hill Gate flat. The young Wilson had made several attempts to appreciate Lewis, but each time to no avail. He likened late career works such as The Human Age to “mediaeval castles”, impossible to get into, or quite possibly “not worth the effort”.2 Yet Wilson soon found himself in Lewis’s position of critical neglect – once a boy genius, twice a “pretentious fraud” – the critics who launched The Outsider savaging 1957’s Religion And The Rebel. Both were to remain best regarded for their earliest works: Wilson, for The Outsider, andLewis as pioneer of the avant-garde art movement, Vorticism (England’s double-edged critique of the franticness of Marinetti’s Futurism and the passivity of Cubism).

Wilson soon left London for Cornwall, fulfilling Lewis’s reflection in Rude Assignment that “the writer does not ‘escape’ or flee from the world of men in general: he is more likely driven from it”.3 When Wilson next encountered Lewis’s work, via Tomlin’s 1969 anthology, he found he had acquired a fairly strong feeling of identification with Lewis. Here was, as Eliot had suggested, a true outsider, out of key with his time, equally unsympathetic to the assumptions which his contemporaries took for granted, turning out book after book in defence of his unpopular and idiosyncratic views. Lewis saw modern science, art and politics as conspiring to create an unreal state of mind in which the sentimental, illusory and mechanically Progressive flourished, and to this, he opposed a vison that fused radical modernism with an external, static and classical approach to art. Still curious as to whether Lewis was an important writer, Wilson decided to settle the matter by writing an essay purely for fun, delivering his opinions “en pantoufles”, as if “sitting over a glass of wine with friends”.4

As a result, ‘Wyndham Lewis: A Refracted Talent?’ is a lively example of Existential Criticism, an original conception of Wilson’s which advocates that a writer’s work be judged by what he has to say rather than how he says it. William James wrote “a man’s vision is the great fact about him”, and Existential Criticism seeks to examine that vision, to see how much of reality it incorporates, or, conversely, to determine how far a writer’s attitude towards the world is parochial or based upon some temperamental defect of vision5. Wilson begins by criticising Lewis’s first novel, 1918’s Tarr (a satire of the bourgeois-bohemia of post-war Montparnasse) as a “savage, humourless Shaw”. The book, he says, is obsessed with the trivial and personal, much in the manner of a D. H. Lawrence novel or Ulysses, yet without the redeeming flights into impersonality these works take. If Joyce is a “thin-skinned Irishman who disciplined himself into greatness” and Lawrence a “thin-skinned Englishman who occasionally forgot himself enough to be great”6, then Wyndham Lewis, Wilson argues, never forgets himself for a moment. Not that Lewis, who held that “art is the expression of a colossal preference” – and posited “what is genius but an excess of individuality?”7 – would necessarily contend this. But Wilson differentiates between a strong self-image – an instrument writers use to convey higher truths about reality – and self-preoccupation, which is, by contrast, inward-looking and pessimistic. Wilson posits that artists find release from such solipsistic nihilism through their symbols of meaning, be it Religion for Eliot, Courage for Hemingway or the mystery of sex for D. H. Lawrence. But Lewis was said to find sex as boring and irritating as he found everything else. Wilson speculates that lacking the capacity for such abandonment of the self was Lewis’s main reason for his fateful turn to politics as his form of objectivity (Lewis’s reputation never recovered from his ill-judged and hastily recanted 1931 essay, Hitler).

Having foregrounded solipsism and artistic pessimism as potential defects in the Lewisian vision, Wilson attempts to trace throughout his essay how they might have developed and their effect upon Lewis’s value as a writer. He understands Lewis to be striving to achieve a post-impressionist revolution in prose, seeking to transmute into text the Cubist craving of beauty through abstraction. Wilson describes this as a romantic urge, a turning away from the real world to a misty ideal one, as is made clear in the 1927 story ‘Inferior Religions’:

Beauty is an icy douche of ease and happiness at something suggesting perfect conditions for an organism… Beauty is an immense predilection, a perfect conviction of the desirability of a certain thing…8

