«Main themes in Bernard Mac Laverty’s novel ‘Cal’»

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written work is the result of my own independent scholarly work, and that in all cases material
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acknowledged, and quotations and paraphrases are clearly indicated. No material other than
that listed has been used.

Main themes in “Cal”

The theme of a literary work is the topic or idea that the work «is about», and that the
narrative centres around. In my opinion, there are three central themes running through
Bernard Mac Laverty’s «Cal». Political conflict; romantic love; sin and redemption. These
themes are all weaved together in ways credible and complex. I will expand on them shortly,
and show how they are basic to the setting, characters and plot of “Cal.” Before doing so I
wish, however, to also mention a few other important themes that I also find in the novel.

The theme of parenthood plays a not insignificant role in the novel. Though I will not treat it
in detail, one might consider it, also, as basic to the novel. We hear of several fathers and
mothers, and get to know some of their impact on their children and surroundings. Another
important, though perhaps somewhat less explicit, theme of the book concerns “coming of
age”, with is concomitant challenges and conflicts. This involves such things as peer pressure,
handling a changing relationship to one’s parents, moving out of one’s home, establishing
romantic contact with persons of the other gender etc. Finally, “Cal” also reflects the theme of
social commentary, describing the way and standard of life for a lower-class minority, i. e.
Catholics in Northern Ireland Belfast.

Political conflict
I will now return to the three basic themes outlined above, and start off with “political
conflict”. In the context of “Cal”, the political conflict that acts as a backdrop is “The
Troubles.” This was a violent, longstanding conflict with a high degree of complexity. All at
once it involved historical, political, social, geographical, economic, and religious
perspectives and differences. This complexity also comes through in multi-faceted ways in
“Cal”. Cal himself, the persona of the novel, is a young Catholic living with his father. Their
living in a Protestant neighbourhood presents its share of tensions and conflicts. Among other
things, we learn about their experienced social stigma and their ever-present threats of
violence (which eventually are realized through the burning of their house).

Throughout the book we learn of the different attitudes towards, and opinions on, the struggle.
They are described from both sides, and from people of different temperaments. The
somewhat psychopathic Finbar Skeffington of the IRA dreams of an Ireland “free of the
Brits”, whom he sees as trespassers. He is uncompromising, relentless and ready to employ
violence. “People get hurt […] But compared to conventional war the numbers are small.”
The protestant Cyril Dunlop, on the other hand, is a loyalist. He has been a staple at the
“Orange marches”, in remembrance and support of the loyalist cause. He is also a hardened
man, filled with thoughts of vengeance. “Sometimes I think Hitler had the right idea. He had
the wrong cause, mind you, but he knew how to fight a war.”

It has been impossible for Cal to avoid being heavily – and destructively – influenced by this
whole setting and environment. Not daring to stand up to his classmate, the violent and
unpredictable Crilly, Cal is drawn into the violent work of the IRA. Cal, however, does not
have his heart in it. He wants a united Ireland, but is unsure about violence as means to reach
it. Here he seems in accordance with his father, Shamie, who is also a Catholic, but works
along with Protestants, and is on good terms with them.

Cal wants to pull out of the IRA. This would, however, qualify Cal as a “traitor to the cause”,
and make him liable to serious punishment. Cal’s personal compromising solution to this
conundrum is to eschew taking active part in violent actions; he is “merely” the driver. This
does not, however, save him from being a complicit to the murder of Robert Morton, a reserve
policeman serving in the R. U. C.

Romantic love
The second theme of “Cal” is romantic love. Cal is in the process of sexual awakening. He
falls in love with a beautiful woman of Italian descent, Marcella, who works in the library.
Following his noting of her, he tries to find occasions where he might see her and even talk to
her. This happens in the library, or on the street outside, or – significantly – in church on
Sundays. Cal longingly notices characteristics about Marcella’s body and demeanour. His
infatuation is however seriously complicated by the fact that Robert, the murdered policeman,
was Marcella’s husband. A central conflict therefore revolves around the fact that Cal’s
drawing close to Marcella potentially would also shed light on his dark secret.

Cal eventually lands a job on the farm where Marcella lives. After the arson of his family
house, he gets to live in a small shed there (though not without prior complications). We learn
about the deepening of the romantic relationship, on several levels. I mentioned the physical
aspect – there is also, however, an aspect of mind and intellect. Marcella is a librarian and a
reader, with an interest in art on the side. Cal is not nearly as educated, coming from a lower
social background. By his kindness he does however get along very well with her young
daughter Lucy.
Eventually Cal and Marcella get to know each other better. Marcella learns to appreciate Cal’s
earnestness, humour and burning desire. For both of them it seems that the relationship is a
harbour of lightness and joy, amidst familial, religious and political burdens. As Marcella
states, she is made to feel “human again”, she is made to believe “it’s me” when being with
Cal. On an occasion where she has the house for herself, she invites Cal for Italian dinner.
They speak intimately and personally, and after a while Cal tries to kiss her. Marcella
withdraws, feeling conflicted. However, a few days after she comes to visit – and now their
relationship is consummated in sexual union.

Religion and sin

The third theme of the book has to do with religion, and more specifically the Catholic theme
of sin, remorse, confession, judgment, punishment. This complex particularly affects Cal’s
inner life and his relationship to Marcella. Already at the outset of the novel we get a sense of
Cal’s long-term depression. He stays inside, days on end, playing his guitar, even in the
summertime. His deep, inner conflicts especially spring from the fact that he has been a
complicit in the murder of a man. In Catholic teaching, this is seen as a mortal sin – it must be
confessed and forgiven before a priest, else the verdict is eternal judgment.

This is the load that Cal carries throughout the novel. He feels as if he had a “brand stamped
in blood in the middle of his forehead which would take him the rest of his life to purge.” This
is a reference to Cain, who was cursed by God and received a mark in his forehead as a result
of the killing of his brother Abel. Cal’s shame and self-loathing is reflected in the aggressive
French swear-words he says to himself. In church he is reminded of how vile he is, and how
God feels the same way about him. His later work picking potatoes will be a welcome relief
from his inner strain, but at night when trying to sleep, his anxiety returns.

Cal eventually begins to disbelieve in God, though his sin can not be forgotten. He longs for
reconciliation – with God, and with Marcella, whose husband he participated in killing. He
feels afraid to tell her about it. At the same time “It was the one thing he wanted to talk to her
about, to have her console him. He wanted to share his guilt with the person he had wronged.
To commune with her and be forgiven.” Cal’s pain is likened to the pain of Christ on the
cross, described in vivid detail by Matthias Grünewald. Christ had to suffer for sin – so does
Cal. As the Preacher on the street reminds him: Without the shedding of blood there can be no
forgiveness.
This is also the way the novel ends – not in reconciliation, release and forgiveness. But,
fittingly, in prison, where Cal will keep at a distance from Marcella indefinitely. There is
hope, however – the novel ends with him being caught by the police. His inner pain and
torment will perhaps now be matched by the kicks and punches to his body. But then -
perhaps the truth would at last come out? He considers writing a letter to Marcella “to tell it as
it was.” Yes - he would perhaps be banished from her presence forever – but then again,
maybe he would not?

Literature
Mac Laverty, Bernard (1998) Cal. Oslo: Aschehoug.