Tag Archives: relationships

Stolen Words: Tell England – A Study in a Generation

“You know I like Archie Pennybet very much indeed. In fact, I think I like him better than anyone else in the world, ‘septing of course my relations.” – Edgar Doe.

One of my recurring frustrations with old books is this.

Every so often, I pick up a novel now regarded as homoerotic and wonder how on earth its first readers failed to notice what was sitting in plain sight.

A second dose from Ernest Raymond’s 1922 First World War novel, Tell England: A Study in a Generation, a book that goes to extraordinary lengths to beat around the bush.

When it was published, the poor dears read it as a patriotic, high-church Anglican tribute to the tragic “lost generation” of British public schoolboys sent to Gallipoli. The lingering focus on male beauty and passionate friendships seems to have passed them by.

You may recall from an earlier post that Raymond himself later openly acknowledged the novel’s homosexual subplot.

The first half of the novel, Five Gay Years of School, introduces the narrator, Rupert Ray, and his classmates as young men who are acutely aware of their own attractiveness, opening one school chapter with Archie Pennybet’s  boast: “I’m the best-looking person in this room.” Time and again, they are presented as magnificent, almost perfect creations of God.

At the heart of the story is Rupert’s deeply emotional attachment to his classmate Edgar Doe, who is quite unmistakably homosexual. Their relationship is marked by jealousy, devotion, and emotional intensity that often resembles a love affair far more than ordinary friendship.

“I say, why does Doe avoid us now?” 

“The Gray Doe,” sneered Penny. “Oh he – She’s in love, I suppose. With Radley.”

“Don’t drivel,” I commanded. “Why does he hang about with that awful Freedham?”

“When you’re my age, Rupert,” began Penny, in kind and accommodating explanation, “you’ll know that there are such things as degenerates and decadents. Freedom is one. And very soon Doe will be another.”

“Well, hang it,” I said, “if you think that, how can you joke about it, and leave him to go his way?”

“Oh, the young fellow must learn wisdom. And he’s not in any danger of being copped. I’m the only one that suspects, and I guessed because I’m exceptionally brilliant. Besides, if he wants to go to the devil for a bit, you can’t take his arm and go with him.”

“No,” I said, “but you can take his arm and bring him back.”

The schoolmaster, Radley, is described as regarding the boys with a “strong, active love.” Rupert comments: “We were his hobby. I have met many such lovers of youth.”

In the second half of the novel, the boys are sent to Gallipoli. The emotional and physical admiration established during their schooldays evolves into a romanticised martyrdom, where dying beautifully for England becomes the ultimate fulfilment of their youth.

By Jove, Ernest Raymond was clever.

He wrote about male intimacy with remarkable emotional and physical closeness without provoking the censors of the 1920s. Wrapped in high-church religiosity and fervent patriotism, it was accepted by the general public as nothing more than an innocent, heart-rending tribute to fallen soldiers.

Shadows of Verona – Mine to Lose

“I don’t think your brother liked me,” I suggested to Bianchi.

His English had improved enormously since our last meeting, but he failed to understand what I had said. This, I realised, was how our conversations were going to be. My Italian was considerably worse.

“Lorenzo,” I persisted. “He hated me.”

“Enzo does not like me either,” Bianchi replied. “He says I must change. If I do not, he will make me change.” He paused before adding with a hopeful smile, “Is my English good?”

The memory lingered.

Bianchi’s mother scarcely looked old enough to have three grown children. Her eyes sparkled as she welcomed me into her home. Cinzia had clearly told her about me. Like most of the family, she spoke no English, and Cola translated.

She is delighted that you have come.”

In the background, Lorenzo had made his feelings perfectly clear. As we left the apartment, I glanced back just in time to see him draw a finger slowly across his throat.

We settled in the small courtyard behind Signora Bruschi’s building. Four sun-bleached walls, their peeling ochre and sienna softened by deep green ivy, enclosed the space. Around us drifted the familiar soundtrack of Italy: overlapping conversations spoken in rapid, melodic bursts, punctuated by warm laughter and the rhythmic clink of porcelain spoons against ceramic coffee cups.

Cinzia seemed to interpret my return as a declaration of intent towards Bianchi, who sat casually between us.

“Lorenzo è uno stronzo,” she declared. “He is a complete asshole. Ignore him.”

“I disagree,” Cola interrupted. “Miles must be careful not to antagonise him, otherwise there will be consequences.”

“I do not like the sound of this person,” Signora Bruschi frowned.

For the first time that day I was able to study Bianchi properly.

He was small in stature but lean and athletic. His olive complexion carried the faintest flush across his cheeks, while his pale eyes seemed incapable of hiding emotion. Whenever he spoke, his hands moved instinctively, every gesture as expressive as his words.

Bella figura.

Like many boys his age, he dressed with understated style: dark skinny jeans, immaculate white leather trainers, a pale button-down shirt, and around his neck a simple silver chain from which a small St Christopher medallion occasionally caught the light.

He noticed me watching him.

The unguarded charm of a working-class country boy surfaced immediately. His hand brushed gently against my knee, and the hopeful expression on his face suggested that he was still searching for my approval.

I remained uncertain whether this was a path I truly wanted to follow.

The oppressive heat mirrored the suffocating intensity of obsession.

Much had happened during the past year.

Bianchi was studying sports science at Liceo Scientifico Statale Angelo. He had also found part-time work as a porter at a hotel in Verona. Once school broke for the summer, he would spend the season picking peaches, cherries and kiwi fruit on a large farm before moving into the nearby vineyards for the September grape harvest.

Then Signora Bruschi announced that she would prepare lunch for everyone.

Almost immediately, Cola declared that he and Cinzia were meeting friends later at Pedrotti on Via Venti Settembre.

“But Bianchi will stay here,” he added with a grin. “No doubt he will spend the night with Miles.”

His announcement made it sound as though I had been volunteered to babysit Bianchi, who was still considered too young to spend the evening drinking with the others. Pleasant though it was to be included, I could not escape the feeling that Cola and Cinzia were quietly steering events.

Signora Bruschi immediately crossed herself.

“That will not happen,” she said firmly.

Her reaction caught me by surprise.

Like many Italians, she held deeply rooted Catholic beliefs, yet she had raised no objection when I had lived with Pietro several years earlier. After his death, she had even insisted that his rooms were mine whenever I wished to return.

“Bianchi is welcome to stay,” she continued, “but he must sleep in Cola’s room.”

“Cosa vuoi dire, mamma?”

There was, I had come to realise, a distinctly Veronese form of compromise. Family harmony always came first. Certain realities were quietly accepted, provided nobody spoke about them too openly.

“Bianchi will share a bed with you, Cola.”

“Ma, mamma…”

She folded her hands as though in prayer.

“I must protect both boys,” she said. “Miles is already in a relationship, and I will not allow anything to happen beneath my roof that might threaten that.”

Only then did Bianchi understand.

His shoulders dropped, and the disappointment on his face was impossible to miss. He had lived on memories for an entire year. Now it seemed he would have to keep waiting.

No one had asked for my opinion.

The more I thought about it, the more I realised that obsession did not belong to Bianchi alone.

The thought of Cola and Bianchi sharing a bed stirred a jealousy I had never known I possessed. Whatever doubts I still harboured, I suddenly recognised that I regarded Bianchi as mine to lose. Cola, who had no interest whatsoever in Cinzia’s younger brother and would never dream of taking advantage of the arrangement, had nevertheless become the one person standing between us.

