I am both very proud and very happy to announce my engagement to Miss Sarah Pozner in The Times today.
I am both very proud and very happy to announce my engagement to Miss Sarah Pozner in The Times today.
This week’s edition of ¡Hola! magazine (13 May 2015) Spanish parent of Hello! magazine, opens with myself and Sarah in a long feature with the headline of “Alexander Fiske-Harrison, the English ‘gentleman’ that one day became an expert on bullfighting” (pp.4-12.) Although I see we got bumped from the cover by Princess Charlotte of Cambridge.
The formal portrait and landscape shots were taken at Otley Hall in Suffolk, which once belonged to my forebears, for which I would like thank Ian and Catherine Beaumont who own it today and the great fashion photographer Andrea Savini. The photos from my days in ‘the world of the bulls’ with the likes of Cayetano Rivera Ordóñez, Juan José Padilla and Don Adolfo Suárez Illana are by the great photographer de arte Nicolás Haro.
I enclose the text of my interview in the original English below. Please note the introduction and caption are written by Mamen Sánchez, not me. Mamen is director of ¡Hola!, granddaughter of its founder, and author of The Altogether Unexpected Disappearance of Atticus Craftsman (Random House, 2015), which I am so enjoying reading at the moment.
Although I have moved my blog on bullfighting to its own site, The Last Arena, my involvement in Spain is no less intense, from my tourism consultancy (see the end of the interview below) down to my bedtime reading: Mamen’s book is joined by the historian Robert Goodwin’s latest Spain: The Centre Of The World 1519-1692 (Bloomsbury, 2015) which I am reviewing for The Spectator.
I should like to thank the Hotel Alfonso XIII in Seville for putting us up – there is a reason I have kept coming back for fifteen years – and Gieves & Hawkes, No.1 Savile Row, for providing my suit (the navy one, the only item of clothing I wore at Otley Hall of my own) – there is a reason my family has come back to you for three generations – and Ralph Lauren for providing Sarah and I with clothes in the Feria de Abril in Seville this year.
(All media enquiries to firstname.lastname@example.org)
Alexander Fiske-Harrison comes from one of the oldest and most illustrious families in England. Fiske-Harrison are the descendants of Margaret Plantagenet, daughter of the Duke of Clarence, brother of Edward IV and Richard III, Kings of England.
Educated at Eton, he holds Masters in Arts and Sciences thanks to his studies in Philosophy and Biology at the Universities of Oxford and London. Son of a prosperous investment banker in ‘The City’, Alexander can presume to be the genuine “gentleman”. Elegant, humanist, lover of nature and man of letters, he is the author of numerous books and essays, a playwright and a regular contributor to newspapers and magazines including The Times, Financial Times and The Spectator.
Following in the footsteps of Ernest Hemingway, there awakened in him an interest in bullfighting which brought him to Spain, first as a researcher and later as an authentic lover of the ‘fiesta de los toros’. From the hand of great Maestros such as Juan José Padilla, Eduardo Dávila Miura and Cayetano Rivera Ordóñez and through his friendship with Adolfo Suárez Illana [son of Spain’s first democratic president, the Duke of Suárez], who first introduced him to the world of bullfighting, Alexander has become a valiant bullfighter. He killed a bull of Saltillo and participated in various festivals, he has run for six years in the bull-runs of Pamplona and has written one of the most referenced books on the world of bullfighting: Into The Arena.
A total discovery, Alexander, greets us with his fascinating girlfriend, Sarah – Senior Legal Advisor to BUPA Global and captain of the polo team “Legal Beagles” -, in Otley Hall, a historic Tudor Manor in the county of Suffolk. This building, dating from the 16th Century, connects the Fiske-Harrison family and the Kings of England, and a great-granddaughter of Margaret Plantagenet here contracted marriage with the then Lord of the Manor of Otley Hall, John Gosnold.
