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Profile: Rory Stewart

One of 25 hand picked for the Foreign Office fast track, Rory Stewart quit after five years to go wa

Early life

Stewart was born in Hong Kong in 1973. His father Brian, a military man had fought on the beaches of Normandy and then became a diplomat, while his mother Sally, is an academic and economist. He has two older half sisters and one younger sister.

At eight he came to the UK where he was educated at Eton and Oxford, with a stint in the Black Watch in between.

While in his third year Stewart was ‘half talked into’ applying for the Foreign Office (FC0) by his mother. Despite his reluctance he was one of 25 hand picked to join the coveted FCO career fast track.

Foreign and Commonwealth Office

It was September 1995 when Stewart started working at the FO in London. For the first time, he says, he felt like he was actually doing something. “I was living in London,in my own flat, getting to walk across St James’ park in the mornings, going to work in a beautiful building.”

Despite flying around to different embassies and feeling the job was a joy he was starting to get tired. Exhausted from chasing girls, partying and, of course, working, his next move, two years later, was Indonesia.

“Suddenly I was in a suburb on East Java and living with a family, learning Indonesian. Everything about growing up in Malaysia came flooding back to me. I felt fitter, brighter and happier.”

After a couple of months he was put into the embassy in Jakarta, running the economic section. It was shortly after his start that the Asian financial crisis of 1997 hit. “It was very exciting and not too dissimilar to what is happening here now. The experience taught me that experts don’t always know what’s going on.”

Despite everyone saying the economy was going so well, Stewart says he was one of the pessimistic people who predicted the depth of that crisis. “Everyone’s predictions go out of the window. And I believe we’re still there.”

After two years, Stewart was then posted to Montenegro in the wake of the Kosovo campaign. This time he wasn’t a member of a large team but on his own.

“I definitely had one of those moments, where you take a step back and look at what you’re doing and think ‘this is ridiculous!' I was sent as the British representative and I was only 26."

It was prestigious, interesting and his closest boss was in London.

Was he taken seriously though being so young? “I might have had more luck if I was older but at the time I wasn’t conscious of my age being a problem. Everyone was very polite and obviously people did want to be seen to be working with Britain.”

Stewart sees both Indonesia and Montenegro as unusual postings. “They were surreal and almost comical, I had to give the impression obviously that this was all totally natural.”

Walking and books

Once his time in Montenegro was up, Stewart decided to leave. He'd been with the FCO for five years. It was at this point that he began the walk that would lead to his critically acclaimed book, The Places in Between. He had previously taken a two week walk while in Indonesia to Irian Jaya with two friends. This time around it was to last 20 months and he was to be alone for most of it.

Stewart has claimed that he didn’t feel he was cut out for a standard FCO posting and so wanted to just try something new. Stewart says walking is his way to free his mind, to contemplate and learn. Initially Stewart planned to walk around the world, however, plans change and in the late summer of 2000 he headed East from the Turkish-Iranian border.

He began moving across Iran with ‘protection’ but after three months of both suspicion and hospitality he couldn’t get his visa renewed and so moved on to the next country.

It was a journey fraught with difficulties though. He was barred from entering Afghanistan, then Pakistani officials prevented him from entering Baluchistan. He then trekked from Pakistan to India, adopting a local look (a turban, salwar kameez, turban and walking stick) in order to make life easier. Then on to Nepal.

It was by January 2002 that he began his trek across Afghanistan. It was to take him six weeks. The US troops had just invaded and had toppled the Taliban. “I watched how communities worked, how villages interacted with one another. I learnt their customs, rules and codes.” It came to be an invaluable understanding of societies suffering in the aftermath of conflict.

Iraq

In 2003 the invasion of Iraq was about to take place and, supporting the decision, Stewart was keen to get out there and help in any way he could.

He constantly sent emails but was getting no response. “I decided to get a taxi from Jordan to Baghdad, just me and the taxi driver.” He arrived in Baghdad and immediately reported to the Director of Operations who was pleased to see the eager volunteer told him to go home and await instruction.

“I wasn’t completely convinced that anything would come of it.” But it did and in August 2003 Stewart found himself the deputy governor of Maysan province in Southern Iraq, with a population of 850,000 people. He was not yet 30.

“When I returned I basically tried to apply what I’d learnt on my walk. I had learnt how they spoke of government, learnt what power means.” His 20 month trek had put him in an invaluable position. “Knowledge and sensitivity is important in these situations. You’re in someone else’s country and you are there to help. This is something you need to keep reaffirming. You are here temporarily and that it’s their country but also that you have value and importance to them. You need to stress that you both have access to power and resources. And you need to have faith in people, you need to convince people that they have the capacity to change their own life.”

