A Charmed Life: Growing Up in Macbeth's Castle Read online

  Begin Reading

  Table of Contents

  About the Author

  Copyright Page

  Thank you for buying this

  St. Martin’s Press ebook.

  To receive special offers, bonus content,

  and info on new releases and other great reads,

  sign up for our newsletters.

  Or visit us online at

  us.macmillan.com/newslettersignup

  For email updates on the author, click here.

  The author and publisher have provided this e-book to you for your personal use only. You may not make this e-book publicly available in any way. Copyright infringement is against the law. If you believe the copy of this e-book you are reading infringes on the author’s copyright, please notify the publisher at: us.macmillanusa.com/piracy.

  To Storm and Atticus

  Thanes of Cawdor

  1st

  Donald

  d. 1295

  2nd

  William

  (the donkey dreamer)

  3rd

  William

  (built the central keep)

  4th

  Andrew

  (murdered by Sir Gervaise de Rait)

  d. 1405

  5th

  Donald

  (hereditary sheriff of Nairn)

  d. 1442

  6th

  William

  (Crown Chamberlain, further fortified Cawdor in 1454)

  d. 1468

  7th

  William

  (resigned estates in favour of his son)

  d. 1503

  8th

  John

  (m. Isabel Rose of Kilravock)

  d. 1498

  9th

  Muriel

  (kidnapped and forced into marriage with Sir John Campbell of Argyll)

  d. 1575

  10th

  Archibald

  (predeceased his mother)

  d. 1551

  11th

  John

  (murdered in an Argyll plot)

  d. 1591

  12th

  Sir John

  (built Cawdor Kirk)

  d. 1642

  13th

  Colin

  (died at Glasgow University)

  d. 1647

  14th

  John ‘the Fiar’

  MP, d. 1654

  15th

  Sir Hugh

  (MP, m. Lady Henrietta Stuart of Darnaway, made large additions to Cawdor)

  d. 1716

  16th

  Sir Alexander

  (MP, Lord of the Admiralty & Treasury; m. Elizabeth Lort of Stackpole)

  d. 1697

  17th

  Pryse

  (MP, the tartan wearer)

  d. 1768

  18th

  ‘Joyless’ John

  (m. Mary Pryse)

  d. 1770

  19th

  John

  (MP, defeated the French at Fishguard, 1st Baron Cawdor; m. Lady Caroline Howard)

  d. 1821

  20th

  John Frederick

  (MP, 2nd Baron, 1st Earl)

  d. 1860

  21st

  John Frederick Vaughan

  (MP, 2nd Earl)

  d. 1898

  22nd

  Frederick Archibald

  (MP, 1st Lord of the Admiralty, 3rd Earl)

  d. 1911

  23rd

  Hugh

  (4th Earl, m. Joan Thynne, contracted syphilis)

  d. 1914

  24th

  John ‘Jack’

  (5th Earl, m. 1. Wilma Vickers 2. Elizabeth, Lady Gordon Cumming)

  d. 1970

  25th

  Hugh John Vaughan

  (6th Earl, m. 1. Cathryn Hinde 2. Angelika Lazansky)

  d. 1990

  26th

  Colin Robert Vaughan

  b. 1963

  (m. Lady Isabella Stanhope)

  Prologue

  Many suffer from the incurable disease of writing, and it becomes chronic in their sick minds.

  Juvenal

  In my family, we write notes, texts, emails, letters, diaries, articles, columns. My childhood was punctuated by long spells away from home, and the pining for it was both intensified and assuaged by the steady flow of letters. The high point of any school day was to see the corner of an envelope protruding from my pigeonhole. The love I felt for my parents was only ever stumblingly expressed right at the end of letters that laboriously recorded rounders match results and what stationery I needed. Their love and my love existed in a silent, inky world. We were brought up proficient in the art of talking about what we thought, but not in the messier art of how we felt. The vacuum was filled by a love of facts. As long as we knew every tributary of the Congo, who cared if we were emotional pygmies?

