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England and Wales High Court (Queen's Bench Division) Decisions |
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You are here: BAILII >> Databases >> England and Wales High Court (Queen's Bench Division) Decisions >> Thornton v Telegraph Media Group Ltd (Rev 1) [2011] EWHC 1884 (QB) (26 July 2011) URL: http://www.bailii.org/ew/cases/EWHC/QB/2011/1884.html Cite as: [2012] EMLR 8, [2011] EWHC 1884 (QB) |
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QUEEN'S BENCH DIVISION
Strand, London, WC2A 2LL |
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B e f o r e :
____________________
SARAH THORNTON |
Claimant |
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- and - |
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TELEGRAPH MEDIA GROUP LTD |
Defendant |
____________________
David Price QC & Catrin Evans (instructed by David Price Solicitors and Advocates) for the Defendant
Hearing dates: 4, 5, 6, 8 July
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Crown Copyright ©
Mr Justice Tugendhat :
"(2) The fact that the offer was made is a defence (subject to sub-section (3)) to defamation proceedings in respect of the publication in question by that party against the person making that offer. A qualified offer is only a defence in respect of the meaning to which the offer related.
(3) There is no such defence if the person by whom the offer was made knew or had reason to believe that the statement complained of (a) referred to the aggrieved party and (b) was both false and defamatory of that party; but it shall be presumed until the contrary is shown that he did not know and had no reason to believe that was the case.
(4) The person who made the offer need not rely on it by way of defence, but if he does he may not rely on any other defence. If the offer was a qualified offer, this offer applies in respect only to the meaning of which the offer related.
(5) The offer may be relied on in mitigation of damages whether or not it was relied on as a defence".
THE WORDS COMPLAINED OF
""Seven Days in the Art World by Sarah Thornton: …
Sarah Thornton is a decorative Canadian with a BA in art history and a PhD in sociology and a seemingly limitless capacity to write pompous nonsense. She describes her book as a piece of "ethnographic research", which she defines as "a genre of writing with roots in anthropology that aims to generate holistic descriptions of social and cultural worlds". She also claims that she practices [sic] "reflexive ethnography", which means that her interviewees have the right to read what she says about them and alter it. In journalism we call this "copy approval" and disapprove.
Thornton claims her book is based on hour-long interviews with more than 250 people. I would have taken this on trust, except that my eye flicked down the list of her 250 interviewees and practically fell out of its socket when it hit the name Lynn Barber. I gave her an interview? Surely I would have noticed? I remember that she asked to talk to me, but I said I had already published an account of my experiences as a Turner Prize juror which she was welcome to quote, but I didn't want to add to…"
THE TURNER PRIZE
"When she was asked to be a Turner Prize judge for this year's competition, Lynn Barber was thrilled. A year later, that has changed. On the eve of the 2006 show she reflects on how months of seeing banal and derivative work has left her depressed about the state of contemporary art in Britain".
"This year, the judges, whose combined personal preferences will create an objective winner, include a journalist and three curators. Lynn Barber, a columnist with the Observer is the only art world outsider. In October, two days before the exhibition opened, she published an account of her experience as a judge in an article entitled "How I Suffered for Art's Sake". "I hate to say it", she wrote, "but my year as a Turner juror has seriously dampened, though I hope not extinguished, my enthusiasm for contemporary art". Barber complained that her qualifications to be a judge were negligible, the prize's rules were "weird," and her judgement went "haywire". At the same time she asserted that while all four artists were producing "interesting work," one of them was so "outstanding" that she "would have thought the winner was blindingly obvious." In fact the problem started earlier during the process of shortlisting; Barber complained that her artist picks were so "brutally rejected" that she wondered whether she had been chosen merely as a "fig leaf" to cover the machinations of the art world.
The Tate's officials were privately furious. "Lynn's article will make it more difficult for the jury to work together", admitted Serota. "In the past, people have been able to speak their mind feeling pretty confident that what they say will not be written down and used in evidence against them." One of Barber's accusations was that the jury didn't seriously consider nominations from the public. Serota disagreed. "The jury do take those nominations seriously." He raised his eyebrows and chortled silently. "But not to the point of doing deep investigations into an artist who has shown once in Scunthorpe!"
