ROMANCE

It’s St Valentines Day so a few words on the subject of Love, which I take to be (in the case of love between two humans) the condition resulting when a cocktail of respect, compatible skin texture, pheromone attraction and a strong dose of sexual desire are present. When all these are mutual and reciprocated you have the ingredients for a life-long partnership; if you toss in Romance you have the possibility of an eternal love affair. Romance is the icing on the cake of love. Love is foregoing Sunday golf to carry out the attic conversion your Lady has always wanted. Romance is when your Honeybee hangs from a chandelier wearing nothing but a bin-liner while you sip Moet from her Manolo Blahniks. Love is sharing the same bank account; romance is sharing a midnight gondola on the Grand Canal. Providing both parties haven’t flopped into a life of track-suits and thongs, romance can last a lifetime, even after that hip replacement or removal of a prostate. Romance requires effort and imagination, while a shared interest in poetry, music or the fine arts can place the whole thing on a higher plane. Once settled into marriage some men no longer wish to discuss the romantic sentiments that first brought about the union. Ella Kellog, after staring at the back of her husband’s newspaper at the breakfast table, asks him if he loves her. Unenthusiastically but firmly lowering his paper Dr Kellog says ‘My dear, I love you, I have always loved you, I will always love you. And I never wish to discuss the subject again’ [1]. Declarations of passion must not be out of context. A shared sense of humour can assist a lasting marriage but an erotic imagination will prolong the romance. Romance is the intellectualization of love; the very word referring to that period of medieval history when love became a religion amongst certain sections of French and Sicilian nobility, its codified rules known as ‘courtly love’ – a term coined in the late 19th century. Broadly, the rules are based upon the theory that true love is incompatible with and irrelevant to marriage, quite the opposite of Frank Sinatra’s position [2]. Unconsummated and even unrequited love for a married (and therefore unmarriageable) woman was calculated to produce a better courtier, a knight keen to distinguish himself in battle, a distant and adoring suitor with clean fingernails and polished boots. Andreas Capellanus, who in 1184 wrote an explicit guide to courtly love, was quite clear on the issue. ‘Love’, he claimed ‘can endow a man of even the humblest birth with nobility of character’ [3]. 19th century English poet A E Houseman was of the same opinion:

Oh, when I was in love with you,
Then I was clean and brave,
And miles around the wonder grew
How well I did behave.

And now the fancy passes by,
And nothing will remain
And miles around they’ll say that I
Am quite myself again.

And, finally, who can forget Jack Nicholson’s line to Helen Hunt in the 1997 movie ‘As Good as it Gets’ – ‘You make me want to be a better man’.

It’s not known to what extent the rules of courtly love were actually put into practice (considering adultery was a crime at the time as opposed to its contemporary position in Western society as a casual pastime). Perhaps courtly love was more a topic for discussion in that period of highly ritualized behaviour, a tasty theme for the songs and lays of the itinerant troubadours and the growing swag of legends kicked off by Chretien de Troyes in the latter part of the 12th century. This was the gentleman who spawned countless romance novels, poems and films based upon Arthurian legend. The affair between Sir Lancelot du Lac, the preux chevalier and Arthur’s Queen, Guinevere, is pure courtly love. Capellanus drew heavily on Ovid’s treatise on love ‘Ars Amatoria’ (The Art of Love), which is not a Roman version of the Kama Sutra but a series of maxims:

 ‘Wine gives courage and makes men more apt for passion’

‘To be loved, be lovable’

‘Let love steal in disguised as friendship’

‘Darkness makes any woman fair’ (deeply inappropriate, but you can’t deny the logic)

Is romance dead? Opening a door for a woman or helping seat a lady at table once upon a time would have scored a man a scented scarf to wear on his lance at the next tournament or even a file to remove a chastity belt. Now a chap risks abuse for sexist behavior. Am I alone in thinking that grunge is anti-romantic? How would Lancelot or the Duke of Windsor (Duke of Womaniser?) have fared in board shorts, thongs and a Tee shirt emblazoned with ITALIANS DO IT BEST?

Here are a few of the great love stories:

Adam & Eve
They hold the marriage longevity record at 930 years. Adam fathered a son at the age of 130, another world record. And they began the begetting.

Odysseus and Penelope
10 years to sail from the Hellespont (Dardanelles) to the Ionian island of Ithaca? Come on! And such an outrageous list of excuses for getting home so late! Still, she stuck by him and he did tie himself to the mast when he sailed past the Sirens, which separates Odysseus from a lot of married men.

Robin Hood & Maid Marion
Some people have tried to relate the legends to historical characters but there’s nothing to support the love affair. A lot of the romance we associate with this couple is based upon the scene from the 1938 film ‘The Adventures of Robin Hood’ when Errol Flynn climbs the castle wall and declares his love for Olivia de Havilland. ‘Robin and Marion’, with Sean Connery and Audrey Hepburn in the title roles, also helped perpetuate the myth. According to legend Marion relieves Robin of the agony from his mortal wounds by polishing him off with poison. An early case of euthanasia.

Paris and Helen
From the pen of Homer. Helen, the Kim Kardashian of her day, runs off with Paris, the weakest of the Trojan princes, infuriating her husband King Menelaus and initiating WW1BC.

Calvero and Terry
From Charlie Chaplin’s 1952 film ‘Limelight’. Calvero, a failed clown, now a penniless alcoholic, forms a romantic association with Terry, a suicidal dancer with dodgy legs. The whole thing ends tragically for Calvero. Hmmm, sounds very like my first marriage.

Anthony & Cleopatra
This is the real McCoy. Fiction endowed with gravitas and tragic grandeur with lines that make Romeo and Juliet seem melodramatic and unbelievable. When all is lost Anthony does what a man must do ‘Finish good lady; the bright day is done and we are for the dark’.

Duke of Windsor & Wallis Simpson
The man who would not be king. The Prince of Wales, born to be king, gives up the throne of England for a divorcee born to shop.

ElizabethTaylor & Richard Burton
The personification of Anthony and Cleopatra. The Vatican condemned the affair as ‘erotic vagrancy’. Burton said it was like ‘clapping two sticks of dynamite together’ [4].

Horatio, Lord Nelson & Emma, Lady Hamilton
Married, diminutive hero with one arm and one eye forms an adulterous relationship with married fan dancer. Nelson’s fellow countrymen ignore his last request, made as he lies dying aboard his ship, that Lady Hamilton be provided for by the nation. He now gazes down over London from an 185ft high column; she lies six feet under in an unmarked grave somewhere in Calais. Ah oui, ah oui.