As I was on holiday in France this piece was filed too late for publication in The Spectator, so I’ve posted it here – AFH
Watching the reburial of King Richard III, this writer was struck by how the unearthing of his bones was being sold to those who would buy it as the unearthing of the ‘truth’ about a much maligned monarch. Conversely, Shakespeare’s play of the same name was being touted as the very zenith of propaganda and the Bard of Avon himself as a sort of Goebbels with the tongue of Goethe; history’s most gifted author prostituting his talents to defame the last and most discrete of its true kings, the Plantagenets, to justify the brash and barbaric usurpers who followed, the Tudors.
I myself, attempting to judge events in the context of the time, take the view that the Duke of Gloucester – the name by which he was most commonly known, having held the title from age 9 – was nothing more than a minor product of those crude times whose only notability lay in providing inspiration for one of our greatest artist’s first decent works and through that stabilising a nation that had suffered two generations of civil war. In death and dramatic ignominy Gloucester achieved more for his country than his rather prosaic savagery did in life.
The first point to be made is that there isn’t a historian worth the name who doesn’t hold Gloucester responsible for the death of his nephews – the 12-year-old King Edward V and his younger brother Richard, 4th Duke of York – the ‘Princes in the Tower’.
On the death of Gloucester’s eldest brother, King Edward IV, Gloucester became Lord Protector and had the princes sent to the Tower of London “for their own safety”. He then announced that young Edward V’s coronation would be delayed, and not long afterwards the children were proclaimed illegitimate due to their father’s alleged bigamy. Two weeks later – 6th July 1483 – Gloucester was crowned King of England and France (and Lord of Ireland.) The princes were neither seen nor heard from again. [Read more…]
The entire bullfighting content of this blog has now moved onto its own blog, which still goes under the old name of The Last Arena and can be found by clicking here…
Further to my post below, I just published this in The Spectator … http://blogs.spectator.co.uk/culturehousedaily/2015/01/blunt-is-right-being-posh-in-the-arts-is-career-suicide/ I wonder whether anyone cared about the background of Welles (family of money), Brando (poverty), Nicholson (poverty) or Ordóñez (family of bullfighters). AFH
I’m moving the bullfighting portion of this blog onto a new site, ‘The Last Arena’, because my work is returning to its pre-Into The Arena diversity, however, until then, it will be a rum mix. Now, Marlon Brando had nothing to do with bullfighting and his only remark on it was to Playboy magazine in an interview with Lawrence Groebel (reprinted in Conversations With Brando):
PLAYBOY: What else offends you?
BRANDO: Bullfighting. I’d like to be the bull but have my brain. First, I’d get the picador. Then I’d chase the matador. No, I’d walk at him until he was shitting in his pants. Then I’d get a horn right up his ass and parade him around the ring. The Spaniards don’t think anything more of picking an animal to pieces than the Tahitians do of cutting up a fish.
That said, he does look remarkably like the matador José Maria Manzanares…
Anyway, when I trained as an actor, it was at the Method acting school The Stella Adler Conservatory in New York, which not only boasted had Marlon Brando as a alumnus, but, while I was there, he was its chairman.
The only word to apply to Brando in terms of his art, which was performance on film, was genius. At the time I was obsessed with acting and so I was fascinated by him. I am not alone in this, amongst actors, no one is rated more highly, as Jack Nicholson -who provides the title quote to this post – put it in an article on his friend and neighbour in Rolling Stone magazine,
So I mean it when I say that if you can’t appreciate Brando, I wouldn’t know how to talk to you. If there’s anything obvious in life, this is it. Other actors don’t go around discussing who is the best actor in the world, because it’s obvious – Marlon Brando is.
