The Long Glasgow Kiss

He led me into a large lounge with big French windows that looked out over a massive expanse of landscaped garden to the green hills beyond. It was a nice place. The kind of nice you had to pay for. Again, what struck me most was the way it had been furnished. Glasgow was, generally, a make-do-and-mend kind of city; Britain was a make-do-and-mend society, mainly because until recently the country’s very survival had depended on it. Post-war near-bankruptcy had added inertia to the pendulum swing from austerity to prosperity. Added to all of this was Scottish social conservatism. I had seen a few homes that had been decorated in the Contemporary style – Jonny Cohen’s, for example – but generally Modernism was distrusted. And when it was used as décor, it was normally done half-heartedly or clumsily overdone.

All of which is why Bobby Kirkcaldy’s home would have looked to the average Scot like a Hollywood set. This was all good stuff. If the furnishings weren’t original Bauhaus or le Corbusier or Eames, they were pretty good copies. There was a wall filled with books. I had the uncharitable thought that Kirkcaldy the boxer must have told his interior designer to make him look smarter. Just like in the hall, the art on the lounge walls looked original. Most of it was modern and edgy – abstracty stuff – but there was something about that kind of art that appealed to me. Like the furniture, it was new. And for me, New was Good. Again, I put it all down to an overpaid interior decorator.

Bobby Kirkcaldy stood up when we came in. He had been sitting on a leather lounger by the big windows and when he got up and crossed the room to us, he did so with the same easy grace with which I’d seen him move in the ring. He had thick, dark hair and, unlike the old guy at my side, there wasn’t the usual evidence in Kirkcaldy’s face of a boxer’s career. His nose didn’t look as if it had ever been broken and there was only a hint of the high-cheeked angularity of a fighter’s face. He was wearing an open-necked shirt and lightweight trousers. The look was casual but had Jermyn Street all over it.

‘You Lennox?’ asked Kirkcaldy. He didn’t smile but there was nothing overtly hostile in his manner, either. Just businesslike.

‘I’m Lennox. You know why I’m here?’

‘To look into this nonsense that’s been going on. You’ve been hired by Willie Sneddon. To be honest, I think all this shite bothers Sneddon more than it bothers me.’ Kirkcaldy’s voice was light, almost gentle, but he managed to inject a hint of distaste when he articulated Willie Sneddon’s name. He spoke with a quiet confidence and had less of an accent than I had expected. When you saw him up close, as opposed to the distance a boxing stadium compels, there was an intelligence in the eyes. But there was something else that I couldn’t define. And it stopped me liking him.

I turned and looked at the punch bag who had shown me in, and then back at Kirkcaldy.

‘It’s okay,’ Kirkcaldy said. ‘You can talk in front of Uncle Bert. Uncle Bert has coached me since I was a kid.’

Uncle Bert looked at me expressionlessly. But, there again, he’d probably had the mobility to form an expression beaten out of his face years ago. I found myself silently questioning his qualifications as a boxing trainer, seeing as no one seemed to have taught him the meaning of the word ‘duck’.

‘Okay,’ I said. I looked around the room in the way you do when you’ve got to that point where you should have been invited to sit but haven’t. ‘Nice place. Like the paintings. I’m never sure where Abstract Expressionism ends and Lyrical Abstraction begins.’

‘These are neither,’ said Kirkcaldy. ‘I don’t trust “isms”. Political or artistic. I just buy what I like and what I can afford. And the only reason I can afford it is because of the fight game.’ He picked up that we were still standing and pointed to a sofa that hovered just clear of the polished wooden floor. I lowered myself onto it: there was a lot of lowering involved. Kirkcaldy certainly didn’t talk like the average street-to-ring pugilist and I started to suspect the books on the shelves weren’t just for show. There was a certain type of working-class Scot who, deprived of it in their childhood, treated learning and knowledge as if they were bullion. I thought I was above making snobby judgements; I’d just proved to myself that I wasn’t. It was clear to me now that the impression of physical intelligence Kirkcaldy showed in the ring was part of something bigger.

‘Do you know much about art, Mr Lennox?’ he asked, and sat down on the Eames chair opposite. Uncle Bert remained standing. It was probably force of habit: staying upright had cost him dearly in the past.

‘Some,’ I said. ‘I was interested in it before the war. Then it was kind of expected of me to get interested in the war. But I still like to visit the odd gallery.’