Only Cinzia seemed amused.

“Cola,” she teased, “I hope you can survive the smell of Bianchi’s cheap body spray and teenage sweat. Perhaps it would be better if you slept with Miles instead, and Bianchi could have Miles’s bed all to himself.”

The Boy Who Never Grew Old

I think I may have fallen in love with someone.

A twenty-something with soft, youthful features and a quiet demeanour. He is highly desirable; his image has become an indelible symbol of Californian beauty and desire.

There is a problem.

A Bigger Splash, directed by Jack Hazan, was a groundbreaking film that merged documentary with scripted drama to explore a poignant period in David Hockney’s life between 1971 and 1973.

Released in 1974, A Bigger Splash chronicles the emotional fallout and creative struggle that followed Hockney’s devastating break-up with his young partner and muse, Peter Schlesinger. It received mixed reviews, with Private Eye dismissively referring to it as A Bugger’s Pash.

And yes, I have fallen in love with Schlesinger as he was more than fifty years ago.

In the film we see Schlesinger, clad only in white briefs, dancing with himself before an easel. He gets it on with a friend, the actor Eddie Kalinsky, skinny-dips with a pool full of twinks, and later swims alone, completely naked, before climbing out and revealing everything we wanted to know.

He was a handsome fellow with long, floppy hair, and Hockney was understandably devastated to lose him. In retrospect, A Bigger Splash is a remarkable piece of filmmaking, freezing Schlesinger in time.

He was in his mid-twenties and was rumoured to have agreed to appear only during the final months of production, and only if he was paid.

Hockney was said to have been “utterly shattered” by A Bigger Splash and allegedly offered Hazan $20,000 to destroy it.

These old films play tricks on us. They invite us into an imagined one-to-one connection, creating the illusion that we know the subject’s true personality. We fill the historical gaps with our own desires, values and fantasies. In effect, we create the perfect partner.

But it is a one-sided, unreciprocated affair. It gives us the experience of romantic love and emotional attachment without the risk of rejection or conflict. He can never disappoint me, change his mind, or break the spell of his visual perfection.

Schlesinger became the myth of the eternal muse.

There is another problem.

Our minds struggle to comprehend the ageing process, and the fact that Schlesinger is alive and well, now approaching eighty, threatens to shatter that myth.

Schlesinger was born in 1948 in Encino, in California’s sun-drenched San Fernando Valley, the son of an insurance agent and a social worker. He studied drawing at UCLA and, in 1966, aged eighteen, met Hockney, who was teaching a summer class. He soon became the subject of one of Hockney’s best-known paintings, Peter Getting Out of Nick’s Pool.

He had stepped into an unfamiliar world, and who could have blamed him? Suddenly he was socialising with museum curator Henry Geldzahler and art dealers Nicholas Wilder and John Kasmin, while also befriending novelist Christopher Isherwood and artist Don Bachardy.

After graduating, Schlesinger moved to London with Hockney and enrolled at the Slade School of Fine Art. There he was introduced to Hockney’s bohemian circle, including the designer duo Ossie Clark and Celia Birtwell.

Hockney and Schlesinger were together for three years, and it was fortunate that Hazan chose the period of their separation as the backdrop for his documentary.

The question I kept asking myself was simple: why did the relationship end?

By then Hockney was in his thirties, and the imbalance in both age and influence inevitably played its part. Schlesinger struggled to establish an identity of his own while living within Hockney’s enormous social and professional orbit.

There was also the suggestion that Hockney became consumed by his work, leaving Schlesinger isolated, waiting for an artist who often seemed to prioritise the canvas over the relationship.

The cracks had already appeared.

The most convincing explanation, however, is that Schlesinger had fallen in love with someone closer to his own age—someone equally beautiful.

Schlesinger met the Swedish-born design student Eric Boman in March 1971 at Mr Chow’s restaurant in Knightsbridge. Following the London premiere of Visconti’s Death in Venice, Paloma Picasso invited Boman, Manolo Blahnik and Andy Warhol’s business partner Fred Hughes to dinner with Hockney and Schlesinger.

Hockney later regretted deciding not to attend.

“David was not interested,” recalled Boman, “so this adorable boy turned up at our table in a camel hair Ossie Clark coat.”

Schlesinger said it was love at first sight.

The final straw came a few months later during a group holiday in Cadaqués, Spain, where Schlesinger and Boman met again. Fatigued by constant drama, emotional claustrophobia and the pressure of being Hockney’s primary visual obsession, Schlesinger found himself drawn ever closer to Boman.

“Peter came with David Hockney and notoriously stayed on, causing their real dramatic and public break up. It was considered best that Peter and I go home, and we left at the crack of dawn in Ossie Clark’s Bentley, hoping to spend a night at Tony Richardson’s on the way, but he’d have none of it out of solidarity to DH. So we ended up at Mick and Bianca’s (Jagger). The next morning, Ossie put us on a train at Sainte-Anne, and since we had no reservations, the conductor let us stand in the corridor all the way to Paris in our swimsuits – the beginning of our new life.”

Hockney sank into depression and responded with bitterness and jealousy. In A Bigger Splash, he remarked that he might consider destroying the ‘Peter’ works. But, in fairness to Hockney, and all others who had lost their first love, who could have blamed him.

It took Schlesinger a long time to escape Hockney’s emotional pull. Jack Hazan later recalled in a Vice interview that Hockney would entice Schlesinger back under the pretence of painting him, simply so he could be near him. Schlesinger reportedly found this both “petulant” and “suffocating”, and longed to escape Hockney’s web.

One of the most important paintings from this period—and one that features in A Bigger Splash—is Portrait of an Artist (Pool with Two Figures). In 2018 it sold at auction for a record-breaking $90 million.

“I don’t even think it’s a portrait of me, really,” Schlesinger said. “The figure standing beside the pool was a solution to a ‘conceptual’ problem, regarding composition and light, rather than an outpouring of romantic longing.”

After the break-up, Schlesinger moved into his own studio around the corner from Hockney. His relationship with Boman involved a lengthy commute between Notting Hill and Battersea by bus and bicycle.

Alongside painting, Schlesinger had always been interested in photography, but it was Boman who made a career from it. After borrowing Schlesinger’s Pentax camera, he became highly sought after for his art, fashion and society photography.

“Eric is very methodical and likes setups. I just snap pictures and he doesn’t understand that,” Schlesinger once said.

Eric Boman

During the 1980s Schlesinger also became disenchanted with painting and turned instead to ceramics, an art form he continues to pursue.

The couple moved to New York in 1978 and, a year later, settled in a tenth-floor loft where the Flatiron District meets Chelsea, in a building that had once housed a girdle factory. Four years later they bought a mid-nineteenth-century Greek Revival house near Bellport on Long Island, where they spent their summers.

Schlesinger and Boman remained together for fifty-one years, with Hockney once referring to them as a “couple of old maids.”

Eric Boman died of pancreatic cancer in 2022.

In recent years Schlesinger said he had no contact with Hockney and, referring to A Bigger Splash, reflected: “It’s not about me. It’s so long ago, it’s like a different person.”

But Schlesinger is like a painting in a museum.

Perhaps the only way to live forever is inside a work of art, and Schlesinger’s life remains preserved in Hockney’s paintings and, to some extent, in A Bigger Splash.

