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Royal Ascot Dress Code 2013 ...

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Non-race goers might look to the Royal Ascot as a source of annual sartorial entertainment, however the dress code is more complex than simply 'oversized headwear'. To prevent any fashion faux pas' from occurring, the organisers at Royal Ascot have created a handy - and chic - video to advise racegoers on putting together an Ascot-appropriate look.
Beware though, those who go off-track with the strict guidelines will not be allowed entry to the Royal Enclosure. Ascot is not like the Grammys were one can defy the dresscode and still gain entry .
See the comprehensive list of guidelines below:
Royal Enclosure
Ladies
Ladies are kindly reminded that formal day wear is a requirement in the Royal Enclosure, defined as follows:
• Dresses and skirts should be of modest length defined as falling just above the knee or longer.
• Dresses and tops should have straps of one inch or greater.
• Jackets and pashminas may be worn but dresses and tops underneath should still comply with the Royal Enclosure dress code.
• Trouser suits are welcome. They should be of full length and of matching material and colour.
• Hats should be worn; a headpiece which has a base of 4 inches (10cm) or more in diameter is acceptable as an alternative to a hat.
Ladies are kindly asked to note the following:
• Strapless, off the shoulder, halter neck, spaghetti straps and dresses with a strap of less than one inch (2.5cm) are not permitted.
• Midriffs must be covered.
• Fascinators are no longer permitted in the Royal Enclosure; neither are headpieces which do not have a base covering a sufficient area of the head (4 inches/10cm).
Gentlemen
Gentlemen are kindly reminded that it is a requirement to wear either black or grey morning dress which must include:
• A waistcoat and tie (no cravats)
• A black or grey top hat
• Black shoes.
A gentleman may remove his top hat within a restaurant, a private box, a private club or that facility's terrace, balcony or garden. Hats may also be removed within any enclosed external seating area within the Royal Enclosure Garden.
The customisation of top hats (with, for example, coloured ribbons or bands) is not permitted in the Royal Enclosure.
Children
(Admitted on Friday and Saturday only)
Girls (aged 10-16) should be dressed for a formal occasion. Smart summer dresses are suggested. Hats, headpieces or a fascinator may be worn but are not compulsory.
Boys (aged 10-16) should either dress in accordance with the gentlemen's dress code (as set out opposite); or alternatively may wear a dark-coloured lounge suit with a shirt and tie (whereupon no hat is required).

Grandstand
Ladies
Ladies within the main Grandstand enclosure are encouraged to dress in a manner as befits a formal occasion. Ladies are kindly asked to take particular note of the following:
• A hat, headpiece or fascinator should be worn at all times.
• Strapless or sheer strap dresses and tops are not permitted.
• Trousers must be full length and worn with a top that adheres to the guidelines above (i.e. strapless or sheer strap tops are not permitted).
• Jackets and pashminas may be worn but dresses and tops underneath should still comply with the Grandstand Admission dress code.
• Midriffs must be covered.
• Shorts are not permitted.
Gentlemen
Gentlemen are required to wear a suit with a shirt and tie.
Children
Girls (17 or under) should be dressed for a formal occasion. Smart summer dresses are suggested. Hats, headpieces or a fascinator may be worn but are not compulsory.
Boys aged (13-17) should wear a suit or jacket with a shirt and a tie. Younger boys (12 or under) should be dressed smartly but are not required to wear a jacket or tie.
A final note
Fancy dress, novelty and branded/promotional clothing are not allowed on site.
Tickets are on sale now for Royal Ascot 18- 22nd June www.ascot.co.uk


In The Telegraph / http://fashion.telegraph.co.uk/videos/TMG9952680/Royal-Ascot-2013-dress-code.html

Royal Ascot fashion 2012: hat horrors













Jeeves will be away for Two Weeks ... Greetings.

Greetings from Jeeves ... on Holidays. I Will Be Back / 7 July.

Good Morning ! Henley Regatta 2013.

Double Congratulations Rose Callahan !!

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http://dandyportraits.blogspot.nl/
"The book that I've been working on with writer Nathaniel "Natty" Adams is now available on Amazon for pre-order in the US! I am happy and proud to say I am Dandy: The Return of the Elegant Gentlemanwill be released in Sept 2013 in Europe, and Oct 2013 internationally.

This is the book I have envisioned all along, and that is just an amazing thing. It is a celebration of originality, style, and character. And of course, elegance. There are 57 men profiled in all of their glory over 288 pages of my photographs (most of which have not been published here on the blog), and Natty's writing. Oh, and the preface is by none other than the legendary Glenn O'Brien. YES.
The very ironic thing that did not go unnoticed by Natty and I - to say the least - is that nearly every man we met in the book says they would never call themselves a dandy, yet the title is I am Dandy. Well, this was a battle we did not win with our publisher. Let's keep it at that. Book making is a tough process, evidently. If we ever get together over drinks I will read to you, dear reader, the "Natty Emails". But since then, all the things that have been done beautifully and with integrity have begun to outweigh the less than ideal title.
So that's why the blog here has been pretty quiet...well, also because I got married (!!) in May to the man who first inspired The Dandy Portraits, Kelly Desmond Bray.
I just can't wait to show you all the book, and sip champagne with you at the book signings and parties! But meanwhile there are so many more stories to tell, and portraits that didn't get included in the book, that there will be plenty to occupy my days here on the blog for a good long while."

New disaster hits Paris Heritage. Hotel Lambert on fire.

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L'incendie de l'hôtel Lambert à Paris maîtrisé

Le Monde.fr avec AFP
10.07.2013 à 06h22 • Mis à jour le 10.07.2013

http://www.lemonde.fr/societe/article/2013/07/10/important-incendie-dans-l-hotel-lambert-a-paris_3445197_3224.html

L'incendie qui a fait rage dans la nuit de mardi à mercredi 10 juillet dans l'hôtel Lambert, œuvre de l'architecte Louis Le Vau, datant du XVIIe siècle et l'un des joyaux architecturaux de la capitale, a été maîtrisé mercredi matin, ont annoncé les sapeurs-pompiers.
L'incendie, qui n'a fait aucune victime, s'est déclaré au milieu de la nuit dans la toiture de l'hôtel particulier, sis dans le 4e arrondissement.
Arrivés sur place vers 1 h 30, quelque 140 pompiers sont parvenus à circonscrire l'incendie aux alentours de 7 h 30 après plusieurs heures de lutte contre les flammes, qui ont longtemps menacé de se propager aux bâtiments adjacents.
"Le feu s'est propagé assez vite puisque le bâtiment est vide et en pleine rénovation et l'intervention est compliquée puisque l'on a une fragilisation de la structure", a expliqué le lieutenant-colonel Pascal Le Testu. Une dizaine de voisins ont été évacués et un sapeur-pompier a été blessé légèrement.
"Il faut maintenant faire le bilan de l'état des bâtiments qui ont été sérieusement touchés et aussi l'état des œuvres d'art qui se trouvent à l'intérieur et qui ont pu être touchées par les flammes, les fumées mais aussi l'eau, même si nous avons tenté de les préserver au maximum", a-t-il ajouté.
"Pendant plusieurs heures, on a vu un gros halo rouge au-dessus de l'île Saint-Louis", a déclaré Sophie Pons, qui habite juste derrière l'hôtel. "C'est une catastrophe, car nous nous sommes battus pour que les fresques de la galerie Hercule soient conservées dans le projet de rénovation, et là tout est parti en fumée ou bien noyé sous les eaux", s'est-elle désolée sur le trottoir, comme plusieurs autres voisins.
Le rachat, en juillet 2007, par des Qataris de cet hôtel particulier du XVIIe siècle avait déclenché une polémique et une bataille judiciaire s'était engagée avant un accord préparé sous la médiation du ministère de la culture et de la Mairie de Paris.
Même la Pologne avait fait part de sa préoccupation devant le projet de restauration de ce haut lieu de son histoire politique et culturelle au XIXe siècle (l'hôtel a appartenu de 1843 à 1975 à la famille princière polonaise des Czartoryski).
L'ascenseur à voitures que voulait installer le nouveau propriétaire a notamment marqué les esprits. L'ayant rachetée pour 60 millions d'euros, les Qataris voulait faire de cette ancienne propriété des Rothschild, conçue par l'architecte de Versailles, une résidence de grand luxe. Les travaux n'avaient pu commencer qu'au début de l'année 2010.