Ivanhoe & Rowena & Rebecca
Wilfred of Ivanhoe, returns from the Crusades determined to win back the favour of his father, one of the few remaining Saxon nobles, and to marry his father’s ward, Lady Rowena. Ivanhoe is assisted in his struggle against the arrogant Normans by Rebecca, daughter of Jewish Patriarch, Isaac of York. Loved by two women, Ivanhoe settles for the Saxon Rowena in accordance with Ovid’s maxim – that if you would marry suitably you should marry your equal. Sir Walter Scot’s 1830 novel was influential in a revival of Romanticism that was later expressed in the Pre-Raphaelite movement. In the film Robert Taylor chooses the aenemic Joan Fontaine over the darkly beautiful Elizabeth Taylor.


[1] ‘Welcome to Wellville’. 1994 film about Cornflake King Dr Kellog and his Battle Creek Sanatorium where he provided his patients with yogurt enemas.

[2] That ‘love and marriage go together like a horse and carriage’

[3] Andres Capellanus ‘De Amore’. From The Art of Courtly Love JJ Parry trans., F Locke, ed (New York: Frederick Ungar), 1954

[4] Marie Claire 22/7/2013 Elizabeth Taylor and Richard Burton: The Most Turbulent Love Story Ever Told

Love is in the Air

It will be of no surprise to you that I can recall with astonishing clarity a girl who passed me on the elevator at Chalk Farm tube station in 1959 but cannot remember where I left my reading glasses five minutes ago. Among the choicest souvenirs in my mind’s cluttered ephemera are images of girls I never even spoke to. I remember a girl in the choir at St Stephens in Lower Norwood that inspired the purist of loves in a 12 year old schoolboy. Later there was a girl in a café in Gothenberg whose perfect Nordic beauty bordered on imperfection.(1) And then there was Number 16. Number 16 and her fiancé were the sixteenth couple programmed to be married one Saturday morning in the Mairie of Paris’ 15th Arrondissement. Clutching my ticket number 17, I was standing a few steps below her on the marble staircase with my own fiancée and small wedding party, just one degree of separation from the blonde, Polish beauty in front of me that I should have been marrying. The time to bolt was right then instead of in 5 years time, but I delayed and delayed as we moved slowly and steadily up the staircase, past a bust of the Phrygian-bonneted Brigitte Bardot, until suddenly there we were signing the register under the bored gaze of the tricolour-sashed Mayor himself. And then there was the “coup de foudre” that hit me at 11pm on 26th October 1977 when I was sitting in the departure lounge at Orly-Sud Airport.

I was looking at the owner of a cloud of ash-blonde hair and a pair of cornflower blue eyes, a tall woman, “bien en chair” with strong features and a rash of freckles; a stranger with a face I felt I had always been expecting. In contrast to most of the women in the room pretending to look bored by the prospect of transatlantic air travel or tired at the late hour, she looked bright and expectant. Her eyes may have swept over the 35 year old accountant but if they did they found nothing to arrest them. The lounge was packed for the flight to Rio and as usual the ground staff of the carrier, Varig, seemed incapable of restricting many of the 380 odd customers to a single item of cabin baggage. I’d been on this flight several times over the last months, and when boarding was finally called I made my way to my preferred spot on the aisle at the back of the bus. I had hardly settled in and nodded briefly to the man occupying the window seat next to me when the girl from the lounge came down the aisle. This time our eyes met as she passed by and settled into a seat a few rows back in the central block of seats. Eventually the DC10 began to roll. I was not a white-knuckle flier in those days and already had my head in the Herald Tribune as the plane gathered speed. At some point the ride began to get bumpy and it seemed we were taking forever to lift off into the night sky. My neighbour, who had been gazing idly out of his window, suddenly burst into life, “Jesus Christ the f*****g engine’s on fire!”  I leaned over; sure enough the starboard engine was enveloped in flames. Just as the cries of panic and alarm began to spread throughout the cabin the pilot threw all engines into reverse. The backward thrust of the two functioning engines (the DC10 has an engine in the tailplane) began to slow us and (as I learned later) we had not quite reached V1, the point when the ‘plane must take-off, and so we sailed on, over the end of the runway, through a bank of landing lights and across the grass until we finally ground to a stop metres from the fence that separated airfield from motorway. Later I learned that the plane had been over-loaded, a tyre had burst and we had been rolling along on the metal undercarriage, sending shards of metal and sparks into the starboard engine and causing it to ignite. Twenty three years later a similar accident occurred when a piece of metal left on the runway at Charles de Gaulle burst the tyre of a departing Concorde resulting in a punctured fuel tank. In this case the Concorde pilot had exceeded V1 and was obliged to take-off; the plane crashed minutes later, killing all on board. A few seconds longer on the runway and that would have been our fate.

Meanwhile the panic intensified. Further down the cabin a hostess opened an emergency exit only for the chute to inflate inside the cabin where it was hacked away by frantic passengers before they jumped. I grabbed my hand luggage and headed towards the rear exit. The girl from the lounge was groping in an overhead locker. I helped her down with her bag (strictly against emergency procedures) and propelled her to the rear exit where we slid, almost together, down the chute. When we reached the ground, cabin crew pulled us to our feet and pushed us off into the night, telling us to get as far away from the aircraft as possible. A hundred metres from the ‘plane we sat on the grass, watching the fire engines douse the burning engine and the ambulance crews dealing with the broken limbs of the passengers who had jumped. A bottle of duty free whiskey was produced and we settled down to wait for a lift back to the terminal. I don’t believe in fate or the supernatural, just luck, good or bad and the extent to which either strikes just depends upon the random cocktail of the hour. To the chance encounter, to whatever it was in a stranger’s face that drew me to her, had now been added the shared experience of danger. It was a powerful combination. The face before me when “the bolt of Cupid fell” belonged to Audrey Guy, a ground hostess working at the Air France terminal at Les Invalides and on her way to see a friend in Sao Paolo. She was a divorcee, a committed Basque nationalist and that rare jewel, a French Anglophile.

Eventually the buses arrived to round up the scattered passengers and we were taken to the Orly Hilton where we were offered free accommodation until the next flight, scheduled for the following evening. I suppose there must have been brief envelope of time, perhaps a nanosecond, when I decided not to go home and not to telephone my wife. Such a decision, with its possible long-lasting repercussions, seemed to require no internal argument at all, no assessment as to whether this was right or wrong; I would spend more time choosing a ball-point pen. By the time I reached the concierge there were no more single rooms. I asked Audrey if she would care to share a double. She would. In the anonymity of the hotel room there was an absence of awkwardness and an air of expectant intimacy, but within minutes of hanging a “Do Not Disturb” sign on the door, Audrey was violently sick and immediately fell into a deep, drunken sleep. I cleaned her up and slept chastely in the other single. Audrey was unable to find even a jump-seat on the flight the next day, but eventually we met up in Brazil; it was the beginning of an affair that lasted 3 years and which ended where it had all began, at an airport, although this time it was Linate.