It is vintage media: a pre-digital art world, a lost world of effortless style, leisure and raw creativity.

And I am still in love with the young Peter Schlesinger.

Peter Getting Out of Nick’s Pool. David Hockney (1966)
The Room, Tarzana. David Hockney (1967)
The last word. Peter Schlesinger’s Instagram post after Hockney’s death.

Short Story: The Silence Between Summers

Photo by Aitana Valencia for Fucking Young! (2026)

Tyler distrusted men… including Kyle. And there was a reason for that.

It was something their parents had never spoken about, at least not in front of him. Yet Kyle had always known that something terrible had happened during that summer by the sea. Something that caused Tyler to retreat into a painful silence and refuse to leave his bed. Something that made both families weep behind closed doors. Something that brought the police to the house, speaking in hushed voices before taking Tyler away.

Their holiday ended that day.

Soon afterwards, Tyler’s family moved away from the neighbourhood. When Kyle asked where they had gone, his father sat him down and told him, “There are some things that don’t concern little boys.”

For years, Kyle wondered whether it had somehow been his fault.

Then, ten years later, he overheard his mother speaking on the telephone.

“I shall ask him,” she said. “I’m sure he will agree.”

That summer, Kyle and Tyler saw each other again for the first time since their childhood. They returned to the same house where their families had once stayed — the house that overlooked the beach where they had played, swum in the sea, and laughed at each other’s terrible jokes.

It was there that Kyle finally discovered what had kept them apart all those years.

Tyler distrusted men… and it had become impossible to ignore. His therapist had suggested that the only way to confront the past was to return to the place where it had happened, accompanied by somebody he could trust.

Shadows of Verona – You Are Here

“C’è un ragazzo che viene a trovarti ogni giorno e ti chiede quando torni.” There is a boy who comes to visit you every day and asks when you are coming back.

Bianchi had been turning up at Signora Bruschi’s doorstep daily.

“Credo di essere nei guai. Sono nei guai grossi.” I think I am in trouble. I am in serious trouble.

Bianchi messaged me too, sometimes several times a day, and each time I replied with words designed to prolong the chase.

“Torna presto, per favore. Ho bisogno di parlarti.”

“I will come over soon,” I promised.

But that was last year, and I never did.

Bianchi was now seventeen, and on his birthday I sent the same number of red roses. His sister, Cinzia, provided me with updates. In her eyes, I had crossed a line. The time had come to make a commitment.

Cola, meanwhile, painted another picture.

“There is only one way to end his heartache,” he wrote. “There is only one way to calm a stormy sea.”

I was never entirely certain what he meant.

I had missed Cola.

He was now nineteen and no longer the skinny boy I remembered. I suspected that he had been spending time in the gym. His body had broadened, his shoulders were stronger, and he seemed taller than ever. With temperatures stuck in the mid-thirties, he wore sunglasses, a baggy white T-shirt and black shorts that showed off his long, sun-darkened legs.

But some things had not changed.

He still drove too fast, as if the possibility of death around the next bend had never occurred to him. He pushed the bright yellow Abarth 500 along the E70 before leaving the main road and cutting through the countryside towards San Giorgio in Salici.

Before I had arrived, Cola had sent me one of his strange messages:

In love, conversation is direct but risks becoming too harsh; measure your tone. In love, you desire stability, but someone is testing you.

I wondered whether it was a warning.

San Giorgio is a highly venerated figure in Italian Catholicism. He is also St George, the patron saint of England.

“Maybe it is a sign,” Cola said, his arms stretched along the steering wheel as he reclined in his seat.

I had arrived in Verona the previous night. Cola had collected me from Villafranca Airport and wasted no time suggesting that we visit his girlfriend, Cinzia, and her brother, Bianchi.

His mother, Signora Bruschi, had been less enthusiastic.

“The boy is too young,” she warned. “He is not old enough to know what he wants. Are you not happy with your boyfriend?”

I did not have the energy to explain about Charlie. I had neither seen nor heard from him since our falling-out in Paris, and the likelihood was that I never would again. My future suddenly seemed to contain too many possible paths.

Cola had not told Cinzia that we were coming.

“She is working this morning, but it is a half-day and she will be home around lunchtime. There is always somebody at home.”

I had my reservations.

My appearance in San Giorgio in Salici might reopen wounds that had only partially healed. Bianchi still messaged me, though now perhaps only once a week. It felt as if he was slowly moving on, while leaving a door open in case I chose to meet him halfway.

Cinzia was different. She had hoped that I would satisfy her younger brother’s desires and now believed that I had treated him badly.

Would I still be welcomed in the same way as the year before?

“I must tell you that Lorenzo will be there,” Cola warned.

“Who is Lorenzo?”

“Cinzia and Bianchi’s older brother. I suggest that you ignore whatever he says.”

“What do you mean?”

“Lorenzo is trouble — for his family and for himself. He makes life difficult for Bianchi because he is gay.”

Cola ran his hand through his short hair, leaving only one hand on the steering wheel, which did little to calm my nerves.

San Giorgio in Salici emerged from the Veronese countryside, surrounded by flourishing vineyards, a village that seemed little more than a collection of houses stretching along its roads. Cola screeched to a halt on Via Celà and announced that we had arrived.

The building where Cinzia and Bianchi lived looked tired. Four storeys high, its crumbling exterior had been patched with uneven concrete repairs. The ground floor contained a garage and storage rooms; the floors above were residential.

“They live at the top,” Cola said, pointing towards a balcony that stretched across the façade.

I followed him up the communal stairs. There was no lift. On one of the walls somebody had sprayed a single word of graffiti.

Vaffanculo.

“Go fuck yourself,” Cola translated.

I had long realised that Italians rarely knocked on doors or rang bells when they were not strangers. Once Cola had made sure I was behind him, he walked straight into the apartment and moved down a long corridor lined with family photographs.

The living room was filled with more memories — framed pictures, hand-painted ceramics and Catholic iconography: crucifixes, rosaries and a statue of Padre Pio. A large dining table stood by the window, covered with fine linen and carefully arranged dinnerware.

A young man — presumably Lorenzo — was stretched across a sofa watching a game show. He looked at us but did not move. Cola greeted him with a high-five and exchanged a few words in Italian.

Lorenzo turned his eyes towards me.

There was suspicion there.

He spoke quietly to Cola, but his expression suggested that he had already decided he did not like me.

“Cinzia is not home yet,” Cola explained. “Bianchi has gone to the grocery store with his mother and will be back soon. Sit down.”

There was an obvious resemblance between Lorenzo and Bianchi, although the older brother was taller, with shorter hair and the kind of beauty that seemed almost commonplace among young Italian men.

I remembered something David Hockney once said: if handsome New York boys ranked at one hundred, handsome Italian boys were almost certainly at one thousand.

But Lorenzo lacked Bianchi’s warmth.

“He does not speak English,” Cola said. “But Bianchi has been learning at the liceo.”

I remembered the days when our conversations had relied on Cinzia’s excellent English and her willingness to translate.

“Be careful of Lorenzo,” Cola continued in a lowered voice, although Lorenzo undoubtedly knew we were discussing him. “He hates that Bianchi is gay and will not like the idea of you being here, especially if he thinks you have come to take his brother away.”

“Then why did you insist that I come, Cola?” I asked.

“They are family to me,” he replied. “Just as you are like a big brother to me, Miles. But Lorenzo spends time with bad people — criminals who go into Verona to steal from shops and tourists. I do not like it, but he is Cinzia’s brother, and I must respect him.”

