Ian Thomson’s Northern Trilogy (beginning with The Northern Elements and
Northern Flames) weaves history, nostalgia, and autobiography into
highly engaging and thought-provoking tales. Spirit of the North is no
different in that, but it is different.
The plot looks at
three episodes of spiritualism, two relatively harmless, and one with serious
consequences. While the first two are reminiscent of Agatha Christiesque
table-turning, the third involves murder. This is the one that leads to a
serious investigation by Tom Catlow with his childhood friend, Will Melling,
playing Watson. Readers met these two mischievous friends in The Northern
Elements. Tom is a retired police Senior Scientific Officer (Forensics) and
Will a former sports journalist. Now to fill their time, Tom and Will
investigate another very old case while continuing their friendship with
teasing and banter.
The third main
character is long-dead. Cornelius Pickup, was a successful businessman, kind
employer, and loving husband and father. He rises to become prominent in
Blackburn and in his church, until, Job-like, he is beset with a series of
events that transform his life. It is his diary from 1875 until his death in
1892 that forms most of the second half of the book.
Following contemporary
records and site visits, Tom and Will assemble the curious clues, venture into
the Victorian spirit world and uncover some more earthly deceptions.
Not to diminish the
achievement of his other novels, Thomson seems to be truly in his milieu in Spirit
of the North. The writing is more confident and assured, and the command of
this themes more accomplished. He is with people he likes and in a place he
loves. What must have been painstaking research is made to look effortless, and
the writing is everything we have come to expect. It is the allusions,
in-jokes, wordplay and characteristic erudite vocabulary (that sent me to the
dictionary) that raises this murder mystery to a different level.
Along with the local
and period history – all of which is nicely observed and subtly conveyed – are
the characteristic themes (cited above), but this time there is a new element
of ritual. Calling it “religion” gives what we find in Spirit of the North too much
precision, and these presentations of the spiritual – in both senses – are
never preachy. Rather, there is the suggestion of an underlying need for a
spiritual foundation to life. There are many references to religion, quotes
from hymns, religious beliefs and practices as well as to their effect in
underpinning individual lives, and, by implication, society as a whole. I don’t want to make too much of this lest
some readers be put off, but it is undeniably, if quietly, there and enriches
the book.
As with a good bowl of
Lancashire hotpot, the temptation is to devour Spirit of the North too
quickly when each bit should be savoured. At least it’s possible to go back for seconds.
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