FASCINATION - FETISHISM IN FASHION.

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FETISHISM IN FASHION will be hosted at M°BA CENTRAAL, a newly-built cultural complex in the centre of the city from Neutelings Riedijk Architects.

The main exhibition will include the work of: Manish Arora, Walter van Beirendonck, Damir Doma, Jean Paul Gaultier, John Galliano for Christian Dior Couture, Craig Green, Iris van Herpen, Pam Hogg, Bas Kosters, Maison Martin Margiela, Issey Miyake, Moschino, Rick Owens, Prada, Gareth Pugh, Kosuke Tsumara, Undercover, Viktor & Rolf, Vivienne Westwood and Yohji Yamamoto as well as talent from around the world including Akira (Australia), Susanne Bisovsky (Austria), Barbara I Gongini (Denmark), Renáta Gyöngyösi (Hungary), Juun J (Korea), Deniz Kaprol (Turkey), Katarzyna Konieczka (Poland), Asher Levine (USA), Peter Movrin (Slovenia), Tex Saverio (Indonesia), Little Shilpa (India) and Yiqing Yin (China), Tata Christiane, Saba Tark

In addition to the main exhibition on the 4th and 5th floors, visitors at MºBA CENTRAAL will be able to explore MOOD ROOM and ELEVATION

http://moba.nu/en/fetishism-in-fashion-exhibition/












Hackett London SS14 at London Collections Men


The Black Knit Tie

The Return of The Knitted Tie.

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Knitted ties are characterised by their textured, loosely woven appearance, absence of a lining (hold one up to the light and it will shine through) and slightly springy feel. The French term cri de la soie, which translates as "the cry of silk", is sometimes used to describe the crisp, crunchy sound that knitted ties make when they are squeezed in the hand. Most have blunt ends (as opposed to the pointed tips found on conventional neckties), and they can be knitted from both silk and wool, with the latter type best suited to autumn and winter. From Ivy Leaguers to the silver screen to the runway shows of Etro and Band of Outsiders this season, the knitted tie is a stylish - and often underrated - wardrobe component, one that will add individuality to your look while keeping things classic.

Laura Knight: Portraits – National Portrait Gallery, London.

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Back in the frame: art pioneer is star of show and film
LOUISE JURY, CHIEF ARTS CORRESPONDENT

A working-class woman who became a star of the art world is in the limelight again — with the first major exhibition since her death and a leading role in a new movie.

Dame Laura Knight was a household name for most of her lifetime, and in 1936 became the first woman to become a full member of the Royal Academy. But her enormous popularity made her unfashionable with critics, and her reputation had faded even before her death in 1970 aged 92.

Now her career will be re-examined in an exhibition at the National Portrait Gallery. Its staff began preparations before knowing about the film Summer In February, which stars Hattie Morahan as Dame Laura, Downton Abbey’s Dan Stevens, and Dominic Cooper.

The film is set in the artists’ community in Newlyn, Cornwall, which was a formative period in Knight’s career.

National Portrait Gallery curator Rosie Broadley said the starting point for its exhibition was a painting from that time, a 1913 self-portrait. Ms Broadley said: “The timing is good for us that the film is coming out for the summer — but it just happens to be a coincidence. It’s the centenary of our painting and she is an artist ripe for reappraisal.”

Knight was born in Nottingham in 1877 and became the youngest pupil to attend the local art school at 13. She married artist Harold Knight and moved to Cornwall, where she had the freedom to study from life in a way refused to her — as a woman — at art college. The self-portrait includes a female nude, her friend Ella Naper.

Ms Broadley said Knight produced some of her most important work in the Cornish period. Yet her career was only just beginning and she went on to win fame for backstage depictions of actors and dancers in London, as well as gypsies and then female air force and munitions workers during the Second World War. She also designed ceramics and posters for the Underground.

“Critics were snobbish about her,” Ms Broadley said. “Yet she had a real talent for friendship and becoming accepted by different groups. It means her portraits are some of her best work because she really got to know her subjects.”

Laura Knight Portraits runs from July 11 to October 13, admission £7. Summer In February is released on June 14.

 
Laura Knight: Portraits – review
National Portrait Gallery, London
Rachel Cooke

In 1946, at the age of 68, Laura Knight was sent by the War Artists Advisory Committee to Nuremberg to record the trials of the Nazi war criminals. The idea for this audacious mission came from Knight rather than from the WAAC, a fact that tells you a great deal about her: at an age when most artists of her reputation might have been inclined to rest on their laurels – by this time she was very famous indeed – Knight was still questing after challenging new subjects.

The result was remarkable. Faced with both the devastation of the German city, and the inconceivable crimes for which the men were being tried, Knight, a realist all her life, found her usual narrative methods unequal to the task. "I am trying out a rather crazy idea which gives me the opportunity for space and mystery," she wrote in her diary. "I do hope so much I can bring it off… Stanley Spencer could do it. I will fight for it." From her press box high above the proceedings, she diligently sketched Goering and the others: their drab suits, their headphones (for translation), their bald patches. But when the time came to turn all this to paint, she gave the courtroom only one visible wall, framing the dock instead with what she called "a mirage" of the ruined city – a fire even now burning among its rubble, the better, perhaps, to symbolise the impossibility of reparation.

The Nuremberg Trial was, you gather, received with a certain coolness at the Royal Academy's 1946 Summer Exhibition, but it is one of the highlights of a small new show of Knight's work at the National Portrait Gallery. For beside it, in a glass display case, are some of Knight's diaries from the trial, a collection of vivid documents that bring her disorienting painting into startling focus. On one page she has inked a sketch of Goering, a dramatic doodle that caricatures his widow's peak and the stubborn slope of his back. It is quite horrible. Beside it, in her neat hand, names jump out at you. "Today, Hess's eyes and mine interlocked," she writes, adding that she was unnerved to find herself wondering if she should smile at him. Reading these scant pages – I wish the curators had included more – is fascinating, but unsettling too. Knight's sheer appetite for her work is palpable: it seeps through the solemnity like light through a broken venetian blind.

Of course it was ever thus. Knight was born in 1877, in Long Eaton, Derbyshire, the youngest of three daughters. Her father having left the household soon after she was born, money was tight, and it was surely this formative experience of what it meant to be broke – her mother's dream that her daughter would study art in Paris ended before Laura was even a teenager – that fired both her work ethic (she would later turn out paintings in a single day) and her preoccupation with the value of her art; she had a tendency to price her paintings too highly, with the result that they sometimes did not sell.

But work gave her something else, too: a means to be extrovert at a time when women were all too often expected to be mice. As she put it: "An ebullient vitality made me want to paint the whole world, and say how glorious it was to be young and strong and able to splash with paint on canvas." This ebullience stayed with her, girlish and delightful, throughout her career. Her technical skills, which were considerable, she learned at art school in Nottingham, and from her husband Harold Knight, a Vermeer-wannabe who was its star pupil (they married in 1903); but her great charm as a painter, her flamboyance and use of colour, were all her own.