The other judges were dismayed as well. One of them, Andrew Renton, who runs the curating programme at Goldsmiths and also manages a private contemporary art collection, told me, "I fear she has shot her load. She has sidelined herself as a judge by going public before we have finished the process". Renton also said that Barber's inexperience had led her to put forth nominations that the others felt were "beyond premature". The Turner prize, like any other award that aims to stand for something coherent, needs to be controlled at the right time. As Renton explained, "to give the Turner nomination to someone who is straight out of art school is utterly irresponsible. By the same token it shouldn't become a mid-life crisis prize."…
"With a week to go before the ceremony Phil Collins hosted a press conference at a shabby guilt-and-mirrors hall in Piccadilly. As part of his piece return of the real, he invited a panel of nine people who had appeared on reality television programs to tell their stories to an audience of journalists, including Lynn Barber. One young man spoke about how humiliated he had been when he went to Ibiza as part of a reality TV competition to see who could date Miriam, only to learn that Miriam was a pre-op transsexual. Barber heckled from the audience "what did you think you were doing?" Collins, undaunted by her power over his fate, told her to shut up."
THE COMMUNICATIONS BETWEEN DR THORNTON AND MS BARBER
"I am writing 6000 words on the Turner Prize for the New Yorker. The piece concentrates on the experience of the artists and the judges. I have either already interviewed or have appointments to see Nick Serota and the other three judges of this year's prize. I read your funny engaging piece published in the Observer on 1 October and look forward to the next installment. I would very much like to meet you and in what I assume to be a challenge to my relatively dowdy research skills, interview you. …."
"Yes – though I can't tell you much more than appeared in my article. But anyway ring me any morning next week – [she gave her phone number] … "
"Sorry, but I don't think I want to do interview about Turner Prize after all. I've said everything I wanted to say in my Observer article (which you are welcome to quote as much as you like), and if I did decide to spill more beans, I should spill them in the Obs not New Yorker".
"I'm so disappointed.
Talking to me does not pre-empt spilling more beans in the Observer as my deadline is not until the first week of January and I assume that you'd want to publish a piece shortly after a winner is chosen in December.
Perhaps you'd be willing to talk to me after 4 December or after you've published your next piece?"
"Yes, it would be fine to talk after we've chosen the winner in December, so try me again then".
"When we last corresponded you said that you'd be willing to talk to me after the prize was awarded. I understand that you have a piece coming out in this Sunday's Observer. I will be in the US by then, but would be grateful if we could arrange a time to talk on the phone soon after that. Sound good?
I was glad to see you at Phil Collin's press conference and a little surprised not to see the other judges".
"New Yorker journo who has been pursuing me for weeks rang about the Turner Prize and I was mildly helpful but snotty. She had a tiresome theory that women discriminated against (Tomma is only the third to have won!) but I refused to support".
"The last sentence of the second para will come as juicy news to a few people in the art world but will produce hysterical screams and complaints from its subject,… If you can't be bothered with the fuss he is bound to make, just delete it. It is true though".
"I'm sorry you don't remember giving me an interview on the phone in early December 2006, shortly after the announcement that Tomma Abts had won the prize.
Do you take notes when you are the interviewee? As your interviewer, I did. I was writing up my research for The New Yorker (where it was first published) as well as for my book.
Yours sincerely"
"Would you please do me a favour? I am in New York and just read Lynn Barber's accusation in the Telegraph that I didn't interview her. She obviously has memory problems. I interviewed her for over half an hour in early December 2006. (If I were at home near my notes, I could tell you the exact date and time).
Would you please forward this e-mail and the one below (that I just sent to Lynn)… to the editor who might have commissioned the book review? This is an appalling accusation…"
"I think Sam [Leith] should know that Barber is criticized by Nick Serota and Andrew Renton on pages 129-130 of the book (although I remain dispassionate and just represent the debate). This is a conflict of interest that she conveniently failed to disclose to Sam or her readers. It is also a reason that she might want to kill the book.
Barber's review is a wilful misrepresentation of the book's contents. Her opening paragraph concentrates on what is basically an endnote. Contrary to her assertion, I interviewed all four judges, not just one. And her reference to me as swallowing pee is extremely offensive.
