Douglas Stuart’s latest novel, *John of John*, explores themes of family, sexuality, and tradition against the backdrop of Scotland’s Western Isles, offering a more complex and nuanced narrative than his previous acclaimed works. Following his Booker Prize-winning debut *Shuggie Bain* in 2020 and its follow-up, *Young Mungo*, this third novel marks a departure in setting and tone while continuing to examine repressed sexuality, strained familial relationships, and the impact of poverty.
Set primarily on the fictional island of Falabay, located on the real isle of Harris, *John of John* centers on John-Calum, known as Cal, a young adult longing to escape the suffocating constraints of his deeply religious community. Unlike the child protagonists of Stuart’s earlier novels, Cal is on the cusp of adulthood, torn between his desire for self-discovery and the powerful pull of his island heritage. His yearning for education and the freedom to live openly as a gay man conflicts sharply with the expectations and secrecy enforced by the presbyterian culture of his upbringing.
Cal’s relationship with his father, John, who is depicted as overbearing and occasionally violent, takes precedence in this story. The narrative gradually reveals that John is a closeted gay man, unable to reconcile his sexuality with his rigid religious beliefs. This revelation, which occurs toward the novel’s end, reshapes the reader’s understanding of John and challenges earlier assumptions about Cal’s mother, who lives separately with Cal’s uncle and their children. The novel leaves ambiguous the reasons behind her separation from John, inviting readers to consider the complexities of protecting family secrets in a judgmental environment.
Another critical strand of the novel is Cal’s connection to Doll Macdonald, a childhood friend and fisherman who battles alcoholism and mental illness. Their past sexual encounters and the unclear nature of Doll’s consent introduce uncomfortable but honest explorations of coercion, trauma, and the darker aspects of human relationships. Stuart’s willingness to leave these issues open to interpretation adds a layer of moral complexity and depth to the narrative.
Perhaps most striking is the author’s evocation of place. Unlike his earlier novels, which were set in Glasgow, *John of John* immerses readers in the rhythms and traditions of rural island life. Stuart vividly portrays the influence of the church, the delicate social fabric of small communities, and the demanding nature of crofting and tweed weaving. The island itself emerges as a key character, shaping and reflecting the lives of its inhabitants.
The novel’s title derives from a local custom that emphasizes lineage and belonging, highlighting the enduring connection between identity and heritage on the islands. Asked the question “And who do you belong to?” Cal responds with his full genealogy, underscoring the importance of family history in this tightly knit community.
Overall, *John of John* demonstrates Stuart’s growth as a writer, delivering a rich, multifaceted story that combines darker themes with a poignant optimism. The novel offers a powerful exploration of identity, secrecy, and resilience within a distinctive Scottish landscape, confirming Stuart’s place among contemporary literary voices.