Wilson says this formulation could have come from Yeats or even Walter Pater – a far cry from T. E. Hulme’s classicism with which Lewis was associated. But Wilson makes an interesting distinction here: the new Classicism never fully materialised, at least not as we like to think of it. All that happened was the emotional romanticism of the 18th century gave way to the intellectual romanticism of Proust, Ulysses, The Waste Land or Musil’s Man Without Qualities. Only the likes of H.G. Wells and Chesterton truly dispensed with romantic idealism by turning back to human reality, immersing themselves in socialism or Religion. Wilson says Lewis glimpsed another vision, namely that the ideal beauty of the Romantics could be achieved not by “flying up into the eternal gases”9 but instead through a cold, precise, intellectual art, gleaming like the snows of the Himalayas. This does not sound like much of an existential defect; in fact, it is rather close to the worldview of Bernard Shaw – a Wilsonian hero – who rejected romantic idealism in favour of a discriminating idealism. Discriminating idealism is just what Wilson perceives in Lewis’s paintings; their determined clarity, their quality of precision and “coolness” is said to remind one of Blake or indeed Shaw’s plays.

Wyndham Lewis

Wilson’s central contention is that Lewis’s effortless mastery as an artist failed to translate into his prose, where one needs the “patience of Job” to cut through the “blanket of fog” and figure out what it is all about10 He reasons that while painting can survive a lack of purpose – it deals in visual effects and can still be great if the worldview of its creator is ambiguous – writing deals in ideas and cannot survive the same ambiguity. Prose must have a positive impetus; satire alone is not enough. Lewis may paint like Blake, but he is said to write with the technique of a Daumier. Wilson judges this satirical bent as a negative trait, for Lewis is placing himself above his characters for the sake of lacerating them – only in The Revenge for Love does one sense any sympathy between writer and protagonist. So where War and Peace feels bigger than Tolstoy personally, in The Apes Of God (a satire of the Bloomsbury group), for example, we never forget for one second that it is Lewis holding the brush, pulling the strings of his puppets. And whereas Joyce’s precise technique of photographing his characters through words makes the reader blend with his descriptions, Lewis constantly interjects himself as though trying to dazzle the reader with verbal brilliance, never allowing the object to appear in its own right. This, Wilson says, creates a contradiction between Lewis’s impressive, even “monumental”, technique and his “rather vague, boring characters”. Resultantly, Lewis’s novels tend to “run down like an old hand-gramophone someone has forgotten to wind”11.

Wilson proposes that such “miscalculations of effect” in Lewis’s prose stem from his solipsistic vision of art, as announced in Blast 2:

There is Yourself: and there is the Exterior World, that fat mass you browse on. / You knead it into an amorphous imitation of yourself inside yourself”12

Wilson insists that Tolstoy or Shakespeare’s greatness depended on them not kneading the world in their image, but instead trying to get rid of “themselves” from their work, becoming more like a mirror or a magnifying glass, able to capture that “odd whiff of reality, like a spring breeze blowing through an open window”((Colin Wilson. Existentially Speaking: Essays on the Philosophy and Literature, 1989, p. 100)). He speculates whether the character of Victor Stamp (the protagonist of The Revenge for Love) is a partial admission by Lewis of this “parochial” defect when, in desperation, Victor decides to forego his usual mannerisms and paint something which would “remind him least of Victor Stamp”((Wyndham Lewis, The Revenge for Love, 1937)). It still does not sell, because it is old-fashioned. But old or new-fashioned, Victor never attempts to say anything, he – like Lewis – fails to recognise art is not self-expression but a reaching out towards reality.This overpowering sense of self-expression in Lewis was also critiqued by Anthony Burgess, who described the wartime autobiography Blasting and Bombardiering as reading like a “gor-blimied police report” with the strange yoking of the “Allo-allo-allo-what’s-all-this-‘ere to the intellectual and the exquisite painter” making for such exasperating reading13.