I trust that Barber's apology will not include another unprofessional rant".
"Thank you for taking this on – this is the e-mail Sarah sent to Lynn shortly after the review appeared in the paper.
Please would you forward to her and print a correction/apology in the paper".
"… this is a piece of evidence that [Dr Thornton] sent in which Lynn agrees to be interviewed by Sarah. It would seem odd to agree to be interviewed and then not".
"Lynn Barber's review of my book Seven Days in the Art World (published in the Telegraph on 6 November 2008) contains two factual errors that are damaging to my reputation. It also contains further significant inaccuracies that undermine the authority of the review as a whole.
First, Ms. Barber claims that I never interviewed her. Second, she asserts that I gave "copy approval" to my interviewees. Both statements are false.
(1) I interviewed Lynn Barber on the phone on December 11th 2006 from Atlanta, Georgia. As I write on p.257 of my book, a "handful of interviews were done on the phone". Ms Barber's was one of the few.
I prefer to do interviews face-to-face, but Ms Barber cancelled our initial meeting at her house in … N19 because, as she wrote in an e-mail, "I've said everything I wanted to say in my Observer article (which you are welcome to quote as much as you like)." However, on 30 October, Ms Barber agreed to an interview after the winner of the 2006 Turner Prize was announced and then again, in an e-mail on 6th December, she specified when I should call. (Please find the complete e-mail correspondence confirming possible dates and times of the interview below.)
I persisted in obtaining an interview with Ms Barber because my editor at The New Yorker, Susan Morrison, was keen that I should interview all the judges (she had commissioned a version of the chapter, which appeared in the 19 March 2007 issue).
I called Ms Barber on 011 44… on Monday the 11th December. I took four pages of notes during the conversation. I wrote the date but not the time of the call, however, I am pretty sure it took place at around noon Atlanta time i.e. 5pm GMT, and lasted for 35-40 minutes. The interview was not very rewarding because Ms Barber mostly repeated what she had said in her two articles in The Observer. This is why the interview was not used in my New Yorker article or in the longer chapter version, which appears in Seven Days in the Art World.
Here are a couple of comments that Ms Barber made during the course of the conversation that should jog her memory.
Re the artist Phil Collins.
"I admired the karaoke work [They Shoot Horses but I was] not at all impressed by the reality TV stuff. It is no news to the British public that reality TV uses and manipulates people. It was making heavy weather of something familiar… It wasn't an art work".
Re the artist Tomma Abts.
"[At first I thought Tomma's work was too lady-like …Her work got bigger the more I saw it. [At first,] these small dull little canvasses… [Then] Wow. They're enormous.
"It is very easy to forget giving someone an interview, especially on the phone. Interviewees rarely take notes. Interviewers, however, do. I would have no need to put Ms Barber's name in my Acknowledgements if I had not interviewed her".
(2) Ms Barber claims that I gave "copy approval and more specifically the "right to read what [I said] about them and alter it" to my interviewees. This is not true and it is a very harmful accusation. "Reflexive ethnography", which I discuss in an endnote, is a process by which researchers request feedback, which they can use or ignore as they see fit.
No one in the book was given the right to alter what I said about them. With so many conflicting opinions and definitions of art contained in the book, it would have been impossible to write it had I given copy approval to anyone.
As an example, one artist refused to let me reproduce her work as an illustration within the book because she didn't like what I said about her. She had requested, through her dealer, that I remove some information, but I refused.
There are many other significant factual inaccuracies in the review. For example, Ms Barber says that I do not "get round to meeting an artist until chapter 6, but the reader encounters artists" in every chapter of the book. Chapter 2, for instance, is almost entirely populated by artists. It is extremely damaging to the credibility of a book about the art world to say that it does not "get around to meeting an artist" until its sixth of seven chapters.
The fact that Sir Nicholas Serota and Dr Andrew Renton criticize Ms Barber's behaviour (as a judge of the Turner Prize) on pages 129-130 may have motivated these gross distortions of the book's contents. I would have thought that Ms Barber would have mentioned this conflict of interest in her review as a mark of openness and honesty with her readers.
