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<mask> (born 13 November 1963) is a British-born Zambian economic and social development specialist who served as the First Lady of Zambia from October 2014 to January 2015 during the tenure of her husband, interim President <mask>. She had previously served as the Chief of Social Policy and Economic Analysis, Planning Monitoring and Evaluation for UNICEF Zambia from 2007 until 2012. In 2016, <mask> contested the Lusaka Central seat in the National Assembly during the general election. Early life and education
<mask>, the second of three daughters, was born <mask> to Robin and <mask> in Blackheath, London, on 13 November 1963. She was raised in nearby Greenwich in southeast London. Her parents had met as students at Oxford University. She is a member of the Church of England.<mask> completed her elementary and secondary schooling in London, attending Westminster School for sixth form. She received her Bachelor's of Arts in psychology and development studies from the University of Oxford in 1986. She then obtained a Masters of Arts in rural development in 1987. <mask> later completed her PhD from the University of Bath in 2007. Personal life
In 1989, <mask> was hired by a British international humanitarian organisation who asked her to work in Zambia. She arrived in Zambia in July 1989 at the age of 26 and was placed in the northeast town of Mpika, Muchinga Province, by her employer. By 1991, she was living in the village of Chitulika, the home of future President Michael Sata's father.<mask> met her future husband, <mask>, during the run-up to the 1991 Zambian general election. He was working on Michael Sata's election campaign for the Mpika constituency seat at the time of their meeting. She and Sata were mutual acquaintances at that time since Mpika was his hometown and her development project was overseen by the government Ministry of State, which was headed by Sata. <mask> and <mask> married in 1994 at a wedding held at the Lusaka Civic Centre with the reception at their home in State Lodge. Career
Professionally, <mask> has worked in the fields of economic development policy, social development policy and NGOs for more than twenty years. She headed the team which created and launched the Zambian Public Welfare Assistance Scheme, a social protection and poverty alleviation government program. It was an early forerunner of the present-day conditional cash transfers (also called social cash transfers), which makes welfare programs conditional based upon the receivers' actions.In 2014, two years after <mask> left the program, her Zambian cash transfer program was named UNICEF's best global research program. <mask> served as the Chief of Social Policy and Economic Analysis, Planning, Monitoring & Evaluation for UNICEF's Zambian branch for five years from 2007 until 2012. She worked in nearly every district in Zambia in that position. She stepped down for her position at UNICEF in 2011 when her husband was appointed Vice-President of Zambia by President Sata. United Nations regulations required that employees whose spouses attain high political office either step down from their job or taking another position with the United Nations in another country. She chose to leave her post. By 2013, <mask> had been appointed a Visiting Fellow of the Institute of Development Studies (IDS) at the University of Sussex.She has publicly spoken out on a variety of societal issues affecting Zambia, including children's right, gender discrimination, violence against women, and women's access to education. Sata died in office on 28 October 2014. Vice-President <mask> succeeded Sata as the acting President of Zambia until a by-election could be held 90 days after Sata's death. The events made <mask> the First Lady of Zambia during this time. The couple became the country's first white President and First Lady. Despite their new positions, the <mask>s did not move into Government House, the residence of the country's president. <mask> was barred by law from running for the remainder of Sata's unexpired presidential term because the Constitution of Zambia banned presidential candidates whose parents were not born in Zambia.His parents had immigrated to present-day Zambia from England and Scotland in the United Kingdom. <mask> left the position of First Lady on 26 January 2015 and was succeeded by Esther Lungu. In 2016, <mask> decided would not seek re-election to his Lusaka Central seat in Parliament in the August general election. <mask> applied to run for her husband's seat and was endorsed by the United Party for National Development (UPND) as the party's official nominee. <mask> and her main opponent, the PF's Margaret Mwanakatwe, were considered the front-runners for Lusaka Central during the election out of the five candidates for the seat. On 18 July 2016, <mask> and her supporters were attacked while campaigning in the Town Centre Market in Lusaka. The attackers, who used stones and screwdrivers to chase <mask> and her staff from the market, were supporters of the rival party, the Patriotic Front (PF), according to news reports.<mask> and her staff escaped unharmed, but their Toyota Land Cruiser suffered major damage during the attack. She told a newspaper, "Our team did not retaliate. Why can't we campaign in peace? This is completely unacceptable!" The PF candidate, Margaret Mwanakatwe, defeated <mask> in the general election on 11 August 2016. In line with the provisions of the constitution, <mask> petitioned the validity of the election. On 24 November 2016, the High Court of Zambia nullified the election of Mwanakatwe, on grounds of violence, corruption, mis-use of Government resources, discrimination / racism, and the actions of the Zambia Police in preventing Dr <mask> from campaigning freely.The Constitutional Court subsequently ruled that Mwanakatwe maintains the seat pending appeal, but has not set a date for that appeal to be heard. References

Living people
1963 births
First Ladies of Zambia
UNICEF people
Development specialists
Development economists
People in international development
United Party for National Development politicians
Alumni of the University of Bath
Alumni of the University of Reading
Alumni of the University of Oxford
British emigrants to Zambia
People from Lusaka
People from Muchinga Province
People from Greenwich
British Anglicans
20th-century Anglicans
21st-century Anglicans
20th-century Zambian people
Zambian Anglicans
Women in Zambia
20th-century Zambian women
21st-century Zambian people
21st-century Zambian women
Zambian officials of the United Nations
21st-century Zambian women politicians

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<mask> (born June 6, 1943) is a former American football player and coach. He served as the head football coach at the United States Air Force Academy (1979–1983), the University of Arkansas (1984–1989), Clemson University (1990–1993), and Rice University (1994–2005), compiling a career college football record of 168–140–4. Playing career
<mask> is a graduate of the University of Arkansas, where he starred at defensive back for the 1964 team that won a share of the national championship. His punt return for a touchdown helped Arkansas beat the #1 Texas Longhorns, 14-13, in the 1964 game in Austin. <mask> was a first team All-American punt returner for the "64 season. Among his teammates were future Dallas Cowboys head coach Jimmy Johnson and future Dallas Cowboys owner Jerry Jones. He is a member of the Sigma Chi fraternity.Coaching career

Air Force

<mask> began his college head coaching career at the United States Air Force Academy from 1979 to 1983. He gradually rebuilt a program that had struggled through most of the 1970s and laid the foundation for its success in the 1980s and early 1990s under his offensive coordinator and successor, Fisher DeBerry. By his final year, the Falcons were ranked 13th in the country by the Coaches' Poll and 15th in the AP Poll—their first appearance in a final poll since 1970. Arkansas
<mask> then moved to his alma mater, Arkansas, where he compiled a 55–17–1 record from 1984 to 1989. His teams won two straight Southwest Conference titles in 1988 and 1989, a feat that the Razorbacks had not accomplished since his playing days. On January 2, 1989, <mask> became the first former player to coach his alma mater in the Cotton Bowl Classic. Arkansas's Southwest Conference championship in 1989 is the program's last conference title to date.<mask> had a somewhat frosty relationship with longtime Arkansas athletic director Frank Broyles, even though Broyles had been his coach during his playing days. Broyles had a reputation for being very hands-on with the football program he had built into a national power as head coach from 1958 to 1976. As good as <mask>'s last two Razorback teams had been, he lost several recruits after 1987 when rival coaches claimed he was in Broyles' doghouse. When Broyles signed a new five-year contract in early 1990, <mask> left for Clemson University without even visiting the campus. Later, when <mask> was asked if Broyles had been a factor in his abrupt departure from Fayetteville, he replied, "His name is on the (athletics) building down there. Let that be my answer." Ironically, the coach <mask> succeeded at Clemson, Danny Ford, would eventually become the Razorbacks' coach in 1993.Clemson
<mask> coached at Clemson from 1990 to 1993, compiling a 32–13–1 record. He did much to clean up the program's image in the aftermath of sanctions from the Ford era. In his second season, 1991, he led the Tigers to their last ACC title in the pre-championship game era. However, <mask> was never really accepted by Clemson's fans. A common saying among Tiger fans during this time was "Howard built it. Ford filled it. <mask> killed it."Largely due to this discontent, school officials refused to grant him a one-year extension on his contract after the 1993 season, even though the Tigers had rebounded from 5–6 in 1992 (Clemson's first losing season in 16 years) to a solid 8–3 record that year and a Peach Bowl appearance. Angered at what he saw as a lack of support, <mask> resigned at the end of the regular season. Rice
Soon afterward, <mask> was hired at Rice University, where he compiled a 55–78–1 record before resigning on November 30, 2005 following a 1–10 season. He only had three winning seasons in 12 years. Although the Owls were bowl-eligible in those three winning seasons, they weren't invited to a bowl in part because of the school's small alumni and fan base. Rice is the second-smallest school in Division I FBS and often had to play schools 10 times its size or more (and in some cases, with more freshmen than it has students), a major reason why he wasn't as successful as he had been at his previous stops. In his first year, despite a losing overall record, he managed to lead the Owls to a share of the Southwest Conference title and a victory over the rival Texas Longhorns on national TV.Football coaching philosophy
One of the few remaining proponents of the conservative triple-option offense in college football, <mask> compiled a 168–140–4 record as a head coach. On November 25, 2014 It was announced that <mask> was chosen as the recipient of the 2015 Amos Alonzo Stagg Award. Notable players
Notable players that <mask> coached include:

RB/KR Bobby Joe Edmonds (Arkansas)
RB James Rouse (Arkansas)
OL Freddie Childress (Arkansas)
OL Jim Mabry (Arkansas)
PK <mask> (Arkansas)
QB Quinn Grovey (Arkansas)
RB Barry Foster (Arkansas)
S Steve Atwater (Arkansas)
DE Wayne Martin (Arkansas)
S Brian Dawkins (Clemson)
DE N. D. Kalu (Rice)
LB Larry Izzo (Rice)

