The Black Diamond — A Closer Reading
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This digital edition of The Black Diamond — A Closer Reading is described by source-level measurements including 151,149 words, 10 hr 58 min estimated reading time, and 13 detected text sections.
The text analysis averages about 15.0 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “England -- Fiction,” connecting these edition facts with the source record’s subject description.
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ow-set head and an immense shoulder-girdle. His eyes were small and lost in deep orbits, so that when his face was ingrained with carbon the white of the sclerotics was intensified in a way that made them seem grudging and malignant. Walking home in his pit clothes, bow-legged and with the dazed and hampered gait which is the mark of men who labour underground, he always looked as if he had been drinking. Generally he _had_ been drinking, but at his soberest he was an ugly customer, and the blue enamelled tin pot in which he carried his tea struck one as a dangerous weapon.
Poverty their household never knew. John Fellows could reckon on picking up his three pounds a week, and spent every penny of it. There was always meat in the house, and Mrs Moseley knew better than to serve him with food that was not freshly cooked. In his way he was an epicure. Although the Lyttleton Arms was the nearest public-house, Abner would often be sent out with a jug to fetch his father’s supper beer from the Greyhound, or even from the Royal Oak, next the football ground, where they kept Astill’s Guaranteed Old Stingo. John Fellows had no use for bottled beer. Bottled belly-ache, he called it. He rarely smoked a pipe, for lights were forbidden in the pit, and the habit of chewing plug-tobacco had made him prefer his nicotine neat.
He was shaved once a week, on Saturday nights, and upon this function depended another of Abner’s special joys: the privilege of going with him to the barber’s shop, a low, boarded room heated by gas-jets and the breath of expectant, expectorant men. Here, wedged upon a bench at his father’s side, he would read the comic papers that Mr Evans provided for his customers. Some were printed on pink paper and some on green; and while Abner absorbed the adventures of two alliterative tramps, he would hear the sing-song of Mr Evans, a Welshman from some remote Radnorshire village, as he talked to the victim of his razor and the other waiting customers. Mr Evans was a great authority on local football, and subscribed to a news-agency that sent him a sheet of half-time and final scores long before the evening edition of the _North Bromwich Argus_ arrived. His knowledge of football politics and personalities was all the more remarkable because Saturday was his busiest day, and for that reason he could never see a game of football played. Abner envied him this abstract knowledge of the game; but more than Mr Evans he envied a small boy with pink face and plastered hair who, wearing a long white jacket, lathered the customers’ chins, and when Mr Evans had scraped them, sprayed their faces with bay-rum. At last, with dramatic suddenness, this entertainment was withdrawn. John Fellows developed a rash on his chin which Mr Ingleby, the chemist, declared to be barber’s itch, and Mr Evans became the object of his most particular hatred.
‘That bloody Welshman!’ said John Fellows. ‘I reckon shaving’s a dirty business.’
And so he grew a beard . . . but he wouldn’t let that Evans trim it, not he!
All Abner’s early pleasures were in some way or other related to his father. It was natural that John Fellows should take a pride in his only child. He didn’t talk to him much—a man who chews tobacco has better work for his jaws than talking—but he was sometimes amused by his company and proud of his sturdiness and capacity for mischief. He rejoiced that his son was a ‘bloodworm’ much in the same way as his mates rejoiced that their terriers were good fighters. He liked him to be hard, and boasted that Abner could take the strap (as he called it) without yelling. Indeed there was something to boast about in this, for the miner chastened his son with a brown leather belt which, as the buckle witnessed, had once belonged to a member of the South Staffordshire Regiment. This belt, he sometimes affirmed, had been all round the world before it came into his possession; but Abner was too well acquainted with its other qualities to pursue the history of this.
