Tag Archives: gay life

Norrie Always Wins

In matters of the heart, Beverley Nichols was no match for Norrie

Beverley Nichols, by Howard Coster, 1929. © National Portrait Gallery, London

Norrie followed him in and all reserve then broke down. This happy state of affairs lasted for two days, but invariably short lived. There will be, he told himself, ‘rocks ahead’. It is just as well that he adopted this attitude, for who should arrive to accompany them to Henley, but the detestable Eddy, with his ‘bad complexion and a Cockney accent’. Instantly, Norrie was all over him and Beverley was forgotten. The weekend, not surprisingly, was a complete disaster. Once again, he tried to put a brave face on it and when they were joined by a boy called ‘Steegy’, he made a bid for the newcomer – only to be outflanked by Norrie who finished up with both Eddy and Steegy.

From ‘Beverley Nichols – A Life’, by Bryan Connon, 1991.

The David Problem: Notes from a Life


A Better Story

Murder had played an unexpectedly large part in David’s life. Not because he had murdered anyone—he hadn’t even come close—but because he enjoyed telling people about the occasions when he had very nearly been murdered himself. As the years passed the stories acquired new details, sharper dialogue, darker motives. Each retelling nudged them a little further from the truth until even David struggled to remember where fact ended and invention began. He had discovered that almost any story improved if murder was lurking just off the page.

The first attempt on David’s life, if it could be called that, happened when he was fifteen and at Harrow.

By then his sexual inclinations were no secret. They had earned him plenty of abuse, but they also gave him a certain currency. Hormonal boys were inventive when privacy was scarce, and David, more curious than ashamed, was often willing to oblige. It was a contradiction he understood only years later: the same boys who mocked him in daylight often sought him out after lights-out.

For a long time he toyed with writing a novel set during those years. The Edwardian public-school romances had always struck him as curiously bloodless, as though adolescence consisted entirely of cricket, Latin and noble sacrifice. His version would be rather different. His boys listened to the Boomtown Rats and John Peel on Radio 1, smoked where they shouldn’t, and discovered one another in darkened dormitories after the masters had gone to bed. It would have been a scandalous book, especially as David himself had been expelled only weeks later. Better, perhaps, that it remained unwritten.

Harrow still clung to customs that belonged to another century. Boys leaving the school grounds were expected to wear full uniform and touch their hats to passing adults. David found the ritual faintly ridiculous. Rules, after all, acquired their greatest attraction once they were forbidden.

He waited until the evening bill had been taken and supper was over. After lock-up, when nobody was supposed to leave the building, he slipped into civvies, climbed the wall at the edge of the grounds and disappeared into the darkness beyond. October had stripped the evenings of warmth, and beneath the heavy oaks and sycamores that crowned the hill he could move almost unseen.

The escapade itself was childish. Getting back in was the dangerous part. It depended on the loyalty of the other boys, who envied his nocturnal excursions even if they had little interest in accompanying him. Nobody informed. To dob in another boy was to spoil the game for everyone. If he had been caught, the punishment would probably have been a few strokes of the cane—a prospect David found less alarming than he cared to admit.

When he finally crept back into his room, there were always faces waiting in the darkness.

“Well?”

The truth was usually disappointing. Harrow on the Hill was remarkably uneventful after dark, looking much like any other sleepy English suburb. But that hardly mattered. David had already begun to understand that the adventure itself was never as satisfying as the story told afterwards.

David often visited the washrooms at the underground station on College Road. Someone had told him it was where people like him eventually ended up. He rarely found anyone of interest. This time there was an older boy, probably in his late teens, pretending to take a piss. David fancied him immediately: tall, fair-haired, slim, with the easy build of someone who played sport. He knew at once why the boy was there.

David felt the familiar surge of excitement. He busied himself by tucking his shirt into his trousers for the third time, then crouched to retie a shoelace that didn’t need tying. The older boy glanced around before slipping into one of the cubicles. David followed without hesitation.

The cubicle wasn’t what he’d imagined. It reeked of piss and shit, and the floor was ankle-deep in sodden toilet paper. It was enough to puncture the fantasy.

“How old are you?” the boy asked, pinning David against the back of the door.

“Eighteen,” David lied.

The boy thrust his tongue into David’s mouth. His breath tasted of cheap fags and Mars Bars.

David had waited a long time for this moment.

Then something gave way inside him.

He opened his eyes and found himself staring at the graffiti on the wall. Names. Telephone numbers. Obscenities. He suddenly didn’t want the boy touching him. He shoved him backwards. For a split second he thought the boy might hit him. Instead, David fumbled with the lock, yanked the door open and bolted from the cubicle. Seconds later he was out of the station and running.

He ran most of the way back to school, stopping only once to make sure he wasn’t being followed. The street behind him was empty. He realised he had been frightened. More than that, he was furious with himself for making such a fool of himself.

He scrambled over the school wall, knowing that once he was inside he would be safe. But in his haste he mistimed the drop on the other side and crashed into a stack of bricks piled beneath it. Pain shot through his knee. When he looked down he saw that his jeans had ripped. He touched the tear and his hand came away covered in blood.

“Shit.”

He limped back to Bradbys and slipped in through a fire door he had wedged open earlier. The room he shared with Gilles was on the top floor, and by the time he reached it his knee was throbbing.

