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…
“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…
Perfectly Hard and Glamorous 