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clamped atop the old, winnowing, harrowing, pinching everything down to nothing. It rakes the islands day and night, without respect to season, though if you polled the denizens of Yell, Funzie and Papa Stour, to a man, woman, lamb and pony they would account winter the worst for the bite of it and the sheer frenzy of its coming. One January within living memory the wind blew at gale force for twenty-nine days without remit, and on New Year’s Eve back in ‘92 the gusts were estimated at 201 mph at the Muckle Flugga lighthouse here on the northernmost tip of the Isle of Unst. But that was only an estimate: the weather service’s wind gauge was torn from its moorings and launched into eternity that day, along with a host of other things, stony and animate alike.
    Junie Ooley should have known better. She was an American woman—
the American ornithological woman
is the way people around town came to refer to her, or sometimes just
the bird woman
—and she hadn’t just barely alighted from the ferry when she was blindsided by Robbie Baikie’s old one-eyed tom, which had been trying to inveigleitself across the roof tiles of the kirk after an imaginary pigeon. Or perhaps the pigeon wasn’t imaginary, but by the time the cat blinked his eyes whatever he had seen was gone with the wind. At any rate, Junie Ooley, who was at this juncture a stranger to us all, came banking up the high street in a store-bought tartan skirt and a pair of black tights climbing her queenly legs, a rucksack flailing at the small of her back and both hands clamped firmly to her knit hat, and she never saw the cat coming, for all her visual acuity and the fine-ground photographic lenses she trucked with her everywhere. The cat—his name was Tiger and he must have carried a good ten or twelve pounds of pigeon-fed flesh on his bones—caught a gust and flew off the kirk tiles like a heat-seeking missile locked in on Junie Ooley’s hunched and flapping form.
    The impact was dramatic, as you would have had reason to testify had you been meditating over a pint of bitter at the rattling window of Magnuson’s Pub that day, and the bird woman, before she’d had a chance even to discover the whereabouts of her lodgings or offer up a “good day” or “how do you do?” to a single soul, was laid out flat on the flagstones, her lips quivering unconsciously over the lyrics to a tune by the Artist Formerly Known as Prince. At least that was what Robbie claimed afterward, and he’s always been dead keen on the Artist, ever since he came by the CD of
Purple Rain
in the used-disc bin of a record shop in Aberdeen and got it for less than half of what it would have cost new. We had to take his word for it. He was the first one out the door and come to her aid.
    There she was, flung down on the stones like a wilted flower amidst the crumpled stalks of her limbs, the rucksack stuffed full of spare black tights and her bird-watching paraphernalia, her kit and dental floss and all the rest, and Tiger just pulling himself up into a ball to blink his eyes and lick at his spanned paws in a distracted way, when Duncan Stout, ninety-two years on this planet and in possession of the first Morris automobile ever manufactured, came down the street in that very vehicle at twice his normal speed of five and a half miles per hour, and if he discerned Junie Ooley lying there it was anybody’s guess. Robbie Baikie flailed his arms to head off Duncan’s car, but Duncan was the last man in these islands to be expectinganything unexpected out there in the middle of the high street designed and reserved exclusively for the traffic of automobiles and lorries and the occasional dithering bicycle. He kept coming. His jaw was set, the cap pulled down to the orbits of his milk-white eyes. Robbie Baikie was not known for thinking on his feet—like many of us, he was a deliberative type—and by the time he thought to scoop Junie Ooley up in his arms the car was on them. Or just