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The Real Diana Tapes – The Peter Settelen Controversy

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A couple of weeks ago, I wrote about the experience of using Princess Diana as a minor, but important, character in my first novel, Dance For A Dead Princess. Some readers have understood that I wanted to preserve my own view of Diana in the book. She was a beautiful, naive, young woman, looking for love with an older man after an emotionally barren childhood. But instead of creating a family to nurture, as she wanted to do, she was badly used by her husband, who was chronically and openly unfaithful, and she was abused by the institution of monarchy which her marriage was designed to serve. For the trouble she took to produce two princes and two royal heirs, she was later unfairly labeled unfit and unstable by Charles and his supporters in divorce proceedings.

Some readers are put off by Diana’s presence in Dance For A Dead Princess. In their opinion, even mentioning her is somehow exploiting her memory. But that view is very short sighted because if we don’t mention her, we forget her. And forgetting her is exactly what institutional monarchy wants us to do. Charles, who never made a place for Diana in his life, has filled the place that should have been hers with the woman who destroyed Diana’s marriage. And now the party line is to forget about Diana altogether and to criticize anyone who mentions her favorably as exploitive.

I came across this type of criticism recently when I discovered the work of Peter Settelen, a British actor and voice coach. In 1992 and 1993, Diana hired Settelen to help her improve her public speaking. Tapes of her early speeches demonstrate she had little skill as a speaker at the beginning of her career in public life. But after working with Settelen, she improved dramatically.

When Settelen began to work with Diana, he told her she would have to find her own authentic voice if she wanted to excel at public speaking. To that end, he recorded a series of sessions with her in which she described the events of her life. They are charming and candid, and well worth watching. And they reveal the side of Diana that my fictional character, Nicholas Carey, knew and loved and desperately missed as the novel opens.

Settelen has been criticized, of course, for making the tapes public. He had to go to court and fight to get them back after they were found in Paul Burell’s attic. Earlier, Settelen had been told the tapes had been destroyed.

Settelen candidly admits they were meant to be private teaching tools. But, as he also says, Diana did not know she was going to die; and the opportunity to hear the story of her life in her own words is a powerful way preserve her memory. The tapes Diana made with Settelen are well worth a listen. And listening to them explains why my fictional character Nicholas was driven to preserve Diana’s memory at all costs out of loyalty to his greatest friend.

Here is the YouTube link, the Diana Tapes with Peter Settelen.   What do you think of the tapes?  Did Settelen do the right thing to publish them?

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Diana, Princess of Wales, in Fiction: Crass Commercialism or Loving Tribute?

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Even before the name of the new little princess was announced, I, like many others, wondered if she would be called after her grandmother, Diana. Diana was thrust onto the world stage at age nineteen, a bit gawky, a bit naive, but utterly charming and sincere. By age twenty-three, she was the mother of two children, one a future king. By the time she died in Paris, at age thirty-six, she had grown into a beautiful, compassionate woman, anxious to be a healing and unifying influence in the world.

After Diana died, I found I missed her although we had never met. While she was living through her disastrous marriage and divorce in the glare of world wide publicity, I was living through my own marriage and divorce nightmare on a smaller, but nevertheless, public scale. On the days when I had to wait to check-out at the grocery story, I used to read the tabloid headlines written by Prince Charles’ supporters, accusing Diana of mental illness and instability; and I would comfort myself with the thought that at least no reporters were sitting in the courtroom to hear the man I’d married say exactly the same things about me. Although it was a public courtroom and anyone who walked in could have heard how, by having three children whom I loved more than life itself, I had maliciously morphed from an academic over-achiever who graduated Number Two in her law school class into a dangerous, crazy, lying freeloader. I felt a bond with Diana, although I was unenviably poor and she was enviably rich, because I realized that access to all the money in the world could never make up for the pain of having the father of your children heap lies and disrespect on you in a public forum.

When Diana died, I felt as if I’d lost a friend. And as the years passed and Charles and his publicists pushed Diana and her memory farther and farther into the background to replace her with Camilla Parker-Bowles, I wondered how many people remained who, like me, thought of Diana, not as a clothes horse or as a Royal Highness, but as a beautiful, loving woman, unfairly used and demeaned by a powerful and wealthy family.

My first novel, Dance For A Dead Princess has many themes, but one of the most prominent is the power of an aristocratic family to control its members. Nicholas Carey, the heredity duke, who is the hero of Dance for A Dead Princess, was forced to return from America when he was only sixteen to assume the position of heir to the dukedom, although given his choice he would have gladly remained in New York and studied to become a concert pianist like his mother. Diana was also affected by the power of her aristocratic family at a very young age when her father wrested custody of his children from their mother, leaving Diana and young Charles to be raised by nannies at Althorpe while grieving their mother’s loss.

Another central theme is the toll an unhappy marriage takes on the individuals involved. Having been unhappy in childhood, marriage for both Nicholas and Diana represented the chance to form happy unions of their own. For them, marriage was a chance to love and be loved rather than to be used as pawns on their aristocratic families’ chessboards. But Nicholas and Diana’s hopes were dashed yet again. Nicholas’ wife, Deborah and Diana’s husband, Charles, turned out to be powerfully in love, but not with their spouses. For Nicholas and for Diana, having lost the chance at a happy childhood, the loss of the opportunity to have a happy marriage was a second and even more powerful blow.