As expected, Gilles was in bed reading a paperback by the light of a torch. David was still out of breath. When Gilles shone the torch at him, it was obvious he’d been crying.

“What on earth has happened?” Gilles demanded.

“Somebody tried to murder me,” David said.

He hadn’t meant to lie. It was simply that the story sounded better than the truth.

So he told Gilles about the man who had lured him back to a room near the station and held a Swiss Army knife to his throat. During the struggle, the blade had caught David’s knee before he somehow managed to break free.

“You mustn’t tell anyone,” he said.

The following morning David visited Matron to have the wound dressed. He explained that he had fallen while running down the stairs. She listened patiently, although the look on her face suggested she had heard rather better lies from schoolboys over the years.

After that, the story escaped him.

By the end of breakfast David was the talk of the school. Gilles had never been capable of keeping a secret. Boys stopped David in corridors and on staircases, eager to hear about his brush with death.

“It was nothing,” David said with studied modesty. “The man told me he was going to kill me, but I fought him off and got away. Just don’t tell anyone.”

Over the following days the tale grew with each retelling. The knife became longer. The struggle more violent. The escape more miraculous. Every version won him a little more admiration, especially from boys who had barely noticed him before.

By an extraordinary coincidence, events beyond the school gates began to lend David’s invention an air of credibility.

One evening he returned to his room to find Gilles waving a copy of Harrow Midweek.

“Listen to this,” he shouted excitedly.

He read aloud.

“We are aware of certain incidents in the Harrow area. People have been threatened—one involving a knife—and several have been assaulted. In June and August, the ‘Gay Ripper’ stabbed two men to death in their homes in Enfield and Kingston.”

Gilles lowered the newspaper and stared at David.

“That might have been you.”

David merely shrugged, although not without a flicker of guilt.

It never occurred to him that a story of this magnitude might eventually reach the masters. Had anyone believed it, the police would almost certainly have been called, leaving David with some awkward explanations to make.

But there were signs that the staff had already decided exactly what it was: another elaborate schoolboy fantasy.

One afternoon David was crossing the quad when his English master, Mr Potts—a bearded man known to generations of boys as Caractacus Potts—called him over.

“I hear you’ve been making up stories, David.”

He paused just long enough for David to wonder whether he was in trouble.

“Very entertaining,” Mr Potts said with a smile. “Perhaps you should think about writing a book.”

Decades later, David would tell the story again. The knife had become sharper, the struggle longer, and the escape even narrower. He had long since forgotten where the truth ended and the story began. But whenever he reached the part about the Swiss Army knife, people always leaned forward. And that, he decided, was what really mattered. 

Everybody Was Mad About the Boy

How a Noël Coward song survived almost a century—through secret longing, a television commercial, and one unforgettable face whose name has been lost.


A young man, still in his teens, was arranging T-shirts inside a clothes shop on Corso Porta Borsari in Verona. He straightened the rails, turned every hanger so it faced the same direction, then stood back to admire his handiwork.

As he worked, he hummed.

The tune was unmistakable.

Not because it is often heard these days, but because it belongs to another age entirely. Hearing it drift across a fashionable shop on a warm Italian afternoon was quietly disarming. It also hinted, perhaps, at something about the young man himself.

The song was Mad About the Boy.

Nearly a century has passed since Noël Coward wrote it, yet it continues to surface in the most unexpected places. It has survived changing fashions, changing attitudes and changing audiences, acquiring new meanings with each generation that rediscovers it.

For many people, that rediscovery came in 1992.

A memorable television advertisement for Levi jeans, directed by Tarsem Singh and inspired by the 1968 Burt Lancaster film The Swimmer, followed a striking young man as he dived from one suburban swimming pool to another. Each dive seemed to carry him into a different decade. There were immaculate post-war families tending barbecues, cocktail parties beneath tiki umbrellas and elegant suburban gardens that belonged to another America altogether. Time became as fluid as water.

Only at the final pool did he stop. A young woman joined him on the diving board before they disappeared together into an Olympic-sized pool.

Playing throughout was Dinah Washington’s recording of Mad About the Boy.

The commercial introduced millions of viewers to a song that was already sixty years old. It also transformed Washington’s 1961 recording into the definitive version, entering the British charts more than thirty years after she had recorded it with Quincy Jones.

Yet the young man who captivated millions simply disappeared from public memory. There’s something rather poignant about that. It echoes the song itself—everyone was “mad about the boy,” yet nobody seems to know who he was. 

The song itself had always been more intriguing than most people realised.

When Coward wrote Mad About the Boy for his 1932 revue Words and Music, it appeared to be a witty lament sung by four very different women—a society hostess, a schoolgirl, a maid and a prostitute—all hopelessly infatuated with the same film star. It quickly became the show’s sensation.

Beneath its polished wit, however, lay something more complicated.

The lyrics speak of embarrassment, secrecy and sleepless nights. They even refer to the boy’s “gay appeal”, a phrase that meant something rather different in 1932, yet has acquired an unmistakable resonance with the passing of time. Long before homosexuality could be openly discussed, the song had become one that many queer listeners instinctively recognised as their own—not because Coward ever declared it so, but because the emotions it expressed were painfully familiar.

