What’s so interesting about families? Tolstoy knew. And Shakespeare. So did Dickens, whose novels so often found their resolution by following genealogical lines to settle an inheritance—tracing old families and creating new ones. He wrote orphan characters precisely to play out those fictional fantasies. Parentless children could embody a kind of magical social mobility that most Englishmen and women didn’t possess at the time.
1988: PRINCESS DIANA ARCHIVE/GETT Y IMAGE S. 1993 : ALPHA/GLOBE PHOTOS/NEWSCOM. 1985: TIM GRAHAM/GETT Y IMAGES . 1997: MARIO TESTINO. Of course, these aren’t Victorian times, and we know the fate of the empire. Sometimes people ask me whystill covers the British royal family, an institution that time has wrought mostly symbolic, retrograde at best. But symbolic power still carries weight in this world. Fromto the blockbuster Oprah interview, the House of Windsor has proven rich territory for provoking conversation on issues ranging from soft power to racism and decolonization to the eternal allure of Hollywood.
In her cover story, Michelle Ruiz examines the modern royal family as Firm, following the breadcrumbs strewn by Princess Diana when she broke from the palace decades ago—the mouse that roared, as formereditor Tina Brown so memorably called her in these pages.
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