As I ease this blog onto another site, ‘The Last Arena‘, so that I have a personal, more general blog here, I saw in the news today that Francis Crawford of Lymond was voted the greatest fictional character in Scottish literature, beating the likes of Sherlock Holmes, Harry Potter and Ivanhoe. I read the ‘Lymond’ books – six novels of historical fiction beginning with The Game Of Kings in 1961 – at the insistence of my brother Byron, who himself had been given them to read by a fellow Army Officer, and continued with them as an undergraduate historian at St. Andrews. I went on to read the eight Niccolò novels which prequelled them for myself. They are astonishing and addictive books without compare in genre or literary fiction. By coincidence, I was writing at the time for the rather serious The Times Literary Supplement – where Virginia Woolf first reviewed James Joyce’s Ulysses and Henry James and T. S. Eliot contributed – when her final novel, Gemini, came out. Her first book had been reviewed in The TLS (or Lit. Supp. as older readers know it), so I reviewed her last, and through it her life’s work. A little while later I received a letter to thank me – which is a rare occurrence in itself (General Lord Richards is the only other example that springs to mind) – but I went on to receive a telephone call, out of the blue, the following August inviting me to dinner at the Caledonian Club in London. We were the sole diners in the room (pictured below), as she liked to dine early, but we stayed late enough drinking her favourite whisky. I had turned 25, the month before, she had turned 78 the week before. It was one of the great encounters of my journalistic career. When I read her obituary less than three months after, I realised that she must have known she was terminally ill when she called me – the young unknown writer destined to be her last reviewer – and gave to me one of the few evenings she had left alive. Below is the review: naïve, portentous, but sincere and of some value. I hope it explains in part why her character has been chosen as the best Scotland has ever produced. Alexander Fiske-Harrison
Dorothy Dunnett is a notable figure in the world of Scottish letters. Seventy-seven this month, she has completed the final novel in her eight volume The House of Niccolo series, the “prequel” to her six-volume The Lymond Chronicles (1961-75). Lady Dunnett has published twenty-three books (including a detective series, a novel about Macbeth and a guide to the Scottish Highlands) as well as serving as a trustee for the National Library of Scotland, on the board of the Edinburgh Book Festival, and as a Fellow of the Royal Society of Arts; in 1992, she received an OBE for services to literature. According to her own account, she was a professional portrait painter, first exhibiting in the Royal Scottish Academy in 1950, who ran out of novels by her favourite authors – the likes of Alexandre Dumas, Rafael Sabatini and Baroness Orczy. So her husband, the late Sir Alistair Dunnett – knighted for services to journalism and Scottish life in 1995 after sixteen years as Editor of The Scotsman – suggested she wrote her own. Her first book, The Game of Kings, was published in 1961.
The House of Niccolo series begins in 1459, with Niccolo, an eighteen-year-old dye-yard apprentice in Bruges. The period covered by the novel saw the beginning of a north-westerly migration of wealth from the Mediterranean basin, first to Bruges and Antwerp, and after, under the oppression of the Habsburgs, on to Amsterdam and London. An unprecedented explosion of wealth from trade led to a unique, and short-lived, social mobility between the mercantile classes and the landed aristocracy, giving rise to the merchant princes. The Renaissance was gaining momentum, much accelerated by an exodus of scholars to the West, following the fall of Constantinople six years earlier. Seven novels later, we find Niccolo a formidable figure, a master of trade and politics, who – among other adventures – has been present at the fall of Trebizond, visited the great schools of Timbuktu before its destruction in 1468, dabbled in the Cypriot succession and, most recently, fought with Charles the Bold at the Battle of Nancy.
Against this vast historical and geographical backdrop, a fictional family history unfolds. Niccolo was rejected as illegitimate by his mother’s husband, the beautiful and vicious Simon de St Pol, and when he tries to prove his legitimacy, he is met with force, both physical and financial, from Simon and Simon’s father, the formidable Jordan de Riberac. Niccolo works his way up from the lowly position they have forced on him, using a range of talents deriving from his almost superhuman abilities with mathematics, thus fulfilling the ideal of the Renaissance man.
Niccolo is soon in a position to exact revenge on Simon, and it is this which earns him the mistrust of his friends, especially when he attacks his paternal family by bankrupting their country, Scotland. This is symptomatic of his one great flaw; Niccolo lacks malice, but he has no conscience when lost in the workings of his own plans. “I’d begun to notice I’d gone too far . . . it was beautiful. Wheels are beautiful.” Scotland is also the winning stroke in his conflict of eight years with his wife, Gelis. She tries to prove herself his equal but ends by accepting that no one could be. By the beginning of Gemini, they are reunited, and Niccolo returns to Scotland for reparation and to neutralize the threat from his paternal family. An added difficulty is that Simon is blindly bringing up Niccolo’s son, Henry, as his own. The striking physical resemblance between Simon and Niccolo’s son could prove Niccolo’s origins, but he reckons the damage caused by such a revelation would be too great. The author has no such qualms, and in Gemini, Dunnett mercilessly ties up all loose ends. No more can be said without giving away the plot, for this is well and truly the last volume of a series. It can be read on its own, but should be taken as the conclusion of a great work.