For Stewart, personal relationships were very important. Each governor had a different approach, some completely unlike Stewart’s. “One friend was very legalistic in his approach. He would say ‘this is my budget, this is the paper work, less personal politics’, I think if dealing with a society where state and government have collapsed and you’re working in rural areas then you’re not likely to get far by emphasising an institution and process when what they’ve seen of that has horrified them.”

They were two tough postings; jobs that involved fending off an insurgency, negotiating hostage situations and tribal vendettas but he was aided by the knowledge gained from his walk and his ability to speak Dari and Farsi, no one was better equipped.

Having supported the invasion Stewart now believes that we should leave Iraq as soon as possible.

“As time went on it was clear that Iraq was the wrong war. It was impossible; we weren’t going to make any progress.” A three day siege on his compound, led by a friend, was example of this. As the mortars fell, how did this make him feel? “I think I realised that this was a war, it’s not a personal act, it’s not that he didn’t like me, he just didn’t like the occupation. I still think he was a charming man.”

Afghanistan

In 2006 Stewart found himself back in Afghanistan. He set up the Turquoise Mountain Foundation to work on the regeneration of the historic commercial centre of Kabul, as well as providing jobs.

One of its first tasks was to clear the city of 900 cubic metres of rubbish. Since then the Foundation has gone from one employee to 350. “I spent a long time negotiating with the community to convince them that this was a worthwhile idea; then I had to get the Afghan Government on board.” In this time they have also established the country’s first higher education Institute for Afghan Arts and Architecture, with the backing of President Karzai.

The hardest part of the job now is the money that needs to be raised. Lots of it. “This year I’ve had to raise US$22m. Lives and jobs depend on me. There is a great sense of responsibility. At the moment I’m trying to raise $2m and the winter is coming - in a city on the edge of becoming a war zone. In one month I’ve spent $550,000 on repairing 60 buildings.” Stewart hopes that it will all be complete by 2010.

What about Barack Obama’s supposed ideas for Afghanistan? “I’m very excited by Barack. People I know that work with him think he’s a good guy.” His views on Afghanistan are ones that Stewart would like to change though. “It’s a replica of the Bush administration at the moment; it’s the wrong way to look at things. Our relationship shouldn’t be electro shock therapy, there should be more patience.”

Future

Moving away slightly from cultural restoration Stewart is due to take on the role of Professor at Harvard University in January 2009. He will be a professor of human rights – teaching and running an academic faculty as the Director of Harvard Kennedy School’s Carr Center for Human Rights Policy. What about the Foundation? “I’ll remain executive chairman and Harvard have been good enough to pay for me to keep going out there.”

Is there time to relax? “I don’t get as much time as I’d like. Seeing family is important.” His parents are now in their 80s and settled at the family home in Crieff, Scotland. “Three weeks ago I went to northern Spain from New York. I had eight days free and I went along the Pilgrims route from Astorga to Compostella doing about 25 miles a day. It was the most wonderful opportunity to refresh my mind and have clear thoughts.” For the first time in three years he didn’t pick up a phone or an email.

Not only is there a new job in academia but also the movies. Hollywood has started to speak Stewart’s name and after Brad Pitt bought the rights to his life, Orlando Bloom is due to portray the young ‘adventurer’. Jokingly he says he’d really like Judi Dench to play him.

From diplomat to walker to governor to founder now the inspiration for a movie – it's quite a career for someone who is just 35.

James Parrott Collection Christophel Alamy
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The love affairs of Stan Laurel: "If I had to do it over again things would be different"

A romantic who craved stability, the English comedian Stan Laurel led a Hollywood love life as chaotic as his films’ plots

The comedian Stan Laurel was, even by the standards of his time, a prodigious correspondent. The Stan Laurel Correspondence Archive Project contains more than 1,500 artefacts, and these are only the documents that have so far been traced, as many of his early missives appear to have been lost. He was, quite literally, a man of letters.

His punctiliousness about correspondence can be ascribed, at least in part, to his natural good manners, but letters were also a means of filling his long retirement. He outlived his screen partner Oliver Hardy – “Babe” to his friends – by almost eight years but refused all offers of work during that time. Instead, heartbreakingly, he wrote sketches and routines for the duo that would never be performed. It was, perhaps, a way for Laurel to speak with Babe again, if only in his head, until he followed him into the dark on 23 February 1965.

