editor

March 2 (UPI) — The royal editor for The Daily Mail on Monday denied using a private investigator to steal information about Prince Harry and his former girlfriend Chelsy Davy.

Prince Harry is suing Associated Newspapers Ltd., which owns The Daily Mail, along with six other plaintiffs including Elton John and Elizabeth Hurley, for using information they obtained illegally.

ANL denies all wrongdoing and said it gathered all information for its stories legally.

The testimony Monday mostly hinged on Mike Behr, a South Africa-based private investigator. Rebecca English, royal editor, said she knew Behr only as “a freelance journalist who could help on Africa stories,” The Guardian reported.

Lawyers asked English about an email from Behr that shared the exact flights that Davy was taking on a vacation with Harry in 2007.

Behr asked in the email if English and the Sun reporter “can plant someone next to her?”

Plaintiffs’ lawyer David Sherborne said the email “could only have been obtained from the computer system” of an airline. That means it came from a “blag” — British slang for a way of obtaining information illegally.

English responded that she didn’t remember the email or ask for those flight details.

“[Behr] was never asked for anything like this, ever,” she said. “That is something I would never even consider doing, now or then,” The Guardian reported.

Sherborne asked about planting someone next to Davy, and English replied: “It’s an absolutely shameful suggestion both by him and by you … clearly there’s no reply to this email, which emphasizes my belief that I never actually saw it.”

He then accused her of using illegal information in a story about a “make-or-break holiday” for the couple. But English said the information was likely from students at the University of Leeds, where Davy was enrolled, “who were friends with Chelsy Davy and part of her circle.”

Sherborne also asked English about a story with the headline, “How Harry fell in love,” from 2004. The story alleged that Harry had shared details of his relationship with Davy with friends at a campfire in Botswana. English said the campfire info came from her coworker Sam Greenhill.

“Sam told me that one of the people that Prince Harry had spoken with ’round the campfire got in touch with the newspaper when news of the relationship broke and gave this information to us,” The Independent reported.

“Prince Harry hadn’t told them who his girlfriend was but had described her so that, when the stories about Chelsy Davy broke, they realized the significance of what they had been told.

“I thought at the time that the tip was from a contact of Sam’s, but now understand it just came in to the news desk. I think that Sam gave it to me because he knew that I was new to my job as a royal reporter and thought it might be helpful to me.”

Harry testified last month that the people at the campfire — his “closest friends” — would not have shared that information, and if they had, there “would be a lot more out there.”

Tayari Jones was feeling intense pressure to deliver a follow-up to her 2018 bestseller, “An American Marriage.” She was three years past her publisher’s deadline. Worse, she had begun to suffer symptoms of what was ultimately diagnosed as Graves’ disease, a serious autoimmune condition that attacks the thyroid. At the time she didn’t know what was causing pain in her right leg and the intense itching on her arms, legs and torso — or why her handwriting had “gone funky.” Meanwhile, 200 pages in, the novel she owed Knopf Publisher and Editor in Chief Jordan Pavlin wasn’t coming together.

She confided to a close friend, “This book got me feeling like a clown right now.” Jones began to doubt that she was ‘worthy’ of another literary success.

“You know how musicians say ‘that band was swinging’? I wasn’t swinging,” Jones, who lives in Atlanta, tells me during a recent phone call.

She says she turned to an empty notebook, and began word doodling — scrawling random words, going wherever her pen took her. “Kin,” the magnificent novel that emerged, is out now. Oprah recently announced that it’s her latest book club pick (the second time Jones has been honored with the selection).

“Kin: A Novel” by Tayari Jones

(Knopf)

“Kin” was supposed to have been an entirely different book — an of-the-moment novel about gentrification in the New South — but what materialized from Jones’ creative experiment was a tiny Louisiana town called Honeysuckle, amid the 1950s and Jim Crow. Then, as Jones puts it, “Annie and Vernice [her main characters] introduced themselves.” All of Jones’ previous fiction has been contemporary, and at first she didn’t know what to make of the path Annie and Vernice were leading her on. “I don’t write historical,” observes Jones, “I’m a writer of my own era.” Not to mention she’d always been suspicious of writers who claim their characters came to them fully realized.

