Josephine Tey E-Book

Jennifer Morag Henderson

• Herausgeber: Sandstone Press
• Kategorie: Sachliteratur, Reportagen, Biografien
• Sprache: Englisch
• Veröffentlichungsjahr: 2021

Seitenzahl: 753

Beschreibung

Josephine Tey was the pen-name of Elizabeth MacKintosh (1896-1952). Born in Inverness, MacKintosh lived several lives: Best known as Golden Age Crime Fiction writer Tey, she was also successful novelist and playwright Gordon Daviot. During her exceptional career, she had plays on simultaneously in the West End in London and on Broadway, and even wrote for Hollywood, all from her home in the north of Scotland.Celebrating the 125th anniversary of MacKintosh's birth, this updated edition of the definitive biography includes a new preface.

Leseprobe

JOSEPHINE TEY

JOSEPHINE TEY

A life

Jennifer Morag Henderson

Foreword by Val McDermid

First published in Great Britain and the United States of America

Sandstone Press Ltd

Dochcarty Road

Dingwall

Ross-shire

IV15 9UG

Scotland.

www.sandstonepress.com

This edition 2021

All rights reserved.

No part of this publication may be reproduced, stored or transmitted in any form without the express written permission of the publisher.

Copyright © Jennifer Morag Henderson 2015

Editor: Moira Forsyth

The moral right of Jennifer Morag Henderson to be recognised as the author of this work has been asserted in accordance with the Copyright, Design and Patent Act, 1988.

The publisher acknowledges support from Creative Scotland towards publication of this volume.

ISBN: 978-1-910124-70-3

ISBNe: 978-1-910124-71-0

Jacket design and photo sections by Raspberry Creative Type, Edinburgh

Ebook by Iolaire Typesetting, Newtonmore.

This book is dedicated to my mum Christine,

who first introduced me to Josephine Tey.

‘Her life was much more than I ever imagined. My life expanded in the writing of hers.’

Valerie Lawson,Mary Poppins, She Wrote: TheLife of P. L.Travers

(New York: Simon & Schuster, 2013)

Contents

List of Illustrations

Preface - 125th Anniversary Edition

Acknowledgements

Foreword by Val McDermid

Introduction: A Mystery Writer

Part 1: 1896–1923:      Elizabeth MacKintosh

Chapter 1     ‘With Mr & Mrs MacKintosh’s Compliments’

Chapter 2     Bessie

Chapter 3     Secondary Schooldays, up until 1914

Chapter 4     War, and first year at Anstey

Chapter 5     Anstey’s second year, and teaching

Part 2: 1924–1945:      Gordon Daviot

Chapter 6     Josephine, and Hugh Patrick Fraser

Chapter 7     Short Stories and First Two Novels

Chapter 8     The Expensive Halo, ‘Ellis’ and Invergordon

Chapter 9     Richard of Bordeaux

Chapter 10   The Laughing Woman

Chapter 11   Queen of Scots

Chapter 12   Hollywood and Josephine Tey

Chapter 13   Claverhouse

Chapter 14   The Second World War

Part 3: 1946–1952:      Josephine Tey

Chapter 15   The Citizens Theatre

Chapter 16   Miss Pym Disposes

Chapter 17   Amateur Dramatics, Valerius and The Franchise Affair

Chapter 18   The Malvern Festival and Brat Farrar

Chapter 19   To Love and Be Wise

Chapter 20   You Will Know the Truth

Chapter 21   Beth’s Will, and Plays

Chapter 22   The Singing Sands

Conclusion

Notes to the Text

Select Bibliography

List of Illustrations

 1. Beth, smartly dressed for London; with thanks to Colin Stokes.

 2. John MacKintosh, Beth’s grandfather; with thanks to Colin Stokes.

 3. Near Shieldaig today, site of Colin’s family croft; from the author’s collection © Jennifer Morag Henderson.

 4. Beth’s maternal grandparents, Peter Horne and Jane Ellis; with thanks to Colin Stokes.

 5. Josephine Horne and Colin MacKintosh; with thanks to Colin Stokes.

 6. Beth, Etta and Jean MacKintosh; with thanks to Colin Stokes.

 7. Summer holidays: Jean, Josephine and Beth; with thanks to Colin Stokes.

 8. MacKintosh family portrait: Jean, Colin, Etta, Beth, Josephine; with thanks to Colin Stokes.

 9. Jean, Beth, Etta, circa 1914; with thanks to Colin Stokes.

10. The monument to Colin’s parents; from the author’s collection © Jennifer Morag Henderson.

11. Pupils outside the Inverness Royal Academy, 1905; with thanks to the Inverness Royal Academy.

12. The new art room at the IRA, 1912; ‘Inverness Royal Academy Higher Drawing Room, 1912’ © Andrew Paterson Collection.

13. Inverness Royal Academy Gymnasium, 1912. This image was published in the Highland Times, 2nd July 1914. (© Andrew Paterson Collection)

14. Anstey Physical Training College; with thanks to the Anstey Association.

15. Beth, in her Anstey sports kit; with thanks to Colin Stokes.

16. Rhoda Anstey; with thanks to the Anstey Association.

17. Gordon Barber.

18. Colin and Josephine MacKintosh; with thanks to Colin Stokes.

19. Colin MacKintosh; with thanks to Colin Stokes.

20. Beth, interwar summer holidays; with thanks to Colin Stokes.

21. The letterhead from Colin’s shop; with thanks to Colin Stokes.

22. Castle Street in Inverness today: the site of Colin’s shop; from the author’s collection © Jennifer Morag Henderson.

23. The arrival of the London sleeper train at Inverness Railway station, early 20th century; with thanks to the Highland Railway Society.

24. Hugh McIntosh’s house in London (on the left); from the author’s collection © Jennifer Morag Henderson.

25. Hugh’s grave in Tomnahurich; from the author’s collection © Jennifer Morag Henderson.

26. Captain Murdoch Beaton, the inspiration for the fictional Murray Heaton; with thanks to Iain Beaton.

27. Elizabeth MacKintosh’s first ‘author photo’ – never used: ‘Josephine Tey, December 1928/January 1929’ © Andrew Paterson Collection.