Suddenly, the apartment door slammed.

“Bianchi. Vieni qui. C’è qualcuno che ti aspetta.”

“Aspettare?” he replied.

There was a muffled exchange in the kitchen, followed by the sounds of cupboards opening and closing. Then their mother laughed — a sharp, joyful shriek, as though Bianchi had said something unexpected.

“Bianchi!” Lorenzo shouted impatiently.

It is difficult to describe the expression on his face when he appeared.

He stood in the doorway.

His eyes widened. His eyebrows lifted. His mouth fell slightly open as he struggled to draw breath.

His gaze fixed on me.

“Miles,” he whispered.

“You are here.”

The David Problem: Notes from a Life

The Slow Invisibility of David

There was a conversation David once had with his mother when he was about fourteen. He’d complained about Bank Holidays—that there were too many of them. As mothers do, she agreed. Whatever had prompted the outburst had long since slipped from memory. He was a schoolboy and should have welcomed the extra day off, but Bank Holidays irritated him. They still did.

In truth, they had little relevance to his life. A Monday would be no different from any other. What he preferred were the ordinary ones, when he could go about his business while everyone else worked. Not so the May Day Bank Holiday. If the weather held, the parks would be crowded, and the small café he visited each afternoon would be overrun with snotty-nosed kids.

That, at least, was still to come. For now, David was spending Sunday evening with Joshua and his friends at the King’s Arms, despairing of the whole scene. Bank Holidays drew out all the idiots who would otherwise be glued to whatever rubbish Netflix was serving. A day off work gave them licence to get drunk and be insufferable.

There were advantages, he had to admit. The students were out—released from lectures, granted a day to sleep off the previous night. David liked students. He liked young men who still had their lives ahead of them, who could do things they were too young to regret in the morning.

Joshua noticed his look of desperation.

“At what point does a chicken hawk become a pervert?”

“When he turns sixty-three,” David replied. Only the week before, he had celebrated his sixty-second birthday, and in his mind the label did not yet apply.

Still, he felt uneasy. The handsome boys no longer paid him any attention. They were absorbed in their girlfriends—or boyfriends—and David had become just another older man, regarded, if at all, with a kind of pity.

“Do you see it, Joshua? Do you see that I’m slowly becoming invisible?”

“I fail to see why you’d be interested in anyone else when you should be perfectly happy with me.”

David chose his words carefully. “That I can’t deny. But there is such a thing as window-shopping.”

Joshua turned back to his friends and drifted into a conversation about Madonna and Rosalía. David was tempted to tell them that Madonna belonged to him—that he had grown up with her music, that she was older than he was—but the argument would have been futile. Madonna had long since transcended age.

Once, David had appeared on a television programme with her, shortly after she released her first album—around 1983. He had been introduced as an exciting young writer. She had liked his spiky hair and remarked that he was handsome. For a fleeting moment, he had wondered if she might be coming on to him, though that would have led nowhere. If only, he found himself thinking now.

Joshua’s friends accepted David as his partner, but they had no idea who he really was. It had always been his rule: tell no one he was a successful author. He preferred to be taken for the stereotype—a ‘sugar daddy’ with too much time and nothing to do. Had he told them the story about Madonna, they would have smiled politely and dismissed it as the invention of a fanciful old man. And David, in turn, would have felt guilt at not having anticipated this phase of life—the gradual slowing, the dimming, the uneasy business of growing old.

But David wasn’t that old.

It was a conversation he returned to often with Joshua—usually at Joshua’s instigation, lamenting that he would turn forty in October. David could never quite accept the premise. If anyone had the right to complain, it was surely him. He was still good-looking, his hair thick and intact, though he had to admit he’d filled out around the waist.

The trouble was that David still thought like an eighteen-year-old, without quite acknowledging that age catches up with everyone. While his contemporaries were beginning to slow down, even contemplating retirement, he resisted the idea that anything essential should change simply because the years had passed.

There was also the matter of money.

The royalties from his novels had dwindled, and without a pension sufficient to sustain him, he found himself uneasy about the future. Joshua’s artwork, by contrast, was gaining attention; David suspected he was now earning more than he did. And yet it was still David who provided the house, who carried the financial weight of their life together. Would Joshua care for him when he grew old? An outsider might have answered yes without hesitation, but David was less certain. The age gap unsettled him. Once Joshua was secure, it seemed entirely possible he might choose someone younger, someone more in step with his own life.

Had David voiced these fears, he would have discovered that Joshua had no such intentions. He felt a genuine loyalty, even a debt, and was entirely content in the relationship. The thought of leaving had never crossed his mind. But the unease remained, quietly lodged in David, impervious to reason.

David, too, had grown bored with writing novels. It was becoming harder to find original ideas, and harder still to bring them to a satisfying close. Where once he might have produced two books a year, the pace had slowed; he was fortunate now if he managed one every couple of years. Research, he found, gave him more pleasure than the writing itself. He could spend weeks preparing—filling notebooks with observations and plans—only to discover, when the time came, that the inspiration to shape them had quietly deserted him.

At times he compared himself to Arthur Rimbaud, who abandoned poetry at twenty in favour of a life of action, travel, and trade—if selling coffee and firearms could be called that. Rimbaud had turned away from literature altogether, declaring a need to be “absolutely modern”: action instead of words. After his turbulent and violent affair with Paul Verlaine—an episode that ended with a gunshot wound and a prison sentence—he had likely grown weary of Parisian literary life and the weight of his own notoriety. David sensed a kinship there—though Joshua, at least, had not shot him in the hand—and conveniently overlooked the fact that Rimbaud had been forty-two years younger when he walked away.

It was not lost on him that Rimbaud’s true fame had come only after his death. During his brief career he had been known, certainly—an “enfant terrible” in certain Parisian circles—but his legend was constructed later, through publication and the romantic myth of his life. David found something both comforting and unsettling in that thought.

Whenever he considered Rimbaud, he also thought of Leonardo DiCaprio, who had played him so strikingly on screen. David’s own life had, at moments, been just as scandalous—perhaps more so—but he could not imagine anyone wanting to turn it into a film. And if they did, who, exactly, would be cast to preserve him in youth?

His publisher had offered another, more immediate concern. It had been framed as a warning: reputation alone would not be enough, nor would it guarantee a living. There were new forces at work now. AI was coming, the publisher had said, and for writers it would prove not just a novelty, but a threat.

After a life shaped by “what ifs,” he found himself waiting for the great comeback—if it ever came at all.

He became aware, with a faint jolt, that he had drifted out of Joshua’s conversation with his friends and no longer had any idea what they were talking about. He sat with his drink, half-listening, when a young couple approached, each carrying a glass.

“Do you mind if we sit here?”

David didn’t and shifted to make room. The boy caught his attention immediately—shortish, slim, almost theatrically handsome, with dark hair that fell into something wild and a small cross hanging from one ear. The girl was taller, darker, her face sharply drawn. She might have been strikingly glamorous, if not for the absence of make-up and the careless way she wore her hair. There was something unkempt about them both, a deliberate kind of disarray—grungy, even—which David found compelling.

He felt himself wavering between Joshua and his friends and these new arrivals, uncertain where to place his attention. Had he been honest, he might have admitted to a quiet jealousy—of their youth, their ease, the sense of life still gathering around them.