Laura Knight: Portraits has more than its share of omissions, and sometimes I had a lowering sense of the curators having only made do (her luscious, slightly ghoulish 1934 painting of Kathleen Manners, Duchess of Rutland, is, for instance, represented only by a preparatory sketch). The show also includes some frankly terrible work, notably her portrait of George Bernard Shaw from 1933, apeculiarly amateur picture that is not a likeness, and captures the playwright's essence not at all. But nevertheless, I urge you to go. Thanks to its dinky size, it takes you so very niftily through her career: from Cornwall, where she and Harold lived at the artist's colony at Newlyn; to London, where she painted dancers and actors in the nervy calm of their dressing rooms; to Baltimore, Maryland, where she chose as her subjects the black nurses of a segregated hospital; and to the racecourses of Ascot and Epsom, where she painted Gypsy families, using her chauffeur-driven Rolls as a makeshift studio.

Each section contains at least one painting that will have you wondering whether Knight isn't these days rather underrated. (Alas, her lack of sympathy for modernism has made it all too easy for her critics to sneer; when the Royal Academy, to which she was elected in 1936, rejected Wyndham Lewis's portrait of TS Eliot, she was quietly on its side.) Her 1930 portrait of the ballerina Barbara Bonner is a masterclass in flesh and taffeta. Her gorgeously economical painting (from 1939) of a Gypsy called Gilderoy Smith has an intimate sexiness quite at odds with Knight's usual emphasis on beauty – a sheen that pleases the eye but sometimes distances the heart.

Most stirring of all, though, are the pictures she did during the second world war under the auspices of the WAAC. Yes, they are technical exercises. Yes, they are propaganda. But somehow none of this matters when you stand before them, your lip beginning sentimentally to tremble. My favourite is Corporal Elspeth Henderson and Sergeant Helen Turner (1941), which stars two young women who were awarded the Military Medal for bravery, both of them having continued to work on their switchboard even as their RAF base was bombed by the enemy. Oh, the expressions on the faces! They look so marvellously unimpressed. And while Knight has given all due attention to their uniforms, their equipment, and even to a map on the wall behind them, it is the distinctive orange-red of their lipstick that catches the attention, all their pluck somehow captured in the careful application of a little Max Factor.







Making of El Ganso desfile Hotel W

El Ganso ... Spain goes "preppy".

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El Ganso’s history

El Ganso’s history begins in 2004. The idea was simple: to produce the clothes we’d spent years looking for at reasonable price.

The brand not only sells a wide range of men’s clothing, it has also created its own women’s, children’s and accessories collections.

In just seven years, El Ganso has brought together a large, enthusiastic team of professionals who have continued to instil the original spirit and hope with which the brand was launched. The company’s international expansion took place in 2011 with the opening of shops in Santiago de Chile, Portugal and Paris and enabled new cultures to join the team and an infrastructure and logistics programme that now covers two continents to be developed. In 2011, the company’s presence in the main El Corte Inglés stores was reinforced with personalised corners.

There are also El Ganso shops in some of the largest cities in Spain, including its emblematic stores in mainland Madrid, Barcelona, Zaragoza, Valencia, Bilbao, Santander, Murcia, Marbella, Granada, Oviedo, Valladolid, Seville and on the islands  in Palma de Mallorca. These shops will be soon be joined by points of sale in A Coruña  and a second, larger shop at the heart of Madrid’s new commercial centre at Calle Fuencarral 20.

 In 2012  El Ganso continues its international expansion with a second point-of-sale in Paris and travels to London where it will open its first shop in the prestigious Carnaby Street area.

 The Grupo Acturus’ new facilities measure 3,000 metres including offices, studios, warehouses and logistics centres in Boadilla del Monte, Talavera de la Reina and the company’s own showroom on Calle Espalter in Madrid.

Clemente y Álvaro Cebrián.

The essence of El Ganso
This is our declaration of intent: to design clothes, footwear and accessories to reflect more than fashion itself.

To reflect the individuality of each person when dressing.

We are committed to diversity; to a multi-cultural, heterogeneous society that respects the environment.

These values are inherent to our products, offering quality and an alternative touch at a price you can afford.

Our standards are achieved using first class materials and rigorous controls in terms of quality and production. This is possible due to the majority of our products being manufactured within factories by suppliers who share our goals.










Lawrence Durrel / Amateurs in Eden: the Story of a Bohemian Marriage by Joanna Hodgkin.

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Biography in http://www.lawrencedurrell.org/bio.htm

 Lawrence George Durrell was born on February 27, 1912, in Jullundur in northern India, near Tibet. His English father, Lawrence Samuel Durrell, and his Irish-English mother, Louisa Florence Dixie, had also been born in India. This mix of nationalities marked Durrell's creative imagination. He would claim in later years that he had "a Tibetan mentality."

 Durrell's "nursery-rhyme happiness" came to an end when he was shipped to England at age eleven to be formally educated. The immediate discomfort he felt in England he attributed to its lifestyle, which he termed "the English death." He explains: "English life is really like an autopsy. It is so, so dreary." Deeply alienated, he refused to adjust himself to England and resisted the regimentation of school life, failing to pass university exams.

 Instead, he resolved to be a writer. At first he had difficulty finding his voice in words, both in verse and in fiction. After publishing his first novel, Pied Piper of Lovers (1935), he invented a pseudonym, Charles Norden, and wrote his second novel, Panic Spring (1937), for the mass market.

 Two fortunate events occurred in 1935 that changed the course of his career. First, he persuaded his mother, siblings, and wife, Nancy Myers, to move to Corfu, Greece, to live more economically and to escape the English winter. Life in Greece was a revelation; Durrell felt it reconnected him to India. While in Greece, he wrote a plan for The Book of the Dead, which was an ancestor--though it bore little resemblance--to what may be his greatest literary accomplishment, The Alexandria Quartet. Second, Durrell chanced upon Henry Miller's Tropic of Cancer (1934) and wrote Miller a fan letter. Thus began a forty-five-year friendship and correspondence based on their love of literature, their fascination with the Far East, and their comradeship in the face of personal and artistic setbacks. In their early letters, Miller praised Durrell and urged him not to accede to Faber's suggestion that he expurgate portions of The Black Book (1938), the work on which Durrell was then focused. Durrell followed Miller's advice and stood firm.

 After six years in Corfu and Athens, Durrell and his wife were forced to flee Greece in 1941, just ahead of the advancing Nazi army. They settled together in Cairo, along with their baby daughter Penelope Berengaria, who had been born in 1940. In 1942, separated from his wife, Durrell moved to Alexandria, Egypt, and became press attaché in the British Information Office. Ostensibly working, Durrell was in reality closely observing the assortment of sights, sensations, and people that wartime Alexandria, a crossroads of the East and West, had to offer. He also met Eve Cohen, a Jewish woman from Alexandria, who was to become his model for Justine. Durrell married her (his second wife) in 1947, after his divorce from Nancy Myers. In 1951, their daughter Sappho Jane was born.

 In 1945, "liberated from [his] Egyptian prison," Durrell was "free at last to return to Greece." He spent two years in Rhodes as director of public relations for the Dodocanese Islands. He left Rhodes to become the director of the British Council Institute in Cordoba, Argentina, from 1947-48. He then moved to Belgrade, Yugoslavia, where he was press attaché from 1949-52.

 Durrell returned to the Mediterranean in 1952, hoping to find the serenity in which to write. He bought a stone house in Cyprus and earned a living teaching English literature. During that time period, peace proved elusive. War broke out among the Cypriot Greeks who desired union with Greece, the British (who were still attempting to control Cyprus as a crown colony), and the Turkish Cypriots (who favored partition). Durrell, by this time, had left teaching and was working as the British public relations officer in Nicosia. He found himself caught between the warring factions and even became a target for terrorists. Bitter Lemons (1957) is Durrell's account of these troubled years.

 While in Cyprus, Durrell began writing Justine, the first volume of The Alexandria Quartet. He would eventually complete the four books in France. The Quartet was published between 1957 and 1960 and was a critical and commercial success. Durrell received recognition as an author of international stature.