Coward himself only deepened the ambiguity.

After the London opening of Words and Music, he entertained Joan Crawford and Douglas Fairbanks Jr., the actor often said to have inspired the song. Fairbanks later laughed off the suggestion.

“I always thought it was Gary Cooper.”

Whether the boy existed at all would remain one of the song’s enduring mysteries.

When Words and Music was revived in New York eight years later under the title Set to Music, Coward wrote an additional verse. This time the singer was not a woman but a respectable businessman whose increasingly desperate attempts to explain his fascination with another man became both comic and surprisingly daring.

It proved too daring.

The verse was cut before audiences ever heard it.

Mad about the boy,
I know it’s silly but I’m mad about the boy,
And even Doctor Freud cannot explain
Those vexing dreams
I’ve had about the boy.
When I told my wife,
She said:
” I’ve never heard such nonsense in my life! “
Her lack of sympathy
Embarrassed me
And made me frankly glad about the boy.
My doctor can’t advise me,
He’d help me if he could;
Three times he’s tried to psychoanalyze me,
But it’s just no good.
People I employ
Have the impertinence
To call me Myrna Loy.
I rise above it,
Frankly love it,
‘Cos I’m absolutely
MAD ABOUT THE BOY!

My Week, For What It Was Worth

Eddie Redmayne. Photo by Matt Carr

The Eddie Redmayne Test …

Imagine that Eddie Redmayne sat down beside you on the steps. He might do that. Soft-spoken, bookish and entirely unthreatening. His dandyish sense of style, expressive features and quiet politeness feel oddly familiar to me. He’s the perfect amount of gay—not in a sexual sense, but in that elusive way some men seem to embody a gentle elegance without ever feeling performative.

Fallen in love with …

Nineteen-year-old French student Didier Gaspard Owen Maximilien. Some people volunteer. Some climb Everest. Didier licked a straw from an orange juice vending machine, slid it back into the dispenser, edited the footage into a short film, and posted it with the caption: “city is not safe.” Singapore fined him S$600 (about $465). He’s either the villain in a public health campaign or the greatest shitposter of his generation. There is no middle ground.


Too beautiful to know it …

“It kills me to look at my old photographs of myself and my friends. We were such beautiful, sexy kids but we always felt bad because we thought we were ugly at the time. It was because we were such outcasts in high school and so unpopular. We believed what other people said. If any one of us could have seen how attractive we really were we might have made something better of our lives. I’m the only guy that I know who wanted to run away to be a prostitute.” ―Mark Morrisroe (1959–1989)

Mark Morrisroe. Self-Portrait (to Brent), 1982

The book I haven’t opened yet …

Why do I feel faintly guilty after receiving a copy of The Romance of a Choirboy from a friend in London? I haven’t even read the first page, yet it has already acquired that awkward quality of a book which almost seems to require an explanation simply for owning it.

Part of me wonders whether I should leave it exactly where it is.

John Gambril Nicholson wrote the novel between 1896 and 1905, although it wasn’t privately printed until 1916. It tells the story of Philip, an Anglican minister whose emotional and romantic fixation on a schoolboy called Teddy is presented with complete sincerity. More than a century later, it’s difficult to read the premise without immediately recognising the imbalance of age, authority and power. Today we would simply describe the relationship as predatory.

And yet, the novel refuses to disappear. It still surfaces in studies of late Victorian and Edwardian literature, less because people admire it than because it captures attitudes that respectable society often preferred not to acknowledge. Reading an uncomfortable book isn’t an endorsement of its ideas any more than visiting a museum is an endorsement of history. Even so, I suspect this is one of those books I’ll keep eyeing suspiciously from across the room before eventually deciding whether curiosity gets the better of me.


The boy you shouldn’t like …

A twenty-something, hard-partying gay fashion model who doesn’t wear underwear. I’ve come across a few of those.

That’s the premise of Proud, HBO Max’s new Polish drama series.

Ignacy Liss stars as Filip, a carefree young man who is forced to grow up almost overnight after a family tragedy leaves him the guardian of his late sister’s infant daughter, Tosia.

We should be angry with him. We should probably be disappointed in him too.

But we aren’t, because there’s something undeniably appealing about him.

Maybe it’s the soft jawline, the expressive eyes, or the raw vulnerability that slips through the bravado.

Liss, who is straight and, away from the screen, a married father, makes for an infuriatingly convincing bad boy.


On the cute and willing…

Photo: Bershka and Volcom (2026)

Charlie: The Promise of Paris – Partie 4

Not for the first time, Charlie had not been entirely honest. When we arrived at his parents’ apartment, it was immediately clear they hadn’t been expecting me. It made my situation more disconcerting. Still, they welcomed me into their tastefully decorated rooms—ornate, unmistakably Parisian.

I had left Thomas, Ambre and Léo behind, taking my first tentative steps towards reconciliation with Charlie. Yet I could not shake a lingering sense of disappointment. All three had hugged me as I left—our plan à quatre had come to an end, but it would stay with me for a long time. We crossed Paris in uneasy silence, neither of us willing to admit that we had both behaved badly.

“This is completely unexpected,” Charlie’s mother said. “But it is a wonderful surprise, and we are delighted to see you both. I have not seen Charlie for such a long time, and at last we get to meet the person he shares an apartment with.”