Controversy regarding homosexual players
A story in the November 1, 2002 issue of the Chronicle of Higher Education quoted <mask> saying that he "would not necessarily kick a player off the team for being gay, he probably would think hard about it." In the article, he cited his religious beliefs as the motivation for his stance. Soon after the publication, the Rice University faculty unanimously voted to repudiate <mask>'s comments, and <mask> apologized for his comments. He continued to coach the Owls until 2005. Head coaching record

Notes

See also
 List of NCAA major college football yearly punt and kickoff return leaders
 List of presidents of the American Football Coaches Association

References

External links

1943 births
Living people
Air Force Falcons football coaches
American football defensive backs
Arkansas Razorbacks football coaches
Arkansas Razorbacks football players
Clemson Tigers football coaches
Florida Gators football coaches
Rice Owls football coaches
Tennessee Volunteers football coaches
People from Helena, Arkansas
Players of American football from Arkansas
College Football Playoff Selection Committee members

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is a contemporary Japanese artist. <mask> is a contemporary Japanese artist who has addressed themes of national and transnational sovereignty, globalization and borders, as well as Japan’s imperial history and nationalism. He is considered one of the first postwar Japanese artists that is openly critical of Japanese society and governmental policy. Many of <mask>’s artworks consists of large-scale, site-specific installations that engage with movement and symbols of nationalism. <mask> has exhibited his artworks widely in Japan and the United States, and became among the first foreign artists living in New York to be invited to exhibit at the Whitney Biennial, alongside Cai Guo-Qiang, in 2000. His artworks are in museum collections such as the Museum of Modern Art (USA), Tate Modern (UK) , Virginia Museum of Fine Art (USA) and the Fabric Workshop and Museum (USA). His vision for the revitalization of the island of Inujima was actualized as the Inujima Seirensho Art Museum in 2008, a permanent, six-part art installation that has become an integral location of the Setouchi International Art Triennale.Early life and education in Japan

Early life
<mask> was born and raised in a rural region of Fukuoka, Japan. Growing up in the prefecture closest to the Korean Peninsula allowed <mask> to grow up with a distinct awareness of the existence of other nations and cultures. He has spoken of his childhood experiences of picking up ‘everyday objects’ marked with Korean hangul that had washed up on the shore from the Sea of Japan as the beginning of his long-term interest in transpacific and transnational boundaries and movement. Like many Japanese people of his generation, <mask>'s family was part of the Empire of Japan's Pacific War war effort. An awareness of this familial history has informed the artist's body of work: his father was a fighter pilot, and his paternal grandfather worked in border control in Japan’s former colony Manchukuo and was detained for more than a decade in Siberia and China following Japan’s surrender. In his artwork, <mask> considers continuity and diversity with regards to his own position and the place of the Japanese nation within this tumultuous history. Growing up in the 1960s before the development of widespread video games, <mask>'s childhood activities involved playing with insects in the countryside, especially ants and bagworm moths, and creating things out of various materials such as concrete and wax from a hardware store owned by one of his relatives.Furthermore, <mask>’s uncle was avant-garde artist Miyazaki Junnosuke, a member of Kyushu-ha, which meant <mask> was accustomed to seeing artistic objects and sculptures from an early age. Education and early career in Tokyo
<mask> earned both a BA and MFA in painting from Musashino Art University in Western Tokyo (1985). He was interested in the work of artists from the Mono-ha generation, especially of Noriyuki Haraguchi’s industrial sculptures, and became increasingly restless within the conventions of the University’s painting department. Despite being told that graduation work must be limited to flat works and oil paint only, <mask> created a sculpture out of wooden supports and was subsequently excluded from the graduate thesis exhibition at the Metropolitan Museum of Tokyo. For his first solo exhibition the following year he burned all the artworks he made in art school and exhibited the ashes in large wooden boxes as the installation Ground Transport Project (1985). It was in this installation that <mask> first included the element of live ants, a characteristic that he became known for throughout the 1990s. From 1986, <mask> began to exhibit artwork that addressed issues of “movement” from the perspective of an outsider of the art world’s system.This included his installation Ground Transposition (1987) that included large, spherical sculptures that were scaled to the human form in relation to the proportions to the size of dung beetles and the ball of dung that they roll as part of their ecology. The proportional scaling was a reference to the ancient Egyptian symbolism of the dung beetle as a ‘steward of the sun’ tasked with physically pushing the weight of the sun across the sky each day, which for <mask> was a direct reference to the rising sun of the Japanese flag and the weight of Japanese nationalism that the artist felt. In the late 1980s <mask> exhibited his work at various galleries in Tokyo, Kanagawa, and Fukuoka, including a prominent solo exhibition held at the Hillside Gallery in Daikanyama, in which he executed a smoky performance piece entitled I Feel Yellow (1987). He was awarded the Excellence Award in Art Document from the Tochigi Prefectural Museum of Fine Arts in 1987. Move to the United States
Despite the promising trajectory of his art career in Tokyo following his graduation, <mask> was increasingly disillusioned with the Japanese art world, describing his feeling of “being trapped in a giant Japanese flag, in a cage, engulfed by national identity.” The artist moved to United States in 1988 to earn an MFA from the Sculpture Department of the Graduate School of Yale School of Art (1990), where he studied under Vito Acconci and Frank Gehry, among others. At Yale, <mask> started to expand on his engagement with Japanese nationalism and history after having the opportunity to read the works of prominent prewar Japanese intellectuals such as Nishida Kitarō and Kuki Shūzō, as well as texts and documents from or about the Pacific War that were difficult to access in Japan but available in the US. These studies allowed the young artist to gain a fuller picture of World War II, and question the omissions and identitarian narratives of both the Japanese and American perspectives of their national wartime history.He began to engage seriously with the idea of "wandering as a permanent position," creating artworks to dissolve the fixity of symbols associated with nations and regions, attempting to account for the changes that occur through time and circumstance. Ants and national boundaries – late 1980s–1990s

Artworks from Yale University, 1988–1989
In the first year of his MFA at Yale University, <mask> began thinking about the figure of the wandering ant as a multifaceted allegory for transnational movement. He began to regularly incorporate the insects into his artworks, a live element that became emblematic of <mask>’s body of work from the 1990s. He thought of the ant colony as a perfectly organized communal society—exemplary on the one hand of a blind obedience, but also reflective of an unstoppable ecosystem of working parts that could surpass and dismantle any concept of national boundaries or borders. <mask> came up with the Ant Following Plan (1988) at the end of his first semester, in which he tracked the wandering movements of a single ant on the dark floor of his mostly empty 5-by-9-meter studio space using thick red chalk. Shortly after, he debuted American Flag Ant Farm (1989), which he crafted from an Uncle Milton toy ant farm by adding an extra panel with sand colored to appear as the American flag. The ‘wandering’ ants created tunnels that disintegrated the stars and stripes of the flag, overlaying macro and micro elements (nation vs ant) to dismantle and critique the permanence of the symbol of American national unity.These earlier works would prove to be very impactful, informing much <mask>’s works for the next ten years. He continued working on and expanding his ‘Ant Farm Series’ from 1990-2002. He also resurfaced the ‘ant following’ technique in 1994 for his ongoing series ‘Wandering Position’ (1994–Present)’ in which he performs site-specific live tracings of a wandering ant (San Diego, California in 1994; Alcatraz, California, 1996; Anomaly Gallery, Tokyo, 2021). He also uses this technique to create more conventional works for traditional gallery spaces on large format papers and copper plates. Following his graduation from Yale, <mask> moved to New York where he started to work internationally. World Flag Ant Farm (1990)
In 1991, <mask> exhibited World Flag Ant Farm (1990) at Los Angeles’s LACE (Los Angeles Contemporary Exhibitions) in one of the prominent solo exhibitions that launched his international career. World Flag Ant Farm was a large-scale installation consisting of 180 national ‘flags’ representing the members of the United Nations at the time.Each ‘flag’ was made out of a plastic box filled with colored sand in the pattern of the flag. They are interconnected by plastic tubes as they hung on the wall. As the title suggests, the entire artwork functioned as a multitude of interconnected ant colonies which could be viewed through the plastic by audiences. As the tiny insects tunneled through each flag and carried colored grains of sand to other areas, the colors and signs of national unity intermixed and began to dissolve the individual flags, creating a blurred image of a single, more ambiguous flag. World Flag Ant Farm was well received and <mask>'s approach was considered ‘iconic’ especially in the context of the end of the Cold War and rising globalization and postcolonial studies, even being featured on the cover of the international art magazine Art in America, despite also facing harsh criticism from animal rights activists. The constant ‘wandering’ of the ants through each national symbol was exemplary of <mask>’s ongoing engagement with the often muddled processes of globalization, the crossing of transnational borders, the diasporic movement of peoples, and the ultimate precarity of nationhood, race, and identity. <mask> has said that he personally identifies with the piece, that it is related to the “borders I have had to cross or barriers I have confronted in trying to define myself as a Japanese.” The World Flag Ant Farm was exhibited at the 45th Venice Biennale in 1993, where <mask> became the first Japanese artist to be awarded the Aperto Award as an emerging artist.In 1992, with the aid of the Asian Cultural Council, <mask> was invited to the International Studio Program at PS1 Contemporary Art Center in New York. This artwork marked the maturation of <mask>’s ant farm idea and the beginning of a long series of Ant Farm Projects in which colonies of ants would slowly dissolve symbols of nationalism, including flags, currency, and American art. World Flag Ant Farm (1990) is in the collection of the Benesse House, Naoshima Contemporary Art Museum, Naoshima. Ant Farm Project series (1990–2002)
<mask> produced many more flag-based ant farm projects with a wide variety of different geopolitical combinations in the years following his debut of World Flag Ant Farm (1990), while living in New York but traveling to Japan regularly. Some of the largest ant farm installations he made after World Flag Ant Farm include: The World Flag Ant Farm 1991 -Asia- (1991); America (1994), connecting all nations of North and South America; Asia-Pacific Ant Farm (1995); and Eurasia (2001). Some of the more political pieces he produced included: The 38th Parallel (1991) connecting North and South Korea; Pacific - the Ant Farm Project (1996), connecting Japan and the U.S.; Union Jack Ant Farm (1994), encompassing the former British Empire; DMZ (1995) connecting North and South Korea and an ambiguous zone between them that alluded to the DMZ; and 2 China (1997), connecting China and Taiwan. Pacific - the Ant Farm Project (1996) gained particular traction in art and academic circles and is now in the Tate Museum’s collection.To create it, <mask> not only included the countries that border the Pacific Ocean, but also the nations that once had colonies in the Pacific, as well as indigenous groups like the Māori of New Zealand that have still not regained sovereignty over their territories. As such, the work challenged ‘neutral’ regional histories and symbols of sovereignty, instead engaging with the history of violent contestation in the Asia Pacific region. Money series (1999–2002)
In the later 1990s, <mask> also began to create ant farm projects that engaged with a variety of national currencies, creating installations centering on large-scale motifs of American, Japanese, European, and other bills. Some works include In God We Trust (1999), Dollar Pyramid (2000), Yukichi KV644955H (2002), and Euro Circuit (2002). Euro Circuit consisted of 12 ant colony units, one to represent the highest value of cash currency for each country that originally joined the European Union. As the ants tunnel through the installation, the distinctive currencies gradually dissolve into a ‘universal’ banknote, demonstrating <mask>’s reflections on the possibilities of a world becoming more and more transnational. Imperial symbolism and Article 9 – 1990s