28. The New Theatre, London (now the Noel Coward); from the author’s collection © Jennifer Morag Henderson.

29. Gordon Daviot’s own copy of Richard of Bordeaux, signed by the cast; with thanks to Colin Stokes.

30. Magazines featuring Gordon Daviot’s first three plays; from the author’s collection © Jennifer Morag Henderson.

31. Peggy, Marda, Gwen and Gordon, Portmeirion, 1934; with thanks to Colin Stokes.

32. Gwen, Gordon and Peggy, Portmeirion, 1934; with thanks to Colin Stokes.

33. Tagley Cottage today; from the author’s collection © Jennifer Morag Henderson.

34. Humphrey, with Jean in the background; with thanks to Colin Stokes.

35. Jean’s husband, Humphrey Hugh Smith.

36. Moire; with thanks to Colin Stokes.

37. Colin wrote to congratulate his youngest daughter on her pregnancy; with thanks to Colin Stokes.

38. Josephine Tey. Angus McBean Photograph © Houghton Library, Harvard University; with thanks to Colin Stokes.

39. Beth, 1949; with thanks to Colin Stokes.

40. Lena (centre) and Beth (right), Malvern, 1949; with thanks to Colin Stokes.

41. Gordon Daviot, Malvern Festival, 1949; with thanks to the Malvern Festival.

42. Colin and Beth, 1949; with thanks to Colin Stokes.

43. Colin and Josephine MacKintosh’s simple grave marker; from the author’s collection © Jennifer Morag Henderson.

44. Richard of Bordeaux was reprised as a BBC radio drama shortly after Beth died – Moire’s collection of cuttings; with thanks to Colin Stokes.

45. Beth’s novels and plays were reprinted many times; from the author’s collection © Jennifer Morag Henderson.

Preface125th Anniversary Edition

I’m delighted to have the opportunity to write this new introduction to Josephine Tey: A Life. The main text remains the same, but I can add here some of the small discoveries I have made since the book was first published, and answer some of the questions that readers have asked me.

Josephine Tey moved easily between her different names and different worlds. Inverness was far from the London theatreland of her Gordon Daviot plays or the publishing world that brought out her crime novels, but it was not isolated. Tey’s base in the Highlands gave her the time and space to create the wonderful fiction that brings so much enjoyment to her readers. She travelled regularly to visit friends such as John Gielgud but, although her friendships with actors were important to her, they are relatively easy to trace through public record, such as Gielgud’s letter archive in the British Library. It is harder to find out about friends like Daviot schoolteacher Miss Mac, but the memories that have been shared with me since publication of my book support my belief that Tey’s friendships in Inverness and Scotland, with people who were less public, meant just as much to her.

I have been particularly happy to hear from members of Tey’s extended family that they felt I had painted a fair portrait of the Josephine Tey they knew, and pleased by the extra and varied information they have added. The Dundee artist Sidney Horne Shepherd, perhaps best known for his exuberant nudes, was a distant relation of Tey’s on her mother’s side and very proud of the connection. Meanwhile, the descendants of Tey’s uncle Murdo shared the achievements of his children and grandchild, a decorated war hero.

Tey was actually not the first member of her family to have a biography written about her. Peter Horne Barber, a descendant of Tey’s uncle Peter Horne, became a well-known Baptist minister, and a biography of him was published in 2005. This book confirms some of my speculations. In chapter three I describe how Peter Horne lost his sister and son within only a few days of each other – something I learned from seeing both their deaths on the same page of the register – but in this other biography there is a vivid description of how Tey’s uncle paced up and down in his front room for hours after the deaths, only eventually finding peace through religion. More information came, too, about Jane Ellis, Tey’s storytelling grandmother whom Tey cared for in her old age: as a young woman, Jane chose to reaffirm her strong religious faith by being re-baptised – in the River Ness, right in the middle of town, an action that drew a crowd, made the local papers and created a small scandal at the time.

Other small pieces of information about Tey’s extended family came from unlikely sources: a student studying Highlanders in Patagonia uncovered information about Tey’s other uncle John, who at the end of chapter three dies in an asylum, leaving the fate of his widow and children unknown. I now know that the children, at least, did briefly return to relatives in Inverness, before emigrating to the US. And Inverness historian Norman Newton turned up the fascinating snippet that there really was once a body found in the sleeper train to Inverness, just as at the start of The Singing Sands.

All these pieces of family and local information add to the background of this biography, but nothing I have discovered since publication has radically changed any of my conclusions. I have never found any other information about Josephine Tey’s romantic life, and feel it is unlikely that there is more to discover. Her relationship history was not unusual for women of her generation, and one of Tey’s strengths was the way she created a life as a single woman. I have, however, spent time following the story of Hugh Patrick Fraser McIntosh, whose moving poems and short life still haunt me: his story, which moves from Ireland to Palestine to Nigeria, is another demonstration of how interconnected the Highlands are – and how powerful writing can reach out across the years.

The biggest discovery I have made since publication is the uncovering of a series of letters between Dorothy L. Sayers and Josephine Tey. These showed that in 1949 Tey was invited to be a member of the prestigious Detection Club but, partly because of her commitments at the Malvern Festival that year, and then because of the last illness of her father, she was never able to attend one of the Club’s dinners. The letters prove that Tey was highly regarded by her peers in the crime writing community and show that she would have enjoyed being part of that community. I found the letters, written in Tey’s virtually indecipherable handwriting and with her unique turns of phrase, a poignant but welcome chance to hear once again her distinctive voice.

My biography of Tey has taken me to many interesting places and people, from lecturing at the British Library in London to book festivals in Scotland, and conversations on subjects as varied as the influence Hugh Miller may have had on her writing (he discussed ‘singing sands’) and whether Tey was right about Tonypandy or the Wigtown Martyrs (possibly not, but her conclusions on the importance of researching history are definitely still valid).

Probably the question I find hardest to answer comes from people who do not understand why Tey would keep house for her father. There are very few places and times where caring for a family member would occasion comment, and it was certainly not unusual in the 1920s when Tey first came home. She was a product of her time and, although her books are often noted for their modern attitudes, it must be said that there are comments in them that would not be acceptable today. This is partly why I believe that to write biography we have to understand the society a person lived in. What matters is the landscape, the map of Tey’s life.