Even at that point, Jones still believed Vernice and Annie might just be part of a larger backstory, perhaps parents to protagonists she had yet to conjure. “So I stuck with it to find out.” The more she wrote, the more the puzzle pieces began to fit together. Annie’s journey out of Louisiana takes her through a sharecropping brothel in Mississippi, then on to Memphis where she is convinced she will find and reunite with her mother. Meanwhile, Vernice attends Spelman (the HBCU Jones is a ’91 graduate of).

Jones began to suspect that she’d had a previously undetected ulterior motive for moving her book to the past. She wondered if “Kin” was actually an effort to better understand her parents, particularly her mother, a former economist who’d been active in the civil rights movement. “My mother is a very tight-lipped person,” Jones says. “I knew very little about her life, and maybe this was my imagination trying to crack the code.”

Jones’ progress wasn’t without its setbacks. She was deep into the writing of “Kin” when her Graves’ disease flared in earnest. Her blood pressure spiked. She got winded just climbing the stairs to her bedroom. She landed in the emergency room with a life-threatening “thyroid storm,” requiring surgery and daily medication. Then her eyesight deteriorated, which necessitated a month of radiation. But she powered through, and sent off the manuscript.

Jones’ editor, Pavlin, admits the novel she received was a surprise. “But it was as perfect a novel as I’ve ever read,” she says. “No publisher in their right mind would stand on anything as insignificant as a contractual description in the face of such a work.”

“Kin” deftly alternates points of view between Vernice and Annie, narrating events by way of a vernacular that would be at home on a front porch rocking chair. When Annie takes a job at a nightclub in Memphis, she says of its penny-pinching owner: “The man was tight as a skeeter’s teeter.” Jones is equally adept at the delicate prose, as in this description of a well-worn family Bible: “The paper, thin as butterfly wings, was heavy with wisdom.”

While Jones had Toni Morrison’s short story “Recitatif” in mind while writing “Kin,” her take on the subject is singular. “Vernice and Annie remain friends because each of them is the keeper of the other’s true self,” she says. “Friendship is particularly meaningful because it’s a relationship you’re constantly recommitting to — reupping.”

Now that “Kin” is out in the world, and Jones has weathered the bumpy road to publication day, we asked her if she’s nervous about how it will be received eight years after her previous novel was published. “I am not ambitious now in the way I was then,” she says. “I’ve learned what success can and cannot do for a person. You have to learn to be satisfied. People say ‘don’t rest on your laurels,’ but what are laurels for?”

Haber is a writer, editor and publishing strategist, and co-founder of the Ink Book Club on Substack. She was director of Oprah’s Book Club and books editor for O, the Oprah Magazine.

Tropical weather, luxury accommodation and relaxing rituals make this island the perfect babymoon destination to visit when pregnant, says travel editor Laura Mulley

Looking for a holiday destination for one last trip as a two before our baby arrived, we found our options surprisingly limited. We didn’t want to chance potential bad weather in Europe off-season, and with the risk of mosquito-borne virus Zika – which is particularly dangerous to pregnant women – ruling out most of the Caribbean and Asia, there was a clear frontrunner that ticked all of our boxes: Mauritius.

Emirates proved to be the best airline to fly with from our nearest airport – Manchester – with the most flight options available – and the staff were exceptionally helpful at making a six-months-pregnant woman feel as comfortable as possible during the journey.

Once we landed, our aim was simple: to enjoy all the things we’d probably struggle to do once our baby arrived, on what would potentially be our last relaxing holiday for a while. And it certainly delivered.

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Le Méridien Ile Maurice

Our first stop was the huge, open, colourful Le Méridien Ile Maurice on the island’s northwest coast. One of Mauritius’s leading family hotels (perfect for showing us what to expect from our future holidays), its hidden gem is its adults-only section, Nirvana, at the end of the kilometre-long beach, which has its own rooms, reception, restaurant, beach area and infinity pool scattered with squishy floating beanbags.