Thirty years later my friend Pierre-Jacques, at home in Paris, was reading “Les Miracules du Ciel” a collection of personal accounts from survivors of air disasters (2) when he recognized a story entitled “Catastrophe, Miracle et Histoire d’Amour” (Disaster, Miracle and Love Story). Audrey had contributed her account of the Varig incident and the beginning of our affair. Some of the facts had been changed. In the book Audrey and I were sitting together; she is also described as an air rather than ground hostess, using her expertise to open the rear exit door, something apparently beyond the capabilities of the Varig cabin staff. Furthermore, the Audrey I knew was not the person described in the book as someone who “hardly ever touched alcohol”. Once, in the back of a taxi on our way home from a bout in a Rio night club, she was sick into my jacket pocket, but I loved her at the time and so didn’t really mind.

1. Tennyson’s Maud was “Faultily faultless, icily regular, splendidly null.”

2. “Les Miracules du Ciel” by Jean-Pierre Otelli. 1998, Editions Altipresse.

Drugs and Artistic Creativity

In 1906, a young Italian painter, Amedeo Modigliani, arrived in Paris and joined the bohemian colony of struggling artists in Montmartre. When he arrived, Modigliani was sober and well-dressed; within a year he had become a dissolute sociopath, heavily addicted to absinthe and to hashish, which he took in pellet form. Within sixteen years he was dead, destined to become part of the already well-established myth of the questionable marriage between art and drugs. His friend and biographer, Andre Salmon, wrote that it was Modigliani’s ‘impatience to become a genius’[i] that drove him to his addictions, later claiming that ‘from the day that he abandoned himself to certain forms of debauchery, an unexpected light came upon him, transforming his art’.[ii] It seems evident that Modigliani, like many artists and writers doubting the potency of the creative talent on which their livelihood depended, took drugs to relieve the burden of possible failure. It is less evident that drugs transformed his art, for, if his painting did improve, who is to say it was not practice, the influence of a happy marriage and a reduced drug intake during his last years that were responsible? Alternatively, given that absinthe is a stupefacient and that hashish can induce depression as well as euphoria, it is possible that Modigliani’s addictions were actually detrimental to his artistic output if not to the quality of his art.

Modigliani’s story, while certainly not uncommon in some respects was unique in others. Every case of drug use will have a different effect on the user, occasioned by his personality, prevailing mood, the locality and time of administration and the drug itself. Norman E. Zinberg codified these variables into what he called ‘Drug, Set and Setting’, claiming that ‘it is necessary to understand in every case how the specific characteristics of the drug and the personality of the user interact and are modified by the social setting and its controls’.[iii] Modigliani’s drug of choice was hashish, produced from the resin of the cannabis sativa plant. With a maximum THC content of 15%, taken in large doses the drug, reportedly, may cause a user to hallucinate.[iv] The use of cannabis and opium can be traced back thousands of years. Sadie Plant points to evidence of opium use in European Neolithic settlements, in Egyptian tombs of the fifteenth century BC and in ancient Rome, although it is not clear if the drugs were used for other than medicinal and healing purposes.[v] However, it is more recent times and the indigenous peoples of the Amazon basin that provide some first real evidence of the effect of hallucinogenic drugs on human consciousness. This evidence is important because, first, the drug (most commonly Yage) is taken by the user with the express intention of entering into a trance and using whatever visions were experienced for specific benefits to the community. Second, there is evidence of its impact. The impact cited by Andrew Weil in his paper ‘Clues from the Amazon’ [vi] does not point to life altered by psychotic, drug induced dreams, but to the complete absence of addiction and abuse. Weil attributes this ‘success’ to the positive objectives of the drug taking (normally healing or religious ritual), the purity of the unadulterated plant life that constitutes the drug and the ceremonial or ritualistic circumstances under which the drugs are administered, normally by a spiritual leader or shaman.

The factors that made drug taking in remote areas of the Amazon basin harmless or even beneficial were entirely absent in the cities of the industrialised world, where, in the mid-nineteenth century the mind-altering qualities of opium first began to be examined. Alethea Hayter, in her study ‘Opium and the Romantic Imagination’, identifies three groups of people (excluding those who take opium as a pain killer) who are likely to experiment with drugs. The first group consists of the curious, the seekers of novel experiences; the second, those desiring rest and freedom from anxiety, and the last, those who take pleasure in participating in ‘secret rites and hidden fellowships’.[vii] In 1821, English writer and intellectual, Thomas De Quincey, provided the first serious study on the effects of opium on human consciousness with the publication of Confessions of an English Opium-eater. Although a curious intellectual, De Quincey discovered opium in taking it as a medicine finding, at the same time, ‘the secret of happiness’ and his pains ‘swallowed up…in the abyss of divine enjoyment’.[viii]  Outside of his ecstatic eulogies De Quincey also provided some meaningful insight into the effects of opium on the sub-conscious and creativity.

De Quincey’s basic observations, which were to be subsequently confirmed by other opium users, covered several important topics. He claimed that ‘The sense of space, and in the end, the sense of time, were both powerfully affected’. [ix] He underlined that the experience taught him nothing new but, in the words of Martin Booth, ‘embellished what already existed, heightening awareness of latent thoughts and imagination’, in other words, improving creative talent but only in the event that the idea already existed.[x] De Quincey also reports that his memory was vastly improved and that he was able to recollect ‘the minutest incidents of childhood’.[xi] Finally he addressed the negative aspects of the drug, claiming that it rendered him too weak to record his extraordinary dreams in print and that it induced feelings of anxiety and melancholy.[xii] Later, the dreams, once of extraordinary shapes and colours, would become agonising and frightening nightmares. De Quincey, in managing to control his life-long addiction, lived to a reasonably old age and enjoyed a happy personal and professional life.

