The disconcerting ending of ‘High Ground’ exemplifies Moran the narrator’s uncertainty and indecision over whether or not he will take up Regan’s offer to contrive to install him as the school principal. There’s an open-endedness in the conclusion, yet a hint that the narrator will decline the offer. He prefers the objectivity of high ground, the kind of landscape he has observed Regan against as they talk and as he is able penetrate Regan’s motives. Moran sees the machinations of Regan, the local TD [equivalent of MP in the Irish Parliament – Ed.] from a distance, and will not deign to become entangled with them or local politics, although this is never made explicit. Here are the elements of many McGahern stories: land, quarrel, manliness personified in different ways; and, behind this, the difficulties of love and where it is found. I love McGahern’s writing, novel and stories, though I think he excels in the latter. I love the darkly strangeness, the physicality of the countryside, his delight in nature in all its form and the sheer musicality of his prose. It truly sings. He is a master of the form and one only continues to learn from him.
First published in The New Yorker, March 1982, and available to subscribers to read here. Collected in High Ground and Other Stories, Faber, 1985, and Creatures of the Earth: New and Selected Stories, Faber, 2006