  The reason why we found it so much easier to express ourselves in writing than in speech can be traced back to a sexual misadventure in Edwardian times. It so traumatized our great-grandmother Joan that she brought up her children while resorting only occasionally to conversation.

  In 1914, her husband, my great-grandfather Hugh, died at the age of forty-three after contracting syphilis in Japan. He spent the years leading up to his death in a sanatorium, rarely visited by his family – a non-person. The perceived shame of these circumstances was too much for his widow, and at home, Joan’s life had become a mirror of his. She withdrew from the world, tremulous and mute, never mentioning her husband again. My grandfather Jack was fourteen when his father died and thereafter the family lived in a beige atmosphere of unspoken hurts, his mother a flitting wraith. If Joan wished to communicate with him, she would push a message under his door. Sometimes when she was feeling particularly taciturn she would scribble a note to him, or his three siblings, while sharing the same table. Every evening, supper started the moment the clock struck eight. The chink of spoon against bowl was often the only sound to accompany the rasp of the hall clock pendulum. At the tug of a bell-pull, a new course would arrive, and then another, until this lumbering nightly ritual was concluded at precisely ten to nine, in silence. It would not tax a trainee psychologist to work out that my grandfather grew up a poor communicator. Jack used letters as the main form of familial traffic, and when his son, my father Hugh – named in memory of his disgraced and forgotten grandparent – wanted to express his emotions to us, he picked up a pen.

  Because I write articles for a living, there has been for some time a shadow in the corner, a murmuring voice, an inner pressure to produce something more, something longer. But what? Every time I began to write fiction – and there are many efforts now filed away on top of various cupboards – the characters and the plot kept coming back to the same old story and I would stop. Whenever I started up again, the story was lying in wait for me. Finally, I resolved to stop sidestepping and tell it, and then, with luck, have done with it. If my two brothers and two sisters sat down and wrote their version of events, the reader would have five markedly different accounts. We all saw different things and viewed the same things differently. We reacted differently and were treated differently. My story is only one slender wedge of the pie.

  I sent a couple of chapters to a writer friend. He said I must ‘work out my angle’.

  ‘It’s a morality tale,’ I said.

  ‘No, it’s not,’ Milo replied. ‘The protagonist doesn’t get his comeuppance.’

  I was stumped. He offered some alternatives. Was the story looking back into history to see how the past informed the present? Sort of. Was it about how a child finds its way through a confusing family labyrinth? Sort of. W
as the book about a modern woman in a medieval set of circumstances? Partially. ‘You must go away and think and be able to say, “Yes!” not, “Sort of.” And,’ he added, ‘you must also find “your sentence”.’ Milo explained that all books could be distilled into a single sentence or phrase. For example, Hemingway’s Old Man and the Sea is ‘pensioner loses fish’. The Great Gatsby is ‘he was a parvenu, you know’. The Bible is ‘piety: the paradox’, thanks to the Old Testament condensing to ‘an eye for an eye’ and the New to ‘turn the other cheek’. ‘You must be sure of your underlying sentence,’ he said. ‘Everything should emanate from that. If the reader senses a firm foundation, they will trust digressions, but if they sense confusion, they will lose confidence in why they are reading.’

  I went home and mulled over his advice, and although I really wished that his suggestions would fit, they fitted only up to a point. I was at the very beginning and already stuck. My only strategy in similar situations is to clear my mind as best I can and not think. Then, pling! Yes, I was trying to understand my past; yes, I wondered whether, if I plaited all the threads into one, I might find connections I had previously missed; yes, it was the story of a child who lived in a fairly unusual family setting where the past always sat alongside the present like a fat friend on the sofa. But the answer, the totally honest answer, was for a reckoning. My story has at its centre a protagonist who never got his comeuppance. It was this that drove me. I couldn’t right the wrong, but I could write the wrong. So, what was my sentence? I think perhaps it is ‘Papa was odd, but I got even.’

  By the end of this book, I hope to have worked out who the hell my father was and what triggered his decline, and to have traced some of the consequences of his unfathomable behaviour.