Hinomaru series (1990–1992)
From the early 1990s, <mask> also produced a series of sculptures and site-specific installations that aimed to deconstruct the nationalist ideology of modern Japan through the motif of the Hinomaru, or the Japanese flag.The first of these works, Hi-no-maru 1/36 was produced for his first solo exhibition in New York at the alternative space STOREFRONT for Art and Architecture in 1990. Hi-no-maru 1/36 (1990) was designed with consideration to STOREFRONT’s unique, triangular exhibition space. Positioned in a 10-part radial corner, <mask> created an infinity mirror using reflections on opposing walls of angled mirrors in order to produce the illusion of one red circle with radiating beams, a direct reference to the flag adopted by the Japanese imperial army during the Pacific War. This work was exhibited alongside American Flag Ant Farm (1989), becoming a New York debut that demonstrated <mask>’s ongoing engagement with the instability of national borders and his own ‘entrapment within mobility.’

One particularly acclaimed piece from this series is Banzai Corner (1991). For

masks:
Yukinori Yanagi
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 this work, <mask> arranged rows of red Ultraman and Ultra Seven toy figurines into an arc with their bodies facing a mirrored corner to produce the image of a red circle. The uniforms of the toys create an illusion that once again alludes to the radiating beams of the Japanese Empire’s military flag. Each character has been carefully arranged so that its right arm is raised in the air to imply a victorious ‘Banzai’ in praise of the hinomaru, but viewers can see that in reality the figurines only celebrate their own reflection.<mask>’s use of Ultraman and Ultra Seven figurines for this artwork has been attributed to the Okinawan identity of the character’s creator, Tetsuo Kinjō, who grew up during the American occupation of Okinawa. For <mask>, the idea of alienation and otherness in Japan does not only refer to foreign nations, but also “to people living in Japan—Korean, Chinese, native Ainu, and Okinawans.”

<mask> also produced a billboard-sized neon work, Hinomaru Illumination (1992) which was exhibited at his solo exhibition at the Benesse House, Naoshima Contemporary Art Museum, Kagawa in 1993; Art Market Fuji Television Gallery in 2001; as the central window artwork for the seminal exhibition “Japanese Art After 1945: Scream Against the Sky” at the Guggenheim Museum SoHo in 1994; as well as again at his solo exhibition “Akitsushima” at the Hiroshima City Museum of Contemporary Art in 2001. This neon work is visually related to other Japanese neo-pop artists of the early 1990s, but it also exposes the “feeble foundation of national illusion” of national symbols that are harnessed when convenient—a symbol that can be turned ‘on’ and ‘off’ at will. For example, for Amaterasu and Haniwa (1993) the neon flag was exhibited in the context of the Shinto Sun Goddess Amaterasu, alongside haniwa clay figurines that harken to the Kofun or Yamato period that has been associated with Japanese cultural origin. In addition, for Hinomaru Container (1992) <mask> created another space of mirrored illusion within a shipping container shaped like an ancient tumulus (kofun) but cumulating with a refracted neon Yen symbol (¥), critiquing the conflation of consumerism and identity. Chrysanthemum Carpet (1994)
Yanagi explicitly problematized the Greater East Asian Co-Prosperity Sphere and its legacy in his work The Chrysanthemum Carpet (1994), first exhibited at Yanagi's solo exhibition at the Peter Blum Gallery in New York in 1995. The artwork consists of a large, red carpet designed to look like a Japanese passport.It included an outline of the trademark chrysanthemum flower that is the Imperial Seal of Japan, but with only one of its golden petals attached and the remaining 15 scattered around the expanse of the carpet. Black text woven into the carpet stands out starkly against the red background, reading “he loves me, he loves me not” in the languages of the Asian countries once dominated by Japan under the proclaimed Greater East Asian Co-Prosperity Sphere. On the underside of the carpet, hidden from view, <mask> inscribed texts from three distinctive sections of the Japanese Constitution: Article 19 (Freedom of thought), Article 20 (Freedom of religion), and Article 21 (Freedom of speech, press, and expression). Besides directly confronting the debate about national memory loss and historical revisionism regarding the war period, by juxtaposing the visible imperial symbol with the obstructed democratic constitutional guarantees hidden below, <mask>'s installation pointed to the structural contradictions of Japan's modernization. The Meiji Constitution that marked Japan's emergence as a modern nation state both restored the absolutism of the Japanese Emperor system as well as established a democracy, and furthermore Japan's postwar constitution was established by the U.S. Occupation forces. The artist's choice to obstruct the democratic principles from view on the underside of the carpet alludes to the subtle continuity of the survival of the Japanese emperor system, even in the postwar.In the exhibition space, <mask>'s red carpet led to an Occupation-era photograph of SCAP General Douglas MacArthur standing with Emperor Hirohito, captioned as Chrysanthemum and Sword with a quote by poet and novelist Mishima Yukio superimposed in red, reading “Why should his Imperial Majesty become human?” This inclusion evokes criticisms of the continuities and discontinuities of Japanese sovereignty ‘before’ and ‘after’ of the Pacific War, implicating the resilience of Japanese nationalism as well as the American occupation of Japan decades later. About this work, the artist stated, ""All these people died for the emperor because they thought he was a god, and it turned out that he was just a small man with a human voice." <mask>'s carpet and the historical photograph have been installed together for several exhibitions together in the 1990s, including at the Art Tower Mito Contemporary Art Center in Ibaraki and the National Gallery of Australia in Canberra, both of which also included war paintings from the Pacific War as part of the installation. In 1997, <mask> created a smaller version of the Chrysanthemum Carpet as limited edition multiple entitled Loves Me/Loves Me Not (1997) during his residency at the Fabric Workshop and Museum in Philadelphia, Pennsylvania. "Project Article 9" Exhibition, 1995
In 1995, 50 years after the end of World War II, <mask> became the first artist to specifically address Article 9 of the Japanese Constitution, which renounced Japan’s ability to wage war after the end of World War II. To mark the significance of the year, the Queens Museum in New York hosted <mask>’s solo show entitled “Project Article 9.” For this exhibition, <mask> produced a series of textual installations that focused explicitly on the Article 9 clause in the postwar Japanese constitution. He modified a photograph of SCAP General Douglas MacArthur standing with Emperor Hirohito (the same photo utilized in his Chrysanthemum Carpet installation) and prepared two new large-scale installation artworks, Forbidden Box (1995) and Article 9 (1995).<mask> superimposed a historical photo of SCAP General Douglas MacArthur and Emperor Hirohito standing together with the full text of Article 9 of Japan’s Constitution in three different forms: the draft version originally written by MacArthur, the finalized Japanese version, and its English translation. According to the Queens Museum’s executive director Carma C. Fauntleroy, <mask>’s concentration on textual elements and translation led "viewer[s] to reflect on the vagaries of communication through language and its implications in national and international arenas.”

