Prep School Pedigree

2021 ◽  
pp. 133-166
Author(s):  
Donald Leinster-Mackay
Keyword(s):  
Author(s):  
Sir John Dermot Turing

My uncle, Alan Turing, was not a well-dressed man. It is a tribute to those who employed him that he was able to flourish in environments that ignored his refusal to comply with social norms as much as he disregarded mindless social conventions. Social conventions, however, became an increasingly powerful influence over his life. Here I retell the story from the family perspective. There is an old photograph in the family album that shows Alan in his last years at Sherborne (Fig. 2.1). It was taken in June 1930—a few months after his friend Christopher Morcom’s death—and Alan looks relaxed and happy. But his trousers are a complete disgrace. It is not clear who took the picture, but the timing suggests that it was done at Commemoration, the annual festival at Sherborne to which parents and dignitaries are invited, and where boys, particularly senior boys, should be smartly turned-out. Ordinarily, Alan’s mother (my grandmother) would have intervened and spruced him up. But given that Alan was, like other boarding-school boys, responsible for his own clothes, she probably had no control over him any more, if indeed she ever had done. My grandmother had had little direct control over Alan during his formative years. My grandfather was serving the Empire in India, and she, as a good memsahib, was expected to be with him to run his household. (From the distance of a century or so, this seems a waste of talent, for my grandmother had a formidable intellect as well as many other gifts, and in a later age would probably have become a scientist of distinction.) So Alan was deposited in England with foster parents in St Leonards-on-Sea, and at nine years of age was sent off to a prep school called Hazelhurst, near Frant in Sussex. School seems to have been a reasonably good experience for him—at least in his first term. There was the incident of the geography test. At that time my father, being four years older than Alan, was in the top form while Alan was in the bottom one. The whole school was made to do a geography test. Turing 1 (my father) got 59 marks and Turing 2 (Alan) got 77; my father considered this a thoroughly bad show.


Author(s):  
Sam Bush

After a while, I began to feel that studying great art and accomplishment isn’t enough. Writing a thesis about art didn’t seem to be as fulfilling as trying to make the art. I had the special background with Karl together with the exceptionally academic nature of Reed, and then I stumbled onto William Morris, and things began to coalesce. One day I went to Lloyd Reynolds, the great calligrapher and teacher at Reed and showed him pictures of my wood work. I asked him what he thought I should do. He said, “You have a teacher who helped you make this? I think you ought to leave Reed immediately and go to him.” I finished out the year, my sophomore year, but after that meeting I was on my way. I wrote a zillion letters to European craft schools and universities where I could study woodwork, not realizing at that time that further work with Karl was a possibility, and eventually I was accepted at two—Carl Malmsten’s school in Stockholm and the Royal Academy in Copenhagen. I was actually on my way there when I stopped in Pottstown to see Karl and stayed ten years. In the spring Alumni Bulletin of Hill School for 1972, I began an article about Karl in this way— . . . Born in a tiny self-sufficient village at the foot of the Tatra Mountains of Slovakia, Karl Pacanovsky . . . was apprenticed in woodworking at eleven and a half years and took his first job at fourteen; as a journeyman he traveled through much of central Europe. Perhaps most influential were the years he spent building the monumental carved Gothic altars which were the expression of religious faith in his region. . . . Pacanovsky came to the United States in 1944. In twenty-eight years at the school he built a powerful foundation for the philosophy which we embody today. When he retired I merely took up where he left off. His influence still lives in this room. And he’s alive, too. I see him every week or two.


2021 ◽  
pp. 25-36
Author(s):  
Andrew Zangwill

Sixteen-year-old Phil Anderson does not fit in well with the prep school boys at Harvard, but he finds a congenial study group (including future historian of science Thomas Kuhn) and does well academically. The beginning of World War II causes him to change his major to Electronic Physics. His class graduates in three years so they can contribute to the war effort. Anderson does his service as a radar (microwave) engineer at the Naval Research Laboratory where he learns quantum mechanics, learns he is probably not suited for experimental work, and grows up socially. John Van Vleck visits NRL and helps convince Anderson to return to Harvard for graduate school.


Ridley Scott ◽  
2019 ◽  
pp. 110-113
Author(s):  
Vincent LoBrutto

White Squall is based on the book The Last Voyage of the Albatross, co-written by Chuck Gieg, who was a survivor of a prep school ship that sank during treacherous weather on the high seas. The voyage was planned to expose young men to different locales as they studied academic subjects during the trip. They also were part of the ship’s crew and learned to be seamen. White Squall is a rare successful re-creation of the early 1960s: the dawn of an era that saw much change but still maintained its innocence. Much of this picture was shot on a real schooner at sea. Scott directed many strong performances, especially from Jeff Bridges playing Captain Christopher “Skipper” Sheldon. The boys represent many different personality types and all are impacted by the voyage and the crew. The white squall event left many dead. In the real-life story, no punishment was given to the skipper, but Scott decided to end the film on a dramatic note so a fictional scene was created. Here the skipper faces a tribunal with his license at risk. The boys come to his aid with solid support and the issue is then resolved.


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