While the creative advantages expressed in Confessions of an English Opium-eater undoubtedly influenced others writers to experiment with opium, notably Edgar Allen Poe, Charles Baudelaire and Nikolai Gogol, there were many others who had discovered the drug for themselves. Many were introduced to it in the form of Laudanum, a medicine composed of opium powder and alcohol, sold without prescription until the early twentieth century. During the nineteenth century, among the millions of opium addicts trying to alleviate their misery from the gold mines of California to the dens of Shanghai, elitist groups sprang up – those hopeful that the drug would lead to enlightenment or artistic creativity. One such group formed the Club des Hashischins, while the Romantics, a group of European writers active between 1770 and 1840, included several authors who experimented with drugs. Samuel Taylor Coleridge, who was at the very centre of the Romantic movement, found inspiration for his poetry in laudanum, at the cost of his health and his income from lecturing. [xiii]

In 1954 mescalin became briefly popular when another curious intellectual, Aldous Huxley, self-administered the drug to test its possible spiritual uses. Huxley experienced the same vivid dreams, disassociation of mind from body and intensification of colour, but the result was the same – the drug can only extract what already exists within the subconscious. He concluded that it was useful as an alternative to words. [xiv] It was a synthetic drug, Lysergic Acid Diethylamide (LSD), discovered by Swiss chemist Albert Hofmann and championed by Harvard professor Timothy Leary, that became the drug of choice for musicians and artists in the ‘swinging sixties’. Even the CIA and US military, who found it caused anxiety and was therefore useful to the interrogation process, examined it closely. Again the results were the same; LSD could send you briefly to the stars, but it could also cause the user to become ‘paranoid and bewildered’.[xv] It also proved relatively unhelpful to the artistic community. Writer Anais Nin found the drug did nothing to inspire creativity; Jack Kerouac felt the drug had permanently harmed his health.[xvi] Writer Julia Ward Howe thought that to use drugs to help write was actually cheating. [xvii]

Hashish, opium, mescalin and LSD – there is no evidence that they can expand human consciousness beyond what already lies in the user’s memory. As British writer Arthur Koestler said, after experimenting with LSD, ‘There’s no wisdom there. I solved the secret of the universe last night, but this morning I forgot what it was’. [xviii]

Drugs therefore cannot contribute to artistic creativity by providing material that did not already exist in the artist’s conscious. The positive contributions that opium, cannabis and hallucinogens have made to artistic creativity lie in two different areas. First, the addicts’ world, together with the fantastic and sometimes gruesome visions that drug-induced dreams produce, have been the subject and inspiration for many fine novels and poems, notably Coleridge’s Kubla Khan and the stories of Edgar Allen Poe. Second, drugs provide, for some artists, the only influence under which they can be in any way productive. It enables the artist, perhaps poor and tortured by the possibility of failure, to escape ‘the cosmic suffering that is the inescapable lot of the Romantic artist’.[xix] It becomes not a benefit but a necessity, even though the costs, financial, physical and mental may be severe. Negro jazz musicians in turn-of-the century New Orleans, Toulouse Lautrec and Modigliani all spring to mind. Personally, I always find my art, writing, cooking and life in general improve after the second glass of wine, but that’s just my opinion.


[i] Salmon, Andre (1957) Modigliani, a Memoir, London: Jonathan Cape 1961. p.61

[ii] Werner, Alfred (1967) Amedeo Modigliani. London: Thames & Hudson. p.20

[iii] Zinberg, N E. (1984) ‘Historical Perspectives on Controlled Drug Use’. In Drug, Set and Setting: the Basis for controlled Intoxicant Use. Yale University Press. P.15

[iv] Nordegren, Thomas (?) The A-Z Encyclopedia of alcohol and Drug Abuse

[v] Plant, S. (2000) ‘Private Eyes’. In Writing on Drugs. New York: Farrar, Straus & Giroux, pp..4-5

[vi] Weil, Andrew, ‘Clues from the Amazon’ in The Natural Mind: an investigation of Drugs and the Higher Consciousness, Weil, Andrew 1986.

[vii] Hayter,A. (1968) ‘Case Studies.’ In Opium and the Romantic Imagination. London: Faber, p. 40-41

[viii] Booth, M. (1996) ‘Pleasure Domes in Xanadu’. In Opium: a History, London:  Simon & Schuster, p.36

[x] Booth, M. ‘Pleasure Domes in Xanadu’. In Opium: a History, p.36

[xi] Booth, M. ‘Pleasure Domes in Xanadu’. In Opium: a History,  p.38

[xii] Booth, M. ‘Pleasure Domes in Xanadu’. In Opium: a History,  p.38

[xiii] Booth, M. ‘Pleasure Domes in Xanadu’. In Opium: a History,  p.44

[xiv] Huxley, A. (1972) ‘The Doors of Perception’. In ‘The Doors of Perception and Heaven & Hell. London: Chatto & Windus, p52.

[xv] Levinson, M.H. (2002) ‘The Quest for Instant enlightenment: Drugs and Literary Creativity’. In The Drug Problem: a New View Using the General Semantics Approach, Westport, CT: London, Praeger. p. 88

[xvi] Levinson, M.H. (2002) ‘The Quest for Instant enlightenment: Drugs and Literary Creativity’ p.88

[xvii] Levinson, M.H. (2002) ‘The Quest for Instant enlightenment: Drugs and Literary Creativity’ p.86

[xviii] Levinson, M.H. (2002) ‘The Quest for Instant enlightenment: Drugs and Literary Creativity’ p.88

[xix] Carpenter, L. (2001) ‘Enhancing the Possibilities of Desire: Addiction as Post-modern Trope’ (Opium, Heroin, and the Novelists of the romantic Imagination), Southern Humanities Review, 35 (3): p.232

Bibliography

Booth, M. (1996) ‘Pleasure Domes in Xanadu’. In Opium: a History, London:  Simon & Schuster, pp. 36-49.

Carpenter, L. (2001) ‘Enhancing the Possibilities of Desire: Addiction as Post-modern Trope’ (Opium, Heroin, and the Novelists of the romantic Imagination), Southern Humanities Review, 35 (3): 228-251.

Cohen, Sydney, (1965) Drugs of Hallucination, London: The Scientific Book Club.

Hayter, A. (1968) ‘Case Studies.’ In Opium and the Romantic Imagination. London: Faber, pp.36-66.

Hodgson, B. (1999) ‘The Writer’s Muse’. In Opium: a Portrait of the Heavenly Demon. San Francisco: Chronicle Books, p.83-103.

Huxley, A. (1972) ‘The Doors of Perception’. In‘The Doors of Perception and Heaven & Hell. London: Chatto & Windus, pp.40-78.

Lee, M.A.(1992) ‘Psychedelic Pioneers’. In Acid Dreams. New York: Grove Wiedenfeld, pp.44-70.