 After being forced out of Cyprus, Durrell finally settled in Sommières, in the south of France. In the next thirty-five years, he produced two more cycles of novels: The Revolt of Aphrodite, comprising Tunc (1968) and Nunquam (1970), and The Avignon Quintet (1974-1985). Neither of these cycles achieved the critical and popular success of The Alexandria Quartet. Durrell continued writing poetry, and his Collected Poetry appeared in 1980.

Durrell married two more times. He wed his third wife, Claude-Marie Vincendon, in 1961. He was devastated when she died of cancer in 1967. His fourth marriage, to Ghislaine de Boysson, began in 1973 and ended in 1979. His later years were darkened by the suicide of his daughter, Sappho-Jane, in 1985.


 His final work, Caesar's Vast Ghost, was published in 1990. Lawrence Durrell died on November 7, 1990."Lawrence Durrell" by Anna Lillios, reproduced from Magill's Survey of World Literature, volume 7, pages 2334-2342. Copyright © 1995, Salem Press, Inc. Reprinted by permission of the copyright holder. Revised 1997.

Olivia Laing
The Observer, Sunday 5 February 2012 / http://www.guardian.co.uk/books/2012/feb/05/amateurs-eden-nancy-durrell-review

 Amateurs in Eden: the Story of a Bohemian Marriage by Joanna Hodgkin – review

Lawrence Durrell's wife Nancy, an artist, was silenced by his bullying. Their daughter finally tells her story

 Anyone who spent their formative years reading My Family and Other Animals, Gerald Durrell's magnificently funny account of his childhood in 1930s Corfu, is disadvantaged when it comes to the adult contemplation of Lawrence Durrell. It's hard to take The Alexandria Quartet, Prospero's Cell and The Black Book: An Agon with the requisite seriousness when one's strongest impression of the man is as a bossy, opinionated know-it-all who once ended up almost drowning in a quagmire while shooting snipe, an activity for which he possessed no aptitude whatsoever, despite a good deal of boasting to the contrary. In a work overendowed with comic creations, Larry is the most gleefully memorable of the lot.

As it turns out, Gerald Durrell wasn't a very reliable witness. Though he presents Larry as living en famille, producing his deathless prose while masterminding the activities of his scatty siblings, in fact he lived nearby with his wife, Nancy Myers. History has not been entirely kind to Nancy. In addition to being erased from the Corfu cast, she appears in memoirs and novels of the interwar period as a silent beauty, a kind of Greta Garbo-cum-wild animal. Her friend Anaïs Nin described her as a puma and wrote: "I think often of Nancy talking with her eyes, her fingers, her hair, her cheeks, a wonderful gift." It's understandable that Joanna Hodgkin, her daughter by her second marriage, might want to restore to her the function of speech, redrawing these bohemian configurations from the perspective of the puma herself.

 Nancy was born in Eastbourne in 1912, and though the first five years of her life were comfortably genteel, her family suffered a mysterious downturn in fortune, necessitating a move to a factory town in Lincolnshire, where they entered that malignantly English drama of keeping up appearances. This experience, combined with a miserable spell at boarding school, left her with a lasting disdain for bourgeois convention. She escaped to art school in London, made friends with a rackety array of male students and reinvented herself as a beauty, with the help of a blunt-cut bob and borrowed lipstick.

 It's almost 100 pages before Larry toddles on to the scene, a small blond man who disguises what would later prove a ferocious tongue under an endearing – to Nancy, at least – fondness for baby talk. After a spell in one of those underfurnished Sussex cottages so irresistible to 1930s bohemians, they lit out for Corfu for an Edenic period of swimming, sailing and creative work. The fall came in 1937, when they joined Henry Miller and Anaïs Nin in Paris. The couple had always rowed, but now Larry's bullying slid into cruelty ("Nothing but a dirty Jew" was a favourite insult). Nancy's apparently charming silence is revealed to be the product of a sustained campaign on the part of her husband to keep her isolated behind what Miller later described as a "wall of ice". By the time war began, the marriage was over, although the couple had by then produced a child. After an impossibly dramatic escape from Greece to Cairo aboard various boats and lorries, she left him for good, spending the rest of the war in Palestine.

 It's a cracking story, and Hodgkin, who writes historical and detective fiction as Joanna Hines, is a meticulous researcher. But while the externals of Nancy's life are evidently more than deserving of such scrutiny, the woman herself often seems to vanish beneath the drama of what's going on around her. There's no doubt that it takes rare courage to leave a husband in wartime, particularly when one is a refugee with a small child. The problem is that Hodgkin also very much wants to make a case for Nancy as an artist in her own right, but this only emphasises her strange knack for self-erasure.

 Little of her work survived the war and what's reproduced here is slight – a few woodcuts and stylish book covers, as well as one of the sculptures she produced during her second marriage in England. Henry Miller apparently thought a lot of one oil painting, but there were also long periods in which she produced no work at all – due, Hodgkin claims, to a crippling case of perfectionism. The argument about how hard it was for women then to make art or build independent friendships is frequently and loyally advanced. It's not untrue, the likes of Vanessa Bell and Gwen John excepted, but all the same it leaves a slightly melancholy cast to the story, since "not quite successful artist" is surely almost as unsatisfactory an epitaph as "puma" or "handmaiden to genius".


 Olivia Laing's To the River is published by Canongate


Remembering Lawrence Durrell, Predictor of our Postmodern World

Jun 25, 2012 1  by  Peter Pomerantsev / http://www.thedailybeast.com/newsweek/2012/06/24/remembering-lawrence-durrell-predictor-of-our-postmodern-world.html

 Lawrence Durrell envisioned our postmodern world.

 Not Joyce, not Kafka, not Proust, not Pasternak, not Garcia Marquez, not Bellow. The most important 20th-century novelist for a 21st-century reader could well be Lawrence Durrell. This year celebrates the centenary of his birth. Next to nothing is taking place to celebrate it. But Durrell, whose best work came in the late 1950s and early 1960s, was the first to explore the poetry and puzzles of life in an era of globalization (a clunky term Durrell would have improved on), hyphenated identities, perpetual movement. “I think the world is coming together very rapidly,” he said in an interview in 1983, “so that within the next fifty years one world of some sort is going to be created. What sort of world will it be? It’s worth trying to see if I can’t find the first universal novel. I shall probably make a mess of it—but we shall see.”

The city at the center of his masterpiece, The Alexandria Quartet, is the prototype of the global village, of the smudged meta-city we increasingly inhabit. Published between 1957 and 1960, the Quartet is a series of interlinked novels set in Alexandria preceding and during World War II, but it’s uncanny how its political disorder anticipates our own. The Alexandria of the Quartet is run with an ever-weaker hand by Western powers losing their will to rule, and is ever-more dominated by ambitious but corrupt emerging nations, influenced by deracinated tycoon financiers, stirred on the streets by Islamic “nightmare-mystics, shooting out the thunderbolts of hypnotic personal-ity.” The state of Israel, off-stage but central to the plot, divides loyalties to the point of death and tragedy. The Quartet is an exceptional political thriller: imagine John Grisham rewritten by Joyce.

“Five races, five languages, a dozen creeds: five fleets turning through their greasy reflections behind the harbor bar,” writes Durrell. “Turks with Jews, Arabs and Copts and Syrians with Armenians and Italians and Greeks. The shudders of monetary transactions ripple through them like wind in a wheat-field ... this anarchy of flesh and fever, money-love and mysticism. Where on earth will you find such a mixture!”