For me, there are now several stories: not just the story of Tey’s life, but my own stories of how I came to write that life, and then how it was published and received. I know that Tey is a writer people feel passionate about, and that sense of ownership is perhaps all the stronger because she can feel like a personal discovery, as she is at once famous and unknown. When I wrote this biography, my aim was to show truth: who Tey was and where she came from. As a Highland writer, I find her work and life inspiring. Josephine Tey deserves to be better known and her achievements celebrated, in the wider context of Scottish literature as well as within crime fiction. In terms of sales, critical acclaim and lasting influence Josephine Tey stands alongside the best.

Acknowledgements

Full references and acknowledgements are given in theendnotes to the main text. Every effort has been madeto trace copyright holders.

Thank you first of all to Mr Colin Stokes for generously sharing family papers, photographs and memories.

Thanks to the National Trust, David Higham Associates and Mr Colin Stokes for permission to quote from Elizabeth MacKintosh’s published and unpublished writings.

Quotes from John Gielgud are by kind permission of the trustees of the Sir John Gielgud Charitable Trust.

Use of the Gwen Ffrangcon-Davies archive was made possible by kind permission of Margaret Westwood.

Acknowledgements and thanks go to: the Dodie Smith Collection, Howard Gotlieb Archival Research Center at Boston University; the National Library of Scotland; the British Library; the Scottish Theatre Archive at the University of Glasgow; and Argyll & Bute Council Archives. Thank you to Dr Ida Webb, Prof Tansin Benn and the Anstey Association – particularly the Scottish section of the Association, for the invitation to their biannual meeting where they shared many stories of their Anstey experiences. I am grateful to Charles Bannerman for his help in accessing and understanding the Inverness Royal Academy archive, and thanks go to Academy archivist Robert Preece, particularly for his help with photos. Thank you also to the Highland Railway Society, to Iain Beaton, and to the Harvard Theatre Collection at the Houghton Library, Harvard University for further assistance with photos. Thank you to Valerie Lawson for allowing me to quote from her work.

I should also like to acknowledge the following institutions and organizations, and their staff: Inverness Museum and Art Gallery (and Cait McCullagh); the Highland Archive Centre; Am Baile (and Jamie Gaukroger); the Paterson Collection (and Adrian Harvey); the National Archives of Scotland; Inverness Central Library; Malvern Theatres; the Applecross Heritage Centre (and Gordon Cameron); the Mitchell Library, Glasgow; the Highlander Museum at Fort George; the Inverness Local History Forum; and the Richard III Society.

Researching and writing this biography took several years, and during that process I was lucky to meet many interesting people who shared their enthusiasm and expertise, and I should like to express my thanks to all of them. Many people replied to emails and took time to talk to me about Tey and about writing, including Judith Braid, Prof Ian Brown, Prof Gerry Carruthers, Catherine Deveney, Jane Dunn, Maureen Kenyon, Val McDermid, Shona MacLean, Tinch Minter, Donald Murray and Prof Alan Riach. Dr Helen Grime of the University of Winchester helped me navigate Gwen Ffrangcon-Davies’ archive and world; Patrick Watt answered questions about the army and generously helped me with research into Tey’s soldiers; former librarian Norman Newton was the first to invite me to give a talk about Tey and has shared his wealth of local history knowledge; and my friends Stuart Wildig and Helen Young showed me how a Highlander could learn to like England and the English, and didn’t mind their holidays being taken up by visits to graveyards, strange houses and old theatres.

Thank you also to Robert Davidson and Moira Forsyth of Sandstone Press.

Finally, I should like to thank my family for supporting me and putting up with me: my mum Christine Henderson, whose fault it all is, and especially my husband Andrew Thomson and our son Alec. I could have done it without you, but I wouldn’t have wanted to.

ForewordVal McDermid

In 1990, the Crime Writers’ Association voted The Daughter of Time the best crime novel ever written. I can’t say I was surprised. I can still remember the excitement of my first encounter with Josephine Tey more than forty years ago. It was a battered, second-hand paperback of Miss Pym Disposes. I hadn’t read a crime novel like this before. It was the opposite of formulaic; it explored relationships and character in a nuanced way that made it feel much more modern than most other genre novels I’d read; and the ending was far from the usual cut-and-dried resolution of its era.

It left me hungry for more. I soon discovered that Tey had produced a handful of novels that were still fascinatingly readable decades after their first publication. But more than that, they were all startlingly different from their contemporaries, cracking open the door that made possible the work of successors such as Patricia Highsmith, Ruth Rendell and Gillian Flynn.

That’s a significant achievement in itself, but the truth behind Josephine Tey’s pseudonym is so much more than that. Biographical information has always been scant, mostly because that’s the way this most private of authors wanted it. The brief details on her book jackets reveal that Tey was born Elizabeth MacKintosh and that she also enjoyed success under another pseudonym – Gordon Daviot, author of the West End hit Richard of Bordeaux, the springboard that launched John Gielgud to stardom.

Sometimes they mention that she was a native of Inverness who lived most of her life there. But until now, Josephine Tey was herself the greatest mystery at the heart of her fiction.

But at last, with Jennifer Morag Henderson’s biography, we can fill in the colours and bring animation to the sketchy outline of the life of one of our most significant crime writers, an author who provides a unique bridge between the Golden Age and the modern genre, a woman who characterized the detective novel as ‘a medium as disciplined as any sonnet’.

With her access to family papers and previously unpublished material, a picture emerges of a writer with several strings to her bow. Acclaim as a playwright in London and with the pioneering Glasgow Citizens Theatre; success as a radio dramatist; a fledgling career as a Hollywood scriptwriter; a writer of short stories, historical biography and literary fiction. All of this has faded from public consciousness, but it sheds light on what shaped her.

With this illumination of the life, the work becomes clearer. It’s hard to resist the sense of a life divided, and not just in the practical sense of the gap between the life Beth MacKintosh might have expected and the two she had. She left her native Inverness for Birmingham in her late teens to train as a PE teacher but the career she’d just begun to enjoy was cut short by the death of her mother and she returned to Inverness to take care of her father. Her emergence as a writer meant she spent a few weeks every year in London, giving an almost schizophrenic aspect to her life.

In Inverness, she was the self-contained daughter of the local fruiterer who went to the cinema on her own; in London, she was a fêted playwright who moved in theatrical circles and attended glittering parties. She was a straight woman whose strongest friendships were with a group of lesbians that included actresses, artists and directors. She was a proud Highlander who left the bulk of her estate to the National Trust in England at a time when most of the Scottish literary establishment espoused Scottish nationalism. Yet somehow as a writer she was enriched by these contradictions, creating characters in her fiction who struggle constantly with the idea of identity.