The first chapter of The Black Diamond establishes a world where geology and society are equally unstable. Abner Fellows is born in a house whose walls are split by cracks from underground mining, a literal fault line running through a pious plaque that reads 'ISAIAH HACKETT : GLORY BE TO GOD, 1839.' The narrator describes the terrace as 'poised' between two magnetic poles: the colliery where money is earned and the public house where it is spent. This opening image of precarious equilibrium—physical, moral, and social—sets the novel's central tension.
Young's prose is precise about place: the 'black-country winter,' the 'dreary gray that passes for heaven,' the football ground where boys peer through cracks in match-board palings. The landscape is corroded by smoke and coal dust, and the earth's crust has been 'crowning in' above the burrowings of the Great Mawne Colliery. This is a world where the ground itself is unreliable, and the novel's drama will unfold in that unsettled space.
A House Divided: Architecture as Social Metaphor
The description of Number Eleven Hackett's Cottages is more than local color. The house is marked by 'long cracks that clove the house-walls from top to bottom like conventional forked lightning.' One of these splits runs through the religious plaque, as if the piety of the builder, Isaiah Hackett, has been literally undermined by the mining beneath. The house is also propped by iron stays—a failed attempt by Hackett's descendants to prevent collapse. Young uses this architectural detail to suggest a community held together by inadequate supports, where the forces of industry and faith are in constant, visible conflict.
Abner's childhood sense of 'enviable distinction' from the plaque and medallions is ironic: the decorations are signs of decay, not status. The house's position 'set diagonally across a patch of waste land' reinforces the idea of a life lived at an angle to stability. The novel's opening thus embeds its social critique in brick and mortar.
The Weight of a Verdict: Inquest as Moral Theater
The inquest scene in Chapter Fifteen is a set piece of controlled tension. The coroner, Mr. Mortimer, signs his warrant with 'bold, deliberate handwriting' and savors 'so singular a sensation of power.' The sergeant approaches George Malpas 'like a dignified spider toward a fly safely entangled in its web.' The language is precise and predatory, turning a legal procedure into a drama of class and consequence.
Young contrasts the formal proceedings with the physical details of the room: the 'blob of nicotined saliva' that a juror drops and smears, the 'tinkle of a distant anvil,' the settling of thawed snow on the roof. The coroner rebukes the publican for not providing a fire, a small but telling detail about the disregard for comfort in a room where a man's fate is decided. The verdict—'unintentional manslaughter'—is a legal compromise that satisfies no one, and the scene ends with George's instruction to Abner: 'Tell mother first. . . . Tell 'em I'm all right.'
Snow, Silence, and the Unseen Dead
After the inquest, Abner enters the bar and feels 'something in the feeling of the room that told him he had broken in on a secret.' The space is 'unfamiliar in the snow-light,' and the only unusual thing is the closed door behind which Bastard's body lies. Young writes that Abner feels 'a peculiar chill . . . midway between the dead man's flesh and the anguished soul of the man who had killed him.' This is not a ghost story, but a psychological one: the room itself seems to hold the residue of violence.
The outdoor landscape mirrors this chill: 'All sparkle of light had vanished from the snow; the sky had now grown colder than the land, and in the north a wind was rising.' Abner walks fast to keep warm, passing the cottages of Mainstone and the Roman road he and George had traveled. The novel's geography is precise, and the weather is never merely atmospheric—it registers the emotional temperature of the characters.
Readers will find that The Black Diamond rewards attention to its physical world: the cracked walls, the cold rooms, the snow that loses its sparkle. Young builds his drama from these details, letting the landscape and architecture carry the weight of social observation. The excerpts suggest a novel that is less about plot than about pressure—the pressure of the earth on the houses, of the community on the individual, of a verdict on a life. Approach it as a study in how places hold their histories.
I often think of Abner Fellows in Hackett's Cottages, the damp and the coal dust seeping into every plank, and then I recall the quiet rooms at Whiteladies — Story, Setting & Ideas. Both houses hold their people so tightly. One crumbles under the weight of a town’s secrets; the other stands watch over its own. There is a kinship in how walls remember what we try to forget.
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