Charlie leaned in and whispered in my ear. “My mother still hopes I might give her grandchildren and refuses to accept that it will never happen.”

His father shook my hand warmly and patted my shoulder. “Come in and make yourself at home,” he said. “I shall make coffee for us all.”

“You never said anything about visiting,” his mother added. “If I had known, I would have prepared something special. Never mind—we shall go out. I’ll call Thomas and see if he can join us.”

Charlie cut in quickly. “Thomas is working. I have already seen him, but he sends his love to Maman.” He glanced at me cautiously; it could not have escaped her notice.

“Such a shame,” his father sighed. “It is not often we have both our sons together. “But” he added, turning to me, “when Charlie and Thomas are in the same room, things can become a little… lively. Perhaps it is for the best.”

It was certainly for the best. If Charlie and Thomas had begun arguing, it would have been about one thing—me—and that would have made everything unbearably awkward. I might even have had to explain that I had been caught in a love tryst with both their sons.

“Follow me,” Charlie said.

He led me through the apartment to a bedroom that had clearly once been his. The bed sat directly beneath the window; he climbed onto it and pushed open the large panes. The street stretched out in a straight line towards the Seine, and on the opposite bank, the Eiffel Tower rose above everything.

“This room is perfect in summer,” he said. “It’s wonderful to sleep with the windows open, your head almost out in the street.” Six soft pillows were stacked against the iron grille. I placed my holdall beside his and pretended to take an interest in the view.

“I’m glad you came with me,” he admitted. “For a moment, I thought you might stay with Thomas—and that would have made me very unhappy.”

If he was expecting reassurance, I wasn’t going to give it.

“I’m very upset about those photographs in Le Pénis,” I said. “Why, Charlie? Why pose naked—and not have the decency to tell me?”

“I was foolish,” he admitted, “but I found it exciting. It was some time ago, when I went to Lille with Matis. He persuaded me to pose. I knew he intended to submit them to magazines in France. I was wrong on two counts: I thought they weren’t good enough, and I never expected you to see them.”

“But I did, Charlie.”

“Yes,” he said quietly. “And I regret that. But I must live my own life.”

“And what about me? Did you ever consider how I might feel?”

“I always consider your feelings, Miles. But I suspect your problem isn’t really the photographs. It’s something that was mentioned earlier.”

“What do you mean?”

“That you have never seen me naked. That we have never made love.”

My silence gave him his answer.

“You, see?” he said softly. “I knew that was on your mind. But you must understand—my reluctance is for your own protection. I have lived carelessly, in both Paris and London, and I promised myself I would not return to that life. It does not mean I don’t love you—quite the opposite. And when it does happen, it will be because the moment is right. Love is meant to be something beautiful.”

It was not the explanation I had expected, and it did nothing to satisfy me.

A faint flush rose to his cheeks; he chose his words carefully.

“Despite appearances, I am a shy person. And yes—before you say it—those photographs were difficult for me. I had to force myself. But there is something else.”

I stared at him, incredulous. Shy was the last word I would ever have used to describe Charlie.

“There is also the fact,” he continued, “that you are highly sexed. We are compatible in many ways, but not in that.”

“So it’s my fault?”

“I didn’t say that,” he replied quickly. “But I know you will seek sex elsewhere. I just didn’t expect it to be with my brother.”

Since his arrival in Paris, everything had become a quiet contest of blame—and he was adept at shifting it onto me.

“If you want me to apologise for last night, I won’t.”

“Your promiscuity frightens me,” he said. “I’m afraid you will catch something—and put me at risk as well.”

“If you think I’ve been sleeping around, you are mistaken. Yes, I’m attracted to people—but for years, the only person I’ve wanted is you.” I sat down on the neatly made bed. “Last night was an exception. I was angry, drunk—and yes, I find Thomas attractive. But it wasn’t planned. It just happened. It was new to me. I won’t pretend I didn’t enjoy it. But I also need to live my own life.”

“But you have hurt me,” Charlie said, his voice breaking. “I never imagined that you would make love to my brother before me.”

We had reached an impasse.

“If you like, I can return to Thomas and leave you alone.”

“Non!” he exclaimed. “I want you to stay with me. We must try to make this work.”

“But I don’t see how we can. Our trust has been compromised—by both of us.”

For the first time since I had known him, I saw fear in Charlie’s eyes.

“I beg you not to give up on us. I came to Paris to make our relationship work. I am certain we can return to the life we have in England and put all this behind us.”

I was not so sure. Away from Charlie, I had tasted a kind of freedom that had awakened something in me. If we were to make this work, he would have to change—and I doubted that he would. And yet, despite my coldness, I felt a flicker of pity. I considered forgiving him for those revealing images in Le Pénis. I also wanted his forgiveness—for Thomas, for Ambre, for Léo. In the space of twenty-four hours, everything between us had shifted. But if I gave in now, Charlie would always hold the advantage.

My phone buzzed. A WhatsApp message lit up the screen: Bianchi, in Verona. His timing was uncanny, as though he had sensed an opening and meant to claim it.

“Let’s talk about this later,” I said.

Charlie’s parents took us out for dinner at a small restaurant on rue de Passy. It was expensive, and I felt slightly underdressed, out of place. His parents made polite conversation in English as we waited for our main courses. I played my part, courteous and attentive, while Charlie remained withdrawn and silent.

