'Old school ties'

Gottlieb claims that some of the gay ex-boarders he has dealt with have experienced debilitating problems such as clinical depression, eating disorders and alcoholism.

We all have strategies for surviving at boarding school, rigidly conforming, acting tough, evasiveness, humour.
Although some are often successful in their career, they discover relationships aren’t working and friendships are often superficial. He says many are in their 30s before they realise something is missing in their lives. "We all have strategies for surviving at boarding school, rigidly conforming, acting tough, evasiveness, humour," he recalls.

"In my schooldays the word 'gay' wasn't used as an insult – instead the term 'perv' was used. That says it all really. “My own experience was of bursting out [of the closet] pretty soon after leaving, but the guilt and oppression has left a deep scar."

One ex-boarder said: "It's like an extra suit of armour you have to wear in that, to an extent, you've already adapted your personality to fit and keeping a handle on your gay feelings is just another thing to worry about.

"University is a different world but I still felt like I couldn't come out still – which is a shame because that's your opportunity to have fun." Nick Duffel set up Boarding School Survivors in 1990 – a national organisation which helps troubled ex-boarders make sense of their experiences.

They [gay men] have difficulty with relationships because they have become closed people at boarding school...
His book, The Making of Them, illustrates the effects boarding can have on young people. The situation for gays and lesbians is especially complex. "They [gay men] have difficulty with relationships because they have become closed people at boarding school but this is also reinforced by the shame and secrecy, until very recently, that were a big feature of being gay," he says.



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Many of the paintings used on this site are taken from the work of Mark Rothko, born Marcus Rothkowitz in Russia in 1903 to a Lithuanian Jewish father and a Prussian Jewish mother. He worked with colour relationships to imbue his paintings with the tragedy of the human condition. He wrote, 'The most important tool the artist fashions through constant practice is faith in his ability to produce miracles when they are needed. [For the artist, the picture must be] as for anyone experiencing it later, a revelation, an unexpected and unprecedented resolution of an entirely familiar need.'