Jennifer Morag Henderson’s meticulous biography gives us the chance to understand what shaped Beth MacKintosh into the writer she became. It’s a revealing journey that makes sense of one of crime fiction’s most intriguing mysteries. Finally, we can feel we have come to know the crime writer’s crime writer.

Val McDermid

IntroductionA Mystery Writer

Mystery writer Josephine Tey’s work has never been out of print since her first book was published, over eighty years ago. Never backed by any publicity campaign, the books’ popularity has spread by word of mouth, and Tey is ranked among the best of the Golden Age crime writers, number Five to the Big Four of Agatha Christie, Dorothy L. Sayers, Ngaio Marsh and Margery Allingham. Tey’s extraordinary novel The Daughter of Time, with its unique mix of contemporary detective work with the historical mystery of Richard III, was selected by the Crime Writers’ Association as the greatest mystery novel of all time. Josephine Tey’s novels have been adapted for radio, television and film – most notably by Alfred Hitchcock – and they have been cited as inspiration by many modern writers, including Ian Rankin. And yet, Josephine Tey herself is a mystery.

There has never been a full-length biography of Tey, and most readers’ knowledge of her is limited to the brief blurb on the back of her books. That blurb only raises more questions, for all it says is that ‘Josephine Tey’ was a pen-name for a woman called Elizabeth MacKintosh from Inverness in the Scottish Highlands, who was once a PE teacher, and who, after her death at the early age of 55 in 1952, left her fortune and the copyright to her books to the National Trust in England.

A little more digging reveals the information that, before Elizabeth MacKintosh wrote the ‘Josephine Tey’ crime novels, she had another ‘life’ as an extremely successful novelist and playwright under a different pen-name – ‘Gordon Daviot’. Gordon Daviot’s first play Richard of Bordeaux launched the career of a young John Gielgud, and she worked, and was friends with, the best stage actors of the 1930s, including Laurence Olivier and Gwen Ffrangcon-Davies.

Despite her popularity, however, information on ‘Gordon Daviot’ seems almost as scarce as information on ‘Josephine Tey’. Two short biographical essays written by her near-contemporaries talk about an ‘enigma’, ‘a lone wolf’, ‘a strange character’ – a mysterious woman writer from the Highlands with a secret life, possibly a secret past, perhaps even a tragic romantic past.

Elizabeth MacKintosh was a mystery to those around her because she inhabited more than one world, and lived more than one life. Yet she is a writer whose work and life should be understood. A brief snapshot of Elizabeth MacKintosh’s life in the late 1940s gives an idea of the very different worlds that she inhabited, a glimpse of the sort of woman she was – and an idea of just how important her work was, and how highly it was rated by the influential and important names of the literary and theatrical worlds.

By late 1949, Elizabeth had re-established some routine in her life after the disruption of the Second World War. She was at the height of her writing powers, completing TheFranchise Affair, Brat Farrar and To Love and Be Wise, and publishing at least one new work a year. Most of the time she was settled in Crown Cottage, her father Colin’s home, situated in a good area of Inverness, in the north of Scotland. Elizabeth was needed at Crown Cottage as housekeeper, organizing the chores in the large house with only occasional help. She and her father Colin took pride in their beautiful garden, growing roses admired by their neighbours. Inverness was still a small town of around 20,000 people, and almost everyone knew everyone else. Elizabeth was surrounded by people she had gone to school with, their children and families, but she held herself slightly aloof from them. With no children herself, she was no longer involved with teaching or the local schools, or the friendly chats over tea that other women, mothers and grandmothers her age, indulged in. Instead, Elizabeth settled into a routine that allowed her enough time to care for Colin and the house, enough time for her hobbies, such as walking – but plenty of time to focus on her writing career.

Her father Colin was in his eighties and beginning to need more and more care. He and Elizabeth had now lived together for over twenty years as adults, and had managed to find ways to co-exist harmoniously. Colin, a hard-working and ambitious man who had spent his childhood caring first for his parents, then his siblings, then his nephews and nieces – in addition to his wife and daughters – could be demanding. He had dedicated his life to his family, and was proud of his three daughters and what they had achieved. Now that they were all grown up, he sometimes wished that they had not been so ambitious and that their work had not taken them so far from Inverness. His middle daughter didn’t write to him as often as he would have liked, and he rarely saw his youngest daughter and his new grandson, who were based in London. He respected Elizabeth’s work, and was glad that she stayed in Inverness with him, but he and Elizabeth were too close in character to have an entirely peaceable relationship. Elizabeth’s love of literature and learning came from both her parents, but, despite her attachment to her beloved mother, it was her father that she most resembled in character: they had the same drive and ability; they were both dedicated to hard work, with a similar sensible, practical outlook – which could sometimes seem unfeeling, sarcastic or even harsh to outsiders, but which was born, at least in Colin’s case, from a true understanding of what poverty was, and what could happen only too easily if you didn’t work hard.

Despite his age, Colin was relatively fit and healthy, a dedicated angler who was proud of his career as a fruiterer. He still went down to his fruit shop on the town’s Castle Street every morning, though he now employed one or two shop assistants to help out. Elizabeth was left alone in Crown Cottage and could settle down to work. She wrote whenever she was able, bashing out her novels on a typewriter which she either set on the kitchen table, or took out to a little writing shed at the bottom of the garden. This was the life of Beth MacKintosh, dutiful daughter in Inverness.

However, at least twice a year Beth hired a housekeeper to look after Colin, and would set off on holiday. Because of Colin’s age, her holiday time was now limited, but she aimed to recapture the freedom of her early twenties and thirties. Her usual destination was London, and she could easily walk the ten minutes down the hill from her house to Inverness station, where she caught the London sleeper train that features so memorably in many of her stories.