Fiction is always constrained by fact, and nowhere more so than historical fiction, where the author must fit the story in the spaces between recorded history. This is why Sir Walter Scott held that historical figures should feature as secondary characters only. Dunnett gets around this difficulty by thorough research. There are something like 600 names in the character list for Gemini, of whom fewer than fifty are not “recorded in history”. This is perhaps too many, and is more than she has previously used.
In two areas, however, Dunnett seems to lose her attachment to a realistic historical narrative. The first is the weight given to astrology (hence the titles of the books) and divining, which increases as time passes. It is hard not to link this with her philosophy of history, which views the course of events as a directed stream, in an almost Hegelian sense, the avatars of which are the great men, fictional and real, who are central to her narrative. Dunnett may hold neither view personally, but both traits in the fiction suggest an underlying mysticism. Fortunately, the reader is not expected to swallow this completely.
Dunnett’s style is not the neutral prose of genre fiction and can be opaque and hard to read, especially in the early works. The rhythm of her writing is often awkward in descriptive passages containing unwieldy lists of information, and this is combined with an archaic manner, something of which historical novelists are often guilty. At times, this works with the melodramatic content to produce a powerful, almost operatic mixture. As Dunnett has progressed, her style has become less mannered, and has developed, exhibiting more modern techniques such as short, tight sentences and the use of repetition. Her strongest writing is in the dialogue (and internal monologues), where she displays her characters’ intelligence while masking their intentions. Her characters’ speech is filled with apt quotation, sometimes a little too much so. One would expect men of learning to know their Greeks, Romans and the Bible; obscure allusions to authors such as William Dunbar, the Pleiade poet de Baif, and the playwright John Heywood are used lightly – often just a phrase – and usually left unidentified and untranslated.
However, it is neither as a literary novelist nor as a historian, but as a writer of historical fiction that Dorothy Dunnett deserves recognition. She has taken two men, Lymond and Niccolo, who, like all heroes of romantic fiction, are described almost exclusively in superlatives, and thought about how such “megalopsychic” creatures would affect and be affected by those around them.
This psychological realism within the fantasy is matched by the convolutions of plot. A mere fifty pages before the end of Gemini, we discover that one of Niccolo’s oldest friends, familiar to the reader over 4,000 pages and twenty-five years, is one of his most implacable enemies. We then discover that Niccolo has always known this, and resisted taking action for reasons of consanguinity. The revelation is rendered credible by a lightly drawn but consistent trail of evidence and by the technique of never revealing a character’s whole thoughts, even when the narrative perspective is within the character’s mind. The author’s patience and complexity run through both series of novels, which are themselves linked, a fact made obvious by the first physical description of Simon. The publication of Gemini completes an ambitious literary circle.
P.S. When I say the writing of Dorothy Dunnett is an inspiration to me – as much as Dostoevsky or Hemingway, Wittgenstein or Camus – I mean it. Take for example this passage from my book on bullfighting Into The Arena, where I muse on the different types of courage whilst visiting the British Army on Salisbury Plain before taking a plane to run the bulls of Pamplona.
…[whereas the matador] must not only stand fast and use his training with the bull, but he must dance with it, linking a series of passes with the cape into a deliberately chosen faena, which contains within its graces and exquisite and esoteric death.
Which owes a rather obvious debt to the passage in The Game of Kings when Francis Crawford of Lymond enters into trial by combat with his own brother.
…[both siblings] were natural swordsmen. The slipping and tapping of the fine blades, the unfurling movements growing smokelike one within the other, showed no traces of the grim and gritty striving of a moment before. It was classic swordplay, precious as a jewel, beyond any sort of price to the men watching, and concealing within its graces an exquisite and esoteric death.