I’ll write a play, he thought suddenly. I’ll leave London, go somewhere warm, somewhere bright. The idea amused him even as it formed. There was something faintly ridiculous in it—but then, he had always had a weakness for the dramatic.

The young man nodded to David, then lapsed into silence. Neither of them seemed inclined to speak, and the quiet between them grew dense. Had it not been for David’s interest in the boy, he might have left—retreated to the safer promise of a comfortable bed and a good book.

The pub had filled quickly; the bar was now three deep with people waiting to be served. David was nearing the end of his drink and had no desire to join them. Again, the thought of an early night presented itself as the sensible option. But the couple intrigued him—especially the boy, and the curious fact that neither of them seemed to speak to the other. Joshua is right, he thought; I am turning into a pervert.

His days, lately, had been taken up with preparations for the Wilhelm von Gloeden exhibition, and with the uneasy awareness that the photographer was now widely regarded as reprehensible. He thought, too, of Baron Corvo, that notorious writer who had made little effort to disguise his vices. Would he be judged in the same way, after his death? The idea unsettled him, though he could not quite say why—he had done nothing, after all, that he considered wrong.

“Do you fancy my boyfriend, or something?”

David started; he hadn’t realised the girl was speaking to him. He looked at her, puzzled.

“You’ve been sitting there staring at him ever since we sat down.”

“I was thinking, that’s all.”

“Jess,” the boy said quietly, “don’t make a scene.”

Fucking kids, David thought—always on the brink of an argument. And yet, perversely, he liked the boy more for it.

“Well, stop staring at him,” she said.

The boy rose, lifting his empty glass. “I’m going to the bar. Same again, Jess?”

She nodded. David braced himself at the prospect of being left alone with her, but the boy had barely taken a few steps before turning back.

“Can I get you a drink, fella?”

The offer caught David off guard. “Yes, thank you,” he said after a moment. “A white rum and tonic, please.”

The boy disappeared into the crowd. For an instant, David felt a childish urge to turn to Jess and stick his tongue out at her—but he resisted it, not least because she seemed almost to tremble with irritation.

“Have you been together long?” he asked.

“Six months,” she replied sharply.

“You make a very nice couple.”

“We are.”

Within seconds, the boy was back, three drinks in hand.

“How did you manage that?” David asked.

“I don’t hang about,” he said with a grin. “Push to the front and shout the loudest.”

“Thank you,” David replied, taking the glass. “What’s your name?”

“Harrison.” He offered his hand as he sat down, and David shook it.

David became aware that Joshua had noticed. He was watching the three of them with a faint, unmistakable suspicion. David found that he rather liked it—a small reassurance that Joshua, too, could feel jealous when something threatened him. He chose to ignore the look, and before long Joshua was drawn back into conversation with his friends. There would be questions later; David would answer them with an air of innocent mystery.

“It’s busy,” Harrison said, by way of small talk, as though waiting for something more to take hold. Jess said nothing, merely sipped her drink. David nodded, the only one to acknowledge him.

Writers, he thought, are curious by nature. They ask questions. He knew it would irritate Jess further, but he had not come this far in life by holding back. A trace of his old arrogance returned.

“Tell me about yourself, Harrison.”

The moment the words were out, he realised he should have said yourselves. But he hadn’t—and, privately, he was glad of it.

“Not much to tell,” Harrison said, though something in his eyes suggested otherwise.

“What do you do?” David pressed.

Harrison hesitated, then gave a small, crooked smile. “Do you really want to know?”

David nodded, leaning forward slightly.

“The truth is…” Harrison paused, as if weighing the effect of it. “I’ve just got out of prison.”

It was the sort of confession that might have unsettled most people. David, however, took it in stride. He felt, instead, a flicker of interest—something sharper, more dangerous. I’ve always liked bad boys, he thought.

“Go on,” he said, unable to hide his curiosity.

Jess shot Harrison a warning look, but he only shrugged.

“It’s a long story,” he said. “Let’s just say drugs and knives were involved.”

“I don’t see you as the criminal type.”

“I’m just me,” he said with a shrug. “Things go wrong sometimes.”

“He’s a dickhead,” Jess cut in.

“What did you do?” David asked, ignoring her.

“I stole some drugs—top-grade ketamine. The blokes I took it from weren’t best pleased. They came after me, so… I stabbed two of them.”

“And you got caught.”

“Wasn’t difficult for the rozzers. CCTV and all that.”

The revelation should have landed like an apocalypse. Harrison was dangerous—there was no denying that—and yet he seemed almost to relish it. Still, there was something disarmingly guileless about him, as if the weight of what he was saying hadn’t quite settled. David found himself imagining Harrison in prison: too striking to go unnoticed. He was tempted—absurdly—to ask what it had been like.

“Forgive me,” David said, “but you seem too polite—too… innocent—for any of that.”

He felt Jess shift sharply beside him.

“For fuck’s sake,” she snapped. “He’s not right in the head. And if I’m not mistaken, you’re doing your best to get into his knickers.”

Harrison tried again to calm her. “Jess, shut up. He’s just being friendly.”

She turned on David. “What are you, then? Queer?”

David didn’t answer. He simply winked.

“It’s time we were going.”

Joshua was standing behind him. Whether he had heard any of it was unclear, though the timing suggested he had. David finished his drink and rose to join him.

“Nice talking to you,” Harrison said, almost apologetically, standing as well. “Sorry about… all that.”

David waved it off. “Think nothing of it. Enjoy the rest of your freedom,” he added, lightly.

Outside, while Joshua disappeared to the toilet, David lingered and realised he had enjoyed the encounter more than he ought to have. Another one bites the dust, he thought.

The door opened, and David hoped that it was Harrison who was coming after him. But things like that didn’t happen anymore. It wasn’t him. 

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.”

Boys Burn Quiet: Open, Heaven

Open, Heaven: Seán Hewitt (2025)

“Now, this nightly ritual had been my secret for years. In my mind, it was linked somehow to that scene – the distance, the watching but never touching. I fixated only on those I thought would not reciprocate, but I could imagine the moment of pre intimacy when they would give in and a secret would be made between us. I understood that this was what desire was: wanting something I could not have, dreaming of holding it. But even then I knew there was a risk, a contradiction: if, by some chance, the object of my desire desired me, I had the sense that the desire might evaporate altogether. So, although there was this burning, urgent thing, I could not exorcise it, and my imagination went into overdrive under restraint. There was never a release, never a completion that didn’t feel soiled and voyeuristic.”

Joshua handed me a pristine paperback. “Read this,” he said. “I think you’ll like it.” The book looked untouched; seeing my hesitation, he added, “I enjoyed it so much I’m giving all my friends a copy.”

I don’t think I’ve ever known anyone do that, and I found myself wondering whether they could really afford such generosity.

But Joshua was right.

The novel is a debut from Seán Hewitt, better known until now as a poet, memoirist, and critic. He is also Assistant Professor in Literary Practice at Trinity College Dublin and a Fellow of the Royal Society of Literature. His first poetry collection, Tongues of Fire, won the Laurel Prize in 2021—the same year he published J.M. Synge: Nature, Politics, Modernism. His memoir, All Down Darkness Wide, followed in 2023, and then came 300,000 Kisses: Tales of Queer Love from the Ancient World; a second poetry collection, Rapture’s Road, appeared in 2024.

Which brings us to Open, Heaven, a debut that confirms him as an all-rounder.