Our Hideaway Suite here was truly one of the biggest we’d ever seen, with a massive distance between the patio doors at the front to the heated plunge pool out the back. Guests get access to a ‘butler’ via WhatsApp, and lots of thoughtful touches from the friendly staff make staying here feel extra-special, from the complimentary cocktail (or mocktail) by the pool at sundown to the petal-strewn bath we found waiting for us after dinner. One night there was even a pregnancy pillow laid out on the bed, something we hadn’t requested but made our stay even more comfortable.

The food at Le Méridien

There are four restaurants at Le Méridien, and it’s worth making your way around them all: Nomad’s buffet is popular with families, Waves serves Mediterranean-style fish and grilled dishes, Kumin gives guests a taste of Mauritius’s strong Indian influence, and – our favourite – Nirvana’s Jade does excellent Asian cuisine, including sushi and teppanyaki (take breakfast here too if you want to savour the child-free moments for as long as possible). All are included in half-board and all-inclusive packages, although booking is recommended for the à la carte restaurants.

What to do at Le Méridien

Keen to enjoy as many grown-up activities as possible, we took part in sunset yoga on the beach, took kayaks and pedalos out into the lagoon’s clear waters, and enjoyed treatments in Le Méridien’s spa, including a heavenly head massage using warm coconut oil, and the perfect pre-natal full body massage. The therapists here are all incredibly skilled – you’ll really feel the benefits.

St Regis Le Morne

The second half of our trip was spent at sister hotel St. Regis Le Morne, formally the JW Marriott, and which joined the historic St. Regis hotel group – founded by American tycoon and Titanic victim John Jacob Astor IV – following a major renovation last year.

On the island’s southwest point, this is a quieter, more secluded part of the country, and St. Regis sits under the shadow of Mauritius’ iconic Le Morne mountain surrounded by miles of beautiful beaches and shallow waters.

Although we spotted plenty of multi-generational families here too, St. Regis definitely has a more elegant and luxurious air to it. With a colonial-style design and elegant rooms set amongst lush vegetation and trickling water features, it has a slight ‘White Lotus season three’ vibe.

There’s a huge pool here, but we found that most couples chose to spend their days on the loungers under palm leaf-umbrellas that line the beach, which are peaceful, always available, and serviced by bar staff at the touch of a button.

The food at St Regis Le Morne

Out of St. Regis’s five restaurants, our favourites were INDYA, serving a modern take on Indian cuisine with the friendliest service, and Japanese Atkuso, where the chef veered from the menu to whip up some of the best maki rolls we’d ever tried to cater to our vegetarian diets. Each restaurant also does its own signature cocktails and ‘mindful mocktails’ with certain health benefits.

What to do at St Regis Le Morne

St. Regis is proud of its history and heritage, and a key feature are its three ‘rituals’, found in all its properties around the world, and all – pleasingly for our purpose – highly unsuitable for children: Bloody Marys, sabrage and afternoon tea.

In homage to the first ever spicy tomato juice cocktail as we know it, reportedly invented at the St. Regis New York in the 1920s, our charismatic bartender Vymal demonstrated how to make this hotel’s own version, the L’Île Mary, using Mauritian rum infused with curry leaves and topped with turmeric foam. The self-appointed Bloody Mary connoisseur out of the two of us declared it to be one of the best he’d ever tasted.

Next up was learning sabrage – the art of opening a bottle of champagne with the swish of a sword, and supposedly how Napoleon liked to celebrate his victories. Although initially unconfident, following expert instruction we were thrilled to deftly remove the top of our bottle of fizz in one smooth swipe.

Afternoon tea was a more genteel affair, and is a reference to Lady Astor’s daily habit of gathering family and friends around in the afternoons to share wisdom. Here it involves Mauritian tea and viennoiserie from the hotel’s kitchen, taken under swaying palm trees on the beach – just heavenly, and the perfect last few moments of calm before we became a three.

How much does it cost?

Rooms at Le Méridien Ile Maurice start from £220 per night on a B&B basis based on double occupancy. Rooms at St. Regis Le Morne start from £585 per night based on double occupancy (two night minimum stay required). Returns flights from Manchester to Mauritius were with Emirates start from £775.