The prophetic Quartet is a way to look at something fundamental: love and identity in a world that is, on the one hand, unified to an unrivaled degree (all those races, creeds, and languages stuffed together in one space), but as a consequence utterly fractured: how can you have a single truth when, to quote the Quartet, “there are as many realities as you care to imagine”? Durrell’s way to find a form that reflects this world is what he called his “stereoscopic” approach: instead of a linear narrative, the same story is revisited again and again through different characters, utterly changed every time from their perspectives, which are themselves broken up in the prism of their multiple personalities. “A series of novels with sliding panels, like some medieval palimpsest where different sorts of truth are thrown down one upon the other, the one oblit-erating or perhaps supplementing the other,” says a character in the novel, describing the work itself. But this is no postmodern pastiche. Durrell’s characters suffer as they try to negotiate their multiverse, twisting themselves painfully to reconcile the impossible and dying in the contortions. It’s a crisis Durrell went through himself, growing up a third-generation Anglo-Irish colonial in India.


Lawrence Durrell, 1912–90, explored the poetry of globalized living. (Elliott Erwitt / Magnum Photos)

“I have an Indian heart and an English skin,” he said. “I realized this very late, when I was twenty-one, twenty-two. It created a sort of psychological crisis. I nearly had a nervous breakdown. I realized suddenly that I was not English really, I was not European. There was something going on underneath and I realized that it was the effect of India on my thinking.”

Though “a patriot of the English language,” he was turned off by the “long toothache of English life” and moved constantly, drawn toward the Mediterranean: “I’m a professional refugee. Even here I could pack essential things in twenty minutes and leave. I am traumatized by travel.”

Nor did England think very highly of him. While at first a commercial hit, The Alexandria Quartet was damned for being “experimental”: that most caustic term in Anglo-Saxon criticism. Until the Quartet was republished this year, I struggled to find a copy in London. Durrell would often suffer the ignominy of being mistaken for his better-known brother, Gerald Durrell, who wrote bestsellers about animals. Even the interview quoted from earlier in this article was not given to some august Anglo-Saxon journal but was first published, in Russian, in Syntaksis: a Cold War–era Russian refugee magazine based in Paris; the interview appeared in English three years ago in Zeitzug, an online literary magazine created by an Austrian poet living in Prague. It is always the “cross-patriates,” the hyphenated, who are drawn to Durrell.

The Return of the Knitted Tie / 2


The Countess Dorothy di Frasso.

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 LOVE, LAUGHTER AND TEARS
THE HOLLYWOOD STORY

By Adela Rogers St. John
The Countess Dorothy di Frasso, as a “non-professional” resident of Hollywood, handed that town more dramatic shocks than any of its stars, among them the unexpected ending of her romantic friendship with Gary Cooper, her cruise in the so called “hell ship” Metha Nelson, on which Hoodlum Ben (Bugsy) Siegel was a member of the crew.

In spite of her unconventional tastes and overgrown sense of humor, I would say that Dorothy di Frasso was and is – the most popular of all Hollywood favorites who don’t actually belong in The Movies.

The Countess arrived in the cinema capital as a result of her lifesaving activities on behalf of Gary Cooper in Rome.  It’s difficult for any woman not to feel a continued responsibility for and interest in a life she has saved.

She was the first outsider to become a social leader and to give parties that surpassed anything Hollywood had known before.

Along this time, 1932, David Selznick took over the RKO Studios where he first introduced Katharine Hepburn to movie audiences, and I went along.  We were short of offices, so mine was on the back lot over the extra men’s dressing rooms. There I first saw the Countess di Frasso.  Behind her loomed six-foot-three of Gary Cooper.

On one side, I remember, Bobby Clark, all time great comic, who was rehearsing a gag with a tuba, on the other Gene Fowler and Jack Barrymore were developing a scene in which Barrymore, slightly inebriated, was to drive a cab.

The occasion for the Countess’ visit was that I had to write a piece about her entry into Hollywood and Pickfair, and since I had to finish a movie story in the daytime (David arrived at the studio at 5 p.m. and expected everybody to work with him until dawn) and I was trying to cover the Olympic Games in my spare time, I had been desperate as to how I was to meet our distinguished visitor.  She graciously agreed to drop in on me.

She had a thoroughly American face, magnificent eyes with a twinkle, a wide humorous mouth and an adventurous nose.  The face was American, but the attire was Parisian.  Probably this combination entranced Italian, French, and British nobility, which prefers its Americans American.  So that from the day of her international marriage with an old Roman title, Dorothy Taylor di Frasso had been really “in” the most exclusive circles of Paris, London and Rome, not merely on that fringe known as the Riviera’s international set.

As Gary perched on my desk, I thought his eyes lacked their twinkle.  Oh well, I thought, she has twinkle enough for two, if she’s really going to divorce the Count and marry Coop. Between them there seemed to be a great camaraderie.  I wondered if the bachelor days of Hollywood’s most sought after and eligible bachelor were numbered.  Hollywood had decided they were.  Here, said Hollywood, is Romance worthy to be in motion pictures.  The Countess who had saved our Gary’s life by taking him into her own home when he was critically ill, the safari into Africa, the colorful and exciting episodes of Gary’s rides with the famous Italian cavalry, the trip the Countess and The Movie Star made to Aintree to see the Grand National.  The Cowboy and The Lady.  Hollywood loved it.  Everybody, I figured, except maybe Copper.

That very day a girl walked under my windows on her way to the RKO commissary to lunch with George Cukor.  A young beauty, her real name was Veronica Balfe, Rocky for short, though as a movie actress, escaped from her boredom with New York society, she had taken the name, Sandra Shaw.  Though he hadn’t seen her up to that moment, she was soon to be the determining factor in the life of Gary Cooper.

When some months later I went out to his big, comfortable ranch style bachelor house to have dinner, he had seen Rocky.  This was his girl and he knew it.  But if a lady saved a man’s life, if she wanted the rest of it, didn’t a man of honor owe it to her, if she wanted it? To Hollywood it looked as though the Countess did.

Whether or not she’d have been willing to give up her distinguished title and position in Europe to become plain Mrs. Cooper, I don’t know.

At any rate, one day the Countess packed her million dollar Paris wardrobe and with Mary Pickford took off for Italy.  As far as the Countess was concerned it had been charming; she adored Hollywood, Coop was her favorite friend.

The next thing Hollywood heard of Gary Cooper, he and Veronica Balfe were married on Park Avenue.

Hollywood wasn’t to lose the Countess, with whom it was never to have a dull moment; she had up her sleeve still more interesting adventures, particularly the now famous cruise of the so called “hell ship” Metha Nelson.

Hollywood first heard of Bugsy Siegel during the cruise of the “hell ship,” a cruise involving pirate gold, bloodied heads, marriage and charges of mutiny on the high seas, rum, romance, rescue and rebellion such as no producer has ever dared to put on the screen.

Its star was the Countess di Frasso.

The old three masted schooner, Metha Nelson, chartered by Marino Bello, who had once been Jean Harlow’s stepfather, was in search of buried treasure on Cocos Island, off the Costa Rican coast.

According the Richard Gully, a young cousin of Anthony Eden, who was along, the treasure was $300,000,000 in diamonds, rubies and gold doubloons.  They had a map.

Afterwards at a Grand Jury investigation of mutiny charges, Capt. Robert B. Hoffman, the schooner’s master, said that before they sailed, the FBI had shown him a picture of Louis (Lepke) Buchalter, notorious head of Murder Incorporated, who then was a fugitive from justice supposed to be hiding on a tropical island and who was later executed at Sing Sing! “They said this might be an attempt to pick him up,” the Captain said, “and I was to notify them if he showed up.”

The rest of the cast of characters was picturesque in the extreme.

There was Champ Segal, described as a prizefight promoter, and Abe Kapellner.

The Countess acted as maid-of-honor when the Captain married Bello to Evelyn Husby, a nurse.  Later, the jealous bridegroom almost fought a duel with a Costa Rican Colonel who made eyes at the bride.

The Metha Nelson didn’t pick up Lepke, though there is a strong suspicion that this may have been Bugsy’s original plot.  I’ve also heard a rumor that Dorothy, informed by the Captain, foiled the plot.