Always smartly dressed, for her trips to London Beth would wear a tweed suit, with smart yet practical brogues, gloves, and, of course, a hat to finish off the ensemble. No beauty – her youngest sister Moire was the belle of the family – Beth was, however, striking. Always interested in fashion, she knew how to dress to her advantage. The famous costume and set designers the Motleys, who made their name working on Beth’s first play Richardof Bordeaux, always remembered Beth by her clothes: interviewed much later in life they were shaky on her real name and her former profession, but had a vivid memory of what she was wearing. A petite woman, Beth favoured classic, well-cut tweeds matched with soft blouses in the epitome of 1930s chic, the masculine form of dressing popularised by Coco Chanel, which suggested a literary and artistic sensibility. A journalist friend once commented that, surrounded by actresses whose job it was to look beautiful, Beth, with her dark, west-coast-of-Scotland colouring and big eyes, more than held her own. In fact, Beth’s charm attracted the strong attention of one charismatic and aristocratic lesbian actress, an unasked-for and almost certainly unrequited romance that Beth at first found almost incomprehensible, and which, although she treated it with remarkable tolerance, did cause her real problems.

In the late 1940s, Beth was confident in her London friends. This was a trip that she had taken many, many times since she first left home aged nineteen, and, even though she had to stay in Inverness to look after Colin, she also regularly took short train journeys on day trips to escape into the hills. The first part of the journey south was achingly familiar, yet the incongruity of the Highland landscape she was leaving, and the London town life she was going to, struck Beth anew each time.

When the train finally pulled into Euston station in the early morning, Beth made her way to her Club. She had been a member of the Cowdray Club for professional women – mostly nurses and teachers – for many years, and its Cavendish Square location, in a grand building formerly owned by Prime Minister Asquith, was an ideal base both for heading out into town and a grand surrounding in which to hold any business or social meetings she might want to arrange. Before Beth went to meet anyone, she had one more stop to make to finish her ensemble: she would go to Debenhams on Oxford Street and collect her fur coat from the cold storage department. Now, she was Josephine Tey the writer, as at home in London as Beth was in Inverness.

Walking past one of the larger bookshops, Josephine Tey could see large displays of her new book – something that gave her just as much pride as seeing her name in lights in the West End had before the War. Knowing that she was in London, Tey’s publisher and friend Nico Davies would take her out to lunch; as one of their bestselling authors, Josephine Tey got the best treatment. Nico, of course, was steeped in the literary world. The former ward of J. M. Barrie, he worked for his brother’s publishing firm Peter Davies – Peter being the inspiration for Peter Pan, and another good friend of Tey’s. Other authors on the Peter Davies roster included Nico’s cousin Daphne du Maurier. Josephine Tey never knew Daphne well, but did know her sister, Angela du Maurier.

Josephine Tey would also meet her literary agent, David Higham. She had been with Higham since he was first employed at the Curtis Brown agency – and both Curtis Brown and David Higham remain among the largest and most important agencies in Britain even now, representing a formidable array of talent, including other crime writers such as Dorothy L. Sayers.

As well as her literary agent, Beth was also represented by a theatrical agent, who dealt with enquiries about her ‘Gordon Daviot’ plays, and, when she was in London, it was the friends she had made as ‘Gordon Daviot’ that Beth still contacted. When she had written her first play, it had been many months before the producer and actors realized that the script they were dealing with had been written by a woman, and many of her friends from this time habitually called her ‘Gordon’. The artist, socialite and writer Caroline (or Lena) Ramsden wrote later of the joy she always felt when a phone call from ‘Gordon’ came out of the blue – Lena instantly recognized the soft Highland accent, and knew that the phone call was coming from the Cowdray Club. Lena and Gordon had become closer after the Second World War as, despite her privileged background, and unlike many of their other friends, Lena had opted not only to remain in London as the bombs fell, but also to work long and difficult hours in a factory making aircraft parts. The two women had a mutual love of horse racing. Lena was an accomplished rider and the proud owner of a racehorse, whose father was Chairman of the Manchester Racecourse Company, and Gordon was a real enthusiast, whose descriptions of horses and horse racing occur and reoccur throughout her writing.

Lena had a wide circle of theatrical and artistic friends, many of whom Gordon also knew. Gwen Ffrangcon-Davies, star of two of Gordon’s 1930s plays, had returned to London after the Second World War, though her stormy partner Marda Vanne remained tied to her home of South Africa. Others, like Peggy Webster, flitted back and forth between London and America, depending where the work was. Peggy had gone from bit parts in Gordon’s plays to being lauded as one of the first female directors of Shakespeare on Broadway; courted by Hollywood. Dodie Smith, another 1930s playwright and friend of Gordon, was also in America, where she had spent the war years obsessively rewriting her masterpiece, the novel I Capture the Castle. Dodie was soon to return to her beloved country home in Essex, to start work on her best-known work The 101 Dalmatians, and Gordon would often visit Essex, where not only Dodie, but also Gwen and John Gielgud had houses, the latter two having bought their homes with the proceeds made when they starred in Gordon’s first play.

As Josephine Tey and Gordon Daviot enjoyed themselves immensely in London, Beth made a reappearance as well, visiting her sister and her new nephew, who lived near London. However, the different worlds – family, and theatrical and literary – did not overlap, and when the two weeks of parties and visits and meetings and theatre and culture were over, Beth returned by sleeper train back to Inverness, to Colin, and to days of writing.

Always alive to nature, Beth often remembered how, after one memorable trip down south, she arrived at her sleeper compartment to find it filled with flowers; yellow roses, frangipani and orchids, all picked from the garden at the country cottage of her actress friends Gwen and Marda. ‘I feel like a film star,’ Beth had written to them in her thank-you note. To the people around Beth in Inverness, film stars were people they saw on screen at the cinema. To the people Beth knew in London, film stars were their friends – were themselves – while to Beth herself, film stars were the people paid to say her words: in the course of her career, she had written for various acclaimed screen actors, including not only John Gielgud and Laurence Olivier, but also James Mason and James Stewart. Beth lived in an extraordinary space between completely different worlds. It was no wonder that so many of her friends, from both Inverness and from London, and so many of her later readers, found her something of a mystery.

Elizabeth MacKintosh was one of the most successful writers to ever come out of the Highlands. In her lifetime she was lauded as the greatest Scottish playwright. And yet her story is almost completely unknown, surrounded by myths and misconceptions. Even people in her home town of Inverness don’t always recognize her name or realize how much she achieved. Her full body of work, her writing as Gordon Daviot and Josephine Tey – as well as under a third, almost completely secret pen-name – has not been acknowledged, and she has not received the critical attention, respect and credit that she deserves. Elizabeth MacKintosh achieved everything from her home in the north of Scotland, where, as the eldest, unmarried MacKintosh daughter, she kept house for her widowed father. She never moved to London, and was rarely interviewed by the press, despite such notable successes as having plays on simultaneously in the West End and on Broadway. She focused on her writing – and her writing was so good that Hollywood literally came north to find her.