We’re in something like award season no man’s land right now: the whirlwind of the Oscar nominees luncheon is behind us, but most of the major precursors have yet to be handed out. Which leaves less for the pundits to chew on, perhaps, though it also means there’s finally some spare time to catch up on your reading.

I’m Matt Brennan, editor in chief of The Envelope. Let me be of some assistance.

Cover story: ‘Sentimental Value’

(Christina House / For The Times)

After an entire award season’s worth of conversations about one of the top contenders, it’s rare to hear a new one this late in the game. But when I ran in “Sentimental Value” director Joachim Trier last week, he happily shared his point of view on an anecdote his editor, Olivier Bugge Coutté, recently shared with The Envelope about killing one of Trier’s darlings. “He was right,” Trier admitted with a half-rueful smile, after describing the elaborate aerial shot over a theater audience with which he originally intended to open the film.

Such candor is also a mark of contributor Bob Strauss’ interview with Trier and star Stellan Skarsgård about making the year’s most-nominated international feature, from their discussion of the stroke that permanently altered the actor’s process to bon mots about the film’s depiction of Netflix, demanding directors and more. I was most tickled by Skarsgård’s, um, unvarnished description of the small screen: “The narrative form of television is based on you not watching,” he tells Strauss. “It explains everything through dialogue so you can make pancakes at the same time.”

Digital cover: Kate Hudson

(Christina House / Los Angeles Times)

When contributor Amy Amatangelo sent me her pitch for a story on “Song Sung Blue,” it swiftly answered the question I want every pitch to answer: Why are you the right person to write this story?

“I am a lifelong Neil Diamond fan,” she wrote. “My dad loved him. I saw him in concert as a child. My dad and I danced to ‘Beautiful Noise’ at my wedding.”

So it was a no-brainer to set her up with this week’s digital cover star, nominated for playing one half of the film’s Neil Diamond tribute band. “Although she’s had a slew of successes in the interim,” Amatangelo writes of the 25 years since “Almost Famous,” “it can sometimes seem that we’ve underappreciated, and perhaps underestimated, Kate Hudson.”

‘Train Dreams’’ not-so-secret weapon

(Lauren Fleishman/For The Times)

Speaking of pitches, the most frequently suggested subject for coverage since the Oscar nominations (not-named-Chalamet-or-DiCaprio division) may be “Train Dreams” cinematographer Adolpho Veloso. Which already made the Brazilian’s wizardry one of the industry’s worst-kept secrets. Count contributor Emily Zemler’s profile among the final nails in the coffin.

“Capturing the enormous trees that would have existed in the early 20th century was a challenge,” she writes of the film, which spans the life of an itinerant logger in the Pacific Northwest. “The production went to protected parks, where they had to be cautious about not affecting the environment. ‘How do you shoot a movie where they’re supposed to be cutting those trees, but they cannot even get close to those trees?’ Veloso says. ‘It was almost like shooting stunts.’”

More stories from our Feb. 19 issue

“A generation ago, midlife might have been a bit of a snore, right? You have your job you’re going to be in for your whole career. You have your house in the suburbs … I don’t think established adulthood is that established anymore,” author Emily Nemens told me from her home in Princeton, N.J., before heading out on a cross-country book tour. “It’s much more pressurized and uncertain.”

This is the foundation of the former Paris Review editor’s sweeping and exquisite sophomore novel, “Clutch,” which features an ensemble cast of five women — all 40, give or take, and longtime friends — who reunite in Palm Springs, each at their own trying crossroads.

Nemens is no stranger to writing group dynamics; her critically acclaimed debut novel, “The Cactus League,” is structured in interlinked stories. She wrote it while juggling a distinguished career at literary quarterlies and making a name for herself as an artist. In the 2010s, her watercolor portraits of U.S. congresswomen went viral for their commentary on political portraiture and the “power suit.” At the time, women made up only 17% of Congress. Her new work also draws on politics — “Clutch” is set in an era shaped by the Dobbs decision and the state of women’s health in America.

