Conrad and Lady Black: Dancing on the Edge. Tom Bower

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СКАЧАТЬ very poor and unemployed,’ the prospect of returning home in style was irresistible. Graham’s motives also appeared unimpeachable.

      Barbara Amiel was renowned not only for her beauty, wit and intelligence, but also, among the favoured, as a remarkable sexual companion. ‘Sex is great with Barbara,’ confirmed one of her wedding guests. ‘A great body, and her breasts are big and beautiful. Like lovely fried eggs.’ ‘Yeah,’ agreed another connoisseur. ‘She wants to be admired for her brains, but she keeps pushing her breasts into men’s faces.’ Amiel would be the first to admit that sex, ‘the key to our entire being’, was her trusted weapon.³

      During the evening, for most men gazing at a seemingly tough, unemotional personality, Amiel’s thin waist, long dark hair and Sephardic looks were alluring but unobtainable. Only David Graham and her former lovers realised that her harshness was a masquerade, honed during a tough battle for survival, to gain protection from rejection. Behind the façade the bride was a vulnerable woman, desperate to fulfil her lovers’ fantasies. Like cosmetics applied every morning, she relied on her chosen man’s image to project herself. After dallying in the past with left-wing politics, a hippie lifestyle and impoverished men, she had chosen to be reincarnated by marrying class, wealth and looks. ‘You can’t believe how good David is in bed,’ she had said to a girlfriend just days before her wedding, with seeming conviction. ‘I couldn’t do without this man. I had to have him.’

      Few believed that Graham, a quiet, unexciting man, matched Amiel’s description. Rather, many assumed, her head had been turned after researching an article for Maclean’s magazine entitled ‘Who’s Who in Canada’s Jet Set’. Gushingly, she had written that the rich, with their private planes and pampered lifestyles, ‘live our fantasies in a world which has no borders, just locations’.⁴ To join that world, she had decided to ‘marry up’, a phrase she would use in the headline of a subsequent confessional article.⁵ The ‘trade-off’, she admitted, was crude: ‘her looks for his money – his power as her meal ticket’. Together, Barbara Amiel and David Graham could present themselves around the globe as a ‘power couple’, rich and influential.⁶

      Established ‘power couples’ were scattered across the Sutton Place’s party room. Sitting with Ted Rogers, head of the Rogers Communications empire, was Conrad Black, the owner of an expanding newspaper group. Like many of Canada’s establishment, Rogers praised Black’s intellect, but voiced suspicions about the pompous businessman’s eagerness to make money. Branded as a ‘bad boy’ or a ‘bad joke’, Black had not won admirers since saying in the early 1980s, ‘Greed has been severely underestimated and denigrated, unfairly in my opinion … It is a motive that has not failed to move me from time to time.’ Strangely, he seemed impervious to the impression his admission had created. Bad publicity was nothing new to the ambitious Black. Over the previous two decades, while seeking the spotlight as a supporter of right-wing causes, the aspiring media baron had placed himself in many firestorms. His outspokenness was a characteristic which he shared with Barbara Amiel.

      Black’s admiration for the bride was curious. Professionally, she represented much that he despised. Rather than writing on the basis of careful, measured research, she was famous for spewing out gut prejudices. Years earlier, her left-wing sentiments had been interpreted by Black as envy of the rich and powerful, but after changing boyfriends, her politics had somersaulted. The former Marxist had changed colours, and now chanted her praise for capitalism. Meeting Amiel for the first time at a dinner party in Toronto in 1979 had converted Black into a fan. How could he resist a woman who professed her admiration for his blockbuster biography of the right-wing former Premier of Quebec, Maurice Duplessis? Like so many men in ‘Stop 33’ that evening, he had become enamoured of her star qualities. There were also similarities between them.

      Conrad Black and Barbara Amiel had both been afflicted by depression, insecurity and exposure to suicide. Both their fathers had killed themselves, and both Black and Amiel had had moments of the deepest despair at certain points in their lives. Neither imagined that the wedding reception was a mere interlude before the consummation of their own explosive relationship, but with hindsight their eventual union seems almost inevitable.

      Fate determined a strange climax for both of them at the end of the reception. Sharing a limousine, Conrad Black and Allan Fotheringham argued violently, and parted on bad terms. Across town, lying in bed after her wedding celebrations, Barbara Amiel was presented by her new husband with a pre-nuptial agreement that had been drawn up earlier. ‘Sign here,’ said Graham. Amiel did as she was ordered. She was in love.

* Unless the context indicates otherwise, throughout the book monetary values are given in American rather than Canadian dollars.

       1 A Timely Death

      FLOPPED IN HIS ARMCHAIR, regularly refilling his glass with neat vodka, George Black sermonised to his thirty-one-year-old younger son Conrad throughout the night of 29 June 1976. Despite the appearance of civility presented by the chintz and the solid furniture in the grand house in the Bridle Path, Toronto’s most prestigious neighbourhood, the resentful sixty-seven-year-old regularly vented his bitterness on the subject of wealth and power. Frustrated by isolation and depression, the ailing recluse had astutely accumulated substantial capital from his business activities, but his withdrawn personality and habits had deprived him of any influence, with one exception: his son Conrad.

      Over the years, his father’s lectures on history, power and finance had inculcated in Conrad similar feelings about supremacy and manipulation. Systematically, George had dragooned the youthful Conrad to utilise his photographic memory by giving boastful theatrical performances at social occasions. With little prompting, the precocious boy had paraded his expertise on Napoleon, Franklin D. Roosevelt, Abraham Lincoln, Charles de Gaulle and other political giants. Similarly, if the opportunity arose, audiences were amazed by his encyclopaedic recitations of battleships, armies and warfare stretching back to the eighteenth century. Without hesitation, as a party piece the teenager could recite the names of all the ships, armies and generals engaged in the most obscure European battles, or of successive prime ministers and monarchs over two centuries, or, if allowed, repeat keynote speeches of statesmen long dead. ‘Reel off the fifteen leading ships in the Spanish Armada,’ George Black would order, ‘and the names of all the admirals in the First World War.’ His son’s memory was infallible. Late into the night, amid a mist of tobacco smoke, those tutorials and memory games about world history infected the loner’s mind with the importance of defying the vulnerability of human weakness.

      Stifled by depression, George Black failed to appreciate the burden he was inflicting upon his son. The father offered his children no physical affection, and his wife Jean, always known as ‘Betty’, was similarly cold and remote. In that loveless atmosphere, Conrad compensated for his emotional insecurity by revelling in the lives of historic heroes. At eight, he had been smitten by the memoirs of General de Gaulle, the underdog who rebelled against unpopularity and overcame adversity to become a national hero. Defiance was a trait Conrad Black was encouraged to admire by his father, an outsider cruelly spurned by lesser men.

      Ever since George Black had been unceremoniously dismissed in 1958 from the Argus Corporation, a sprawling Canadian conglomerate, his resentment had festered. During their all-night sessions, Conrad Black was imbued with a mission to exact revenge upon those responsible for humiliating his father. He knew them well, because, despite his reclusiveness, George Black had introduced his son to a remarkably privileged lifestyle.

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