<mask> utilized his residency at the Fabric Workshop and Museum in Philadelphia, Pennsylvania to create The Forbidden Box (1995) for the exhibition. The installation was made from two large-scale sheets of sheer nylon voile fabric, with screenprints of the giant mushroom cloud that occurred when the United States dropped the atomic bomb on the city of Hiroshima in 1945. In addition to the image, the 17-foot-long sheets of fabric also depict the text from Article 9, with the version originally written by MacArthur printed on the rear sheet, and the English translation of the Japanese version in the front, intended as a way for viewers to see the differences in the rhetoric between the United States and Japan. Like a cloud of smoke, the sheets of fabric seem to billow out from a lead box that had the words “Little Boy,” the name of the atomic bomb, inscribed on the lid. <mask> has stated that he included the box as a way to bring together two folktales, the Japanese children’s folktale of Urashima Tarō and the Greek myth of Pandora’s Box. On this, <mask> stated, “universality of children’s tales enables us to know that we, as a species, share common core values and hopes all around the globe.” The mythologies of the box parallel Yanagi’s allegory for Japan that at once acknowledges Japan’s victimization in the aftermath of the atomic bombs but also the nation’s own role as a colonial aggressor in the Asia Pacific — the Pandora’s box revealed a hope for a future world with no more victims of nuclear warfare.<mask> also produced a large-scale neon light installation entitled simply “Article 9” for the exhibition, consisting of a set of neon signs encased in plastic box frames that spelled out the Japanese version of Article 9. However, the neon signs were disassembled, seemingly cast off in a pile of disjointed, glowing red parts incomprehensible as a whole. They cast red light around the exhibition space onto <mask>'s other works. <mask>’s artworks from the “Project Article 9” show went on to be exhibited in Japan at the Kirin Plaza Osaka in 1995. Forbidden Box and Article 9 were also included more than 10 years later in Japanese curator Watanabe Shinya’s exhibition “Into the Atomic Sunshine” amongst works by other artists that engaged with Japan’s war history at Hillside Gallery in Daikanyama in 2008, Puffin Room in New York in 2008, and the Okinawa Prefectural Museum & Art Museum in 2009. Inujima Project - 2000s–present

Inujima Seirensho Art Museum
In 1992, <mask> was invited to hold a solo exhibition at the brand new Naoshima Contemporary Art Museum (now Benesse House at Benesse Art Site Naoshima). He fell in love with Naoshima and the Seto Inland Sea, returning many times from his studio in Japan in the years following, searching for an opportunity to start a long term project in the area that addressed the harmful scars that the rapid industrialization of Japan had left on the beautiful region during the Meiji Period.After three years of looking for an appropriate site, <mask> came across Okayama Prefecture’s Inujima in 1995, a depopulated island scattered with the ruins of a copper refinery dating back to the industrial Meiji Period, and the inspiration for <mask>'s Inujima Project was formed. In 1995, <mask> came up with his vision for the revitalization of the entire island of Inujima; he aimed to revamp the long-defunct copper '"seirensho" (refinery) as a permanent, site-specific artwork using renewable energy, a project that was realized with the support from Benesse Corporation’s CEO at the time, Soichiro Fukutake. <mask> and Fukutake were able to acquire Mishima Yukio's 'Shōtō House,' the former residence of the novelist and poet whose work <mask> had engaged with in his artworks throughout the previous decade. Using dismantled and reconstructed parts of Mishima's residence, <mask> spent years building a series of installations entitled Hero Dry Cell (2008) within the copper refinery, creating a permanent artwork that was also fused with the architectural heritage of the industrial site. After 13 years of collaborative work, <mask> in collaboration with architect Kazuyo Sejima, in addition to the Injuma Seirensho Art Museum

Due to his long term project in Japan, <mask> began traveling often between his studios in New York and Inujima, and eventually the artist closed his studios in the United States to move back to Japan full time.He set up in a self-designed studio situated on the north face of the mountains facing the Genkai Sea, in Itoshima City, Fukuoka prefecture. In 2005, he began working as an associate professor in the Faculty of Art at Hiroshima City University. He started a Contemporary Art and Theory Major in the Faculty of Arts and launched the Hiroshima Art Project, utilizing facilities that were unused due to the exposure to radiation as sites to exhibit artworks. Hero Dry Cell (2008)
Inside the defunct copper refinery that makes up the Inujima Seirensho Art Museum, <mask> spent more than a decade constructing a six-part permanent art installation entitled Hero Dry Cell (2008) that utilized mirrors, natural light, local stones, water elements, and architectural collage to create an interconnected, multi-layered installation about the modernization of Japan and legacy of the postwar. Hero Dry Cell is made up of six parts that unfold inside the museum "like a hand scroll" in the following order: Icarus Cell, Solar Rock, Slag Note, Mirror Note, Icarus Tower, and Solar Note. The second part, Solar Rock (2008) is of particular interest, using a natural light leak to create the illusion of a total eclipse—a black hinomaru. A black half shadow circle is created with light and then reflected in a dark pool of water gathered below on a large slab of local Inujima granite, creating the illusion of a full circle of a Black Sun rising, perhaps another addition to <mask>'s Hinomaru Series that critiqued the imperial-era nationalism associated with the Japanese flag.The granite megalith embedded into the ground of Solar Rock can be connected to <mask>'s keen interest in the Mono-ha movement. In front of the black hinomaru, <mask>'s 'architectural collage' appeared to float in mid-air as deconstructed panels of a tatami-mat room from Mishima Yukio's former residence lined up perfectly in alignment to lead the viewers' eye into the shadowy abyss of the Black Sun, even as the windows catch light and dazzle the retina simultaneously. This sensation is similarly described by the artist himself when recounting his first morning on Inujima in 1995: the rising sun made an "imprint on his retina" that developed into this six-part installation which functions an "after-image of the sun he saw that first morning." Recent years, 2010–present
After the completion of the Inujima Project, <mask> has taken on more revitalization projects, such as the challenge of transforming an old junior high school on the remote island of Momoshima Island in Hiroshima Prefecture, establishing ART BASE MOMOSHIMA in the Onomichi Channel area in 2012. In 2016, <mask>’s large-scale solo exhibition at Yokohama’s BankART1929 explored the past three decades of the artist's oeuvre, filling the entire

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<mask> (12 January 1817 – 20 April 1822) was the illegitimate daughter of the poet George Gordon, Lord <mask> and Claire Clairmont. Born in Bath, England, she was initially named Alba, meaning "dawn", or "white", by her mother. At first she lived with her mother, her mother's stepsister, Mary Shelley, and Mary's husband Percy Bysshe Shelley. When she was fifteen months old, she was turned over to <mask>, who changed her name to Allegra. <mask> placed her with foster families and later in a Roman Catholic convent, where she died at the age of five of typhus or malaria. Early life
Allegra was the product of a short-lived affair between the Romantic poet and her starstruck teenage mother, who was living in reduced circumstances in the household of her stepsister and brother-in-law. Clairmont wrote to <mask> during the pregnancy begging him to write back and promise to take care of her and the baby; however, <mask> ignored her pleas.After her birth, she was initially taken into the household of Leigh Hunt as the child of a cousin. A few months later, the Shelleys and Clairmont took the baby back as an "adopted" child. Clairmont bonded with her baby daughter and wrote in her journal with delight about her close, physical connection with little Allegra, but she was also dealing with emotional and financial pressures from the Shelleys that made it difficult for her to keep the baby with her. The Shelleys were fond of Allegra, but Mary Shelley feared that neighbours would believe Percy Bysshe Shelley had fathered her as the truth about her relationship to Clairmont leaked out. William Godwin, Mary's father and Clairmont's stepfather, had immediately leapt to that conclusion when he learned of Allegra's birth. In an October 1817 letter to Percy Bysshe Shelley, Mary Shelley remarked that their toddler son William disliked Allegra, but was fond of his baby sister Clara. She saw her son's reaction to Allegra, who was no blood relation to him, as "an argument in favour of those who advocate instinctive natural affection".In addition, the Shelleys were constantly in debt and Mary Shelley wanted the baby to be sent to <mask> and wanted her difficult and temperamental stepsister, who had too close a relationship with her husband, to leave her house. After the child's birth, Shelley wrote to <mask> "of the exquisite symmetry" and beauty of "a little being whom we ... call Alba, or the Dawn." He asked <mask> what his plans were for the child. Later, Shelley acknowledged the child's presence was becoming something of an embarrassment. <mask> asked his half-sister Augusta Leigh to take Allegra into her household, but Leigh refused. Hostile to Clairmont and initially sceptical that he had fathered her daughter, <mask> agreed to take custody of Allegra under the condition that her mother have only limited contact with her. Shelley warned Clairmont that this might not, after all, be the best plan for Allegra, but Clairmont hoped that her daughter would be more financially comfortable and would have a better chance at a good life if she lived with her father."I have sent you my child because I love her too well to keep her," she wrote to <mask>. <mask> requested that her name be changed from Alba, which also related to "Albé," Clairmont's nickname for <mask>, to Allegra, an Italian name meaning "cheerful, brisk" and relating to the musical term "allegro." During the journey to turn the child over to <mask>, Clairmont wrote in her journal that she had bathed her daughter in Dover, but then crossed the passage out, as if afraid to mention the baby's name. The child was baptised with the name Clara Allegra before her mother relinquished her to <mask>. <mask> discussed spelling Allegra's surname as "Biron" instead of as "<mask>" to further distinguish her from his legitimate daughter, Augusta Ada <mask>. <mask> offered to pay Shelley for the expense of Allegra's upkeep during her first months of life, but Shelley indignantly refused and said the cost was a trifle. Resemblances to <mask>

