<item>
  <date>2012-10-30</date>
  <hash>55737c836ecaf95764e72bb710639224be3f147c</hash>
  <images></images>
  <index>9</index>
  <keywords>
    <name>Alan Bennett</name>
    <index>1</index>
    <slug>/wiki/alan%20bennett</slug>
  </keywords>
  <keywords>
    <name>National Trust</name>
    <index>13</index>
    <slug>/wiki/national%20trust%20for%20places%20of%20historic%20interest%20or%20natural%20beauty</slug>
  </keywords>
  <keywords_list>Alan Bennett</keywords_list>
  <keywords_list>National Trust</keywords_list>
  <keywords_main>Alan Bennett</keywords_main>
  <slug>/feed/2012/10/30/ahead-of-the-first-preview-of-his-new-play-alan-bennett-reveals-it-emerged-as-a-result-of-disquiet-at-the-national-trus</slug>
  <sources>
    <name>The Guardian</name>
    <day>30</day>
    <hash>0de6c0f53a906d0ef242364ed07c267fdb5bc544</hash>
    <month>10</month>
    <permalink>http://www.guardian.co.uk/stage/2012/oct/30/alan-bennett-national-trust-play</permalink>
    <year>2012</year>
  </sources>
  <text>Ahead of the first preview of his new play, Alan Bennett reveals it emerged as a result of disquiet at the National Trust and laments a nation turned into a &quot;captive market&quot; where public life exhibits a &quot;diminution of magnanimity.&quot; </text>
</item>
