![]() ![]() It is my theme here too, and not just in the personal sense but in a cultural sense as well. ![]() “My theme is memory,” Waugh has his narrator, Charles Ryder, say at one point. The 11-part television adaptation of Evelyn Waugh’s great novel aired weekly on PBS in 1981. And while my initial attraction was the usual aesthetic one-the accents, the clothes, the vintage motorcars-the novel’s deeper strands wove themselves indelibly into my own story. The book soon became a beloved talisman as well. ![]() The 11-part television adaptation of Evelyn Waugh’s great novel aired weekly on PBS, the main supplier of my Brit fixes, and I sat gape-jawed at it, drinking it all in, even as its narrative took turns I didn’t understand at the time (some of which I still wrestle with, in different ways). It was in that impressionable state that “Brideshead Revisited” entered, and changed, my life. ![]() When “Chariots of Fire” surprisingly won the Oscar for Best Picture in 1982, it felt like a personal triumph. The summer of my first teen year, I didn’t just wake up in the wee hours to watch the televised wedding of Prince Charles and Diana Spencer I dutifully recorded the audio of some of it on a small tape deck for easy replay. I am not quite sure how it happened, but by the age of 13 I was a blissfully indiscriminate Anglophile-a devotee of Jane Austen, “Doctor Who,” Monty Python and the Beatles. ![]()
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