Mary Shelley had called the baby Allegra "the little Commodore" because of her sturdy body and alert, intelligent look.<mask> was also pleased with Allegra's resemblances to himself in appearance and temperament. When she was eighteen months old, he wrote in a letter to a friend: "My bastard came three days ago—very like—healthy—noisy & capricious." In an 1818 letter to his half-sister Augusta Leigh, <mask> wrote that "She is very pretty — remarkably intelligent ... She has very blue eyes — that singular forehead — fair curly hair — and a devil of a spirit. but that is Papa's." In 1819, in another letter to Leigh, <mask> described two and a half-year-old Allegra as "very droll" and again commented on her resemblance to himself in physical appearance, temperament and interests: "(She) has a very good deal of the <mask>. Can't articulate the letter 'r' at all—frowns and pouts quite in our way—blue eyes—light hair growing darker daily—and a dimple in the chin—a scowl on the brow—white skin—sweet voice—and a particular liking of Music—and of her own way in every thing—ah, is that not B. all over?" The child had forgotten any English she had learned and now spoke only Venetian Italian.In March 1820, he complained in a letter that three-year-old Allegra was quite vain and "obstinate as a mule". Her behaviour was sometimes unmanageable, probably as a result of her unstable living arrangements and frequent changes in caregivers. At the age of four, the naughty child terrorised <mask>'s servants with her spectacular temper tantrums and other misbehaviour and told frequent lies. As she grew older, Allegra also demonstrated a talent for acting and singing. Teresa, Contessa Guiccioli, who was <mask>'s lover while he was living in Ravenna and whom Allegra called "mammina", remarked on Allegra's talent for mimicking the servants and for singing popular songs. <mask> felt her talent for mimicry, another talent she shared with him, might amuse other people in the short term but would eventually be a cause of trouble for her. Convent education
Shelley, who visited the toddler Allegra while she was being boarded with a family chosen by <mask>, objected to the child's living arrangements over the years, though he had initially approved of Clairmont's plan to relinquish her to her father.During the summer of 1819, Allegra stayed with four different families and was abandoned by her nursemaid. <mask> sent her to stay for long periods with his friend British consul Richard Belgrave Hoppner, but Hoppner's wife didn't like Allegra and sent her to stay with three other families in as many months. Though he'd originally agreed to permit Clairmont to visit their daughter, <mask> reneged on the agreement. Shelley often tried to persuade <mask> to let Clairmont see her daughter and they thought of ways to regain custody of her. Clairmont was alarmed by reports in 1820 that her daughter had suffered a malarial-type fever and that <mask> had moved her to warm Ravenna at the height of the summer. Clairmont wrote that Allegra must be moved to a more healthy climate if she were to survive and pleaded with <mask> to send their daughter to her in Bagni di Lucca, a town with a cool mountain climate. However, <mask> didn't want to send Allegra back to be raised in the Shelley household, where he was sure she'd grow ill from eating a vegetarian diet and would be taught atheism.He pointed out that all of the other children in the Shelley household had died: the Shelleys' first three children had all died young. <mask> believed the rumours that a fourth child, Elena Adelaide Shelley, was Clairmont's daughter by Shelley and Allegra's half-sister. Elena died in a foster home in 1820 aged seventeen months. Shelley wrote to his wife Mary that Allegra looked pale and quiet when he saw her in 1818. When he saw her again in 1821 at the Capuchin convent in Bagnacavallo, when she was four, he again felt she looked pale and delicate and was infuriated by the Roman Catholic education she was receiving, though he had initially told <mask> he approved of her being sent to a convent. "(Besides) Paradise & angels ... she has a prodigious list of saints—and is always talking of the Bambino ... The idea of bringing up so sweet a creature in the midst of such trash till Sixteen!"he wrote." However, though Shelley thought the little girl was more serious and contemplative than he remembered, he said she had not lost her "excessive vivacity." After five months in the convent school, her behaviour had also improved; she obeyed the nuns readily and was well-disciplined, though Shelley didn't think the nuns had been too severe with her. The child asked Shelley to "tell her mother she wanted a kiss and a gold dress and would he please beg her Papa and Mammina to visit her." Allegra no longer had any real memory of Clairmont, but had grown attached to "her Mammina," <mask>'s mistress Teresa, Countess Guiccioli, who had mothered her. Teresa gave the little girl her own childhood toys and played with her when she spent weeks recovering from a childhood illness. Clairmont had always opposed <mask>'s decision to send Allegra to a convent, and shortly after the move, she wrote him a furious, condemnatory letter accusing him of breaking his promise that their daughter would never be apart from one of her parents.She felt that the physical conditions in convents were unhealthy and the education provided was poor and was responsible for "the state of ignorance & profligacy of Italian women, all pupils of Convents. They are bad wives & most unnatural mothers, licentious & ignorant they are the dishonour & unhappiness of society ... This step will procure to you an innumerable addition of enemies & of blame." In March 1822, she created a plan to kidnap her daughter from the convent and asked Shelley to forge a letter of permission from <mask>. Shelley refused. <mask> had arranged for Allegra to be educated in the convent precisely because he, unlike his former lover Clairmont, thought favourably of the manners and attitudes of Italian women who had received convent educations. He disapproved of what he called Clairmont's "loose morals" and "Bedlam behaviour" and didn't want her to influence Allegra.He also believed that his daughter, given her illegitimacy, would have a far better chance of marrying well in Italy than she would in England. A Roman Catholic girl with a suitable dowry, raised in a convent, would have a decent chance of marrying into high Italian society. He wanted the child to become a Roman Catholic, which he viewed as the "best religion." "If Claire thinks that she shall ever interfere with the child's morals or education, she mistakes; she never shall," wrote <mask> in a letter to Richard Belgrave Hoppner in September 1820. "The girl shall be a Christian and a married woman, if possible." Her mother could see Allegra, he added, only with the "proper restrictions." <mask> wrote to Hoppner in March 1821 that Allegra would receive better care in the convent than she would with him.His mistress, Teresa, Countess Guiccioli, had had a happy experience at the convent boarding school where she had lived from the age of five, and had persuaded <mask> that a convent school would be the best place for Allegra. He also viewed the convent as the safest place for her with revolution brewing in the Kingdom of the Two Sicilies. Allegra was doted on by the nuns at the convent, who called her "Allegrina," and was visited once by Teresa's relatives. Probably with considerable assistance from the nuns, four-year-old Allegra wrote her father a letter in Italian from the convent, dated 21 September 1821, asking him to visit her:

My dear Papa. It being fair-time, I should like so much a visit from my Papa as I have many wishes to satisfy. Won't you come to please your Allegrina who loves you so? The abbess of the convent included her own note inviting <mask> to come to see Allegra before he left for Pisa and assuring him "how much she is loved."On the back of this letter, <mask> wrote: "Sincere enough, but not very flattering – for she wants to see me because 'it is the fair' to get some paternal Gingerbread – I suppose." <mask> never responded to Allegra's letter or visited the child during the thirteen months she was in the convent. Death
Allegra developed a high fever on 13 April 1822. The nuns called a doctor to see her, who determined that Allegra was suffering "little slow fevers". Her father was informed but <mask> did not visit. He approved the use of any medical interventions deemed necessary. On 15 April, she was considered out of danger, but died on 20 April, attended by three doctors and all of the nuns at the convent, of what some biographers have identified as typhus.<mask> sent her body to England and wrote an inscription for her gravestone that read: "In memory of Allegra, daughter of G.G., Lord <mask>, who died at Bagna Cavallo in Italy, 20 April 1822, Aged Five Years and Three Months,-'I shall go to her, but she shall not return to me. '-2 Samuel, xii, 23"
<mask> felt guilty about his neglect of the child after her death, he told Marguerite, Countess of Blessington, a few months afterwards:

Let the object of affection be snatched away by death, and how is all the pain ever inflicted upon them avenged! The same imagination that led us to slight or overlook their sufferings, now that they are forever lost to us, magnifies their estimable qualities ... How did I feel this when my daughter, Allegra, died! While she lived, her existence never seemed necessary to my happiness; but no sooner did I lose her, than it appeared to me as if I could not live without her. Clairmont accused <mask> of murdering Allegra and demanded that <mask> send her a portrait of Allegra, a lock of the child's hair, and that she be placed in charge of the funeral arrangements. In the end, though, Clairmont could not bear to see Allegra's coffin or to hold a funeral service for her daughter. She blamed <mask> for the rest of her life for Allegra's death.Because of the child's illegitimacy, John William Cunningham, rector of St Mary's Church, Harrow on the Hill refused to place a plaque on Allegra's grave; he permitted her only to be buried at the entrance of the church without a marker. Henry Drury conducted the funeral service. In 1980, The Byron Society placed a memorial plaque for Allegra at Harrow, inscribed with words from a letter <mask> wrote to Shelley after her death: "I suppose that Time will do his usual work... – Death has done his." The memory of Allegra haunted Shelley; before his own death by drowning in July 1822, Shelley had a vision of the dead child in which she rose naked from the sea, laughed, clapped her hands, and beckoned to him. He also immortalised the toddler as Count Maddalo's child in his 1819 poem Julian and Maddalo: A Conversation:

A lovelier toy sweet Nature never made;
A serious, subtle, wild, yet gentle being;
Graceful without design, and unforeseeing;
With eyes – O speak not of her eyes! which seem
Twin mirrors of Italian heaven, yet gleam
With such deep meaning as we never see
But in the human countenance. In the next stanza he imagines her grown to a woman: "A wonder of this earth ... Like one of Shakespeare's women."References

Sources
Eisler, Benita, <mask>: Child of Passion, Fool of Fame, Alfred A. Knopf, 1999,

External links
Photo of Allegra's memorial

<mask>
1817 births
1822 deaths
19th-century English people
19th-century English women
Allegra
Daughters of barons
English children
English people of Scottish descent
Godwin family

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<mask> (born 12 August 1936) is a French writer. He was the winner of the Mottard and Amic awards from the Académie française in 1987 and 2009 respectively, the Prix Renaudot essay in 2013 and the Prix Cazes in 2015. He described his pedophile and sexual tourism activities in several of his books as well as on his official website, and discussed them on television appearances. Nonetheless, he remained sheltered from any criminal prosecution throughout his literary career and benefited from wide and enthusiastic support within the French literary world—all despite the fact that his books did not sell well among the general public. On 11 February 2020, French prosecutors announced that a criminal investigation had been launched. Matzneff was summoned to appear before a Paris court the following day. Due to the statute of limitations, the investigation will likely be closed without legal consequences.Biography