We must pause briefly to deal with the objection that has doubtless sprung to mind, at least to readers familiar with Lewis, namely that Lewis does know that the root of great art is the impersonal and the objective; moreover, he was a paragon of the ‘lone external viewpoint’14. It is not for nothing that Lewis’s critical writings develop from a defence of the self in 1927’s The Art Of Being Ruled – a treatise in how to remain a “sovereign of oneself” in a world where this is “nothing so difficult as not belonging to a party”15 – to a defence of objective reality itself against Sartrean existentialism in 1952’s The Writer and the Absolute. Lewis directly attacks solipsism in the former work, writing that “ideas of beauty, of a god, or of love, depend severally on separation and differentiation”, and compares the foolishness of “the savage who ate his god to procure divinity” to Freudian inwardness16. Yet we may argue the clearest contradiction to Wilson’s interpretation is in The Letters Of Wyndham Lewis, where Lewis opposes the “crushing of the notion of the subject” and states a belief in a sense of objective value which sees “the answer is there all the time; we ‘discover’ it”.17

Wilson is, however, too perceptive a critic not to have anticipated this response; he explains the above as merely demonstrating Lewis’s “Platonic sense of reality”18. This interpretation is the string with which he binds together his varying conclusions as to Lewis’s merits and defects. On the one hand, Lewis’s belief in a world of timeless ideals makes him an excellent critic, especially of the philosophies of time in Spengler and Marx, and in his merciless dismantling of imperfect idealisms – Lawrence, Hemingway, Orwell, Sartre, Malraux – any kind of romanticism that is the opposite of the real. But, on the other hand, Lewis’s Platonic nature is said to lead him into an artistic pessimism, a sense that the real world is corrupt and disjointed, and the artist must remain true to his ideal world. As a painter, Lewis may have stumbled on Shaw’s trick of uniting the irreconcilable opposites of romanticism and anti-romanticism (this is especially evident in Lewis’s late-career paintings, such as 1942’s Homage to Etty, a Lewisian heaven of exterior forms). But as a writer, his Platonism led him into a “life-denying pessimism”, and he spent more energy denouncing the world than expressing with discriminating idealism that “perfect conviction of the desirability of a certain thing”19. As if unfavourably comparing Lewis to Shaw wasn’t enough, Wilson concludes by noting how much he has in common with George Orwell. Both are said to be tough-minded and honest cultural critics, but who wrote “hysterical” and “bad” novels because of this same artistic pessimism, a pessimism out of which “no vital creation can spring”18. Alas, Wilson’s final judgement is that Lewis was less the “enemy of the stars” than of himself.

Such an atypical interpretation of Lewis may appear highly contentious upon first reading, but even if one disagrees with the answers Wilson provides, his essay leaves the reader with better questions than they arrived with – surely the true mark of fine criticism. He intended for the piece to be “the kind of thing I would want to read if I was curious about Lewis” and on this count, he has succeeded. The only minor gripe is that there is scant discussion of the sympathy between Lewisian and Wilsonian themes. Lewis’s critique of existentialism as merely placing a token emphasis upon freedom – “Sartre’s novels are jokes about Freedom”20 is the perfect foil for Wilson’s ‘New Existentialism’, a corrective against Absurdism. Lewis’s writings also dovetail with Wilson’s criminology studies, each observing the “evil fog” of pessimism and nihilism present at the start of the 20th century plunged people into acts of violence as a means of escape21. Both have an intuitive approach to literary criticism, finding similar flaws, for example, in Hemingway’s characters. Wilson says they know who they are, not what they want to become22, just as Lewis writes “they are invariably the kind of people to whom things are done, who are the passive (and rather puzzled) guinea-pig type – as remote as it is possible to be, for instance, from Nietzsche’s ‘super’ type”23. Lewis, however, believes this is not a shortcoming in a work of art, it “defines it merely”, meaning “the work in question is classifiable as lyrical”21. Lewis allows a novel to be superior from a literary standpoint, even if it is existentially lacking. In the final analysis, Wilson does not afford Lewis the same generosity.