“What is the matter?” his mother asked. “Is something troubling you?”

“No,” he replied. “I’m just tired.”

“Charlie tells us you are a writer,” his father said, turning to me with quick interest. “Is it true you write about travel?”

“It is,” I said. “But I would like to write about other things.”

“Have you considered a novel?”

“I have,” I admitted. “But I’m not sure I have the patience—or the skill—to write a good one.”

“My sister, Cecilie, has written a book,” his mother announced. “It was dreadful. She attempted a grand romance, with a few murders thrown in. It ended up chaotic—and not at all romantic.”

“My Aunt Cecilie knows about murder,” Charlie interjected. “Her first husband was killed by his business partner, and she became very wealthy as a result. We have often suspected she was having an affair with the man who killed him.”

“That will do, Charlie.”

But he continued, undeterred.

“Of course, infidelity is common in our family. You must look around this table to realise there are secrets waiting to be uncovered.”

He looked at each of us in turn—his parents, then me. I remembered what Thomas had told me: that he suspected he was not his father’s son. The flicker in his father’s expression suggested there might be truth in it—or at least, guilt of another kind.

“Should I assume something is wrong between you?” his mother asked.

Charlie left the answer to me.

“I think every relationship has its difficult moments,” I said evenly. But the mood had already soured.

Charlie’s behaviour throughout the meal suggested he might not be as ready to forgive as he had claimed.

Afterwards, we made strained conversation as we walked back to his parents’ apartment. Rain had begun to fall, quietly at first, then more steadily—as though the evening required it.

Inside, we were offered brandy—expensive, warming. I was pleased to discover that his father smoked. He suggested we step out onto the balcony together. Closing the French doors behind us, he gestured for me to sit.

Below us, the hum of traffic drifted upward, mingling with the occasional burst of laughter from passers-by in the street.

In the half-light, I could see Charlie in him. His thinning grey hair had once been as dark and full as his son’s. He carried himself with a surprising vitality, every inch the businessman—someone accustomed to inspiring confidence, to being believed.

“You are the only person Charlie has ever introduced to us. That must mean you are important to him.” He spoke calmly, with quiet precision. It was not a question, but a statement. “And yet, the circumstances suggest there is a problem between you.”

“We’ve been very happy together,” I said. “But let’s just say we have both done things we now regret.”

“Would you care to elaborate?”

It was a difficult decision. Should I tell him everything? Neither of his sons would come out of it well—nor, for that matter, would I. But there was something in his manner, a steadiness, that suggested he would not rush to judgement.

“Before you answer,” he said, “allow me to tell you a few things. I love both my sons, but—as Charlie implied—there are secrets in this family. Charlie is my flesh and blood, but he takes after his mother, who, in her youth, was… let us say, complicated.” He paused briefly. “I am closest to Thomas, though he is not my son in the strict sense. I am not his biological father. He was the result of one of his mother’s affairs. And yet, Thomas is very like me. He has loved me in a way that has made me deeply proud.”

He hesitated, then continued.

“But do not imagine that fault lies only with their mother. I, too, have been unfaithful—many times. Age tempers these things or perhaps exhausts them. We settle, eventually. But my sons… they have inherited more than we intended. In their own ways, they are becoming what we once were.” He studied me for a moment. “Am I close to the truth of your situation?”

“I believe you are, sir.”

And so, I told him everything.

As I spoke, I watched him carefully, searching for some flicker of judgement or surprise. But he remained composed, listening, nodding occasionally, as though nothing I said was entirely unfamiliar. When I finished, he was silent for a long moment.

“The question I must ask,” he said at last, “is which of my sons you love.”

“I suppose the honest answer is that I love them both.”

“But love is a delicate thing,” he replied. “Do not mistake it for desire. I suspect it is Charlie whom you love. Thomas, perhaps, is a distraction.” He took a measured breath. “I am not surprised by Charlie’s actions. Nor am I surprised that Thomas would seek to provoke his brother. That is their nature. But you, Miles—you are the unknown quantity. Everything now depends on how you choose to respond.”

“That is the problem,” I admitted. “I don’t know how to deal with it.”

“Charlie craves attention,” he said. “He will do almost anything to be noticed. But beneath that, there is a boy who wants to settle down with someone he truly loves—and he is afraid to reveal those feelings.” He paused, weighing his words. “If you want my advice—and I offer it as someone who knows his son—then leave him. Leave Paris without telling him where you are going. Let him believe that he might lose you.”

He glanced out into the night before continuing.

“He will return to England in a hurry, convinced that you have gone back there. Whether you are waiting for him… or not, is entirely your decision.”

 My Week, For What It Was Worth

On driving behind a cute-assed cyclist…
I found myself trailing a cyclist who was hammering the pedals with admirable ferocity; his lycra-clad form rose and fell in a hypnotic rhythm, all sleek lines and aerodynamic intent. There’s something undeniably compelling about a well-put-together rider on a racing bike—graceful, efficient, almost cinematic.

But as I pulled alongside to overtake, the illusion collapsed rather abruptly. What I had taken for youthful athleticism was, in fact, a fully paid-up member of the MAMIL brigade—Middle-Aged Men in Lycra—an increasingly unavoidable presence on the roads. The term, apparently coined by Mintel in 2010, captures a very specific phenomenon in modern cycling culture.