The story of Elizabeth MacKintosh is not only the story of a fascinating and complex woman, but provides an entirely new way of looking at the Scottish Literary Renaissance – and at Scotland itself. Her writing directly engaged with the rise in Scottish nationalism that came out of Inverness in the 1930s and the formation of the Scottish National Party. Her literary relationship with her contemporary and fellow Inverness resident, Scottish nationalist Neil Gunn, is of particular interest. Elizabeth’s writing can provide a new understanding of the situation in Scotland – and Britain – today.

So why is such a popular and influential writer as Elizabeth MacKintosh still a mystery? Partly it’s because she had such a diverse body of work – fans of her Alan Grant mystery novels don’t always know about her plays – and that’s before taking into account her other literary fiction, short stories and serious biography. But partly it is because Elizabeth MacKintosh chose to hide behind pen-names, and almost never publicized her work. She was a genuinely modest person, whose reticence has sometimes been misunderstood. An inspiring, yet sometimes difficult woman, she successfully balanced very different lifestyles – at the same time a Highland housewife and an attendee of the brightest London theatre parties – though neither of these different societies that she moved in fully understood her. Elizabeth achieved what she did through pure talent. She didn’t have influential parents or an easy route into the literary and theatrical worlds, and many of the people around her struggled to understand her because she did not fit the mould. Privately-educated thespians like Laurence Olivier could not fully appreciate that Elizabeth’s family had come from a background of crofting and domestic service in some of the most isolated parts of the north of Scotland. Elizabeth was the granddaughter, on one side, of illiterate Gaelic-speaking crofters. However, as a writer whose strength lay in her observational skills, Elizabeth was able to take these differences and put them to good use in her writing. She had great – and justified – confidence in her own abilities and experiences, and did not try to assimilate into the new literary and theatrical worlds that were opened up to her, instead sticking to her own path, not compromising on what she wanted from life and from her writing. As a result, she produced an extraordinary body of work, shot through with experiences and imaginative situations drawn from real life and supplemented by her wide reading and interest in history and research. The only common feature of all her writing is its sometimes stunning originality.

This biography aims to present the story of Beth’s life – of her many different lives – and also to show just how good, and how important a writer she was, setting her full body of work – her plays, her mystery novels and her other writings – in both the context of her life, and in the context of the literary canon.

Beginning with original documents like birth, death and marriage certificates, and visiting libraries and archives across the country – from a tiny one-room family history centre on the remote Applecross Peninsula, to the archives of her schooldays at Inverness Royal Academy to the British Library in London – I have traced Beth’s story from her family origins onwards. Born in 1896, the daughter of a fruiterer and the eldest of three sisters, she was eighteen years old when the First World War broke out, and was deeply affected by her experiences, something that was later to come out in her writing, but which originally influenced her choice of further education.

After being accepted to the prestigious Anstey College near Birmingham – an incredible journey for a young girl to make away from the Scottish Highlands during wartime – Elizabeth worked as a PE teacher in several different places after the war was over. She had a difficult start to her teaching career, including at least one serious accident in the gymnasium, but eventually established herself happily in England, teaching in an all-girls private school. Living through the war and the ensuing Depression meant that Elizabeth had her fair share of challenges and disappointments, but she managed to create a good life for herself in the south of the country. However, a dark period in her twenties saw the early – and, to Elizabeth, shocking – death of her beloved mother, Elizabeth’s return to the Highlands, and then a period that was marred by the death and loss of family members and friends. Out of this dark time grew Elizabeth’s new career as a writer, which was marked by steady and growing success. She was to achieve publication, critical acclaim and considerable financial reward.

I have rediscovered Gordon Daviot’s short stories, written at the same time as much of her most well-known work. I have visited the London theatre that showed Gordon Daviot’s major plays, stood where John Gielgud stood, seen the photographs of the performances, heard from Dame Judi Dench about her memories of Gordon Daviot’s contemporaries, and collected rare magazines and souvenirs from Gordon Daviot’s productions. I have also discovered the third pen-name she kept secret until her death. Beth’s romantic life has been the subject of some speculation, and I have untangled the separate stories of the officer in the First World War who meant so much to her, and her later, lasting friendship with another soldier, a tragic forgotten poet. This latter search took me from Tomnahurich cemetery in Inverness to a church in south-east London.

Having worked so hard to build up her writing and create the life she wanted within the family constraints she felt obliged to honour, Elizabeth’s life changed all over again with the advent of the Second World War. Once again, Elizabeth came back stronger than ever: she developed her writing in new ways, and worked with the artistic challenges she was facing to create new and better work. After the war was over, she entered a remarkable period of creativity, writing most of the Josephine Tey novels that remain so beloved today and responding thoughtfully to the changing world around her – all while caring for her now elderly father, and dealing with the beginnings of her own final illness.

I have read the original manuscripts of Josephine Tey’s novels, and deciphered her almost indecipherable handwriting, and, finally, I have met with Beth’s surviving relatives, who have given me their full support and opened up to me their own family papers: personal letters, photographs, memories – and even unpublished manuscripts.

For me, Josephine Tey, Gordon Daviot and Elizabeth MacKintosh are an inspiration, not just because their writing has brought me hours of enjoyment, but because the story of Elizabeth’s life showed me a new version of what was possible for a Highland woman. Her family came from a background of crofting and domestic service, and, through hard work and a belief in education, supported their daughters and encouraged them to aim high. Elizabeth went from Inverness Royal Academy to London’s West End, to Broadway, to Hollywood – and back again, to my home, to the small town of Inverness. Her biography paints a vivid picture of the society that she lived in, particularly in the north of Scotland, but also further afield. In a time of political change, which foreshadows the time we live in now, an examination of Elizabeth’s writing shows a different Scotland, a different history, and a new way of looking at the world, which can help us to understand where we are now.