Though Laurel and Hardy have never been forgotten, they are currently undergoing an energetic revival. Stan and Ollie, a film dramatisation of their later years, starring Steve Coogan as Stan Laurel and John C Reilly as Oliver Hardy, is scheduled for release in 2018. Talking Pictures TV is to start showing the duo’s long features from September. Sixty years since Oliver Hardy’s death on 7 August 1957, the duo will soon be rediscovered by a new generation.

They were such different men and such unlikely partners. Laurel was born Arthur Stanley Jefferson in 1890, in Ulverston, then part of Lancashire, the son of AJ, a theatre manager, and Margaret, an actress. He made his stage debut at the age of 16 and never again considered an alternative profession, eventually leaving for the United States to act on the vaudeville circuit before finally ending up in the nascent Hollywood. Norvell Hardy, meanwhile, came from Harlem, Georgia, the son of a slave overseer who died in the year of his son’s birth, 1892, and whose first name, Oliver, Norvell took as his own.

Hardy, who had worked as a singer and as a projectionist, became a jobbing actor, often being cast as the “heavy”because of his bulk. Laurel, by contrast, was groomed for stardom, but it repeatedly slipped through his fingers. Unlike Chaplin’s Tramp, or the boater-and-glasses-wearing Harold Lloyd, he had no persona. Only when Hal Roach paired him with Hardy did he finally find a mask that fitted, and thus a professional marriage slowly grew into a friendship that would endure until Babe’s death.

Laurel was the creative engine of the partnership, creating storylines and gags, intimately involving himself in the directing and editing of each film, but Hardy was the better, subtler actor. Laurel was a creature of the stage, trained to act for the back rows; Hardy, by contrast, had watched countless films from his projectionist’s perch and knew that the smallest of gestures – the raising of an eyebrow, a glance flicked in the audience’s direction – would be writ large on the screen. Laurel recognised this and tailored his scripts to his partner’s strengths.

Thus – and unusually for such partnerships – they never argued with each other about either screen time or money, despite the notorious parsimony of their producer Hal Roach, who paid them what he could get away with and would not let them negotiate their contracts together in order to weaken their bargaining position. Indeed, apart from one contretemps about the degree of dishevelment permitted to Babe’s hair, it seems that Laurel and Hardy never argued very much at all.

And then Babe died, leaving his partner bereft. What was a man to do but remember and write? So Laurel, always a prodigious correspondent, spent much of his retirement communicating with friends and fans by post. It helped that he had a curious and abiding affection for stationery. During one of the many interviews he conducted with John McCabe, his first serious biographer, Laurel revealed a wish to own a stationery store. Even he didn’t seem sure exactly why, but he admitted that he was quite content to while away entire afternoons in examining grades of paper.

Since letters were Laurel’s primary source of contact with the world, much of his writing is quite mundane. He deals with repeated inquiries about the state of his health – “I’m now feeling pretty good,” he informs a Scottish fan called Peter Elrick on 8 June 1960. “I suffered a slight stroke in ’55, fortunately I made a good recovery & am able to get around quite well again, of course I shall never be in a condition to work any more.” He notes the passing of actors he has known (to Jimmy Wiseman on 29 January 1959: “That was a terrible thing about [Carl] ‘Alfalfa’ Switzer wasn’t it? All over a few dollars’ debt he had to lose his life. I knew him very well as a kid in Our Gang films…”), answers queries about his films and his late partner (to Richard Handova on 21 March 1964: “Regarding the tattoo on Mr Hardy’s right arm – yes, that was an actual marking made when he was a kid – he always regretted having this done”) and often writes simply for the pleasure of having written, thus using up some stationery and enabling him to shop for more (“Just a few more stamps – hope you’re feeling well – nothing much to tell you, everything is as usual here,” represents the entirety of a letter to Irene Heffernan on 10 March 1964).

In researching my novel about Stan Laurel, I read a lot of his correspondence. I had to stop after a while, because the archive can overwhelm one with detail. For example, I might have found a way to include Oliver Hardy’s tattoo, which I didn’t know about until I read the letter just now. But of all the Laurel letters that I have read, one in particular stands out. It was written to his second wife, Ruth, on 1 July 1937, as their relationship was disintegrating. It is so striking that I quote it here in its entirety:

Dear Ruth,

When Lois divorced me it unbalanced me mentally & I made up my mind that I couldn’t be happy any more. I met & married you in that frame of mind, & the longer it went on, the stronger it became. That’s why I left you with the insane idea Lois would take me back.

After I left you, I found out definitely that she wouldn’t. I then realised the terrible mistake I had made & was too proud to admit it, so then I tried to find a new interest to forget it all, & truthfully Ruth I never have. I have drank just to keep up my spirits & I know I can’t last doing that, & am straining every effort to get back to normal.

