The First Cut

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Martha Browne arrived in Whitby one clear afternoon in early September, convinced of her destiny.

All the way, she had gazed out of the bus window and watched the landscape become more and more unreal. On Fylingdales Moor, the sensors of the early-warning missile-attack system rested like giant golf balls balanced at the rims of holes, and all around them the heather was in full bloom. It wasn’t purple, like the songs all said, but more delicate, maroon laced with pink. When the moors gave way to rolling farmland, like the frozen green waves of the sea it led to, she understood what Dylan Thomas meant by “fire green as grass.”

Sea and sky were a piercing blue, and the town nestled in its bay, a pattern of red pantile roofs flanked on either side by high cliffs. Everything was too vibrant and vivid to be real; the scene resembled a landscape painting, as distorted in its way as Van Gogh’s wheat fields and starry nights.

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