The new avenues of thought opened by this essay make it a double pity that Outsider and Enemy never met, especially given that they once lived just a few hundred yards from each other, in Notting Hill. One senses that they had more in common than this essay suggests, and they could have found common ground over their similar mistreatment by the establishment. When F. R. Leavis derided the Sitwells as belonging to the history of publicity, not the history of literature, we may conclude that no two writers embodied the reverse equation more than Colin Wilson and Wyndham Lewis.24

NOTE This article first appeared in Lewisletter, the journal of the Wyndham Lewis Society, and is republished with permission

  1. Colin Wilson. Existentially Speaking: Essays on the Philosophy and Literature, 1989, p. 83 []
  2. Ibid, p. 89 []
  3. Wyndham Lewis, Rude Assignment: An Intellectual Autobiography, 1984, p.29 []
  4. Colin Wilson. Existentially Speaking: Essays on the Philosophy and Literature, 1989, p. 10 []
  5. William James. A Pluralistic Universe (1977), p. 14 []
  6. Ibid, p.83 []
  7. Wyndham Lewis, Doom of Youth, 1932 []
  8. Wyndham Lewis, The Wild Body, 1927, p. 241 []
  9. T. E. Hulme, Romanticism and classicism, Speculations: Essays on Humanism and the Philosophy of Art, 1924, p. 120 []
  10. Colin Wilson. Existentially Speaking: Essays on the Philosophy and Literature, 1989, p. 97 []
  11. Colin Wilson. Existentially Speaking: Essays on the Philosophy and Literature, 1989, pp. 99-103 []
  12. Wyndham Lewis, Blast 2, 1915, p.91 []
  13. Anthony Burgess, ‘Gun and Pen’, 1967 []
  14. Wyndham Lewis and E.W.F. Tomin, Wyndham Lewis, An Anthology of his Prose 1969, p. 18 []
  15. Wyndham Lewis, The Writer and the Absolute, 1952, p.67 []
  16. Wyndham Lewis, The Art of Being Ruled, 1927, p.227 []
  17. Wyndham Lewis and W.K. Rose, The Letters of Wyndham Lewis, pp. 155, 378 []
  18. Colin Wilson. Existentially Speaking: Essays on the Philosophy and Literature, 1989, p. 103 [] []
  19. Wyndham Lewis, The Wild Body, 1927, p. 242 []
  20. Wyndham Lewis, The Writer and the Absolute, 1952, p.26 []
  21. Ibid, p.86 [] []
  22. Colin Wilson, The Craft of the Novel, 1975 []
  23. Wyndham Lewis, The Writer and the Absolute, 1952, p.86 []
  24. F.R. Leavis, New Bearings in English Poetry, 1932 []

The Venatio – an extract

LUKE GILFEDDER tells a dark tale of Cheshire

Crime writer Stephen Niskus suspects that his long-lost school friend, Alexei Orphonov, is a serial killer. When he catches sight of Alexei in Alderley Edge, he embarks upon an urgent quest to prevent another murder. But Stephen’s investigations soon lead him into a far more tangled and deadly web than he could ever have imagined, one whose origins lie in the heathen history of The Edge, yet whose far-reaching strands threaten to re-engineer the future of humanity itself

CHAPTER ONE

A black-suited six-footer descended the steps of Manchester Victoria station. He twitched his Celto-Lancastrian nose like a rabbit. There was a storm coming, one of those Pentecostal storms which occur only in this region of hills and neogothic spires, tall as obelisks, when dams burst, roofs are swept away, squares are flooded, and every lead pipe becomes a fountain. After a few meaningless but magnanimous hours that had resembled good weather, so Manchester was, on cue, creaking back into its rainy groove like a tram proudly regaining its rails. The man signalled a taxi and gave an Alderley Edge address. Streets of angry red brick assumed a tone of purple as they drove out of town, until, beneath the uncertain and swinging illumination of a Northern gale, the skyline of his youth became but a badly smudged Lowry, an opaque deepening of twilight itself.

Fifteen miles later, the taxi’s headlights swept down the cobbled and very superior half-mile of Woodbrook Road, where bronchial trees soared high in the darkness, and medievalish lampposts bore aloft wavering haloes of golden drizzle. “People think Cheshire as flat as a pancake,” said the driver, “and it is for the most part, but not ‘ere.” Six hundred feet high and three miles long, the detached mass of the Edge rose from the Cheshire Plain, a long-backed hill that was tall and sombre and dark. Estates crept down its slopes, stepping on their own shadows.