The merry voyagers never found any buried treasure and a storm came up on the voyage back.  The ship floated helpless for three days in the Gulf of Tehuantepee, in hourly danger of breaking up, but was rescued in the nick of time and towed to Acapulco where the Countess went ashore and flew off to Palm Springs.  It was not long after this that Bugsy found his way into Hollywood’s most exclusive society circles.

The handsome hoodlum never got over the way he was received by Movie People.  He was true to Beverly Hills until machinegun bullets mowed him down in that star studded annex of Hollywood.

Gary Cooper’s career, about which he’d worried so much in Rome, picked up new highs.  Before his marriage he had made Farewell to Arms with Helen Hayes.  Returning from his honeymoon with Rocky, he played the lead with Marion Davies in Operator 13.

I suppose no one makes those wonderful comedy drama costume romances today because Hollywood history shows only one Marion Davies.

All critics know that the rarest jewel in the theatrical world is a beautiful comedienne.  A talent for high comedy and beauty somehow don’t seem to go together.  They did in Marion Davies, who also wore costumes better than any star I can remember.

The Talkies it was taken for granted, would end Marion’s bright young career.  Because Marion stuttered!  In person, it was enchanting.  On the sound track, it wouldn’t be so good maybe.

Marion went to work with fine dramatic coaches.  I can remember when she’d disappear for hours and come back spouting Shakespeare until the stutter was sufficiently under control so that when it did show up it was merely an additional charm, and Operator 13, as one of her first big Talkies was as great a success as her silent Little Old New York.  She even sang a song in it, Once in a Lifetime, Love Comes Your Way and nobody who saw it will ever forget the sequence she did, as the Federal spy, disguised in blackface.

No picture could have been more perfect for Gary Cooper, bridegroom.

Sever years later, he was the highest paid man – not actor, but man in the United States.  His $482,821 topped the salaries of the country’s best paid business executives.  The cowboy, as happens in America, had made good.  So, it, seems, had The Movies!

There was a stead fastness about Gary Cooper.  The graph of his career and his work goes steadily upward.  Principle, hard work, self control, and great good humor, have gone into it.  He has become, by his own efforts and study, a fine actor.


The women a man has loved and who have loved him must contribute to his acting.  Certainly his travels with the Countess showed results in Beau Geste and Lives of the Bengal Lancers.  I don’ think he could have played Fireball and Mr. Deeds so well if he’d never known Clara Bow.  And I am sure the love scenes in Farewell to Arms, among the most moving ever seen, and for Whom the Bell Tolls, had a fire, a warmth, he’d never have had but for little Lupe.  Sergeant York and The Pride of the Yankees and Meet John Doe owe more to his wife Rocky than the wonderful home and happy married life with which she’s back grounded his career. 


 TIME Magazine
Jan. 25, 1954

‘In the New York Journal-American, name-dropping Elsa Maxwell threw together a last-minute obituary of that "fabulous countess," the late, madcap Countess Dorothy (Taylor) di Frasso, just to "keep her alive in a funny little way." Although Elsa claims that the countess "never confided in her women friends." friend Maxwell recalled a heap of confidential items on Dorothy's "life and loves." Wrote Elsa: "The two great loves of her life were Gary Cooper and . . . Benjamin ("Bugsy") Siegel of Murder, Inc. . . . who was liquidated in 1947 by ... his organization." When Gary first drawled howdy over a phone to the countess in Rome, he sounded "awfully nice." and she told him: "Go straight to the Villa Madama, my house [where Douglas Fairbanks Sr. and Mary Pickford later broke up]. You will be more comfortable there." Gary never had it so good: the countess "ordered him dozens of suits." Once, relates Elsa, the countess went to Mexico, "not to meet King Carol, whom she knew well, or Madame Lupescu, who were living there, but in search of a gold mine." Dorothy never found it. but she was always hankering to parlay her $12 million inheritance into a greater fortune. She and Bugsy once tried to peddle an explosive, which "had almost the same power that the atom bomb had," to tHe Italian government. Like most of the countess' get-richer-quick schemes, Bugsy's bomb, "when the test came . . . merely went off 'pouf.' " At one of Dorothy's Hollywood parties, Elsa and Dorothy hung a Dictaphone near Actor John Barrymore when he was upbraiding his protégée, Elaine Barrie. The playback proved "more censorable than any sequence from a Jane Russell or Anna Magnani movie." The only time Elsa and the countess ever fought came when Elsa invited Noel Coward, whom Dorothy disliked, to a party and later "we both flew at each other like wildcats." But the countess will always be remembered by Elsa as the "great broncobuster of the banal, bathos, pathos and hypocrisy—that makes up what we call modern society.’


Villa Madama
The second woman prominent in Villa Madama’s history is the American socialite and heiress Dorothy Caldwell-Taylor (1888-1954). Impossibly rich, stylish and flamboyant (and by some accounts a spy), her many lovers included Hollywood film star Gary Cooper and gangster Benjamin ‘Bugsy’ Siegel. Her first, brief marriage was to British aviator Claude Graham-White. Subsequently she wed the Italian Count Carlo Dentice di Frasso, very much her senior, and in the 1920s used some of her inheritance to purchase and restore Villa Madama, using plans by Marcello Piacentini. In 1929, socialite and garden designer Norah Lindsay (best known perhaps for her work with Lawrence Johnston at Hidcote Manor) was commissioned by the Di Frassos to add herbaceous garden plantings to the garden. For many years Countess Dorothy threw lavish parties at the restored Villa for her friends from Hollywood and the Italian royalty, before it was appropriated by Mussolini in the early stages of World War II. Today it is used by the Italian Ministry of Foreign Affairs to receive foreign dignitaries, and is not usually open to the public.



The Strange Life and Death of Dr Turing - Part 2 of 2

The Strange Life and Death of Dr Turing - Part 1 of 2

The "enigma" of Alan Turing ...

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 World War Two code breaker Alan Turing set to be pardoned for his gay conviction
Alan Turing, the World War Two code breaker who later killed himself after receiving a criminal conviction for his homosexuality, looks set to be pardoned.
By Christopher Hope, Senior Political Correspondent

The Government said it would not stand in the way of legislation to offer a full Parliamentary pardon for Turing, who helped Britain to win the Second World War as a skilled code-breaker.

Until now, the Government has resisted using the Royal Prerogative to pardon Turing for his conviction for gross indecency in 1952 because he was a homosexual.

Ministers had argued that because Turing was convicted of what was at the time a criminal offence, it is not possible to hand him a full posthumous pardon.

For years, campaigners have called on ministers to reverse the decision because of the part he played in winning the war after he invented the Colossus machine at Bletchley Park to crack the codes of German U-boats in the Atlantic.

Despite his work, he was convicted of gross indecency and as his punishment he chose chemical castration over imprisonment. Two years later he committed suicide at the age of 41.

In 2009 the then prime minister, Gordon Brown, made a posthumous apology to Turing, describing his treatment as "appalling", but he was not officially pardoned.

Last December Prof Stephen Hawking and other leading scientists wrote to The Daily Telegraph urging a pardon for Turing, whose work at Bletchley has been credited for hastening the end of the Second World War.

Speaking in the House of Lords on Friday, Lord Ahmad of Wimbledon, a whip, said the Government would not stand in the way of a Bill brought by Liberal Democrat peer Lord Sharkey, which offers Turing a full posthumous parliamentary pardon.

Speaking in the House of Lords shortly before the Alan Turing (Statutory Pardon) Bill received an unopposed second reading, Lord Ahmad said: “Alan Turing himself believed that homosexual activity would be made legal by a Royal Commission.

“In fact, appropriately, it was Parliament which decriminalised the activity for which he was convicted.

“The Government therefore is very aware of the cause to pardon Turing given his outstanding achievement and therefore has great sympathy with the objective of the Bill.

“That is why the Government believes it is right that Parliament should be free to respond to this Bill in whatever way its conscience dictates, in whatever way Parliament so wills."