  Chapter 1

  We owe respect to the living; the dead we owe only truth.

  Voltaire

  When the Inverness flight took off from Heathrow, London was experiencing the kind of June evening that encourages girls to stroll the streets in their tiniest finery. An hour later, the plane reached the Grampian Mountains and began its descent towards the southern shore of the Moray Firth. The polish of distant water winked in fierce Morse. Treeless moorland melted into geometric forestry patterns, and where the dense blocks of trees ended, the rolling coastal plains of wheat and pasture began. Solstice had only just passed, and this far north the summer dusk lingers until well after ten o’clock.

  On this particular evening, the plane took a slight, unannounced diversion. Fifteen miles to the east of Inverness, Cawdor stands out like a grey, stone fist. The plane banked over the battlements, dipped its wings, and then continued on its final approach to the airport. This silent act of respect was for my father, Hugh John Vaughan Cawdor: his body lay in the hold. As a family home, Cawdor Castle has the romantic cachet of being one of the few addresses featured in a Shakespeare play that can also be found on an AA road map.

  The plan was for the undertakers to take my father’s coffin from the airport to the house and leave it overnight in the Tree Room at the base of the tower. The walls of the room are bare stone and it is normally empty, aside from a dilapidated old chest and the trunk of an ancient, lifeless tree. This is the remains of a holly tree around which the castle walls were built. It died when the completion of the vaulted ceiling finally deprived it of sunlight. Holly trees, like rowans, are pagan symbols in Scotland and were planted to ward off witches. Many houses will have one planted in their gardens. Perhaps burying the tree within the house was just taking superstition to its logical conclusion.

  The explanation as to why there should be a small tree preserved in the belly of Cawdor dates back to 1310, when William, the 2nd Thane of Cawdor, received a royal charter from Robert the Bruce to build a bigger fortification than his current castle, which guarded a boggy ford. Thane William’s first task was to study the surrounding district and find a location of improved strength, but in an unorthodox and seldom imitated move, he left this decision up to a donkey. William had had a vivid dream in which he was visited by a host of angels. They told him that he should place all his worldly goods in a chest and strap it to the back of a donkey; he must then allow it to wander freely all day and mark where it chose to rest for the night. If he built the castle on that spot, they said, it would prosper for ever. And who was he to doubt the word of angels? He followed their instructions. The donkey had been born without a gift for martial strategy, however, so the site it chose was unremarkable. The holly tree is where it lay down.* I am conscious as I retell this slightly batty legend that I do so as fact. When my teacher spoke about family trees, I didn’t realize it was only a figure of speech. I assumed there were trees in the cellars of people’s houses everywhere.

  To a child, that crooked trunk in a bare dungeon looked like irrefutable proof of the story’s truth, just as the castle walls placed us at the centre of Shakespeare’s Macbeth. In ‘the Scottish play’, as it is superstitiously referred to by thesps, when King Duncan rewards his loyal kinsman Macbeth with the title of Thane of Cawdor, it sets Macbeth on a path of treachery. For those dreaming in English classes, before he hears of his new honour, three witches accost him as he walks across the Blasted Heath and greet him as Thane of Glamis, Thane of Cawdor and King of Scotland, although only the first title is rightfully his. Then messengers arrive with word that King Duncan has given Macbeth the second title of the hags’ prediction, and he concludes that their words chart the course of his future. At home, his wife, a red-haired beauty with an icy ambition, whips on Macbeth’s transformation from hero to monster. She welcomes Duncan to Cawdor, and incites her husband to murder as their guest sleeps. The couple’s ruthlessness takes its toll and together they drift into the arena of the mentally unwell. With a mounting death toll, Macbeth is troubled by visions of ghosts, and Lady Macbeth develops a standard example of obsessive-compulsive disorder, until the tragedy reaches its climax at the final battle.