Levinson, M.H. (2002) ‘The Quest for Instant enlightenment: Drugs and Literary Creativity’. In The Drug Problem: a New View Using the General Semantics Approach, Westport, CT: London, Praeger. pp.75-92

Plant, S. (2000) ‘Private Eyes’. In Writing on Drugs. New York: Farrar, Straus & Giroux, pp.3-32.

Salmon, Andre (1957) Modigliani, a Memoir, London: Jonathan Cape 1961.

Zinberg, N E. (1984) ‘Historical Perspectives on Controlled Drug Use’. In Drug, Set and Setting: the Basis for controlled Intoxicant Use. Yale University Press. Pp.1-18

Cooking With Fat

My mother was a good cook. I’m inclined to say simple but good, but in retrospect her cooking required the patience, timing and talent that rendered the technically difficult outwardly simple. Two of her dishes – tripe with onions and brawn (which required soaking a pig’s head in brine for 24 hours and simmering for another 8 hours before the gelatinous meat could be picked off the bones) demand more time and effort than most would nowadays be prepared to spend. “It must be tasty” she would say as I watched her poaching a piece of smoked haddock for my father’s breakfast or dragging a sizzling joint of silverside from the oven. She was unafraid of offal and her pies were as they should be, with a roof of light, sugar-dusted shortcrust pastry punctured by a ceramic chimney that supported it and allowed the steam to escape. She claimed that her own mother’s food was uneatable and that she had learned her cooking from her father, a chef on the railways in the days when dinner on the Brighton Belle or The Flying Scotsman was an enjoyable 3 course meal instead of a factory produced sausage roll and tea in a Styrofoam cup. The need for speed and convenience has done much to take away one of life’s great pleasures, the preparation of food and its enjoyment in company.

Home-made brawn may seem adventurous to today’s Sydney housewife but Mum would not have been considered an adventurous cook in her time. The culinary revolutions that did occur, such as that created by Elizabeth David with the publication of “Mediterranean Cooking” in 1950, passed her by and she was still serving up her same roast-based repertoire even when Dad’s teeth could no longer deal with meat.

Like most kids in post-war London, I was permanently hungry and kept alive in that era of food rationing by the humble but potentially lethal cuisine of the times. Mid-meal hunger was assuaged by doorstep sized slices of bread liberally covered in dripping (the congealed fat from the last roast) or an assortment of sandwiches, their fillings ranging from butter and sugar to Marmite and even evaporated milk. In spite of this diet and a supplement of halibut liver oil capsules and a daily spoonful of Virol (a malt extract), photos of me in the late 1940s reveal a spindly pair of legs dangling like pieces of string from a pair of oversized shorts. Our cat however, ate in a feline “El Bulli”, tucking into fresh fish and boiled rabbit. If Mum had cared to read “Mediterranean Cooking” the family might have dined occasionally on lapin au moutarde while the cat roughed it on Jellymeat Whiskas. As it was I developed a taste for rabbit by picking at the cats’ food as it was being prepared; together with stealing lumps of raw beef and bacon this habit prepared me for an instant appreciation of steak tartare, lapin chasseur and jambon de Bayonne when I arrived in France.

Along with every other citizen my diet was severely limited by the introduction of food rationing in January 1940, occasioned by the volume of imports lost in mid-Atlantic to German submarines. Rationing continued for 15 years, ending finally in July 1954, when the last remaining restriction (on meat) was lifted. I was 12 years old when Mum handed me a bent, yellow object, which she described as a banana. I was 9 years old when chocolate and candy became derestricted and I no longer had to hand over a coupon for an ounce of Bulls Eyes. To my knowledge the Germans never had to endure rationing and continued to tuck into their pig’s knuckles and sauerkraut delivered under the Marshall Plan.

At prep school, lunch was always accompanied by an obligatory quarter pint bottle of silver top milk. There was a greater choice of milk in those days, which in the 1940s was delivered by horse and cart along with the horse droppings, which Mum scooped up and dug into our rose beds. In later years real horsepower was replaced by batteries powering a small electric float. The different qualities of milk were distinguished by the colour of the foil capsule, silver, green, red, and best of all the gold with three or four inches of bottleneck filled with yellow cream. You needed to be on hand soon after a delivery of gold top in case a tit or blackbird decided to stick its beak in.

Now you collect your own carton of milk from the supermarket where the creamiest product would not even merit a silver top; after that there’s a rapid downhill slide through Lite and Pura to disgusting soy milk, fit only for oiling the lawnmower although I’ve frequently seen it used to contaminate a perfectly good coffee. Along with full cream milk, the milkman also passed into history, depriving many a bored housewife of his casual company and eliminating the source of a thousand dirty jokes.

Alan Davidson, in his “Penguin Companion to Food”, confirms my suspicion that cream no longer tastes like it did. He attributes this to the introduction of mechanical separation (so that cream is no longer allowed to “ripen”) together with pasteurisation. Surely a few people can be sacrificed to the odd batch of lethal bacteria to provide the majority of us with the taste of proper cream.

England has always endured a harsh reputation for its cuisine. In fact the word “cuisine” hints of a refinement that only seems apposite to the country of the word’s origin. In France, I became accustomed to hearing “On ne mange pas bien la-bas, n’est ce pas?” whenever I told someone my nationality. England was the land of over-roasted beef, of vegetables boiled until the colour of army fatigues, of fish encased in batter the thickness of the Polar Ice Cap.  It was a country of five cheeses and a thousand and one types of cake. In 1582, while the English were gnawing bones, the French were using forks on the duck course at La Tour D’Argent. While French and Italian housewives were using olive oil and butter my mother was using enough lard (pig fat) and suet (beef or lamb fat) to grease the wheels of the entire rolling stock of British Rail. Our larder (from the Latin Lardarium) was what it sounded, a place for storing fat. Behind this unfortunate but largely merited reputation lays the fact that ever since 880 AD, when King Alfred (distracted by an invasion of Danes) allowed a peasant woman’s cakes to burn, women have been in charge of the nation’s cooking. Where we had Hannah Glasse, Mrs Beeton, Elizabeth David and Jane Grigson, France had Vattel, Parmentier, Brillat-Savarin and Escoffier and more latterly Paul Bocuse and the Troisgros brothers.