Elizabeth MacKintosh is a writer whose work is worthy of critical appreciation, not just a genre writer who produced excellent crime fiction. Of course, she was that too. The main reason Josephine Tey’s work has stayed in print is that her books are really good. Every new generation of readers rediscovers them, and, having read one, reads them all – and recommends them. Josephine Tey’s novel The Daughter of Time recently received a lot of attention, dealing as it does with the mystery of Richard III, the king whose remains were so dramatically discovered under a car park. The book was read on BBC Radio 4, and programmes celebrating it were re-broadcast. In one of these programmes, a reader said that The Daughter of Time was possibly the most important book ever written. There was a moment of realization as he heard the sweeping statement he had made. Then he took out the qualifier: The Daughter of Time, he said, was simply the most important book he had ever read. That is the sort of devotion that Josephine Tey, that Beth MacKintosh, inspires in her readers.

This is Beth MacKintosh’s story, the biography of the mystery writer who was once such a mystery herself: a mystery solved.

PART ONE

Elizabeth MacKintosh

1896–1923

Chapter One‘With Mr & Mrs MacKintosh’s Compliments’

Elizabeth MacKintosh was born in Inverness on 25th July 1896.1 Her parents, Colin and Josephine, were not writers, and there was no family history of writing or involvement in the theatre. Colin and Josephine ran a fruit shop, and, on both sides of her family, Elizabeth’s grandmothers had been in domestic service. The thing that really made the difference to the MacKintoshes was the Education Act of 1872, which had provided free state education for all children until the age of fourteen. This was what gave Elizabeth’s father, Colin, a love of literature. School was where Colin learned to speak English, and it provided him with the education that enabled him, the child of illiterate Gaelic-speaking crofters, to survive and build a business in Inverness. The demand for more education gave Elizabeth’s mother Josephine her job before marriage, as a pupil-teacher. It was their love of learning that brought Colin and Josephine together, and they passed on their respect for education, particularly reading and literature, to their daughters, starting Elizabeth on her route to becoming a writer.

One of the few facts about Elizabeth’s mystery life which seems to be well known is her love for her mother Josephine, who was sadly to die young, and whose name Elizabeth preserved when she chose to write as ‘Josephine Tey’. Growing up, Elizabeth and her two sisters were close to their mother. And, contrary to the received view that Elizabeth was a loner, she was actually born into a large extended family. Josephine was the fourth of seven children, and Elizabeth had one aunt and five uncles on her mother’s side of the family, and was to have many cousins.

Josephine Horne had grown up in Inverness, though her family roots were from Aberdeenshire, Perthshire and England. These roots, and the stories from her mother’s side of the family, were very important to Elizabeth, particularly the link with England, which, as an adult, she identified with more and more. Josephine’s mother, Elizabeth’s grandmother Jane, was a strong matriarchal figure who lived into her 90s. She was present for all of Elizabeth’s childhood, as well as being around when Elizabeth returned to Inverness in her twenties, and it was Josephine and Jane’s stories that Elizabeth absorbed.

Elizabeth’s grandmother was born Jane Ellis in 1837 in the small village of Forgandenny in Perthshire. One of the easiest ways to trace Elizabeth’s relatives has been to look for Jane’s surname ‘Ellis’ – it was preserved as the middle name of not only Elizabeth’s sister but also several of her cousins. Jane meant a lot to the whole family. Elizabeth even used the surname Ellis for the fictional family in her second novel, The Expensive Halo.

By the time Elizabeth’s grandmother Jane Ellis was fourteen years old she was working as one of three female servants in a big house called the Barracks in Kinloch Rannoch, as a tablemaid. While she was working there, Jane met Peter Horne, a young carpenter from Aberdeenshire. Jane and Peter married in Kinloch Rannoch, before moving back up north to Inverness. Inverness was a rapidly expanding town with many new buildings being erected after the expansion of the railways had made travel to the Highlands easier for tourists and workers alike, and there were many opportunities for a well-qualified and time-served craftsman like Peter. The young Horne family rented a flat in Shore Street, but after a few years they did well enough to buy a house – a significant achievement for the time – in a better part of town, at 53 Crown Street, where Josephine and her brothers and sister were brought up.

Jane Ellis told her seven children about her childhood working in the big house in Perthshire, but she also told them stories going much further back: her father Robert had been a hedger, or gardener, and had originally come from Suffolk. Robert had travelled for work, making his way north before meeting a Scotswoman and finally settling in Perthshire. Jane passed on to her daughter Josephine and her granddaughter Elizabeth a sense of difference, a connection with the south of England, so far away and exotic-sounding to an Invernessian. But as well as this ‘Englishness’, Jane also identified strongly with her husband Peter and his family, and they too imparted something of that sense of difference to first Josephine, and then Elizabeth MacKintosh.

Peter Horne was from an even more numerous family: one of at least sixteen children, he was born in Aberdeenshire. Peter, and several of his siblings, left their home village to look for work, spreading out to other parts of Scotland and down to England. Peter followed his father’s profession when he became a carpenter, but others of his siblings took different routes, with his younger brother Joseph being one of the notable successes of the family after he emigrated to Australia and became involved in land management and real estate, founding a business that is still thriving today. This became one of the family stories, passed down to Elizabeth and encouraging her to believe that moving on, aiming high and succeeding was possible.

Peter Horne’s other legacy to his family was his strong religious belief. His birthplace of Forgue in rural Aberdeenshire is in an area still known for its strong Protestant faith, and glimpses of this can be seen in Elizabeth MacKintosh’s writing. Elizabeth’s father’s family were Free Church of Scotland, and it is perhaps saying something to state that the Free Church side of the family was the less religious side. Although Elizabeth was later to stop attending church, her childhood included religious instruction, and she was to go on to write a series of religious plays. Other glimpses of Peter Horne’s religious beliefs appear in Elizabeth’s early novels, such as the references in The Expensive Halo to ‘a sect which were a kind of superior Plymouth Brethren. A very greatly superior kind, of course.’2 Peter’s children continued this religious upbringing to different degrees. Josephine took the Protestant emphasis on education and literacy into her first career as a pupil-teacher, but softened her attitude to fit in with her husband Colin’s, so their daughter Elizabeth was given a less strict upbringing than some of her cousins. Elizabeth’s later plays took religious figures and humanized them, in a reaction to the strict and sober religion of Peter Horne, but the Horne family’s strong sense of morality and the Protestant insistence on education and literacy was definitely something which influenced Elizabeth’s life choices as well as her writing.

Although Elizabeth always emphasized her closeness to her mother’s side of the family, and her identification with her English ancestors, her father’s side of the family had just as important an influence on her – arguably, in fact, even more influence, whether Elizabeth liked that or not.