Family, youth and education
Matzneff's father was Russian and his mother Eugénie Russian-Jewish. The family settled in France after 1917. Although of Jewish ethnicity by custom, Matzneff was attached to Russian Orthodoxy. According to information available on his official website, "his parents divorced when he was six months old; throughout his childhood, he never saw them in the same room, and would often be separated from his sister Alexandra and his brothers André and Nicolas. It was a childhood tossed to and fro, overshadowed by family breakdowns and war. It was a childhood which still causes him very painful memories." His family raised him in a refined cultural environment, rubbing shoulders with such famous Russian figures as Lev Shestov and Nikolai Berdyaev.It is here he discovered literature and religion. Matzneff spent a year attending the Gerson private Catholic school (1943–1944), two in Lycée Saint-Louis-de-Gonzague (1944–1946), then moved to a school in Tannenberg from between 1946 and 1952, and from 1952 attended Lycée Carnot. In 1954 he commenced his studies on classical letters and philosophy at the Sorbonne. After completing his military service in Algeria between 1959 and 1960, Matzneff returned to Paris in 1961. He enrolled as a Russian speaker at the Institut national des langues et civilisations orientales and began a career as a journalist. He met Henry de Montherlant in June 1957 and remained his friend, in spite of quarrels, until de Montherlant's suicide in 1972. He began to keep his diary on 1 August 1953 but did not publish it until 1976.In the first volume, he vowed himself to be a rebel sentimental libertine: "I was Athos, the great misanthrope lord, secret, different...". Literary career

In October 1962, the publication director of Combat, who had noticed his work, asked him to write a column for his daily. During the following decades, Matzneff was to be a regular or occasional columnist for several newspapers and magazines of all political stripes, including Le Quotidien de Paris, Le Figaro and Le Monde. From 2013 to December 2019, he kept an irregular column on the web edition of Le Point. In October 1964 he took part in the founding congress of the Coordinating Committee of Orthodox youth, where he met the high school student Tatiana Scherbatcheff. He married her on 8 January 1970 in London before divorcing on 3 March 1973. This divorce caused him a crisis of faith which moved him away from the Church; he then left the Committee and ceased co-production of the television program Orthodoxy which he had helped to create in May 1965.His first book, Le Défi, a collection of essays, was published in 1965. The following year he published his first novel, L'Archimandrite, which he had begun writing during his military service. During the 1970s, he made a number of trips to the Middle East as well as to Poland and the Soviet Union. During the 1980s, he made several trips to the Philippines where, as he described in one of his books, he raped pre-adolescent boys that he had picked up at Harrison Plaza, Manilla's main shopping center. The critic Pol Vandromme wrote in 1974 that he was "the most notable writer of his generation". In 1990, Matzneff joined Gallimard with the help of Philippe Sollers, who published his 1979–1982 collection of diary entries, "Les Soleils révolus". Gallimard paid monthly royalties to Matzneff until 2004.Gallimard, the leading French publishing group and <mask>'s historical publisher for 30 years, abruptly stopped marketing the author's books in early January 2020 and recalled his books from bookstores, less than two months after having published L'Amante de l'Arsenal, the last installment of Matzneff's diary. On 12 February 2020, police searched the headquarters of Éditions Gallimard looking for, among other things, unpublished manuscripts detailing Matzneff's pedophile activities. <mask> was the winner of the Mottard and Amic awards from the Académie française in 1987 and 2009 respectively, the Prix Renaudot for best essay in 2013 and the Prix Cazes in 2015. Child rape

Matzneff had long described raping children in his work; his diary Un Galop d'Enfer, published in 1985, stated that whilst in the Philippines he would regularly rape underage boys. He wrote that "Sometimes, I'll have as many as four boys—from 8 to 14 years old—in my bed at the same time, and I'll engage in the most exquisite lovemaking with them." In 1990, during an appearance on the French talk show Apostrophes, he was confronted about this by Canadian writer Denise Bombardier. Nevertheless, he remained sheltered from any criminal prosecution for decades, and benefited from broad support within the French literary world.At the end of 2019 one of his former victims, Vanessa Springora—the director of Éditions Julliard—published the book Le Consentement, describing the effect that Matzneff had on her at the age of 14. Her book ignited controversy over the tolerance of the literary milieu towards an assumed pedophile. This led Éditions Gallimard to withdraw their marketing services for some of his works, in particular Carnets noirs and Les Moins de seize ans, with other publishers to follow. At the beginning of 2020, the Paris prosecutor's office opened an investigation against Matzneff for "rape of a minor under the age of 15". According to newspaper reports in October 2021, unless there is a new development, the investigation will likely be closed without legal consequences due to the statute of limitations. Work

Diaries
The original title of the series, until 2009, was "Journal", both in editions of the Round Table, from 1976 to 1991, and in Gallimard editions, from 1990 to 2007. According to the general catalog of the National Library of France, from 2009, with the publication by Éditions Léo Scheer, the overall title was changed to: Carnets noirs ("Black Notebooks").Black Notebooks

Journal

Novels
<mask> is the author of several novels with the same hero, Nil Kolytcheff. These are: Isaïe réjouis-toi; Ivre du vin perdu; Harrison Plaza; Mamma, li Turchi! ; Voici venir le fiancé; La Lettre au capitaine Brunner. - winner of the Cazes-Brasserie Lipp prize, 2015

Essays
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 . – This is a revised and expanded edition of La Caracole, a collection of texts from various sources, published between 1963 and 1986
  – reissued in the 1994 collection "La Petite Vermillon"
  – reissued in the collection "La Petite Vermillon"
 . – a collection of articles from various sources, published between 1961 and 1993

  – a collection of texts from various sources, published between 1962 and 2001
  – a collection of texts, from various sources, published between 1962 and 2003
  & mdash; a collection of 107 articles published between 1958 and 2007
  - chronicles appearances on television shows in the 1960s
  – winner of the  Renaudot Prize for essays, 2013

Stories
  – reissued in the collection "La Petite Vermillon"

Poetry
 The 37th edition of the journal Recherches, edited by Félix Guattari, contains a poem by <mask> in his dossier Fous d'enfance : qui a peur des pédophiles ? (which in English is "Crazy about childhood: who is afraid of pedophiles?")Other contributors: Luc Rosenzweig, Gilbert Villerot, Jean-Luc Hennig, René Schérer, Bernard Faucon, Guy Hocquenghem...), Éditions Recherches, 1979. Bibliography

 Lisi Cori, La Petite Fille et le Vilain Monsieur : Sur <mask>neff et le Consentement, 2021

References

1936 births
20th-century French essayists
20th-century French male writers
21st-century French essayists
21st-century French male writers
French diarists
French essayists
French people of Russian descent
Living people
Pedophile advocacy
People from Neuilly-sur-Seine
University of Paris alumni
Writers from Paris
Child sexual abuse in France
Prix Renaudot de l'essai winners

masks:
Gabriel Michel Hippolyte Matzneff
Matzneff
Matzneff
Gabriel Matzneff
Gabriel Matzneff
Gabriel Matz


texts:
John "<mask><mask> (2 April 1852 – 26 September 1903) was an English professional cricketer who played first-class cricket between 1878 and 1887. <mask> was recognised as one of the fastest bowlers in county cricket, but critics generally believed that he threw, rather than bowled the ball, a practice illegal in cricket. Contemporaries suggest that, but for the suspicions over his bowling action, <mask> would have played Test cricket for England. <mask> was born in Nottinghamshire, but qualified to play for Lancashire County Cricket Club through his residency there. He made his first-class debut for his adopted county in 1878 and reached his peak as a bowler between 1881 and 1884. His most effective year was 1882, when he headed the national bowling averages, claiming 112 wickets at an average of just over ten runs per wicket. The presence of <mask> and other bowlers with suspect actions in the Lancashire team caused some counties to refuse fixtures against them during the mid-1880s.In 1885, a ruling from the Marylebone Cricket Club (MCC) barred <mask> from playing for Lancashire as his qualification for the county had technically lapsed when he lived in Nottinghamshire outside of the cricket season. The ruling forced his retirement from county cricket, although he sporadically played other first-class matches for a few years. As a right-arm fast bowler, <mask> claimed 322 wickets in all first-class cricket at an average of 12.48. He claimed ten or more wickets in a match on six occasions. Primarily a tail-end batsman, he scored 1,172 runs with a top score of 51. Early career
<mask> was born in Sutton-in-Ashfield in Nottinghamshire on 2 April 1852. Employed as a coal miner, he was one of a number of Nottinghamshire-born cricketers who sought professional contracts in Lancashire.The Lancashire cricket leagues began paying the best players to appear for them, creating an exodus of cricketing talent to the county. <mask> first gained employment as a professional cricketer in 1876, with Enfield Cricket Club. In a single innings match against Burnley that season, he took eight wickets and conceded 88 runs (abbreviated as "eight for 88"). The following season he once again took eight wickets against the same opposition, finishing with figures of eight for 50. Towards the end of 1877, he was chosen to play for a "Gentlemen and Players XI" against Burnley in a benefit match for Burnley's professional John Melling. He took five for 10 in the match from his five overs to help his side win on first innings. In early 1878, <mask> improved upon his previous efforts, taking eight for 28 against Burnley.Lancashire professional
<mask>'s performances for Enfield drew the attention of Lancashire County Cricket Club, for whom he was qualified on the basis of residency. He made his debut against Yorkshire in August 1878. He was not required to bowl in the first innings, and after scoring one run, bowled eight overs without a wicket in the second innings. He took his maiden wicket in first-class cricket in his second match, against Kent. In another benefit match played for Melling, <mask> took eight for 60 for "Burnley District XI" against Burnley in September 1878. His first match for Lancashire in 1879 came in June, when he claimed four for 26 against Derbyshire; his best bowling that season. He claimed wickets consistently through the season, and finished with fifteen wickets from his seven matches at an average of 14.53.He only played three times for Lancashire in 1880, taking seven wickets at 16.28. He bowled with little effect in most of 1881, but took ten wickets in a match against Surrey at the Oval. Across his other six matches that year, he only claimed three further wickets, and completed the season with thirteen wickets at an average of 7.15. The 1882 season was <mask>'s best; though he started with a wicket-less match against the Marylebone Cricket Club. He took seven wickets against the touring Australians in early June, while in the following match, against Somerset, he took six for 7 in the second innings, to help Lancashire to an innings victory. He took five wickets in an innings on ten occasions during the season, including twice in a match against Middlesex, to claim ten wickets in the match. Playing a match for Liverpool and District against the touring Australians, he took his best bowling figures in an innings that season, claiming seven wickets for 72.<mask> took a pair of five-wicket hauls against Surrey in late August to finish with eleven wickets in the match. His final match of the season was a further fixture against the Australians, in which he took eight wickets in the match for the North. In all, <mask> took 112 first-class wickets at an average of 10.06 in 1882, topping the national bowling averages. Lancashire were recognised by some publications as being champion county, or more commonly as joint champions with Nottinghamshire in 1882, and in addition to <mask>, Lancashire's George Nash, Dick Barlow and Alexander Watson took fifty or more wickets at an average of under thirteen. Throwing controversies