At the base of the wooded sandstone hill was Alderley itself, the “best” postcode in all of Cheshire. It was Cheshire’s Kensington, its Linlithgow, its Sandycove, its Charlottenlund, and (to the Welsh at least) its Cowbridge. Alderley was rich in the early aura of old halls, fallen fortunes, and county families common to so many of too many English autobiographers. Much rarer in the North than the South, Stephen Niskus thought, but only mildly less intolerable. During the day, the Edge would hum with the sounds of Alderley villagers, be they cashmere-draped ramblers trampling down the dead leaves or the self-exiled grandchildren of the self-made racing their smoke-blue Mercedes’. But at dusk, such life withered in a moment, and the sounds became those of the wood, the crystal tongues of water and nightingale, and the heathen murmurings of Roman mines and druid bones lay beneath the marl.

The deluge was so great now that visibility was cut to a few yards; rain lashed against the windows, tearing the streetlight into golden shrapnel. The taxi turned off the bottom of Woodbrook onto Mottram Lane, which, having shaken off the shadow of the Edge, ran more straight and free. Cricket fields lay on the right, nude and white as blanched nut kernels, while a swim of oxblood manors and Mississippian mansions drifted by on the left, each with cactus and bamboo trees leaden in their greenness, sad feathery shafts dripping water, intense against the dark sky. The driver said:

“Strange weather, isn’t it?”

Stephen was slavonically mute. He had never been the type to answer a curt “yes” to such observations, nor to reply with a similarly hackneyed phrase. The driver continued:

“An’ they were sayin’ this might turn to snow overnight. Don’t think we’ve had a white Christmas since 2010.”

Stephen managed to say, “really?” and stroked a disinterested hand through neat terraces of auburn hair.

“Aye. I’d steer well clear of the Edge though tonight, it being the solstice an’ all. The crackpots’ll all be out in force.”

Alderley looked strange and melancholy in its moon-polished state, with only a few Brueghel-like characters, necks swathed in mufflers, stalking about the lanes like plump wraiths. It reminded Stephen of Prague last winter, of mist in the gingerbread gothic square, the bells of Týn Church echoing in their black Catholicly way, and of a tyrolean-hatted shadow receding into the darkness down Alchemist Alley. A nostalgia at least half revulsion affected him, only to be dissipated by the driver’s voice:

“What do you do, son, if you don’t mind my asking? Couldn’t help but notice all of them tags on your luggage.”

“I’m a crime writer,” said Stephen, “I’ve just finished a promotional tour.”

“Oh, really?” the driver replied with raised (or over-raised) eyebrows. A twenty-something living on his wits — what! — a label which, harmless as it may sound to foreign ears, somehow in England confers upon a person a moral ambiguousness. “I knew I’d seen your face around. You were in Cheshire Life, weren’t you? The missus reads it.”

He continued to talk as the taxi turned onto the high street, but Stephen no longer listened. His eyes closed. Being back in Alderley provoked other memories, the rain encouraging them to unfold like those Japanese flowers that open in water. He recalled being dressed in his confirmation suit, drenched to the skin, that first day he alighted at an autumn-leaved Alderley station which was quite unlike the godforsaken one (broken mirrors, tattered plush, arsoned vending machines) from which he had set out. Stephen had just passed the entrance exam for Manchester Grammar School, the “Eton of the North”, and it had divided his life as cleanly as Roald Dahl’s Boy and Going Solo. He had not gone to a poor primary: indeed, the best Catholic schools were all in the North, for the Reformation, like blood from the feet when the arteries harden, could not push up so far so easily. But his eschewal of the local Catholic secondaries (St. Ambrose and Cardinal Newman) meant that his life swiftly became one of two towns, two skies and two-tone shoes: streets of fatal poverty gave way onto a world of fatalistic wealth, Michaelmas blues, bonfire moons, and gothic quads, not to mention those metallic-green lawns whose edges you could slice your finger on, the eternal wait for fifth-period break after Double Latin, that most wintery of phases ‘Lent Term’, and, last but not least, Little Arthur’s History of England with its sketch of the Princes in the Tower, those two royal princes, so innocently embracing, so soon to be smothered. What only child could look upon them without a disturbance?