In the early sixties there was a shift in the English attitude to food. Coffee, once poured in essence form from bottles sporting a picture of an Indian Army Officer, diluted with hot water and sweetened with a spoonful of evaporated milk, was now discharged from Espresso machines and enjoyed in coffee bars. Olive oil, previously only available in chemists for medicinal purposes, now appeared in litre drums in Soho delis. Importantly, Simone de Beauvoir published “The Second Sex” encouraging women to abandon their aprons for a two piece suit, while Len Deighton, famous for spy novels like “The Ipcress File”, published “Ou Est Le Garlic?” making cooking an acceptable interest for blokes. The Swinging Sixties placed English cuisine in the hands of men; we were now fighting on a level playing field with the French. But the sixties had only sown the seeds and it was another 20 years before there were tangible signs of the revolution. Raymond Blanc was one of the first of the men-cooks to achieve fame with his Manoir aux Quatre Saisons, which as you will gather from the name, is heavily influenced by Blanc’s native France. It was in the mid 90s that Jamie Oliver, who would normally have been a shipping clerk, became the first male celebrity cook, spawning Gordon Ramsey, Heston Blumenthal, Fergus Henderson and many others. The X-rated Nigella Lawson is the exception to the rule.

The fact that England and Australia are both currently represented among the top ten best restaurants in the world, says nothing for the overall standard of cuisine in those countries. Heston Blumenthal’s signature dishes at England’s Fat Duck include snail porridge and smoked bacon-and-egg ice cream – the sort of thing a 12 year old would dream up to shock his parents. The people who voted Fat Duck into the top 10 are the same people who judge the Turner Art Prize and the Man Booker. It’s a vote for multiculturalism; these are dishes produced in a country that no longer has an identifiably English cuisine although it did have some recognisably English dishes once upon a time – potted shrimps, Lancashire hot pot, Simnel cake, Yarmouth bloaters, Melton Mowbray pie, syllabub, pikelets, popovers and Johnny cakes to name a few. In between “Ou Est Le Garlic?” and now England has opened its doors to Eastern Europe and the Indian sub-continent and its cuisine has been largely lost in a sea of curry and kebabs or even worse, “Fusion”. If English is your thing, make for my favourite London restaurant, Fergus Henderson’s “St John” in Smithfield and try his Roast Bone Marrow on Toast, Bath Chaps and Baked Treacle Pudding. Brilliant.

A Clerk’s Tale

“You have of us, for now, the governance,
And therefore do I make you obeisance,
As far as reason asks it, readily.”

 Chaucer; The Canterbury Tales
Prologue to The Clerk’s Tale

Where did all the clerks go? Once upon a time the City of London was full of them – Shipping Clerks, Ledger Clerks, Articled Clerks, Head Clerks, Senior Clerks, Junior Clerks – they were a unique species, a race genetically designed to ensure the continued functioning of the world’s greatest financial centre. And suddenly, like the dinosaurs 200 million years before, they disappeared. As in the case of the Tyrannosaurus Rex the disappearance of the clerk was gradual and the result of not one but several events. But we can safely point to October 27th 1986 as a key date in the clerk’s demise, the day of the “Big Bang”, the day London’s financial markets became deregulated, spelling the end of the quaint old boy network, a feudal system of privilege and administrative serfdom that had managed to survive since the Middle Ages. After the Big Bang came the technology revolution, replacing thousands of clerks with PCs, reducing handwriting to an arcane craft and turning the fountain pen into a luxury item. Of course, even after these events there were still plenty of clerks in the City but the Shipping Clerk was now a Forwarding Agent, the Solicitor’s Clerk a Para-legal, the Ledger Clerk an Assistant Accountant. Only the Clerk of the Course and the Clerk of the Closet remain, the latter an ecclesiastical appointment with the responsibility of covering up the indiscretions of homosexual priests.

Mine was an accidental clerkship, entered into when I still had no idea what I wanted to do with my life. In the early 60s I was staying on and off with Clive (who I had met at University in Grenoble) at his Belgravia flat, a present from his father who sought privacy with his new and much younger bride. Clive’s father gave me occasional work recording music for his Mayfair supper club, the “41 Room” in Dover Street, and kindly offered me a traineeship with Dow Chemical. In between entertaining his costume designer wife’s showbiz friends at his house in Hyde Park Gardens and dining at Les Ambassadeurs, he managed Dow’s European operations. At that time the company was on a roll with its new product “Lurex” and had not yet become notorious for trying to incinerate the whole of Indochina. I had also been accepted at the St Martins School of Art but while I was still considering these options Clive informed me that he was going to become a Chartered Accountant and had signed Articles with Deloitte, Plender and Griffiths (or “Do Little, Plunder and Great Fees” as it was more commonly known). Accountancy was a mystery to me at the time but listening to Clive I could see that here was life insurance with the whole premium paid up-front and a ticket to anywhere. My mistake was thinking that it was something to fall back on if the paintings didn’t sell. Once a clerk, always a clerk. A few weeks later I was articled to David D’Eath, partner of Dunn, Wylie and Co, a medium sized firm of Chartered Accountants located in Ropemaker Street, a few yards from Moorgate tube station. David D’Eath was the one of the younger audit partners, tall, patrician and good-looking with an eye for the ladies. Allan Davis, another audit partner that I would work for, had come up the hard way. I liked to think of David D’Eath as the James Mason character and Allen Davis as the John Mills character in “Tiara Tahiti” (1). Davis did the work, ending up as Sir Allan, Lord Mayor of London(2), while his ex-colleague loafed around with Jilly Cooper at house parties in Gloucestershire, toasting his partner’s success. There were a couple of tax partners, gruff but kindly Scotsmen and like many City offices, our receptionist was a uniformed veteran of the Great War, lungs scarred with mustard gas. This was the City when professional fees were still denominated in guineas, when coal fires warmed pokey offices in Cheapside, a half of mild and bitter at Dr Butler’s Head(3) was 11 (old) pence, the bowler hat was still worn and British Rail had not yet phased out the “Ladies Only” compartment (4). To alleviate what little stress existed in business at the time men still ignited, sucked, cleaned and handled pipes. The pleasures of caressing a polished cherry-wood bowl, of watching a rising whisper of smoke, of inhaling smouldering Virginia Flake enriched with molasses and latakia have all long been outlawed, replaced by the embarrassing spectacle of Tai Chi or the dubious benefits of Aromatherapy.