Some readers interpret Diana’s presence in Dance for a Dead Princess as an attempt to make believers out of the conspiracy theory of Diana’s death or as a crass attempt to sell books because her name is in them. But neither was ever my intention. I brought Diana into the book to keep her memory alive and to remind the world of the tragedy of her life. She was a beautiful, loving woman who was denied the thing she most longed for: the chance to create a loving family for herself, her husband, and her children. At one point in Dance, Nicholas observes how unfair it was for Diana to be called unstable and mentally ill all because she wanted what every wife wants, to have her husband to herself.

The haunting tragedy of Diana’s life was what I hoped every reader would take away from Dance. In the Prologue, the reader encounters Nicholas in Paris where he is grieving the loss of his beloved friend and the mutual support and companionship they offered each other in their isolated, unhappy lives. Nicholas stares down at the Place d’Alama Tunnel, thirteen years after that fateful August night, deeply longing for one more chance to talk to Diana. “How many nights had he spent talking to Diana about his marriage, about her marriage, about his guilt over Deborah and about the impossibility of being in love?” And he wonders how his friend felt as death approached. “ . . . What had she felt as she slipped away from everyone who loved her? Had she struggled against it, as Deborah had? Or had her torn and broken heart quietly accepted her fate? No, he doubted that. She’d have fought to stay with her boys.”

Whether or not there was a historical conspiracy to assassinate Diana is not the point of Dance. The role of the conspiracy in the plot is to give Nicholas an opportunity to express his unbearable grief over the loss of both Diana and his wife. Aching from all that loss in his life, Nicholas vows to expose Diana’s assassins, not as an act of vengeance, but as means of expressing his soul crushing sadness. And ironically, through this one, last powerful expression of grief, Nicholas meets Taylor Collins, the one woman who has the power to give him what he has always longed for, but has never had.

Diana, Princess of Wales, and Me or How I Nearly Wound Up in A Russian Gulag as A Political Prisoner

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Life as a stay-at-home mother of three children, five and under, was an endlessly demanding job. I had always been a hard worker and an over achiever, but child/care 24/7 was the most exhausting challenge yet. There were days when, as much as I loved my three little ones, I wasn’t sure how I was going to get up at sun rise and keep going. I had never been so tired in my life. And I had a sinus infection that lasted for three and a half years. One unhelpful and terrifying male doc said I needed to be tested for HIV. The woman doc whom I went to for testing and whose children were the same ages as mine couldn’t stop laughing when I told her why I was there. Honestly, it wasn’t very funny.
I became fascinated with Princess Diana in that period. I’m not sure why. There were probably a lot of reasons for my fixation. First, I loved her clothes. Whether in her early Laura Ashley mode or in her shoulder-padded Power Suit mode in the 1980’s, she was gorgeous. She was the IT Girl of Style.
Second, she delighted in mothering just the way that I did. In the pictures of her with William and Harry, who were only a few years older than my children, her love shines off the page. Granted when she played games with them in their nursery, she’d had a full night’s sleep because her nanny was on call, but even my sleep-deprived brain could connect with another mother who loved her children the way I loved mine.
Third, she and I had entered into similar marriages. My husband’s job was to our marriage what Camilla Parker Bowles was to Diana’s. The third party to my marriage was a corporation whereas for Diana it was the Other Woman; but the result was the same. And Diana had married a man who wanted a wife and children from Central Casting to be available only for photo ops. And so had I.
Fourth, Diana went through a very public divorce with a man determined to wound and humiliate. One of my few consolations on those terrifying days when I left the Family Law Courthouse threatened with the loss of my children and so emotionally upset that I was afraid to drive, was that at least the venom that had just been spit in my face wasn’t going to be heard around the world. For Diana, it was a very different story.
I didn’t lose my children. I would have if I hadn’t been a lawyer. Oddly enough, the role that sat most uncomfortably on my heart was the one that saved the people I loved most from being lost to me. But that victory came at a heavy price. During that marriage, I had done the thing I had wanted to do all my life: I had written a novel. After a lot of tries, I even got an agent in New York. In those early dark days of my divorce, my little book traveled from editor to editor at major publishing houses. Some did not like it. Some liked it but would not buy it. It was called Summers’ Child, a title that another writer would use for her own very successful novel some years later. (I had copyrighted my manuscript, and I knew she hadn’t done her homework before using my title.)
But when my husband found out that I had written a novel that was not succeeding with New York publishers, he dragged me down to the Family Law Courthouse and accused me in public of being a no-account deadbeat who was trying to live off child and temporary spousal support. He argued that I was trained as a lawyer, and so I had to go back to work as a lawyer. Even though I hadn’t done any work as a lawyer for eight years and hadn’t the foggiest idea, anymore, how to even sigh on to a legal research service.
Family Law Court, at least in those days, was a terrifying hell of illegality. I had graduated second in my class from law school, and I knew how unconstitutional the various rulings from that court were. The family law court operated at that time as if the Right to Privacy did not exist. At one point, I actually thought they were going to send me to involuntary psycho therapy to force me to withdraw my accurate and true statements that my husband had abused me and the children. I felt as if I’d wound up in a Russian Gulag as a political prisoner for not Speaking the Party Line.
I knew how to challenge these outrageous family law court rulings in higher courts. But the problem was I had to play the Family Law Court game or lose those dearest to me. It would do me no good to take my case to the United States Supreme Court only to be reunited with my children by my victory there when they were adults. So even though the Thirteenth Amendment abolished involuntary servitude, the state of California said I had to go back to work as a lawyer. And I did. In my living room, where I wrote appellate briefs and remained close to my children. But who I really was born to be was quietly dying, day by day.