The Times talked to Nemens about favoring friendship on the page, bodily autonomy and her influences including California artist Wayne Thiebaud — whose painting “Supine Woman” is featured on the cover of her novel.

This Q&A was edited for length and clarity.

When did the idea for “Clutch” first come to you?

I went to Palm Springs with my girlfriends. The dynamics, the friction of getting people together who love each other a lot but haven’t seen each other for quite a long time was eventful and felt like something to write about.

On your inspiration for the novel: You’ve previously mentioned Mary McCarthy’s novel “The Group,” which has also been cited as a precursor to “Sex and the City.” How far have we come since “The Group” was published in 1963? How about “Sex and the City” in the late ‘90s? “

McCarthy was writing in the ‘50s and ‘60s about the ‘30s and “The Group” was meant to highlight all the progress women had (and hadn’t) made in this new society, new economy, new technologies, birth controls coming on. There’s a certain amount of new liberation that came purportedly in the ‘30s, purportedly in the ‘60s, purportedly in the ‘90s. I mean, progress is certainly being made. You and I can get birth control and have our own credit cards, but there’s also a lot of things that don’t feel great. A reigning plotline in “Clutch” is about reproductive freedom in Texas in the 2020s and just how devastating that was for so many people who care about bodily autonomy, and that doesn’t feel very different than it did in the 1930s.

“Clutch” puts a cast of millennial girlfriends front and center.

Yeah, I’ve read a lot of books I admire about singular protagonists. A woman rebelling from a marriage or striking out from the role of motherhood or otherwise trying to find meaning. These novels about a singular quest. And I just kept coming up against that and thought: What happens when you try to build the infrastructure of friendships on the page?

We get intimate access to each of these five women — a writer, litigator, ENT physician, an actor turned politician and a consultant turned caretaker. All of them live in various parts of the country, including California, Texas and New York. It must have been hard to balance so many perspectives, plotlines and an omniscient narrator on top of it all.

I broke a lot of rules with that third ping-ponging perspective. Sometimes perspectives shift within a page, within a scene, moving rapidly and gleefully between points of view, and using that omniscient voice to steer us around — that was fun. I was cognizant of balance and understanding the lazy-Susan of it. Making sure I was spinning all the way around the table and touching each piece in each storyline.

Why midlife?

I love a bildungsroman as a novel conceit and as a framing device. But, sometimes, moving beyond that realization of the adult you want to be and actually being that adult is harder and more complicated and maybe more interesting, at least as I am and perceive it right now.

You’ve worked as an editor in some of the literary world’s most prestigious posts, notably at the Paris Review. Do you miss it since pivoting toward your own writing and teaching?

Making magazines was a thrill and a gift and exhausting. In that order. Not every editor is quite as catholic with a little c, as ecumenical, as excited about such a range of writing as I am. I wanted to see not one style of writing, but a broad range of writing that I felt had both ambition and execution.

One of the things that’s hard about being an editor, particularly an acquiring editor, is how often you have to say no. As a teacher now, I never say no. I say “yes.” Instead, I ask: What else can this be doing? That attitude adjustment is glorious.

Back to “Clutch,” what does female friendship mean to you? Do you see your friends’ qualities in these five women?

Female friendship has been such a gift. I don’t have children, I have a really supportive partner and I have this wonderful, creative professional life, but I can’t imagine it without my friends. There are certainly flints of autobiography and different friends in different characters — they’ve read it and liked it, and if they saw themselves, they were pleasant about it.

Tell me about the painting on the cover of the book. It really speaks to what these women are going through.

Getting the rights to the painting was a real coup! It’s called “Supine Woman” by Wayne Thiebaud. It was painted in 1963 — its own little Easter egg is that it came out the same year as “The Group.”

It depicts a woman dressed all in white who is lying on the floor. You’d assume from the pose that she’s sleeping, except her eyes are wide open, and in this frightened or startled expression. To me, it’s indicative of what the women in “Clutch” are going through. This is that moment right after you get knocked down, right before you get up again and that emotional tenor proceeds for a lot of the novel.

Lancaster is a London-based writer of fiction, fashion editorial and screenplays.