  The house we lived in wasn’t built until three hundred years after King Duncan’s death but Shakespeare hadn’t let facts get in the way of a good story, and furthermore, Duncan had not been killed in his sleep at all. The historically correct version of events was that Macbeth had been born with an equal claim to the Scottish throne. He raised an army against Duncan, who was killed in battle when they clashed at the nearby town of Forres. Macbeth took the throne using a perfectly legitimate method of the time; a quarter of a century later William the Conqueror took the English crown in much the same way when he killed King Harold at Hastings. Even more surprisingly, given the lasting slur of the play, Macbeth was a popular king. He made a pilgrimage to Rome that lasted, literally, for years, without being overthrown in his absence. When he died, in the year before the Battle of Hastings, he was buried on the holy island of Iona alongside previous kings – a privilege denied usurpers. My family were always quick to point out the error of Shakespeare’s ways, yet saw nothing odd in donkeys and angels and claiming descent from the stubbornly fictional swan knight Lohengrin.

  I felt proud to come from such an ancient, myth-wreathed place, but mostly I took all these imaginary and historical details for granted. Visitors showed far more interest in the Macbeth connection than we did, and would gaze intently at the Victorian charcoal drawings of the three witches drawn directly onto the plaster walls of the library. There was a life-size sketch of Macbeth with flying hair and a pleasingly demented look in his eyes. Best of all, hidden behind an arras, was a drawing of a dagger dripping with blood.

  The knowledge I had of my ancestors stretched back so far into the past that they vanished from sight around the roots of a shrivelled tree. And now, twenty-one generations later, it was my father’s turn to join them.

  Hugh was the 25th Thane of Cawdor. When my grandparents’ first-born child was a girl, the family held its collective breath for two years, when they heaved a primogenital sigh of relief. On the day of my father’s birth, a huge bonfire was lit on the highest local point, to salute the safe arrival of the
next heir to Cawdor. Estate workers kept the beacon stoked throughout the September night and flames leapt to such a height that they could be seen from the Black Isle, twelve miles to the north, across the wide, dark waters of the Moray Firth. Tonight, sixty years later, the same hill was once more a blazing beacon, closing my father’s life in fiery symmetry.

  But the wonderful, charismatic, affectionate father I had known had died a decade before this. If I pulled out a rusty drawer of memories I could see that there were many things to celebrate: his wit, his encyclopaedic knowledge (especially of trees), his twinkly kindness, his generosity and his love of us. But he had changed so much. None of these recollections matched the final incarnation. For the last ten years of his life he had stopped being able to express warmth; he could only do anger, and it frightened me – which, naturally, pissed him off.

  On paper he really did not have a lot to be pissed off about. Hugh had been born an exceptionally lucky man. The instant he successfully sucked in his first independent breath of air, he became the next in line to an abundance of gifts: two stately homes, four ruined castles of beauty rather than use, a hundred thousand acres in two separate parcels of land. The main estate was in Scotland, with Cawdor at its centre; the second was in Wales, around a house called Stackpole. The land interests included arable and dairy farms, timber and commercially grown flowers. There was shooting on the moorland and fishing on the rivers that flowed through the two estates. Hugh was the heir to beautiful French furniture, Chinese ornaments, Flemish tapestries, Persian carpets, a library full of rare books, family portraits, Italian landscapes, sculptures and a great deal of money invested in shares, cared for by expensive stockbrokers and grandee solicitors. His sole qualification for all this extraordinary privilege was to be born. These possessions were in his care, but not strictly his. He was one link in a custodial chain that had handed a unique legacy down from father to son for the previous six hundred years.

  As the plane taxied to a halt the local undertaker – dark-suited, solemn, with black rock-a-billy hair – walked across the tarmac to oversee the transfer of the body from air to land. My sister Laura had been on the flight, and she watched through the plate-glass wall of the arrivals hall as four baggage handlers in day-glo jackets emerged from the hold and struggled awkwardly with the coffin, a large orange rucksack balanced incongruously on the lid. The undertaker swiped the bag off, snapped at the men, then tenderly wiped away the blemish of this impropriety with his handkerchief. The coffin was heaved onto a flatbed trolley. It jiggled jauntily as it trundled behind a forklift truck that took it to the hearse, parked at the furthest corner of the departures lounge.