It is, in a way, a love story without quite becoming one—an infatuation we hope will deepen into something more, though it never does.

James, a teenager, dreams of a life beyond his small village; his emerging desires threaten to unsettle his shy exterior. Then he meets Luke—unkempt, handsome, charismatic, and impulsive—sent to stay with his aunt and uncle on a nearby farm.

As the seasons pass, a bond forms between them, one that quietly reshapes their lives. Yet James remains uncertain of Luke’s feelings, and as summer draws to a close, he faces a choice: risk everything for the possibility of love, or let it slip away.

I have a weakness for bad boys, so it was inevitable that I fell for Luke—made all the more appealing by the fact that he turns out to be straight. I was less taken with James, who seems destined to spend the rest of his life wondering, What if I’d forced the issue? Though perhaps that’s unfair. He could just as easily have been me.

I suspect I’ll carry my own catalogue of missed opportunities. Memory has a way of softening the past, making it seem brighter, simpler—chiding you for not taking a chance. But it was never that simple.

Hewitt proves especially perceptive when it comes to these almost-relationships—the ones that hover on the edge of possibility but never quite materialise.

I finished the book still hoping, right up to the final pages, that something might finally happen between them. Afterwards, I read other readers’ responses; the consensus, unsurprisingly, was that it leaves an aching feeling.

Charlie: The Promise of Paris – Partie 3

Caught Between Brothers, Desire, and Sex
French films—where sex feels real. Skin is just skin, textured, imperfect; faces carry lines; bodies are allowed to be naked, warm, a little unguarded. That was my first thought when I woke the next morning: that I had been inside a film, and now there lingered a soft, satisfied glow, the sense that something good had happened.

We were all naked.

Thomas lay close beside me, his right arm draped across my chest. Ambre was sprawled over our legs, her head tipped over the edge of the bed. Léo’s head was tucked beneath my left arm, one leg thrown across my midriff. I couldn’t have moved even if I had wanted to.

It had been very late when we returned to Thomas’s rooms. We had drunk far too much. And somewhere in that blur, the three of them had shown me something about sex in France—something unforced, unashamed, almost instinctive. The rest dissolved into fragments, but I woke with a lingering, uncertain impression: that, perhaps, I had crossed a threshold I hadn’t expected and shared something new.

And then I thought of Charlie, back home.

The anger I’d felt—at discovering those explicit photographs of him in Le Pénis—had dulled overnight, settling into something cooler, more measured. In its place came the faint, unsettling sense that the balance had shifted. I hadn’t replied to his messages, hadn’t answered the calls he’d tried to make. I imagined him now: alone, uneasy, carrying the weight of a secret no longer entirely his own.

And there was something else.

I had slept with Thomas, with Ambre, with Léo. The thought lingered, complicated and strangely satisfying. That I had been with Charlie’s brother felt, in some quiet, private way, like the sharpest form of retaliation available to me—an unspoken act that tilted things, however slightly, back in my favour.

For it to have the effect I imagined, Charlie would have needed to take the first Eurostar of the morning and walk through the door at that exact moment—only then would he have found us as we were, the four of us bound together by something reckless, unguarded, and impossible to explain away.

“Bonjour,” Thomas murmured into my ear, his voice still heavy with sleep as his fingers idly traced my chest. “How are you today, my English lover?”

Léo was awake too, stretching out beside me. It was only then I noticed the words Esprit libre tattooed along his arm—something I had somehow missed before. “Miles,” he breathed softly, shifting closer, his warmth pressing into mine.

Amid all of this, Ambre slept on, undisturbed, as though the morning belonged entirely to her dreams.

Thomas was the first to get up. The night before, he had warned us that he had work in the morning—that he would come to regret his small indulgences. I watched as he slipped from the bed and wandered, still naked, into the small kitchenette to make coffee.

He moved with an easy, unselfconscious grace—tall and lean, his pale skin catching the soft morning light. There was something quietly inviting in the ease of his body, a softness to him that made it difficult to look away.

I felt, unexpectedly, a flicker of disappointment as he pulled himself from the warmth of us, as though something of the night had gone with him.

Léo took it as an invitation to move closer. He kissed me softly, his lips brushing mine, the faint roughness of his stubble grazing my skin. There was a quiet confidence in him, a suggestion that the night could easily begin again.

But Ambre, roused by the promise of coffee, chose that moment to wake. With a casual gesture, she tossed a crumpled sheet over us both before slipping out of bed and wandering into the kitchenette, where she joined Thomas and helped herself to a stale croissant.

“What are you thinking about?” Léo asked.

“I’m thinking about that Bertolucci film—the one where a brother and sister take in his teenage friend.”

Innocents,” he said, after a moment. “The Dreamers was the English title. It shows how different French sensibilities can be—more permissive, less constrained. Like Les Enfants Terribles, with its own tangled intimacy between brother and sister. But there are no siblings here.” He paused, a faint smile forming. “The only brother worth mentioning is Charlie, who—if I understand correctly—has managed to embarrass himself rather thoroughly with his boyfriend.”

“Ah, Charlie,” I said. “That’s something I’ll have to deal with.”

Ambre perched on the edge of the bed, finishing the last of her croissant. She retrieved her phone from the floor and began tapping out a message, only half-listening.

“Miles,” Léo went on, his tone light, almost teasing, “you find yourself in a rather enviable position. You’re able to make comparisons—observe what each brother has to offer. Charlie, who, judging by Le Pénis, is… generously endowed. And Thomas, whom you seemed to appreciate last night, is rather more modest. Would you agree?”

Ambre raised her little finger in the air, a mischievous glint in her eye. “I don’t think Thomas is in any position to impress anyone with the size of his bifler,” she said, laughing.

She wasn’t entirely wrong, I thought. Thomas may have come second to Charlie in that regard, but there was something about him—something understated, quietly appealing—that stirred a different kind of interest in me.

As if to underline the point, Thomas reappeared with the coffee and came to stand over me, the morning light catching him in a way that made it difficult to think of anything else.

“What are you going to do about Charlie?” he asked.

“I’ll message him later,” I said.

“Forgive me, Miles,” Ambre added, almost lightly. “But I’ve already messaged him. I told him you spent the night with us—nothing more than that, of course—but enough for him to understand that the four of us may have… misbehaved.”

“Oh,” I said, caught off guard. “Was that wise?”

Thomas came to sit beside me and brushed a quick kiss against my cheek. “Brothers are meant to share their toys,” he said with a faint smile. “And besides, Ambre’s right—after what he did to you, he deserved to hear something.”

Léo shifted closer, his touch unexpectedly intimate, then lifted his gaze to meet mine. “There’s a difference, isn’t there,” he said quietly, “between posing for photographs and actually taking part in something.”

And just like that, I felt it—the subtle, unwelcome shift. The balance, which had briefly seemed to favour me, tilted back toward Charlie.

After showering and dressing, we followed Thomas down to the bar below. We found a table outside and ordered Orangina, which he promptly fortified with generous measures of Cointreau. It might have suited the night before, but just after midday the taste felt oddly sharp, almost unwelcome.

“A few of these,” Thomas said, with quiet encouragement, “will put you in the right frame of mind to speak to my little brother.”

The conversation was interrupted when one of Thomas’s colleagues appeared at the table, breathless with excitement. She spoke quickly, hands moving as much as her voice, pausing only when someone cut in with a question.