He added: “If nobody tables an amendment to this Bill, the supporters can be assured that this Bill will make speedy progress and passage to the House of Commons.

“If there are no amendments tabled for committee there doesn't need to be any report stage so the Government can table third reading by the end of October.

“This will take place on the floor of the House. If no amendments are tabled for third reading it is formal and the Bill immediately goes to the Commons."

Lord Sharkey said earlier that if the Government was not going to act, Parliament should step in to ensure Turing's family received the pardon they were owed.

The peer, who was taught mathematics at university by Turing’s close friend Robin Gandy, said it was widely accepted by experts that the code-breaker's work had shortened the war by two years, saving possibly hundreds of thousands of lives.

Lord Sharkey said: "The Government knows that Turing was a hero and a very great man. They acknowledge that he was cruelly treated. They must have seen the esteem in which he is held here and around the world.

“It is not too late for the Government to pardon Alan Turing. It is not too late for the Government to grant a disregard for all those gay men convicted under the dreadful (legislation).

“I hope the Government is thinking very hard about doing both of those things. But while they are thinking, Parliament can act.”

Baroness Trumpington said she supported the call for the Government to go further than the apology issued by former prime minister Gordon Brown in 2009.

She said that when she worked at Bletchley Park during the war, there were strict rules which forbid any staff from going in to other listening stations they were not assigned to without receiving the permission of a supervising officer to deliver a message.

This meant she only ever met Alan Turing once, the peer said, adding the Government should now erect a statue of the code-breaker.

The Conservative peer said: “This is not about legal issues but recognising the debt this country owes to Alan Turing.”

She said Britain would have starved if Turing had not cracked the codes which revealed the locations of German U-boats operating in the Atlantic, which had been able to intercept convoys of merchant ships bringing supplies from the United States.

Baroness Trumpington added: “Although I knew that (Turing) invented Colossus, which turned the war around in our favour, I cannot claim that I knew him. But I am certain that but for his work, we would have lost the war through starvation.”

Shadow cabinet office spokeswoman Baroness Hayter of Kentish Town said it was ironic that the man responsible for helping to bring down Hitler, who prosecuted and gassed homosexuals, was himself then prosecuted by the British government.

Taking her place at the Despatch Box, she said: “The irony of Alan Turing being prosecuted for his sexuality when he helped fight Hitler, who prosecuted and gassed homosexuals, was surely not lost on him.

“And how he might have smiled to find us legalising same sex marriage, and seeking to pardon him in the same week and hopefully both to be affected by 2014 - 40 years after his untimely death.”


Benedict Cumberbatch in line to play Alan Turing in The Imitation Game
Sherlock star in talks to play tragic wartime codebreaker in Hollywood biopic
Ben Child
guardian.co.uk, Monday 4 February 2013 11.57 GMT / http://www.guardian.co.uk/film/2013/feb/04/benedict-cumberbatch-alan-turing

Benedict Cumberbatch is in talks to play the British mathematician and codebreaker Alan Turing in forthcoming biopic The Imitation Game, reports Deadline.

The Sherlock star may step into the shoes of Leonardo DiCaprio, who was frontrunner to play Turing when the film was announced in 2011. The project has the ring of Oscar bait: it is based on a script by first-time screenwriter Graham Moore, which was bought by Warner Bros for a seven-figure sum after making 2011's Black List of the most popular unfilmed screenplays in Hollywood.

Turing was a wartime hero credited with cracking the German Enigma code at Britain's Bletchley Park codebreaking centre, but his life was destroyed by the period's anti-homosexuality laws. Police arrested Turing in 1952 after learning of his sexual relationship with a young Manchester man. He made no denial or defence during his trial and, rather than go to prison, accepted injections of synthetic oestrogen intended to neutralise his libido.

Turing continued to work part-time for GCHQ, the postwar successor to Bletchley Park, but his mental health is said to have suffered, and he was shut out of Britain's security operations as the country's alliance with the US increased over fears of cold war spying. He was found dead by his cleaner in 1954. The coroner's verdict was suicide, though Turing's mother believed he had accidentally ingested cyanide after a chemistry experiment. In 2009 Gordon Brown made a public apology on behalf of the British government for the way Turing was treated.

Cumberbatch is flying high in Hollywood after securing roles as the main villain in Star Trek into Darkness and as the dragon Smaug in Peter Jackson's Hobbit trilogy. He will also play Julian Assange in The Fifth Estate, a film about the WikiLeaks founder's early struggles, and is set for roles in Steve McQueen's highly anticipated Twelve Years a Slave and the film adaptation of Tracy Letts's Pulitzer prize-winning play August: Osage County.


Turing was excised entirely from the best-known recent film about Bletchley Park, 2001's Enigma. Michael Apted's film cast Dougray Scott as Tom Jericho, a character who seemed to have all the qualities of Turing, bar one vital fact: he was not homosexual and romances Kate Winslet's character.


Alan Mathison Turing, OBE, FRS ( 23 June 1912 – 7 June 1954), was a British mathematician, logician, cryptanalyst, and computer scientist. He was highly influential in the development of computer science, giving a formalisation of the concepts of "algorithm" and "computation" with the Turing machine, which can be considered a model of a general purpose computer. Turing is widely considered to be the father of computer science and artificial intelligence.
During World War II, Turing worked for the Government Code and Cypher School (GC&CS) at Bletchley Park, Britain's codebreaking centre. For a time he was head of Hut 8, the section responsible for German naval cryptanalysis. He devised a number of techniques for breaking German ciphers, including the method of the bombe, an electromechanical machine that could find settings for the Enigma machine.
After the war, he worked at the National Physical Laboratory, where he designed the ACE, one of the first designs for a stored-program computer. In 1948 Turing joined Max Newman's Computing Laboratory at Manchester University, where he assisted in the development of the Manchester computers and became interested in mathematical biology. He wrote a paper on the chemical basis of morphogenesis, and predicted oscillating chemical reactions such as the Belousov–Zhabotinsky reaction, which were first observed in the 1960s.
Turing's homosexuality resulted in a criminal prosecution in 1952, when homosexual acts were still illegal in the United Kingdom. He accepted treatment with female hormones (chemical castration) as an alternative to prison. Turing died in 1954, just over two weeks before his 42nd birthday, from cyanide poisoning. An inquest determined that his death was suicide; his mother and some others believed his death was accidental. On 10 September 2009, following an Internet campaign, British Prime Minister Gordon Brown made an official public apology on behalf of the British government for "the appalling way he was treated." As of May 2012, a private member's bill was put before the House of Lords to grant Turing a statutory pardon.As of July 2013, it looks likely to succeed, having gained government support.