You’ve been swell through it all, except the few rash things you did. I don’t blame you for not being in love with me, but my state of mind overrules my true feeling. If I had to do it over again things would be a lot different, but not in this town or this business. My marital happiness means more than all the millions.

Why has this letter stayed with me? I think it’s because of the penultimate sentence: “If I had to do it over again things would be a lot different, but not in this town or this business.” Hollywood brought Laurel a career, acclaim and a personal and professional relationship by which he came to be defined, but all at a price.

Stan Laurel was a complicated man, and complicated men lead complicated lives. In Laurel’s case, many of these complexities related to women. His comic performances and lack of vanity on screen often disguise his handsomeness, and monochrome film cannot communicate the blueness of his eyes. Women fell for him, and fell hard. He amassed more ex-wives than is wise for any gentleman (three in total, one of whom, Ruth, he married twice), to which number may be added a common-law wife and at least one long-standing mistress.

Had Laurel remained in Britain, serving an apprenticeship to his father before assuming control of one of the family’s theatres, women might not have been such a temptation for him. At the very least, he would have been constrained by a combination of finances and anonymity. Instead, he left for the United States and changed his name. In 1917, he met Mae Dahlberg, an older Australian actress who claimed to be a widow, despite the existence elsewhere of a husband who was very much alive and well. Laurel and Mae worked the vaudeville circuit together and shared a bed, but Mae – who lacked the talent to match her ambition – was eventually paid to disappear, as much to facilitate Laurel’s wedding to a younger, prettier actress named Lois Neilson as to ensure the furtherance of his career.

Yet it wasn’t long into this marriage before Laurel commenced an affair with the French actress Alyce Ardell, one that would persist for two decades, spanning three further nuptials. Ardell was Laurel’s pressure valve: as marriage after marriage fell apart, he would turn to her, although he seemed unwilling, or unable, to connect this adultery with the disintegration of his formal relationships.

The end of his first marriage was not the result of Laurel’s unfaithfulness alone. His second child with Lois, whom they named Stanley, died in May 1930 after just nine days of life. For a relationship that was already in trouble, it may have represented the final, fatal blow. Nevertheless, he always regretted leaving Lois. “I don’t think I could ever love again like I loved Lois,” he writes to Ruth on Christmas Eve in 1936. “I tried to get over it, but I can’t. I’m unhappy even after all you’ve done to try to make me happy, so why chase rainbows?”

But chasing rainbows was Stan Laurel’s default mode. He admitted advertising his intention to marry Ruth in the hope that Lois might take him back. Even after he and Ruth wed for the first time, he wrote letters to Lois seeking reconciliation. It set a pattern for the years to come: dissatisfaction in marriage; a retreat to Alyce Ardell’s bed; divorce; another marriage, including a year-long involvement with a notorious Russian gold-digger named Vera Ivanova Shuvalova, known by her stage name of Illiana (in the course of which Laurel, under the influence of alcohol, dug a hole in his garden with the stated intention of burying her in it), and finally contentment with another Russian, a widow named Ida Kitaeva Raphael, that lasted until his death.

These marital tribulations unfolded in full view of the media, with humiliating details laid bare. In 1946, he was forced to reveal in open court that alimony and child support payments left him with just $200 at the end of every month, and he had only $2,000 left in his bank account. In the course of divorce proceedings involving Illiana, his two previous wives were also briefly in attendance, leading the press to dub Lois, Ruth and Illiana “triple-threat husband hazards”. It might have been more accurate to term Stan Laurel a wife hazard, but despite all his failings, Lois and Ruth, at least, remained hugely fond of him.

“When he has something, he doesn’t want it,” Ruth told a Californian court in 1946, during their second set of divorce proceedings, “but when he hasn’t got it, he wants it. But he’s still a swell fellow.”

Laurel’s weakness was women, but he was not promiscuous. I think it is possible that he was always looking for a structure to his existence and believed that contentment in marriage might provide it, but his comedy was predicated on a conviction that all things tended towards chaos, in art as in life.

Thanks to the perfect complement of Oliver Hardy, Laurel was perhaps the greatest screen comedian of his generation – greater even than Chaplin, I would argue, because there is a purity to Laurel’s work that is lacking in Chaplin’s. Chaplin – to whom Laurel once acted as an understudy and with whom he stayed in contact over the years – wanted to be recognised as a great artist and succeeded, but at the cost of becoming less and less funny, of leaving the comedian behind. Stan Laurel sought only to make his audience laugh, and out of that ambition he created his art.

“he: A Novel” by John Connolly is published by Hodder & Stoughton on 24 August