Thomas frowned, then glanced at me, unwilling to let me be shut out of something so clearly urgent. He began to translate, his English halting, searching for the right words as he went.

“She… she is saying… a group of American boys, they went into a café nearby, last night. And—how you say—they noticed a very beautiful French girl, sitting with her friends.” He hesitated, brow furrowing. “One of them, as… a kind of bet, tries to speak with her. But she is not interested. She shows this, very clearly. Still… he continues.”

Thomas paused, as if rearranging the story in his head.

“Then a French boy—he does not like this—and he punches the American. In the face.” He gestured vaguely to his own cheek. “And after this… it becomes worse. The American, he takes out a gun. He fires. He misses, but… the café, it is chaos. People shouting, more guns, even knives…”

He exhaled, shaking his head slightly.

“The police are called—the Préfecture. The Americans, they run upstairs, to escape. And then…” He faltered, searching again. “A policeman, he is pushed from a window. He falls—rolls over the awning—and lands in the street below.”

Ambre and Léo both reacted with open disgust, though how much of the story was true remained uncertain. Léo placed a hand on my knee and gave it a small, deliberate squeeze, as if to underline the gravity of what we’d just heard.

But the moment quickly lost its weight.

Outside Bar Dieudonné, Charlie was standing on the pavement.

The others hadn’t noticed him yet, but I had—and for a second, I could only stare, caught somewhere between disbelief and recognition.

He moved towards us, a travel bag slung over his shoulder, running a hand through his thick hair. I tried to read his expression—whether it was anger, or embarrassment—but couldn’t quite settle on either. By then, Thomas had seen him too, his voice cutting gently through the table.

“Charlie. What are you doing here?”

Charlie’s eyes went straight to me, sharp, accusing. “I thought it would be easier to come to Paris,” he said, “since none of my messages or calls were being answered.”

Thomas stood to greet him, pulling him into a brief embrace, but there was something restrained in it—something almost reluctant. I felt it too, that same flicker of disappointment.

It seemed Charlie had a way of appearing wherever I went.

Charlie dropped his bag to the floor and pulled up a chair, his movements abrupt, almost territorial. He made a visible effort to ignore Thomas, Ambre, and Léo, as though shutting them out might simplify things. As for me, I still had no idea what I was going to say.

The waitress slipped away unnoticed, sensing the shift in the air, and Thomas drew up a chair of his own. The five of us sat there, suspended in a strained, uncomfortable silence.

Charlie broke it.

“It seems I have gate-crashed an orgie,” he said, placing deliberate weight on the final word.

No one reacted. Ambre and Léo shifted awkwardly, and Thomas reached for my hand, a quiet gesture of support.

“We were drunk,” I said at last. “I had reason to be. It’s not every day you discover your partner naked in a gay magazine.”

“I wanted to explain that,” Charlie replied, his tone tightening, “but I haven’t exactly been given the chance.”

“Then explain,” Thomas said evenly.

Charlie exhaled. “They were taken a long time ago. I was in Paris, and someone offered me a lot of money to pose. I didn’t tell you, Miles, because I knew it would upset you.”

“That’s true,” I said. “But not as much as it did yesterday.”

“It isn’t something shameful,” he continued. “The male body is beautiful. I liked the idea that someone thought I was worth photographing. And posing for images like that is not the same as…” He hesitated, his gaze flicking toward Thomas before settling back on me. “…what you’ve done. With my brother. And the others.” His glance toward Ambre and Léo carried a trace of disdain.

“It was one night,” Léo said lightly. “It didn’t mean anything.” Ambre let out a small, disbelieving snort.

Charlie shook his head, his frustration now turning toward Thomas. “I can’t forgive you. This happens every time I have something of my own—you take it. That’s why I left for England. And still, somehow, you manage it.”

“Wait,” I cut in. “None of this would have happened if we hadn’t found those photos.”


“That’s not true,” Charlie said, his voice sharpening. “I knew something was going on between you and Thomas. When you came to Paris, I knew you’d see each other. So Ambre’s message…” He gave a small, bitter smile. “It didn’t surprise me. It only confirmed what I already suspected.”

“We are French,” Thomas said, with a faint, knowing shrug. “We do the wildest things when they are expected of us. We have welcomed Miles—made him feel at home. For that, you should be grateful, Charlie.”

Ambre, who had been silent until now, leaned forward, her tone calm but unflinching.

“And we also know that the two of you don’t sleep together. Miles hasn’t even seen you naked.” She tilted her head slightly. “That isn’t natural. The fault is yours, Charlie. You are boyfriends, yes? And yet you keep him at a distance. So he looks elsewhere.” Her gaze shifted to me, softer now. “I hope last night was good for you.”

She had, with disarming ease, landed on the truth.

“It’s true,” I said. “I don’t really know what we are, Charlie. We live together; we get on well—but I’d be embarrassed to explain it to anyone else. That this is all there is.”

Charlie looked unsettled, as though trying to assemble a response that would satisfy both me and him.

“You came to Paris to find him,” Thomas said, more gently now. “That must mean something. Forget everything else—what’s happened, what you think it means. If you came here to make things right, then do it. There is still something between you worth saving.” He paused, then added, without apology, “As for Miles—I won’t pretend otherwise. I like him. And I know he likes me. But I also have Ambre, and Léo. They know who I am. I follow what I feel, while I can. There’s something in that, little brother.”

In a few quiet sentences, Thomas stripped the argument back to its core, leaving little room for accusation.

Charlie drew a breath. “I’ve spoken to our parents,” he said. “I’m staying with them while I’m in Paris. I asked if Miles could stay too—they said yes.” He glanced at me, something softer now beneath the tension. “But if you’d rather stay here… with Thomas… I’ll understand.”

I realised then how deeply I had been pulled into something that had begun long before me—a quiet, unresolved rivalry between two brothers. I hadn’t expected to stand at its centre, still less to feel responsible for how it might end.

I loved Charlie. That much was certain.

But Thomas—there was something about him, something immediate and consuming, that I couldn’t ignore.

And it seemed, whether I was ready or not, that a choice had to be made.

The Distance Between Us Was Never Truly Death

“Paolo went to your country to die, and now, Harry, you have come to his country, where you will also die.” Harry arrives at the small Italian town of Montescaglioso, where it is time to make peace with the person he once loved. The final part of an unlikely story.  (Parts 1 to 24 are available to read in the menu)

Perfectly Hard and Glamorous – Part 25

April 2026

The clock struck twelve at the Chiesa di San Rocco in Piazza Roma. The warmth from the Easter sun was unfamiliar, but as shadows crept from the old buildings and advanced towards the monument, the coolness of the spring afternoon would follow, and remind us that where we came from didn’t matter. One place could be much the same as another.

Piazza Roma was mostly deserted except for a handful of pedestrians who emerged from between these crumbling buildings and went about their business. The peace was only shattered by the noise of a scooter which entered from Corsa della Repubblica. On it, a ragazzo, wearing short sleeves and crash helmet, noticed me standing alone, revved its engine, and circled several times around me. All the time he watched, as there would be other people watching too. 

High above the square, on top of an unlikely building, was a webcam; its five cameras pointing in different directions. Somebody in a cramped New York apartment or a hotel room in Bali, was able to see what was happening in sleepy Montescaglioso. The views were familiar. I looked at them every day, and now, I was also one of the strangers on the screen.