During the Second World War, Turing was a leading participant in the breaking of German ciphers at Bletchley Park. The historian and wartime codebreaker Asa Briggs has said:
You needed exceptional talent, you needed genius at Bletchley and Turing's was that genius.
From September 1938, Turing had been working part-time with the Government Code and Cypher School (GCCS), the British code breaking organisation. He concentrated on cryptanalysis of the Enigma, with Dilly Knox, a senior GCCS codebreaker. Soon after the July 1939 Warsaw meeting at which the Polish Cipher Bureau had provided the British and French with the details of the wiring of Enigma rotors and their method of decrypting Enigma messages, Turing and Knox started to work on a less fragile approach to the problem. The Polish method relied on an insecure indicator procedure that the Germans were likely to change, which they did in May 1940. Turing's approach was more general, using crib-based decryption for which he produced the functional specification of the bombe (an improvement of the Polish Bomba).
On 4 September 1939, the day after the UK declared war on Germany, Turing reported to Bletchley Park, the wartime station of GCCS. Specifying the bombe was the first of five major cryptanalytical advances that Turing made during the war. The others were: deducing the indicator procedure used by the German navy; developing a statistical procedure for making much more efficient use of the bombes dubbed Banburismus; developing a procedure for working out the cam settings of the wheels of the Lorenz SZ 40/42 (Tunny) dubbed Turingery and, towards the end of the war, the development of a portable secure voice scrambler at Hanslope Park that was codenamed Delilah.
By using statistical techniques to optimise the trial of different possibilities in the code breaking process, Turing made an innovative contribution to the subject. He wrote two papers discussing mathematical approaches which were entitled Report on the applications of probability to cryptography and Paper on statistics of repetitions, which were of such value to GCCS and its successor GCHQ, that they were not released to the UK National Archives until April 2012, shortly before the centenary of his birth. A GCHQ mathematician said at the time that the fact that the contents had been restricted for some 70 years demonstrated their importance.
Turing had something of a reputation for eccentricity at Bletchley Park. He was known to his colleagues as 'Prof' and his treatise on Enigma was known as 'The Prof's Book'. Jack Good, a cryptanalyst who worked with him, is quoted by Ronald Lewin as having said of Turing:
in the first week of June each year he would get a bad attack of hay fever, and he would cycle to the office wearing a service gas mask to keep the pollen off. His bicycle had a fault: the chain would come off at regular intervals. Instead of having it mended he would count the number of times the pedals went round and would get off the bicycle in time to adjust the chain by hand. Another of his eccentricities is that he chained his mug to the radiator pipes to prevent it being stolen.
While working at Bletchley, Turing, a talented long-distance runner, occasionally ran the 40 miles (64 km) to London when he was needed for high-level meetings, and he was capable of world-class marathon standards.
In 1945, Turing was awarded the OBE by King George VI for his wartime services, but his work remained secret for many years.




Turing–Welchman bombe

Within weeks of arriving at Bletchley Park, Turing had specified an electromechanical machine that could help break Enigma more effectively than the Polish bomba kryptologiczna, from which its name was derived. The bombe, with an enhancement suggested by mathematician Gordon Welchman, became one of the primary tools, and the major automated one, used to attack Enigma-enciphered messages.
Jack Good opined:
Turing's most important contribution, I think, was of part of the design of the bombe, the cryptanalytic machine. He had the idea that you could use, in effect, a theorem in logic which sounds to the untrained ear rather absurd; namely that from a contradiction, you can deduce everything.
The bombe searched for possible correct settings used for an Enigma message (i.e. rotor order, rotor settings and plugboard settings), using a suitable crib: a fragment of probable plaintext. For each possible setting of the rotors (which had of the order of 1019 states, or 1022 for the four-rotor U-boat variant), the bombe performed a chain of logical deductions based on the crib, implemented electrically. The bombe detected when a contradiction had occurred, and ruled out that setting, moving on to the next. Most of the possible settings would cause contradictions and be discarded, leaving only a few to be investigated in detail. The first bombe was installed on 18 March 1940.
By the Autumn of 1941, Turing and his fellow cryptanalysts Gordon Welchman, Hugh Alexander, and Stuart Milner-Barry were frustrated. Building on the brilliant work of the Poles, they had set up a good working system for decrypting Enigma signals but they only had a few people and a few bombes so they did not have time to translate all the signals. In the summer they had had considerable success and shipping losses had fallen to under 100,000 tons a month but they were still on a knife-edge. They badly needed more resources to keep abreast of German adjustments. They had tried to get more people and fund more bombes through the proper channels but they were getting nowhere. Finally, breaking all the rules, on 28 October they wrote directly to Churchill spelling out their difficulties. They emphasised how small their need was compared with the vast expenditure of men and money by the forces and compared with the level of assistance they could offer to the forces.
The effect was electric. Churchill wrote a memo to General Ismay which read: "ACTION THIS DAY. Make sure they have all they want on extreme priority and report to me that this has been done." On 18 November the chief of the secret service reported that every possible measure was being taken. More than two hundred bombes were in operation by the end of the war.

Conviction for indecency

In January 1952, Turing started a relationship with a 19-year-old unemployed man, Arnold Murray, whom he had met outside the Regal Cinema when walking down Manchester's Oxford Road just before Christmas and had invited to lunch. On 23 January Turing's house was burgled. Murray told Turing that the burglar was an acquaintance of his, and Turing reported the crime to the police. During the investigation he acknowledged a sexual relationship with Murray. Homosexual acts were illegal in the United Kingdom at that time, and both were charged with gross indecency under Section 11 of the Criminal Law Amendment Act 1885. Initial committal proceedings for the trial occurred on 27 February, where Turing's solicitor "reserved his defence". Later, convinced by the advice of his brother and other lawyers, Turing entered a plea of "guilty", in spite of the fact that he felt no remorse or guilt for having committed criminal acts of homosexuality. The case, Regina v. Turing and Murray, was brought to trial on 31 March 1952,where Turing was convicted, and given a choice between imprisonment or probation conditional on his agreement to undergo hormonal treatment designed to reduce libido. He accepted the option of treatment via injections of stilboestrol, a synthetic oestrogen; this treatment was continued for the course of one year. The treatment rendered Turing impotent and caused gynecomastia, fulfilling in the literal sense, Turing's prediction that "no doubt I shall emerge from it all a different man, but quite who I've not found out". Murray was given a conditional discharge.
Turing's conviction led to the removal of his security clearance, and barred him from continuing with his cryptographic consultancy for the Government Communications Headquarters (GCHQ), the British signals intelligence agency that had evolved from GCCS in 1946. His passport was never revoked; although he was denied entry into the United States after his 1952 conviction, Turing was free to visit other European countries, although this was viewed by some as a security risk. At the time, there was acute public anxiety about homosexual entrapment of spies by Soviet agents, because of the recent exposure of the first two members of the Cambridge Five, Guy Burgess and Donald Maclean, as KGB double agents. Turing was never accused of espionage but, in common with all who had worked at Bletchley Park, was prevented from discussing his war work by the Official Secrets Act.

On 8 June 1954, Turing's cleaner found him dead. He had died the previous day. A post-mortem examination established that the cause of death was cyanide poisoning. When his body was discovered, an apple lay half-eaten beside his bed, and although the apple was not tested for cyanide,[99] it was speculated that this was the means by which a fatal dose was consumed. This suspicion was strengthened when his fascination with Snow White and the Seven Dwarfs was revealed, especially the transformation of the Queen into the Witch and the ambiguity of the poisoned apple. An inquest determined that he had committed suicide, and he was cremated at Woking Crematorium on 12 June 1954. Turing's ashes were scattered there, just as his father's had been.
Hodges and David Leavitt have suggested that Turing was re-enacting a scene from the 1937 Walt Disney film Snow White, his favourite fairy tale, both noting that (in Leavitt's words) he took "an especially keen pleasure in the scene where the Wicked Queen immerses her apple in the poisonous brew". This interpretation was supported in an article in The Guardian written by Turing's friend, the author Alan Garner, in 2011.
Professor Jack Copeland (philosophy) has questioned various aspects of the coroner's historical verdict, suggesting the alternative explanation of the accidental inhalation of cyanide fumes from an apparatus for gold electroplating spoons, using potassium cyanide to dissolve the gold, which Turing had set up in his tiny spare room. Copeland notes that the autopsy findings were more consistent with inhalation than with ingestion of the poison. Turing also habitually ate an apple before bed, and it was not unusual for it to be discarded half-eaten. In addition, Turing had reportedly borne his legal setbacks and hormone treatment (which had been discontinued a year previously) "with good humour" and had shown no sign of despondency prior to his death, in fact, setting down a list of tasks he intended to complete upon return to his office after the holiday weekend. At the time, Turing's mother believed that the ingestion was accidental, caused by her son's careless storage of laboratory chemicals. Biographer Andrew Hodges suggests that Turing may have arranged the cyanide experiment deliberately, to give his mother some plausible deniability

A complete and working replica of a bombe at the National Codes Centre at Bletchley Park

Bletchley Park: The Enigma Machine

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