The Railway Man: A POW's Searing Account of War, Brutality and Forgiveness

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I HAVE A PAINTING in the hallway of my house in Berwick-upon-Tweed, by the Scottish artist Duncan Mackellar. It is a large work set in St Enoch Station in Glasgow on a dusty summer evening in the 1880s. A woman in late middle age, dressed in dark and modest clothes and carrying a parasol, is standing tense and distraught, looking out beyond us, oblivious of any other presence. Behind her the high smoke-grimed glass and wrought-iron walls of the station rise up. She is gazing off the edge of the platform at a vanishing train, so that we see her through the eyes of a receding traveller, and she has the flat restrained face of a person who has learned to swallow grief. Her sudden loneliness is captured as she strains to keep an image of her child, or so we assume, who is on the train heading for the emigrant ship or a colonial war – India, Afghanistan, the Gold Coast.

Although it is a conventional image, it is genuinely moving. I have always loved it. Railway stations have always attracted me, not just because trains are there, but because they are also ambivalent places, echoing with completed journeys and shrill with the melancholy noises of departure. Mackellar’s painting is about the inevitability of separation, the cost of journeying. And we have never created any sound so evocative of separation as the whistle of a steam locomotive, that high note of inhuman rehef as vaporized water is blown off and meets the cold air.

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