Given the serious and injurious errors of fact in Ms Barber's review of Seven Days in the Art World, a complete correction and apology in print and online - agreed in advance with me - is appropriate…"
"We will investigate the points raised in your e-mail and to that end Lynn Barber has been asked for her comments. You will have our full response as soon as practicable after we receive Ms Barber's reply".
"In the meantime in accordance with our customary procedure on receiving a complaint alleging factual inaccuracy (and entirely without prejudice to the outcome of our investigation), we have suspended the website version of the above article".
"I do hope that you will take the review off the website while the results of the investigation are pending".
"Didn't get home until 4.30 and found msg to ring Brian McArthur re legal complaint from Sarah Thornton – he told me to deal with lawyer direct so I did – she had kept all my e-mails but they confirmed my refusal to talk – however, she said she did talk to me on Dec 11 2006 so I looked up my diary wh[ich] records tiresome NY journo".
"Dear Ms Thornton
Re: " Seven Days in the Art World" - Lynn Barber review:
The Daily Telegraph – 1 November 2008
We are now in a position to respond to your e-mail of 11 December.
In the Acknowledgements section of your book you list a number of people who are singled out as "interviewees" to whom you are "particularly indebted" "for being so generous with their thoughts". Lynn Barber is one of those listed.
While acknowledging that a handful of interviews were conducted by phone you say that most were face to face sessions lasting about an hour and some contributed beyond that among this group. Readers of the book will not know which category applies to Ms Barber. However she was a central character in your account of the Turner prize jury (2006). It might appear that she was one of those who gave you such full co-operation that she merited inclusion in the list.
Ms Barber makes it clear in the review that you contacted her in 2006. She disputes that this contact amounted to an interview in any meaningful sense. As a well known and experienced journalist she has conducted many interviews over the years, published in a wide variety of leading newspapers and magazines, and as such she is well qualified to express a view as to what does or does not constitute an interview.
In the review she says that she told you she did not want to add to the account she had already published but said you were free to quote from it. In your account you refer to an e-mail in which she said the same thing. Then you cite a series of e-mails referring to a "talk" rather than a formal interview. You say that the "interview" was "not very rewarding because Ms Barber mostly repeated what she had said in her two articles in The Observer". This is in contrast to your suggestion, by way of her inclusion in the list, that she had been being "generous" with her "thoughts".
You say your editor at The New Yorker was keen for you to interview all the Turner Prize judges and indeed they are included in the book acknowledgements list without any differentiation. Yet it does not appear that Ms Barber made any significant contribution other than that derived from what she had already written. She had not wanted to give you an interview but to refer you to what she said previously and to say that she had nothing to add. You persisted for the reason given but to no productive effect. Indeed since people quoted in a particular chapter had the opportunity to read what had been written, Ms Barber must not have provided any new material or quotes worth including since she was not afforded that opportunity.
It would have been more accurate to have included Ms Barber among those mentioned in the first paragraph of page [2]57 – contacts that fell short of a proper interview.
As to "reflexive ethnography", you relate how the feedback from people shown what you had written often led to a "richer and more accurate" account. It seems as if the individual concerned was afforded the opportunity to correct factual inaccuracies and to add "richer" material to the end result – in other words to alter what had originally been written. This lends itself to a comparison with "copy approval".
It seemed to Ms Barber that your account of the Turner prize judging relied heavily on one judge's account, and omitted some important information regarding remarks made to that judge by Mr Serota. She considered this underlined her criticism of "reflexive ethnography" by way of comparison to a more rigorous and sceptical journalistic approach to the subject.
Although we appreciate that it must have been disappointing not to have received a more positive review of your book, we do consider that it fell well within the limits of fair comment.
Yours sincerely
Rhidian Wynn Davies
Consulting Editor".
"Sarah Thornton – an apology
In her review of Seven Days in the Art World by Sarah Thornton (Nov 1, 2008) Lynn Barber took issue with Dr Thornton's assertion that she (Ms Barber) was among the 250 people who had been interviewed for the book, either face to face or by telephone. In fact, Ms Barber did have a pre-arranged telephone interview with Dr Thornton two years earlier which lasted over thirty minutes. We and Ms Barber therefore now accept that it would be wrong to suggest that Dr Thornton made a false or dishonest claim to have interviewed Ms Barber and apologise to Dr Thornton for any distress caused by any contrary impression the review may have given.