Colin MacKintosh was the eldest son – though not the eldest child – in a family of five. Unlike his wife and daughters, he was not born in Inverness. The MacKintosh family came from Applecross, on the west coast of Scotland, where they had lived for generations in Shieldaig, a tiny, remote crofting community. Colin and his siblings grew up speaking Gaelic; they had no English until they went to school, and their parents never learned English to full fluency. Elizabeth’s mother Josephine grew up a town girl: although Inverness was small, it was the largest town of any size for miles, it had all the amenities, and counted itself as the capital of the Highlands. Shieldaig, on the other hand, was a totally different proposition, and Colin’s upbringing would have been almost foreign to Elizabeth, and it was not something that she learned to value in the same way as she valued Josephine’s and Jane Ellis’s stories of England and big houses.

Shieldaig in Applecross is exceptionally remote, while the Applecross peninsula is famously accessible by the treacherous and torturously slow trip over the mountain road known as Bealach na Ba (the Pass of the Cattle), which is clearly signposted as being unsuitable for inexperienced drivers, impassable for large vehicles, and totally useless in bad weather. Readers of Josephine Tey’s first mystery novel The Man inthe Queue might start to get an idea of where Alan Grant’s tortuous journey into the Highlands came from. Shieldaig itself is a tiny collection of houses alongside the shore, but Colin and his family actually came from settlements even smaller than that, on the top of a hill behind Shieldaig: Camus na Leum and Camus na Tira. These settlements were literally one or two houses, surrounded by small areas of cultivated land where the family could grow vegetables or raise a few animals. Many of the MacKintosh men were also fishermen, while Colin’s mother Elizabeth (known as Betsey) supplemented their income by doing domestic service work at the local big house, Courthill. The MacKintosh family had been there for many generations: the earliest records for the area which I have found are lists of able-bodied men made in 1715, after the first Jacobite rebellions, with the MacKintoshes of Shieldaig clearly noted.

However, it was not an easy life. It goes some way to giving an impression of the area when it’s explained that Shieldaig was not included in the Highland Clearances: it was one of the areas of poorer grazing land that people were cleared to, rather than from. Both Camus na Leum and Camus na Tira are completely abandoned now, with only a few stones showing where the walls of the houses once were. Walking up the track from Shieldaig into the mountains, with steep cliffs going down on one side to the water, it is easy to see that just a few winters of bad weather could be enough to encourage a family to clear out, and the MacKintosh family endured further hardship when two of Colin’s fishermen uncles were lost at sea.3 Colin’s father John MacKintosh decided to make the long walk down to Lochcarron and take the train to Inverness to look for work. Attracted to the town for the same reasons as Colin’s future wife’s family, John found a job amongst the building work going on in Inverness, mostly as a general labourer, though sometimes specializing as a mason’s labourer.

Many years later, Colin wrote to one of his daughters about this time in his life, describing how in 1877, when he was fourteen, he remembered walking from his home in Shieldaig to the train station in Lochcarron to pick up a parcel that his father had sent home from Inverness. This was a round trip of about forty miles, and Colin described how he, small for his age, set off alone at daybreak, which would have been around 4 or 5 am in summer. He walked all day, armed only with the address of a relative in Lochcarron who could give him some food. On the way he met the local doctor, who was astonished at how far he had come, and on the way home he met the coachman for the big house, who refused to give him a lift. Colin made it home just before dark – which, in summer, would have been around 11 pm – perhaps a full nineteen hours after setting out. ‘Think of it. It makes me sad,’ Colin wrote.4 His daughters kept the letter as a curiosity, but could barely understand their father’s upbringing, it was so different from their own. Unlike Josephine and Jane Ellis’s English roots, her father’s poverty in Applecross was not something Elizabeth MacKintosh talked of with pride to her friends.

Colin’s father’s job as a labourer was less specialized than Peter Horne’s trade as a carpenter, and less well paid, but it was enough to eventually move the rest of his family out from Shieldaig to Inverness. By 1881 the whole MacKintosh family – mother, father, daughter and four sons – were living in the Maggot in Inverness. Although the name ‘the Maggot’ was actually a corruption of ‘Margaret’ (the area being dedicated to the saint), the more evocative name perhaps gives a better idea of the type of area it had become. Thatched cottages sat on a rather damp piece of land, parts of which had been reclaimed from the river, or had been a sort of island. It was not an attractive part of town, though it is sometimes fondly remembered for its community spirit – rare photos of the area show the communal green festooned with families’ washing. The MacKintoshes lived in a flat in Friar’s Court, alongside a couple of other large families. Colin MacKintosh was actually quite close to his future wife Josephine in Shore Street, but Josephine’s family was always just a slight step up and one street along on the social scale from the MacKintoshes.

The Maggot was also close to the Gaelic church. There was no Gaelic enclave in Inverness; Gaelic speakers were widely spread throughout the town, but newcomers tended to gravitate towards areas where something was familiar, or where they knew someone. Colin MacKintosh had relatives in Inverness already. As well as his father, his uncle Roderick, or Rory, Maclennan (his mother’s brother) was living in the town, and had got married there in 1877. Rory Maclennan was to be a big help to Colin and his family, because Colin’s father John was still not earning enough to keep everyone.

By the 1881 census, Colin’s trade was listed as ‘grocer’s apprentice’. He was eighteen years old, and his older sister Mary was also already out working as a domestic servant, though his younger three brothers, being under fourteen years old, were still at school. Colin’s job was an important part of the family income, and was to become even more important. Census records give a snapshot of the MacKintosh’s family life every ten years, but their fortunes seem to have fluctuated rather more than the steady life of Josephine Horne and her family. The move from Applecross to Inverness was not easy, and the whole family had to work hard.

There were other challenges to face as well. At the very end of 1882, Colin’s older sister Mary gave birth to an illegitimate son, whom she named Donald. Donald’s father’s name is not listed on his birth certificate, but he was born at an address in Rose Street in Inverness. Mary had been working as a domestic servant, and Rose Street was not the sort of address where one might expect servants to be employed, so it’s reasonable to assume that a pregnant Mary had lost her job, and was staying with the father of her child. However, a search through the records to find the owner of the Rose Street address does not make it clear who that father might have been. Mary gave her son Donald her own surname, and moved back into the family home. Whatever her Free Church family might have thought of Mary’s actions, they welcomed her and her son, and supported them.5