My starting salary was five pounds per week, increasing by a pound per week for each year of Articleship. There was no time for clerks to supplement their earnings with a part-time job as there were exams to be studied for after a full day of work. Studying alone by correspondence course was difficult as I was easily distracted, particularly by our next door neighbour’s daughter, Laura, who was intellectually backward and sexually forward, an exciting combination for those of us interested by her pouting lips and overdeveloped bosom. It also took me a long time to understand just what accountancy was all about, that it was nothing to do with maths but about the subtle wording of reports that satisfied the shareholders to whom it was addressed (and who were paying the bill) that the company was financially sound and at the same time alerted the creditors and regulatory agencies to impending collapse. It also took me a time to appreciate the genius of Luca Pacioli, a Franciscan Friar who in 1494 had codified the principles of double entry bookkeeping in his “Summa de Arithmetica, Geometrica, Proportioni et Proportionita”. Once Pacioli’s formula, as beautiful in its way as E=MC2, is understood, even the complexities of a conglomerate merger can be solved in a twinkling. But these were not issues that I and my fellow clerks encountered in our day to day work, which largely consisted of examining documentary support for book entries and checking the additions of columns of numbers without the benefit of an adding machine. There were no computers and no mobile phones. There were also no lady clerks in those days; the only women in the office were in a heavily policed pool of typists, secretaries and comptometer operators.

While Clive seemed to spend his whole working life checking the payroll records of British Leyland, the clerks of Dunn Wylie roamed city and countryside, working with a clutch of smaller but more interesting clients. In his house in St George’s Hill, Weybridge, the kindly Russian émigré proprietor of the Blen Chi Tea Company interrupted work each afternoon to give us lessons in tea tasting. At the Helga Greene Literary Agency(5) I was surrounded by the works and correspondence of Raymond Chandler and in the company of the writer’s last mistress. At Painters Hall in Little Trinity Lane, home to the Worshipful Company of Painters Stainers,(6) there was a collection of medieval gold, silver and pewter plate to marvel over and check to the records. In Clements Inn we shared the boardroom of “The Municipal Journal” with the proprietor’s son, John Hemming(7)lately back from the Amazon jungle and writing “The Conquest of the Incas”, a first step to his becoming Director of the Royal Geographical Society. But the best client of all was United Newspapers and the passport it provided to the thrill of Fleet Street. In the client’s cramped quarters in Mitre Square we worked on the boardroom table of Punch magazine(8), adding our initials to the more famous names carved by James Thurber, AA Milne, Ronald Searle, Princess Margaret and William Makepeace Thackeray. At lunch time we slipped into the dark labyrinth of Ye Olde Cheshire Cheese in Wine Office Court or shouldered our way into the eternally crowded El Vino, where, at that time, women were only admitted with a male escort and were not allowed to stand at the bar or to buy drinks. This was Fleet Street before the death of the linotype machine and the removal to the bleak outpost of Canary Wharf. Nothing was more exciting for a life-struck ingénue, than to stand among the hard drinking reporters from the Daily Express, Daily Telegraph and News of The World in The Tip or The Harrow, listening in to tales of the Berlin Wall, Hemingway’s suicide, Kennedy’s Camelot, nuclear disarmament and the debut of a new folk talent called Bob Dylan. It was at lunch one day in Fleet Street that we watched Reg Foster and Brendan Mulholland of the Daily Mail frog-marched out of the pub by the police to begin a six month prison sentence for refusing to disclose the source of their articles on the spy case involving Christopher Vassall(9), a government official convicted of spying for the Soviet Union.

Still wanting to be an artist in Montmartre and at the same time afford to shop at Harrods I compromised by spending some of my evenings at the Brush and Palette in Queensway, where for the price of an espresso, you could sketch a tastefully draped nude, using the free stick of charcoal and paper provided. Waiting occasionally on table was Noel Howard-Jones who I had known at Cranleigh. He was a year or two older than me and from a different house so we had little more than a nodding acquaintance. Before my first visit to the Brush and Palette Noel had struck up a friendship with another customer, a Harley Street osteopath called Stephen Ward who had been kind to Noel, lending him money to help him out as he struggled to support himself at University and inviting him for weekends at his rented cottage on Viscount Astor’s estate overlooking the Thames at Cliveden. He had also introduced him to Christine Keeler, then a topless showgirl at Murrays Cabaret Club in Beak Street.

While Noel was enjoying a brief affair with Christine Keeler, I was seeing a dark haired divorcee of twice my age. Mary, a consultant with Mervyn Hughes & Co, a recruitment company for professional accountants run by the eccentric Colonel Muggeridge(10), had “placed” me with Dunn Wylie after which she decided to help me with other aspects of my education. Our relationship was not entirely confined to the bedroom of her apartment in Dolphin Square, (by chance, also home to both Christine Keeler and spy Christopher Vassall) and we continued to be friends long after we had both found other partners.I was also in love with the city itself, where Thames-side warehouses, yet to be converted into luxury apartments, still gave off an aroma of the spices they had stored for hundreds of years, where Billingsgate and Covent Garden were still markets for fish and vegetables and where the male staff of Fortnum & Mason wore morning dress as they sold you a packet of McVite’s Digestive biscuits. Affordable rents meant that Charing Cross road was still full of second hand bookshops and you didn’t need to make an appointment or queue for three hours to wander into Sir John Soane’s museum at lunchtime. At the Café des Artistes in Redcliffe Gardens I could dream of Montmartre, inhaling the sweet smell of hemp among the Chianti bottle candle holders and scallop shell ashtrays. But best of all was to slip up Great Windmill Street into that square mile of sinister excitement bounded by Oxford Street, Regent Street, Shaftsbury Avenue and Charing Cross Road. An oasis of Bohemia, a square mile of seedy elegance and sexual promise. It was, as Daniel Farson wrote, “a land of anticipation, if seldom realized.” Into Moronis’ newsagency on Old Compton Street for a copy of Private Eye or Continental Film Review and then a seat on a coffin for an espresso at Le Macabre. A stroll through the stalls at Berwick Street market and a rifle through Doug Dobell’s jazz records at his shop in Charing Cross Road, then back through a gauntlet of pea-shooting ‘leisure workers’ at their first floor windows in Green’s Court. Somewhere Francis Bacon was working in his bordello of a studio by the light of single bulb, the sunlight shut out by blankets over the windows, until later, like a badger, he would emerge into the night and slope down Archer Street and into Charlie Chester’s Casino. At the Coach & Horses Jeffrey Bernard would be drinking in the company of Daniel Farson and Dylan Thomas, gathering material for his future Low Life column in The Spectator. Soho and the freedom it seemed to promise were addictive. I wanted to be part of it and had pinpointed my future digs in St Anne’s Court. The wheels of my dream fell off nightly, like Cinderella’s coach, as I ran to catch the last train back to suburbia and the suffocating presence of my mother. I was a sponge, easily impressed by anything that smacked of the unusual, the unforseeable, the untried. My role models were hard-drinking losers, romantics, artists, failed intellectuals, social misfits; Simon Raven springs to mind. So do “Dandy Kim” Caborn-Waterfield(11), Jeffrey Bernard, DH Lawrence, Ernest Hemmingway and Toulouse-Lautrec.