The charitable definition goes something like this: men typically aged 35–50+ who embrace high-performance cycling, clad in tight technical gear and mounted on eye-wateringly expensive carbon-fibre machines. It’s said to be driven by a desire for physical challenge, a reprieve from work and domesticity, and perhaps a quiet rebellion against the passing of time.

Which is all very noble, of course.

And yet—at the risk of sounding deeply ungenerous—I can’t help but feel a flicker of disappointment every time the helmet comes into focus. If you’re hoping for lithe, Tour de France–calibre elegance, you may be better off watching the actual Tour de France. Out here on ordinary roads, the reality is… rather more middle management on wheels.

On binge-watching The Count of Monte Cristo…
There was only one real reason for watching The Count of Monte Cristo—not the recent film, but the Italo-French collaboration from two years ago. My interest lay not with Edmond Dantès himself, nor with the familiar arc of his imprisonment and revenge, but with two Italian actors—Lino Guanciale and Nicolas Maupas—who have recently piqued my curiosity.

Edmond Dantès, a sailor falsely accused of treason, is imprisoned in the Château d’If off Marseille. After fifteen years, he escapes, discovers treasure on an uninhabited island, and assumes the identity of the Count of Monte Cristo, plotting revenge against those who betrayed him. Like the figure in the Alexandre Dumas novel, he emerges compelling, if inevitably vengeful.

The production is noted for its cinematic look, authentic costumes, and striking Mediterranean locations. Reviews were mixed: The Guardian criticised its wooden dialogue and performances, though conceded it could still be an enjoyable watch.

It wasn’t Sam Claflin in the lead, nor was it Jeremy Irons—though Irons was, as ever, effective as the ageing Abbé Faria, lending the role a quiet authority.

Instead, my attention returned to Guanciale and Maupas. I’ve seen Lino Guanciale as the lead in two Italian-language series: La porta rossa, where he plays a ghost, and Il Commissario Ricciardi, where he sees them. Here, he appears as a chubbier Luigi Vampa, a quieter presence but still recognisable.

Nicolas Maupas, born to a French father and Italian mother, is best known as Filippo Ferrari in Mare fuori, set in a juvenile prison in Naples. In this adaptation, he plays Albert de Morcerf with a naïve, easy charm that makes the character immediately likeable.

My interest in Italian television and film feels increasingly insatiable, though it relies almost entirely on subtitles. Here, however, The Count of Monte Cristo was performed in English, allowing both Guanciale and Maupas to speak in my native tongue—an accommodation that also reflects the ambitions of an international co-production, assembling a cast drawn from Italy, France, Denmark, and England.

Lino Guanciale as Luigi Vampa
Nicholas Maupas as Albert de Morcerf

On ditching a short story…
I wrote a short story but something didn’t sit right. I thought it was good, but there was an uneasiness. Like it had the making of something but lacked oomph. And I worked at it from several angles but still it gave me reservations. I showed it to someone and they said, “This is not you at all.” And so the story was shelved.

On seeing a young guy’s underwear…
The only thing colourful about him was his underwear, which I discovered by accident, though afterwards I wondered if anything about it had been accidental at all. He carried himself so carefully, as if afraid of drawing attention, yet there it was—a glimpse of colour (blue and white) that didn’t belong to the guy I thought I knew. It unsettled me, not because it was bold, but because it suggested he was.

On hearing somebody talking about an elderly writer…
“At some stage he will be afraid to start writing a new book because he might die before he finishes it.”

Privacy is what we used to call liberty
Ubiquitous cameras in public spaces. Online tracking, data harvesting, targeted ads. Governments or corporations monitoring our behaviour. Something fundamental has shifted in how we understand freedom. 

Liberty used to mean freedom from intrusion. The right to be left alone, to speak, think, move, and live without constant oversight. Privacy is now treated as a narrower, more technical concern—something about data protection, personal information, or what you choose to share.

Privacy is what we used to call liberty.

On the cute and willing…

Ilya Kovalev. Photo by Archie the Photographer, 2026.

My Week, For What It Was Worth

On chilling out in a Southern Italian town…

Montescaglioso is where a story ends. But I picked a week when the Italian weather was unwelcoming: fine by day, but extremely foggy by night. It is to be expected, because Montescaglioso sits high on a hill.

And then the winds came—strong Sciricco and Maestrale winds that brought heavy rain and quickly sent it away again. For this reason, the locals were happier to stay indoors until conditions improved.

Montescaglioso is where the heart beats a little slower.

Where there are people, I watch them… observing their character and capturing their mannerisms. Most are unaware that this old town was once inhabited by Greeks and Romans.

Some of them will end up in a story.

There is the young boy who is inconspicuous in the corner of a café; he drinks Coke with lemon and reads a paperback copy of Black Run by Antonio Manzini. Every few pages he stops and scrolls through his iPhone. He appears to have friends, but at that moment is bored with his own company.

Then there is the handsome boy, whom I watch with curiosity until it becomes something closer to obsession. He eats pasta with one hand, while the other rests inside his underwear, absent-mindedly playing with himself. He stops when he realises I am watching, and I am immediately disappointed. I want to tell him it is none of my business what he does, but that feels like a perverse thing to say.