“Typical,” the driver tut-tutted as they hit the Christmas traffic on London Road, “would you look at the way they park…”

Stephen lowered the window to let out the smell of the driver’s cigarette, admitting a gust of rain and the sounds of swishing tyres on the wet asphalt. His taxi halted at the lights. He peered across the road. A Daimler Sovereign had drawn up outside De Trafford hotel as two silhouettes emerged from the lobby’s golden oblong. One was a boy, head held like an emperor stag, and the other a vulturine old man. The boy eased the aged fellow into the waiting Daimler, and as he did so, shot a glance up at Stephen’s taxi, sharp and swift as the click of a camera. Then he tilted the head away with that same arrogance made up of having stared at you, measured your value, and decided you were not there. That same! Stephen felt the stab of recognition as keenly as a knife on a wintery mountaintop. He was about to leap out of the taxi and shout hello when the boy vanished into the Daimler. The vehicle cleared its throat and, tyres slewing, sped toward the private road labyrinth of Nether Alderley.

The traffic lights remained mulishly red. Stephen was tempted to tell his driver to give chase, but he rapped on the partition screen and said:

“Would you please stop outside that hotel?”

“But we’re almost at Davey Lane!”

“Yes, but I’ve remembered I have to see someone. It’s urgent.”

The taxi turned into De Trafford’s horseshoe driveway, joining a flotilla of taxis who sought with the unwieldy wariness of reluctant machinery a place to park. Stephen leapt out by the flood-lit fountain and shouted:

“Wait for me here. I shan’t be two minutes.”

The trees flanking the hotel were shivering and erect. Above the half-hearted portico, smoky clouds were gathering, twirling in triskelions. Stephen took the shallow steps two at a time, the keen air of the dying year resisting each stride. He had the door open before the commissionaire could oblige. The very wood of the reception felt full of the imminent snowstorm. A teenage girl stood behind the hostess stand with her pentathletic head thrust forth. Stephen approached her.

“Excuse me, there was a young lad who left here a second ago. Do you have a name? Is he staying here?” He added: “I believe he’s an old school friend.”

“Gosh, I couldn’t say. We’ve had such a busy night tonight; it’s our Christmas buffet. All traditional Cheshire food, sir. There’s still some left if you’d like: Potted Pigeon, Fidget Pie, Rabbit Brawn, Chester Pudding…”

“I’m sure,” said Stephen. “But could I please see a guest list?”

Her eyebrows were ruched as she turned to find a manager. Stephen cursed the impulsivity which went along with his red hair— how often it led him into scrapes like this! He’d only seen the boy thirty feet away through a rain-spattered window. He could have been anyone… couldn’t he? A moment later, the girl returned with the list. Stephen scanned it twice, then shook his head and handed it back. She apologised and said:

“We did have a cancellation earlier, now I come to think of it. It was taken by an older gentleman, I would have thought he was with his grandson, but the boy didn’t seem local. His name was Alex, I think?”

“Alex?” Stephen pressed. “Could it have been Alexei? Alexei Orphonov?”

“It might have been… I’m so sorry, but I couldn’t say for sure.”

Stephen gave a rare double smile of eye and mouth. “Never mind, you’ve already been most helpful.”

“A pleasure, Mr Niskus.”

“You know my name?”

“Of course! I read your novel. How do you pronounce it, The Venatio? I love a good whodunit, but I have to say, I never saw that twist coming.”

Stephen thanked the girl again and then turned to leave. Thoughts of Alexei obscured the anonymous farewells of women pursuing him from the gaping mouth of the lobby. Before him, taxis began to purr, and keen patches of light sped over the slushy wastes of the drive. The word “venatio” echoed in his mind as he zippered his coat, offering the minuscule pleasure that one word from Double Latin had returned amid this electrifying turn of events. Vēnātiō: the hunt, a hunting spectacle. They taught Latin well at Manchester Grammar School. He climbed back into his taxi.

“Fun and games over for tonight, sir?” The driver inquired.

“No,” Stephen said, “they have only just begun.”