We were an odd bunch of clerks, Rodney, earnest and bepimpled, portly Old Etonian, Sir Andrew C, lamenting the loss of the family estates by a gambling mad grandfather. Brothers Donald (ex-Charterhouse) and Ian (ex-Cranleigh) argued incessantly. Ian S was bookish, Rod belligerently Scottish. Gerald had a weakness for a tarty slip of a girl from the classifieds department of the Yorkshire Evening Post. John Y left before qualifying to take up a job in a Greek shipping company the offices of which were packed with a zoo-load of stuffed animals slaughtered by the proprietor in a determined bid to rid the world of animal life. I remember John’s desk lamp, the skin and horn of an antelope and his in-tray, an elephant’s foot complete with toe nails. I had one friend from the typing pool, Mabel, a sad but kind, single lady in her late 40s who was committing suicide in daily instalments at the Green Man. One evening, legless after one gin too many, we took her home where she showed us a whole wardrobe of rubberware, once worn for the delectation of the lover who had abandoned her, and now, like its owner, perishing quietly in a damp, basement flat in Pimlico. Ian W, who might have still been a friend today, died on a squash court before he was forty. Simon, once the naughtiest of the naughty, is still my friend.

In 1962, talk in the pubs and wine bars of Fleet Street of manned orbits of the earth, the execution of Adolf Eichmann and Sophia Loren’s bigamy was increasingly displaced by rumours of an indiscretion concerning a leading government minister and his connection to a Russian spy. The small chinks of sunlight, as the curtain of post-war depression and deprivation was pulled aside to let in rock and roll, Carnaby Street and the Way In at Harrods, were still shrouded by the Iron Curtain. Alarmed by the Cuban Missile crisis, the capture by the Russians of British spy Greville Wynne(12) and the arrest of Christopher Vassel, rumours of another Cold War incident spiced with a government official’s adultery was the stuff of journalistic Nirvana. The gossip focused on a party at Cliveden in July of the previous year, when Stephen Ward had introduced a girl to John Profumo, then Secretary of State for War; the girl was the same Christine Keeler he had introduced to Noel Howard-Jones and, fatally for Ward, to Yevgeny Ivanov, naval attache at the Soviet Embassy. The circle was joined. Eventually the rumours became so rife, so pointed, that George Wigg, a Labour MP raised the question in the House of Commons. It was only a matter of time before John Profumo was forced to address the indirect accusations. At first he chose, as many do, denial, but in the end he was forced, as many are, into an abject admission. Bloody retribution for all involved, guilty or not, was swift.

Hounded by the press, selected for punishment by the hypocritical constabulary and judiciary as an example to others, Ward committed suicide during his prosecution for living off immoral earnings. He took his life in the flat of Noel Howard-Jones one of the few friends to remain loyal, leaving a short note in which he left Noel his white, XK 150 convertible. John Profumo resigned from the Commons, dedicating his life to Toynbee Hall, a charitable institution in the East End, until his death in 2006, his whole life ruined by one small indiscretion with a brainless fan dancer and the lie he told to cover it up. Harold Macmillan resigned on the grounds of ill health and was replaced by a chinless, Scottish sheep farmer, Sir Alec Douglas-Home, who was gusted aside with the rest of the Tory party in the General Election of 1964. Christine Keeler was jailed for nine months on unrelated perjury charges. As her looks faded she returned to her caravan camp origins, the brief flame of her youthful beauty kept alive by Lewis Morley’s nude portrait of her astride an Arne Jacobsen chair. Noel left England and was never seen again at the Brush and Palette.

It was, as Dickens wrote of another age, “the best of times, it was the worst of times”.

  1. “Tiara Tahiti” 1962 film, a satire on the class system pitting the effortlessly suave, upper class layabout (James Mason) against the successful but lower class businessman (John Mills).
  2. Sir Allan Davis GBE, Lord Mayor of London, 1985. He was also Trustee of the unique and wonderful Sir John Soane’s Museum. In April 1986, along with my ex-colleagues at Dunn Wylie, I received an invitation to a reception for Sir Allan at the Mansion House.
  3. “Dr Butler’s Head” – pub dating from 1616 in Manson Alley off Coleman Street.
  4. Eventually disappeared in 1977, but actually available (for couchettes) on some French and Scandinavian rail.
  5. Helga Greene was the last mistress and UK literary executor of American writer Raymond Chandler, author of the Philip Marlowe novels (“The Big Sleep”, “Farewell My Lovely” etc.). Chandler, who was at Dulwich College from 1900 to 1905, proposed to Ms Greene from his Los Angeles hospital bed one month before he died in March1959.
  6. First reference to the Painters Guild, whose members decorated, gilded and coloured solid objects (wood, metal, stone) was in 1283. The first reference to the Stainers, who applied colour to woven fabrics was in 1263. The two city liveries came together in 1502 as The Worshipful Company of Painters Stainers.
  7. In 1961 John Hemming, Richard Mason and Kit Lambert (later Manager of The Who) were part of the Iriri River Expedition in Central Brazil. Mason was killed by poisoned arrows, the last Englishman ever to be killed by an uncontacted tribe. ‘The Conquest of the Incas’ was published in 1970.
  8. Punch magazine folded in 2002 and the boardroom table was sold to Mr Al Fayed around which he doubtless briefed his lawyers on his pursuit of the Duke of Edinburgh for the death of his son in the Pont de L’Alma tunnel.
  9. William John Christopher Vassal, British civil servant who, under the threat of blackmail (Vassal was a homosexual) spied for the Soviet Union. He was convicted and imprisoned in 1962.
  10. Elder brother of journalist (and one time editor of “Punch”) Malcolm Muggeridge.
  11. Michael “Dandy Kim” Caborn Waterfield. Old Cranleighan, con-man, lover of Diana Dors and man about Chelsea. At Cranleigh School in the late 50s I read that he had been arrested for stealing jewels from film maker Jack Warner’s villa in the South of France and wrote to him at Fresnes prison offering him the House petty cash funds. He never replied.
  12. My sister and brother-in-law once found themselves sitting next to Greville Wynne at the cocktail bar of their hotel in Majorca. Wynne, a member of MI6, was captured by the Russians in Budapest in 1963. He was released in exchange for the Russian spy, Gordon Lonsdale, the following year.