The teenagers who congregate beneath the tall statue of San Rocco, the patron saint of Montescaglioso, in Piazza Roma. They are immaculately dressed in smart jeans, designer puffer jackets, and new trainers, because the nights are chilly. They talk for hours because there is nothing else for them to do. I do not understand what they are saying—they speak too fast—but they seem friendly.

The man who pulls up in a Grande Panda and sees me sitting on a bench outside an old building, its yellow paint faded with time. He speaks remarkably good English and educates me on the history of the town: the stories of local people who left at the beginning of the last century and moved to New York and Toronto. He tells me that Francis Ford Coppola is a second-generation Italian-American, born to parents of southern Italian descent. His paternal grandparents emigrated from Bernalda, which is only a few miles away, and the director now owns a hotel there.

The old man who walks his dog every evening and stops to talk. He points to the Chiesa di San Rocco and tells me it was badly damaged in an earthquake that struck Montescaglioso in 1827, and was later restored with the construction of stone vaults and a new façade. He tells me that ancient Greek tombs were once discovered beneath the piazza, and that the church once stood outside the town—there is the possibility of undiscovered graves beneath the surrounding houses.

I decide that there is much history to be found, but I am only interested in the present, where the young people appear permanently sun-tanned, animated, and possessed of an easy, unstudied allure that feels particular to this part of the world—especially to someone from northern Europe.

On lusting over Benjamin Voisin in The Stranger…

I know somebody who claims to have met French actor Benjamin Voisin. It may or may not be true because that person has a tendency to tell lies. But the story he tells is a good one because he said that Voisin smoked a lot, wasn’t completely fluent in English, but came across as a nice chap. And he was convinced that he was gay, but that bit has yet to be confirmed.

I first saw Voisin in François Ozon’s Summer of 85 (Été 85), and at the time I thought the director might have chosen a better-looking boy. But then came the trailer for Ozon’s The Stranger (L’Étranger), along with the publicity stills, and I kept finding myself asking, “Who is that good-looking guy?”

It has felt like an age waiting for The Stranger to arrive. Based on Albert Camus’ novella, it was originally shot in colour, though Ozon ultimately chose to release it in black and white—a decision that feels entirely right.

There is a scene in which Meursault (Voisin) kills an Arab boy. He studies the body on the ground—first the armpits, then the lips—before firing… several times. It’s one of Ozon’s familiar devices, turning something ostensibly straightforward into something quietly, disconcertingly homoerotic.

“I wanted to make everything erotic,” Ozon says. “The girls are erotic. The boys are erotic. The nature is erotic. Everything has to be erotic and sensual. That’s what I wanted. And the choice of the black-and-white [cinematography]was a way to show this sensuality in the world.”

If that wasn’t enough we see Voisin’s naked body a few times, a pretty bum that requires squeezing, and even get a glimpse of his manhood.

On coming upon an unwelcome adversary…

The boyfriend of the love of your life stands before you. What are you supposed to do? Granted, he’s good-looking. But he lays claim to someone who should be mine. For that reason, I can’t ignore everything that’s wrong with him. I want lightning to strike him dead. There is a solution to this jealousy—but it’s not one I dare to consider.

On reading an anecdote from Rufus Wainwright…
“What’s the best thing a cabbie has said to you?”

“Well, my handle on Uber is just the letter R, and I went into a cab once and the driver said, “R, what’s that stand for?” And I said, “Rufus.” And he said, “Oh, like Rufus Wainwright? I wonder what happened to him?” I just went along with it…”

As flies to wanton boys are we to the gods…

The Wanton Boys, Mark Oliver, 1959.

He was a thin, brown-eyed, sad-looking boy, one of ten children of a poor Italian fisherman who had been drowned at sea. Sometimes he begged a little, and sometimes he stole, but hunger grew in him every day. There was no more salt in the home, only garlic to help the long loaves down. Garlic or one of the half-rotten tomatoes that the wasteful spaghetti-makers threw away, and it was a race in the mornings to get to the garbage cans before the dogs and the other starving scavengers.”

I found a parcel on the doorstep. Tearing it open, I uncover a battered copy of The Wanton Boys. I am beside myself with excitement. It’s an early birthday present from a friend too impatient to wait for the day itself. This ragged mass-market copy, improbably, is worth a small fortune.

The blurb is enticing:

“A shattering novel about Italian street gangs, their hates, lusts and perverse and brutal ways in a world that scorns and damns them.”

I love a book about lust – and perverse and brutal ways.

On the cute and willing…

Vimzrut. Photo by Ruslan Pukshyn, 2026

Charlie – On Films, Subtitles, and Temper

Fury – Charlie Marseilles (2026)

There is a new film director in our apartment. Not literally, of course. But after seeing Kleber Mendonça Filho’s The Secret Agent at the cinema, we discovered that MUBI was showing a small collection of his earlier films. Trust Charlie to want to watch Aquarius, which—naturally—wasn’t among them.

The thing about Charlie is that he never gives up. He eventually found it on the Internet Archive, only to be dismayed that it was in Portuguese. He tried to locate English or French subtitles, but to no avail. The other thing about Charlie is that he is impatient.

