Published by Atlantic Monthly Press on September 24, 2024
Shakespeare exercised dramatic license in the Scottish play by having Macduff kill Macbeth in his castle. As history records it, Macbeth was killed by forces loyal to Malcolm in the Battle of Lumphanan. Val McDermid’s take differs from both accounts, although she follows history more closely than Shakespeare did. Still, just like Shakespeare but without the glorious prose, she spins history into fiction.
Queen Gruoch Macbeth shared a throne with her husband for seventeen years before the Battle of Lumphanan robbed her of his love and sent her into exile. Gruoch is keeping her distance from Malcolm as she considers her future. She has “a name men would rally behind; Malcolm is shrewd enough to realize that, and to fear it.” The novel is thus, at least initially, the imagined story of Gruoch as she struggles to survive in hiding while grieving her husband’s death.
The novel’s backstory is told in flashbacks. Gruoch was with Gille Coemgáin in an arranged and childless marriage. Macbeth heard that his cousin Gille’s hands were red with the blood of his father. Macbeth came to see him so he could judge the man’s guilt before taking his revenge. When they met, Gruoch believed that Macbeth looked at her “like the woman she was meant to be.”
One of the three women who attend Grunoch, a handmaiden named Eithne who is said to be a witch, told her that Macbeth “will be the one. He will surely plant a King.” Grunoch needs no further encouragement. Suffice it to say that there will be passages worthy of inclusion in an adult romance novel.
To avoid the risk of making Gille suspicious, Grunoch and Macbeth communicate by sending bunches of flowers to each other via Angus, Macbeth’s messenger. One of Grunoch’s trusted women is an herbalist who speaks the language of flowers. Macbeth has an herbalist who also serves as translator. Their bouquets speak of patience (wild garlic) and hardship (milk-gowan), but no translation is needed for the forget-me-nots. That’s clever.
McDermid completes the backstory by imagining that Macbeth takes a grisly revenge through means that are consistent with history. In the present-time narrative, Gruoch struggles to keep her band of women safe until Eithne enters a trance and tells her to “go west — all the way west.” She must evade or slay Malcolm’s spies and fight McDuff before the story takes a twist that marks a sharp departure from history.
The happy ending has all the credibility of a fairy tale, although I credit McDermid for subplots that follow a tragic path. I mean, you can’t have a Macbeth story without tragedy, so likable but less important characters will meet their unhappy fates before the last curtain falls.
I’m not sure Macbeth needs a sequel, although writers seem to enjoy writing them. McDermid is no Shakespeare, but who is? Her prose is clear and crisp while occasionally bordering on elegance. Action and adventure (and the occasional stabbing) move the plot briskly. The story’s charm won’t be lost on fans of Macbeth even if they might cringe at its non-tragic outcome.
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