<mask>'s delivery was the cause for much discussion throughout his most successful year of 1882, but despite a commonly held view that he threw the ball, umpires never called a no-ball against him for throwing in first-class matches. His bowling action during the match against Surrey at the Oval was the subject of significant complaints from the crowd, who accused him of throwing. During his bowling spell, he was heckled by the crowd, with shouts of "well-thrown" and "take him off", and he was later surrounded by Surrey supporters when he returned to the changing rooms.The Times addressed the issue in their match report, with a reminder that the umpires are the "judges of fair or unfair play", while the gossip columnist in Cricket: A Weekly Record of the Game suggested that it was "very obvious and frequent infringement of the laws defining bowling", and that it was clear that umpires lacked the expertise and the bravery to no-ball a bowler. A week after the match against Surrey, the only Test match of the Australian's tour was played, also at the Oval. In his obituary in Wisden Cricketers' Almanack, it was suggested that were it not for the accusations of throwing against <mask>, he would have been selected for the match. Cricket agreed, submitting that due to Fred Morley's absence from the England team due to injury, <mask> was the obvious choice to replace him, as he was the best fast bowler in the country. Despite this, they said that his non-selection showed that his action was not deemed fair by the selection panel. The Morning Post went a step further, and claimed that as <mask> had demonstrated he was England's best fast bowler, he should be selected to play in the Test match if his action was deemed fair, but that if it was not considered fair, he should not be allowed to continue to play for Lancashire either. An article written for The Argus, a Melbourne-based daily newspaper, by an unnamed member of the Australian side in 1882 reported that <mask> bowled; "with a delivery so like a throw that I feel sure it would not be allowed in Australia; but, as we all know, throwing in England is just as common as bowling – more's the pity", and it was speculated that the Australian team would have protested had <mask> been chosen for the Test match.In 1883, Middlesex refused to arrange matches with Lancashire due to the perceived unfair bowling of <mask> and some of his teammates. Nottinghamshire had their own complaints, and protested to the MCC regarding <mask>'s residential qualification to play for Lancashire. During the previous season, a letter had been written to Cricket magazine suggesting that <mask>'s qualification for Lancashire was invalid, as they claimed that although he was engaged on the Old Trafford ground staff for the summer, he continued to reside in Sutton-in-Ashfield during the winter. <mask> was summoned to Lord's over the matter, but the Lancashire committee refused to send him, stating that he was playing for them that day. The protest was eventually dismissed, though the MCC noted that "it would be of value ... to have the evidence on both sides for future reference." Neutral umpires were introduced in 1883, and there was some concern in Lancashire about whether <mask> would be no-balled during the first match of the year. The match against Derbyshire featured one of the most highly regarded umpires, Thomas Brownhill from Yorkshire, and <mask> bowled without censure.In June that season, <mask> travelled as part of the Lancashire team to Lord's, to play against the Marylebone Cricket Club. The umpires for the match had been advised to be strict in applying the law on throwing, and it was noted in the press that <mask> had modified his bowling action, and no complaints could be made against it. The Daily News did suggest that "if [<mask>] always bowled as he bowled yesterday there would be no disputes about him—and he would not get many wickets." He generally continued to bowl effectively during 1883, and peaked towards the end of the season, claiming seven wickets in an innings against "The Rest" while playing for a combined Lancashire and Yorkshire side, another seven in an innings for Lancashire against Surrey, and the best bowling figures of his career, eight for 57 for the North against the South. During the match against Surrey, the complaints from the crowd were again strong, and such were the vehemence of the protests, they almost drew the Lancashire captain, A. N. Hornby to refuse to complete the match. Crowd protests were also made at Clifton where Lancashire faced Gloucestershire, but W. G. Grace, who was batting at the time, warned the crowd to stop, or he would close the ground. In an end of season match for Dick Barlow's XI against Tom Emmett's XI; he scored his highest first-class score with the bat, reaching 51 runs in the second innings.He took 72 wickets in 1883 at an average of 12.97, placing him third in the national bowling averages. Lancashire's policy of recruiting professional bowlers without much regard for their qualification to play for the county caused some bad-feeling with other counties, most notably Crossland's native Nottinghamshire. The bickering between the counties escalated and in 1883, after receiving a provocative Christmas card from Lancashire, the Nottinghamshire committee sent an aggressive response:
LANCASHIRE COUNTY CRICKET. The only rules necessary for players in the County Eleven are that they shall neither have been born in, nor reside in, Lancashire. Sutton-in-Ashfield men will have the preference. At the end of the 1883 season, a meeting of county representatives at Lord's was held, during which a proposal was made "that the undermentioned counties agree among themselves not to employ any bowler whose action is at all doubtful." The proposal was essentially a gentlemen's agreement to try and prevent unfair bowling, necessitated by the umpires' refusal to intervene.The resolution was signed by representatives from Derbyshire, Kent, Middlesex, Nottinghamshire, Surrey and Yorkshire, but those from Gloucestershire and Sussex refused to sign it, along with Alexander Rowley from Lancashire. During the meeting, Hornby defended <mask>'s action, saying that "he had never seen <mask> bowl otherwise than fairly." As a result, Middlesex were joined by Nottinghamshire and Cambridge University in boycotting Lancashire in 1884. <mask> was strong again, and claimed ten wickets in a match on three occasions, first against Oxford University in late May–early June. In his next match, for the North against the South, he claimed seven wickets in each innings to record match figures of fourteen for 80. The crowd at Lord's followed the example previously set at the Oval, heckling <mask> throughout the match. He collected seven wickets in an innings again, in a match not classified as first-class against Leicestershire, and completed the ten-wicket haul with four wickets in the second innings.He faced the touring Australians twice during June, taking two wickets for the North, before collecting eleven wickets for Liverpool and District. The report in The Argus once again vilified <mask>, writing that "owing principally to the successful throwing of <mask>" the Australian first innings closed for 140. <mask> was named in the initial twelve-man squad for the first Test against Australia, which was played at Lancashire's Old Trafford ground. An official from the home ground chose the England team for each match. Lord Harris announced that he would not participate in the Test at Old Trafford if <mask> was selected. As a result, Lord Harris was withdrawn from the team and replaced by Tim O'Brien, although in the end <mask> did not play either. Lord Harris, who was both the captain of Kent and England in 1884, led the protests against throwing.He forced the retirement of two of Kent's bowlers, but was reasonably satisfied with Lancashire in 1884: for their match against Kent at Old Trafford, they dropped Nash, and by the meeting of the two sides in August that year, neither <mask> nor Nash were in the side. Lord Harris had hoped that this indicated that Lancashire were making efforts to "of [their] own free will, and without agreement with other counties, to place [their] eleven in an irreproachable position", though Lancashire later clarified that <mask> had only missed the match as he was suffering from a shoulder injury; while Nash's bowling was not suited to the hard pitches those matches were played on. Crowd protests against <mask> spread; there was trouble during matches at both Yorkshire and Derbyshire in 1884. Towards the end of that season, the London Truth reported that during a club match in his home town of Sutton-in-Ashfield, <mask> was no-balled by an umpire on account of throwing. Upon this, <mask> demanded the umpire retire from the match, and when the opposing captain refused, the match was abandoned. <mask> then announced, via the town crier, that his bowling would "pass unquestioned" in his next county match. Termination of county cricket career
In 1885 Lancashire once again were unable to face either Middlesex or Nottinghamshire as the two sides maintained their boycott.<mask> was chosen to appear for Charles Thornton's England XI against Cambridge University, in which he took seven wickets for 117. In late May, he took four for 52 and three for 51 against Kent at Old Trafford. When Lord Harris was clean bowled by <mask>, the Lancashire crowd "seemed fairly beside themselves with delight. Hats and coats were thrown up" according to the Manchester Guardian, which also observed that some felt <mask> had achieved his revenge against Lord Harris. After the match, Lord Harris, unhappy with the return of <mask> and Nash to the Lancashire side, requested that the Kent committee cancel the home fixture against Lancashire. The committee agreed with his argument, and Kent became the third first-class county to refuse to play against Lancashire. <mask> only played six matches for Lancashire in 1885 before, acting upon objections raised by Nottinghamshire County Cricket Club, the Marylebone Cricket Club ruled that he had breached his residency qualification by returning to live in Sutton-in-Ashfield during the winter period.Due to this, he was not allowed to play for Lancashire, effectively ending his first-class career. Nash retired from county cricket at the end of 1885 due to criticisms about his own action, and fixtures between Lancashire and Middlesex, Nottinghamshire and Kent resumed in 1886. <mask> played two further first-class matches, in 1886 and 1887, both for Charles Thornton's XI against Cambridge University. Later life and career
<mask> remained in Lancashire after his expulsion from their county side, playing for a variety of club sides; East Lancashire from 1885 to 1889, Church and Oswaldtwistle in 1890 and Colne in 1891. He also worked in a coal pit at Clayton-le-Moors. He died on 26 September 1903 in Blackburn. His burial was paid for by Lancashire County Cricket Club.Playing style and legacy
At his peak in 1882, <mask> was considered one of the fastest bowlers in England, and his yorker was described as W. G. Grace as being "exceedingly difficult to play." In his Wisden obituary, it was reported that "the majority of experts having no hesitation in describing him as a rank thrower." Grace was scarcely kinder, noting that he was "inclined to think that he ought to have been no-balled in every over." Despite the widespread opinion against his action, the umpires, themselves professional, were reluctant to no-ball him. There was a feeling in the press that the biggest fault lay with the cricket authorities; both the umpires and the MCC; The Daily News, echoed by Cricket magazine, said that "no blame can possibly attach to a bowler who continues a delivery which is habitual with him ... when the proper authorities decline [to signify] their disapproval of it." As a batsman, he was an aggressive tail-ender, while he was considered a good fielder with a long throw. In all first-class matches, <mask> claimed 322 wickets at an average of 10.95.He took ten wickets in a match on six occasions, and five wickets in an innings 25 times. He scored 1,172 runs with a high score of 51. Throwing in cricket came to a head in the early part of the twentieth century when the careers of a number of professional bowlers came to a close, most notably those of Lancashire's Arthur Mold, Somerset's Ted Tyler and Leicestershire's Frederic Geeson. Notes