I wrestled the TV remote from him and began investigating for myself. This was not what he wanted. “Give it back,” he ordered. “You’re wasting my time now.”

Call me childish, sulky—perhaps simply bad-tempered—but I had what can only be described as an adult tantrum. I threw the remote into his lap and stormed off to bed.

The next morning, Charlie went for the César Award. “I was frightened,” he claimed. “You threw the remote at my head. I believe I may even have been unconscious for a while.”

In Control of My Own Happiness

Communion – Red Farrow (2023)

A flicker of FOMO. A spoiled rich boy invites everyone to a birthday dinner, and I’m left out. I wasn’t meant to be there – and I wasn’t. Everyone’s buzzing, and no one gives a fuck whether I’m there or not. Still, life goes on. I grant myself a little grace, even if there isn’t much to give. Let them, I tell myself. Let them spend obscene amounts of money, drink too much, and throw it all up later. I’m in charge of my own happiness. I have a ‘wonder mind’. I buy prawn linguine, a tub of Ben & Jerry’s Chew Chew ice cream, and watch Fellini’s La Strada instead.

David: A Good Story, Apparently

“A swell so big and strong it will wipe clean everything before it.”

I got a message from David. The first I’d heard from him since our falling out in December. I hadn’t been expecting an apology and didn’t get one. I wasn’t even sure one was required. Some days I thought I might be the one who owed it. Still, the silence had broken, and that felt like something.

‘My boy turned forty this week and wanted to see where he was born. I took him to the Kapiʻolani Medical Center, where his mother gave birth to him. It wasn’t what he had in mind. But he stood straight, like the military taught him, and was too polite to tell me to go to hell. He was a Kamaʻāina — child of the land — but this wasn’t where he grew up.’

“What???” I replied.

David rang immediately.

I paused Heated Rivalry, which had literally just started. I hadn’t even got past the opening credits. Everyone had been talking about it, which was precisely why I’d been avoiding it. The same thing had happened with Adolescence. The louder the praise, the more stubbornly uninterested I became. But Heated Rivalry had the added incentive of steamy gay sex scenes — and I liked the idea that large audiences wanted that and were openly enjoying it. So fine. I’d given in. And then David called.

“It’s a paragraph I’ve just written,” he said. “I found a draft of something I wrote about Hawaii in the eighties. A good story’s been hiding in a drawer for forty years. It’s time to rewrite it. Update it.”

“Hawaii?”

“If memory serves, I based it on a Rolling Stone article about a teen suicide. But I think that was Kansas. Or somewhere like it. No idea why I chose Hawaii.”

“Suicide?”

“That only comes at the end.”

“Well,” I said, buying time, “I suppose there has to be a happy ending.”

“A suicide and a birth,” he said, as if that clarified things. “You get the opening now?”

I didn’t. Except that David was a successful writer, and it clearly made sense to him. Which, apparently, was enough.

“I think I know why I chose Hawaii,” he continued. “There was a film I saw. Big Wednesday. Surfing. Jan-Michael Vincent, Gary Busey. Semi-naked most of the time. Very young. Very hot.”

“Who?” My patience was thinning.

“Ah. Before your time. Though now that I think of it, that film was set in California.”

“Get to the point, David. The longer we talk, the longer I’m delayed from steamy gay sex. What’s the story actually about?”

“Whoa,” he laughed. “So you’ve sorted things out with Charlie. What did I tell you? You can’t keep a good man down.”

I froze. Had I really discussed my prolonged sexual drought with David?

“I’ll be brief,” he said. “It’s about jealousy. At least on one side. When three people are involved, somebody always loses.”

This was unexpected territory for him. David could spin a tight crime plot or disappear happily into a historical setting, but relationships were something he normally sidestepped entirely.

“It feels a bit left-field,” I said. “And why go back to something written that long ago?”

“It was shite,” he said cheerfully. “I never read past the first page after I shoved it in a drawer. My first novel came out ten years later — my style had changed completely by then. But time’s counting down. It feels like unfinished business. I want to turn it into something wonderful.”

“How old were you when you wrote it?”

“Let’s see… I started it in 1984, so I’d have been twenty. Finished it the year after. That’s why the characters were that age.” He paused. “It’ll read like I’m reliving myself.” Then, suddenly: “Goddammit. I remember now. I’d just read Michener’s Hawaii. That’s why. Oahu, specifically. And Magnum P.I. was on television.”

I thought about my own life. Whether anything I’d written would still exist in forty years. Whether I’d ever be considered established, in any meaningful sense. I’d been carrying an idea for a book for years, but inertia kept winning. Instead, I scraped a living writing about country houses and cities. It all felt increasingly dull. Stranger still, it occurred to me that David must have written that early draft on a typewriter — a genuinely painful way to work, as far as I was concerned.

He said he had to go.

“By the way,” he added, “I’ve finished the Isherwood biography on Kindle. It ended rather abruptly. One moment he was alive, the next he was gone. Dead. But I won’t mention it again. You seem sensitive about that.”

I restarted Heated Rivalry. Two seconds later, my phone buzzed.

‘Forgot to say. I’m going for a drink with a young man — a student — only nineteen. Just out of nappies, really. Don’t tell Josh, but of all people, I thought you’d like to know. 😏’