In addition, the review commented on Dr Thornton's use of a practice known as "reflexive ethnography" which Ms Barber equated to "copy approval". Dr Thornton points out that she did not give interviewees the right to alter any material she had written about them and that she always maintained complete editorial control of the final product and used the feedback provided by her subjects entirely as she saw fit".
THE OFFER OF AMENDS PROCEDURE
"There is, in our judgment a powerful reason why the words in question should be construed as importing recklessness in Lord Diplock's sense. If a claimant establishes malice on the part of a person who publishes a defamatory statement, he has the basis for a claim of aggravated, and possibly exemplary, damages. [Counsel for the claimant] accepted that, malice apart, compensation can be fully assessed and awarded under section 3(5). There would be little point therefore in relying on Section 4(3) unless the requirement there was to establish malice. Recognising that some claimants may prefer a jury trial cannot alone have been the parliamentary purpose".
"Apart from those exceptional cases, what is required on the part of thedefamer to entitle him to the protection of the privilege is positive belief in the truth of what he published or, as it is generally though tautologously termed, "honest belief". If he publishes untrue defamatory material recklessly, without considering or caring whether it be true or not, he is in this, as in other branches of the law, treated as if he knew it to be false. But indifference to the truth of what he publishes is not to be equated with carelessness, impulsiveness or irrationality in arriving at a positive belief that it is true. The freedom of speech protected by the law of qualified privilege may be availed by all sorts and conditions of men. In affording them immunity from suit if they have acted in good faith in compliance with a legal or moral duty or in protection of a legitimate interest, the law must take them as it finds them."
THE ASSESSMENT OF CREDIBILITY
11. He cited the well known guidance in Re H (Minors)(Sexual Abuse: Standard of Proof) [1996] AC 563 586D-H:
"The balance of probability standard means that a court is satisfied an event occurred if the court considers that, on the evidence, the occurrence of the event was more likely than not. When assessing the probabilities the court will have in mind as a factor, to whatever extent is appropriate in the particular case, that the more serious the allegation the less likely it is that the event occurred and, hence, the stronger should be the evidence before the court concludes that the allegation is established on the balance of probability. Fraud is usually less likely than negligence. Deliberate physical injury is usually less likely than accidental physical injury. ... Built into the preponderance of probability standard is a generous degree of flexibility in respect of the seriousness of the allegation.
Although the result is much the same, this does not mean that where a serious allegation is in issue the standard of proof required is higher. It means only that the inherent probability or improbability of an event is itself a matter to be taken into account when weighing the probabilities and deciding whether, on balance, the event occurred. The more improbable the event, the stronger must be the evidence that it did occur before, on the balance of probability, its occurrence will be established."
"As to the seriousness of the allegation, there is no logical or necessary connection between seriousness and probability. Some seriously harmful behaviour, such as murder, is sufficiently rare to be inherently improbable in most circumstances. Even then there are circumstances, such as a body with its throat cut and no weapon to hand, where it is not at all improbable. Other seriously harmful behaviour, such as alcohol or drug abuse, is regrettably all too common and not at all improbable. Nor are serious allegations made in a vacuum. Consider the famous example of the animal seen in Regent's Park. If it is seen outside the zoo on a stretch of greensward regularly used for walking dogs, then of course it is more likely to be a dog than a lion. If it is seen in the zoo next to the lions' enclosure when the door is open, then it may well be more likely to be a lion than a dog."
"Whether there is reckless indifference will also be affected by what the defendant knows of the contents of what he is publishing. If we return to the example of the leaflet distributor it would be difficult to say that he was recklessly indifferent if he failed to make any inquiry about charges in the leaflet that a candidate was incompetent or untrustworthy; it does not follow that the same should be true if the leaflet accused the candidate of serious crime".
(1) the consistency of the witness's evidence with what is agreed, or clearly shown by other evidence, to have occurred;
(2) the internal consistency of the witness's evidence;
(3) consistency with what the witness has said or deposed on other occasions;
(4) the credit of the witness in relation to matters not germane to the litigation;
(5) the demeanour of the witness.