References

Bibliography

1852 births
1903 deaths
Sportspeople from Sutton-in-Ashfield
English cricketers
Lancashire cricketers
Liverpool and District cricketers
North v South cricketers
C. I. Thornton's XI cricketers

masks:
Jack
" Crossland
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texts:
<mask>  (Medieval ; Modern Gaelic: ; 4 September 1241 – 19 March 1286) was King of Scots from 1249 until his death. He concluded the Treaty of Perth, by which Scotland acquired sovereignty over the Western Isles and the Isle of Man. His heir, Margaret, Maid of Norway, died before she could be crowned. Life
<mask> was born at Roxburgh, the only son of <mask> by his second wife Marie de Coucy. <mask>'s father died on 6 July 1249 and he became king at the age of seven, inaugurated at Scone on 13 July 1249. The years of his minority featured an embittered struggle for the control of affairs between two rival parties, the one led by Walter Comyn, Earl of Menteith, the other by Alan Durward, Justiciar of Scotia. The former dominated  the early years of <mask>'s reign.At the marriage of <mask> to Margaret of England in 1251, <mask> of England seized the opportunity to demand from his son-in-law homage for the Scottish kingdom, but <mask> did not comply. In 1255 an interview between the English and Scottish kings at Kelso led to Menteith and his party losing to Durward's party. But though disgraced, they still retained great influence, and two years later, seizing the person of the king, they compelled their rivals to consent to the erection of a regency representative of both parties. On attaining his majority at the age of 21 in 1262, <mask> declared his intention of resuming the projects on the Western Isles which the death of his father thirteen years before had cut short. He laid a formal claim before the Norwegian king Haakon. Haakon rejected the claim, and in the following year responded with a formidable invasion. Sailing around the west coast of Scotland he halted off the Isle of Arran, and negotiations commenced.<mask> artfully prolonged the talks until the autumn storms should begin. At length Haakon, weary of delay, attacked, only to encounter a terrific storm which greatly damaged his ships. The Battle of Largs (October 1263) proved indecisive, but even so, Haakon's position was hopeless. Baffled, he turned homewards, but died in Orkney on 15 December 1263. The Isles now lay at <mask>'s feet, and in 1266 Haakon's successor concluded the Treaty of Perth by which he ceded the Isle of Man and the Western Isles to Scotland in return for a monetary payment. Norway retained Orkney and Shetland until 1469 when they became a dowry for <mask>'s bride, Margaret of Denmark. Succession

<mask> had married Margaret, daughter of King <mask> of England and Eleanor of Provence, on 26 December 1251, when he was ten years old and she was eleven.She died in 1275, after they had had three children. Margaret (28 February 1261 – 9 April 1283), who married King Eric II of Norway
 <mask>, Prince of Scotland (21 January 1264 Jedburgh – 28 January 1284 Lindores Abbey); buried in Dunfermline Abbey
 David (20 March 1272 – June 1281 Stirling Castle); buried in Dunfermline Abbey

According to the Lanercost Chronicle, <mask> did not spend his decade as a widower alone: "he used never to forbear on account of season nor storm, nor for perils of flood or rocky cliffs, but would visit none too creditably nuns or matrons, virgins or widows as the fancy seized him, sometimes in disguise." Towards the end of <mask>'s reign, the death of all three of his children within a few years made the question of the succession one of pressing importance. In 1284 he induced the Estates to recognize as his heir-presumptive his granddaughter Margaret, the "Maid of Norway". The need for a male heir led him to contract a second marriage to Yolande de Dreux on 1 November 1285. <mask> died in a fall from his horse while riding in the dark to visit the queen at Kinghorn in Fife on 19 March 1286 because it was her birthday the next day. He had spent the evening at Edinburgh Castle celebrating his second marriage and overseeing a meeting with royal advisors.He was cautioned against making the journey to Fife because of weather conditions, but crossed the Forth from Dalmeny to Inverkeithing anyway. On arriving in Inverkeithing, he insisted on not stopping for the night, despite the pleas of the nobles accompanying him and one of the burgesses of the town, <mask> Saucier. Le Saucier (who was either linked to the King's kitchen or the master of the local saltpans) must have been known to the King, since his rather blunt warning to the King lacks the usual deference: "My lord, what are you doing out in such weather and darkness? How many times have I tried to persuade you that midnight travelling will do you no good?" However, <mask> ignored the repeated warnings about travelling in a storm, and set off with his retinue and two local guides. The king became separated from his party near Kinghorn, and was found dead with a broken neck near the shore the following morning. It is assumed that his horse lost its footing in the dark.While some texts say that he fell off a cliff, there is none at the site where his body was found; however, there is a very steep rocky embankment, which "would have been fatal in the dark." After <mask>'s death, his realm was plunged into a period of darkness that would eventually lead to war with England. He was buried in Dunfermline Abbey. As <mask> left no surviving children, the heir to the throne was his unborn child by Queen Yolande. When Yolande's pregnancy ended, probably with a miscarriage, <mask>'s three-year-old granddaughter Margaret, Maid of Norway, became the heir. Margaret died, still uncrowned, on her way to Scotland in 1290. The inauguration of John Balliol as king on 30 November 1292 ended the six years of the Guardians of Scotland governing the land.The death of <mask> and the subsequent period of instability in Scotland was lamented in an early Scots poem recorded by Andrew of Wyntoun in his Orygynale Cronykil of Scotland. In 1886, a monument to <mask> was erected at the approximate location of his death in Kinghorn. Fictional portrayals

<mask> has been depicted in historical novels. They include:

The Thirsty Sword (1892) by Robert Leighton. The novel depicts the "Norse invasion of Scotland" (1262–1263, part of the Scottish–Norwegian War) and the Battle of Largs. It includes depictions of <mask> and his opponent Haakon IV of Norway. Alexander the Glorious (1965) by Jane Oliver.The novel covers the entire reign of <mask> (1249–1286), "almost entirely from <mask>'s viewpoint". The Crown in Darkness (1988) by Paul C. Doherty. A crime fiction novel where Hugh Corbett investigates the "mysterious death" of <mask> (1286). <mask> supposedly suffered a fatal fall from his horse. But there are suspicions of murder. The novel concludes that <mask> was indeed murdered "by a fanatical servant" of Edward I of England. The killer acting according to "Edward's secret desire to overwhelm and control Scotland".Doherty suggests that the personal relations of the two kings were strained by constant arguments, though this is not confirmed by historical sources. Quest For A Maid (1988) by Frances Mary Hendry. The novel depicts the life of Meg, her power-hungry older sister Inge, Lady Marjorie, Countess of Carrick and their part in securing the succession of Lady Marjorie's son Robert the Bruce to the Scottish throne. It includes depictions of <mask>'s death as "falling off a cliff" with sorcery as the cause. Insurrection (2010) by Robyn Young. This novel is the first of a series of novels primarily about the life and times of Robert the Bruce. However, it covers <mask> and the circumstances surrounding his death in some detail.Raphael Holinshed, in his oft-fanciful history of England in his Chronicles, stated that at <mask>'s wedding, a horrible monster, mostly skeleton but with raw flesh, appeared at the end of the procession and caused the wedding to be hurriedly concluded. This was, in tradition, an omen of death. Crusader (1991) by Nigel Tranter. This novel follows the minority of <mask> and his relationship with David de Lindsay. Tranter, who has written scores of historical novels spanning the range of Scotland's history, also wrote "Envoy Extraordinary" (1999) (about Patrick Earl of Dunbar) and "True Thomas" (1981) (about Thomas the Rhymer), both of which take place during the reign of <mask>, and in which <mask> is a featured character. Ancestry

Notes

Sources
Anderson, Alan Orr (ed. ), Early Sources of Scottish History: AD 500–1286, 2 Vols, (Edinburgh, 1922), republished, Marjorie Anderson (ed.)(Stamford, 1991)
idem (ed. ), Scottish Annals from English Chroniclers: AD 500–1286, (London, 1908), republished, Marjorie Anderson (ed.) (Stamford, 1969)
.

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Scott, Robert McNair. Robert the Bruce: King of Scots, 1869

Further reading

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1241 births
1286 deaths
House of Dunkeld
People from the Scottish Borders
Deaths by horse-riding accident in Scotland
Medieval child rulers
13th-century Scottish monarchs
Burials at Dunfermline Abbey
Scottish people of the Wars of Scottish Independence
Gaelic monarchs in Scotland

masks:
Alexander III
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Alexander II
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Henry III
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James III
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