"In choosing between witnesses on the basis of probability, a judge must of course bear in mind that the improbable account may nonetheless be the true one. The improbable is, by definition, as I think Lord Devlin once observed, that which may happen, and obvious injustice could result if a story told in evidence were too readily rejected simply because it was bizarre, surprising or unprecedented.…
… so long as there is any realistic chance of a witness being honestly mistaken rather than deliberately dishonest a judge will no doubt hold him to be so, not so much out of charity as out of a cautious reluctance to brand anyone a liar (and perjurer) unless he is plainly shown to be such."
LIBEL: THE INTERVIEW ALLEGATION - did Ms Barber believe what she wrote to be true?
"I thought that if I had done an interview I would have remembered, because I am quite interested in being interviewed and noticing other people's techniques".
"It seemed to Ms Barber that your account of the Turner prize judging relied heavily on one judge's account and omitted some important information regarding remarks made to that judge by Mr Serota".
"found the section on the Turner Prize judges' meeting particularly irritating because I was a participant and knew it to be partial … Thus she included the fact that at the start of the final judges' meeting I had to make an apology for writing an article in the Observer about my trials as a judge, but not what happened next. Nick Serota asked … [and she recounts the alleged misbehaviour of the other juror].
"she talks to auctioneers, collectors, art historians, academics and critics before she finally gets round to meeting an artist".
"Q. In your book, An Education, at page 76, do you describe yourself in these terms:
"I had become a proficient liar in my years with Simon and had found it hard to break the habit. I was also apt to do bad things if I could get away with them."
I'll provide some context to that if you wish it. It is in relation to meeting your husband, who you describe as someone who was good?
A. Yes.
Q. And this episode in your life is when you were a teenager and pursued by a married man who was considerably older and was a con man –
A. Yes.
Q. -- in addition.
A. Yes.
Q. But is that the truth, that you had become a proficient
liar?
A. While I was with Simon. But the point I was -- I mean, it is unfair to quote it without the context, because what I'm then saying is that I had the good luck to marry a very good, honest man, and I think improved myself as a result."
LIBEL: THE INTERVIEW ALLEGATION - reasons why, if she did not know the truth, Ms Barber was reckless
"This is all by way of warning that you are in the hands of a deeply unreliable memoirist whose memory is not to be trusted. Where possible I have checked facts either against my diaries or articles, but I'm never exactly a slave to facts at the best of times. But does it matter?"
CONCLUSION ON THE CLAIM FOR LIBEL
LIBEL: THE CLAIM IN RESPECT OF THE WEBSITE
"If a person knowingly permits another to communicate information which is defamatory, when there would be an opportunity to prevent the publication, there would seem to be no reason in principle why liability should not accrue".
"… in considering the piece at the time that is the judgment view I came to. Whether that was right or wrong is another matter".
MALICIOUS FALSEHOOD: THE COPY APPROVAL ALLEGATION – did Ms Barber believe what she wrote?
"She also claims that she practices reflexive ethnography, which means that her interviewees have the right to read what she says about them and alter it. In journalism we call this 'copy approval' and disapprove".
"Also as part of a practice called 'reflexive ethnography', the people who are quoted in a particular chapter had the opportunity to read what I wrote. Their feedback often led to a richer and more accurate account of their art world and I'm exceptionally appreciative of those who took this extra time".
"It seems as if the individual concerned was afforded the opportunity to correct factual inaccuracies and to add 'richer' material to the end result – in other words to alter what had originally been written. This lends itself to a comparison with 'copy approval'".
"Luckily, I had the nous to put a clause in the contract saying I was allowed to see and comment on (but not alter) any script Nick Hornby wrote".
"With respect to this, I made clear in advance to interviewees, when requesting an interview, that I would obtain their express permission to attribute a quote. Again there is no issue about this, and it is a distinction readily understood by those who have practised in this field. … This quote checking process undoubtedly improved the clarity and crispness of the quotations … Many interviewees improved their grammar and word choice or, at my instigation, added an illuminating metaphor. If the interviewee was nervous about something they had said but I thought the wording was true and important, I worked hard to keep it. In an extreme case, if an interviewee refused permission to attribute words that I wanted to keep, I would use the quote in unattributed form".
DAMAGES
THE APPLICATION FOR SUMMARY JUDGMENT
CONCLUSION