The ragazzo eventually pulled up beside me and cut the engine. He removed his crash helmet and revealed himself to be in his late teens, with black curly hair and neat stubble on his chin. “Sei inglese?” he asked. “Sì, io sono,” I replied. “Then you must be Harry,” he said with broken English. 

He introduced himself as Tino and retrieved a second crash helmet from the sottosella. “Put this on,” he advised, “and get on the back.” I did as I was told and placed my arms around his waist. The engine kicked into life, and he sped off down Via Cavour; through cobblestone lanes that twisted and turned, both sides lined with old houses painted in shades of pink and yellow that the southern sun had slowly faded.

The farther we rode out of town, the wider the roads became, and the houses grew larger and newer. When we reached the petrol station at Strada Provinciale, Tino swung right and came to a stop beneath huge Italian cypresses leading to the gates. We dismounted, and I took in the panoramic views of the surrounding Basilicata. I noticed that the area below the cemetery had been used as a dumping ground for builders’ waste from the construction sites we had passed. Tino opened the sottosella, deposited both helmets, and retrieved a plastic bag. 

“Paolo went to your country to die,” said Tino. “And now, Harry, you have come to his country, where you will also die.” An exchange of the dead. I was the lad from the working classes who had sunk to the bottom before being gifted a chance to rise again. I was about to confront my past again.

Tino took me into the Cimitero Comunale and along corridors of loculi, multi-storey rows of concrete vaults stacked several levels high. The sight was striking; each grave was decorated with vases of fresh flowers. It was a Catholic tradition, an artistic expression, and a practical solution to space limitations. Italian culture maintained a strong, ongoing connection with the dead.

“My family were upset when you asked to visit,” Tino told me as we walked along. “The older ones are still angry and did not want you to come. But it was the younger ones who were able to change their minds.”

“Please thank them for doing so.”

“They call you the ‘English Boy’—the one who came from the projects. Our elders believe that Uncle Paolo did something gravely wrong, and that you were the cause of it. It is the only way they can forgive him. Blame you. Maybe the younger members of the family have more compassion and understanding, and we are more interested in seeing the boy who became the source of such hatred.”

The boy he referred to was no longer a boy. I was now in my sixties and had waited far too long to come here. Tino looked at me, and I could not help noticing his delicate brown eyes, which seemed to be searching for answers.

“I am older than Uncle Paolo was when he died. He will remain a boy forever. In the same way, you have not aged either, Harry. You are still the boy who was responsible for sending him to his tragic death. It is the boy that people will condemn.”

Like Paolo’s family, I had also believed that Paolo had taken his own life. The shame of being arrested and exposed as a homosexual had been too much. But Frank Smith had taken forty years to tell me otherwise: that Andy, my best friend, had blamed Paolo for coming between us—for ruining my life—and had sought revenge by sending him to a horrific death from the top of an abandoned factory.

It had taken me twelve months to process that news. Those last seconds, when Paolo knew that he was going to die. What had been going through his mind? Those intense emotions—fear, love, regret. Had Paolo thought about me in those last moments?

I was about to tell Tino the truth but didn’t get the chance. He had stopped in front of a small, rectangular niche on the bottom row and pointed.

I noticed the flowers first—chrysanthemums, alongside a mix of vibrant and white blooms, carefully arranged in small glass vases. There were also tulips, symbolising the freshness of spring, new beginnings, and hope.

And I saw Paolo again—for the first time in forty-one years.

There was a black-and-white photograph: a headshot of him looking at the camera, that nervous expression, expressive eyes, thick black hair with the same curl that always fell across his forehead, and a half-smile. Paolo was looking at me. A look of surprise. I had finally come to see him. The years of regret washed away, and we were back together again. I saw him smiling. “I loved you, Harry, but I was taken away. The years were long, but you found me again. Ti amo, Harry.”

It was a moment where grief, memory, and love converged.

Tino reached into the plastic bag and handed me a white rose to place in front of the photograph.

“I shall leave you to make your peace,” he said, and slipped away to a bench at the end of the avenue.

I put my hand on the marble slab that had been used to seal the tomb. It felt warm in the afternoon sun. I traced the inscription with my finger—Paolo Antonio Moretti—Amato da tutti coloro che lo conoscevano—beautifully carved in italics by an Italian craftsman. 

“Well… Paolo. Here I am. I never imagined that I would speak to you again. The last time I saw you was at that big house, when we were all arrested. My last recollection is of you looking terrified and shouting my name. I’ve replayed that moment every day for over forty years. Shouting my name because you were scared, and I couldn’t do anything. Do you know how painful that memory has been?

“I tried to speak in the days afterwards, but everyone hated me and wouldn’t let me anywhere near you. They said that I had corrupted you. I suppose your parents were trying to protect you… and they told me that you didn’t want to see me. That hurt, and I’ve tried to come to terms with it ever since, but I never believed it.

“And then you were gone. Forever. Do you know how that felt? The realisation that you love somebody so much, but can never see, touch, or love them… ever again. It was the most painful thing that ever happened to me.”

A tiny sparrow landed on the ground beside me. In Italian folklore, these are seen as a sign from the dead, and it hopped around my feet before flying up onto Paolo’s grave.

“Last year I saw Frank Smith. He told me that you didn’t commit suicide. That was a relief to me—for a while, anyway—but then I found out that it was Andy who killed you. It meant that your parents were right to blame me. My best friend killed you because he was jealous of us. That is something your family needs to know.

“What happened afterwards? I went to pieces. I nicked a car and drove to London, where I stayed for years. I worked as a rent boy and then became a writer. Can you imagine that? A small-time shit from Park Hill who couldn’t string a sentence together. But I’ve written books that proved I could do something with my life. I also met a guy called Scott, who I thought I loved, but now I realise that I probably didn’t.

“I went back to Sheffield—to Park Hill—which had completely changed and wrote about our past. It is the most successful book I’ve written. Everyone thinks it is fiction… but everything in it was true. About growing up, the Geisha Boys, meeting you, loving you, and the things we did.

“But I had to leave again. I didn’t belong there anymore. Many ghosts were laid to rest, but I couldn’t exorcise the memories.

“And now I’m here in Montescaglioso, where I can stay close to you. I’ve brought Tom with me and we’re buying an apartment on Viale Europa, not far from here. It’s modest, but for someone who lived at Park Hill, it will herald a new start.

“Tom is Jack’s youngest son and was a bit of a tearaway—a bit like I was. But he’s attached himself to me and will look after me as I grow older. Growing old is something you won’t know about, but it’s very overrated.

“And I met Jack again. I needed to know that he had forgiven me, but it turned out that he wanted my forgiveness too. The tragedy is that we wasted years feeling guilty. Both of us were afraid to make contact.

“Most importantly, I needed his blessing about Tom, and do you know what he said? When we were teenagers, he thought there was something different about me, but couldn’t pin it down. When it all came out into the open, he expected me to make a move on him. If I had, he said that he wouldn’t have said no. That floored me. He gave me his blessing about Tom because he knew that I’d turned his life around.”

Tino was approaching, and the small sparrow flitted between the flowers with a burst of energy. I stopped talking but couldn’t leave it like that.

“I must go now, but I shall return soon. Ti amo, Paolo.”

“I heard what you were saying to Uncle Paolo,” Tino said. “Did you love him as much as you say you did?”

“I did,” I confessed, “and it was a relationship that should never have happened. Did you know that the first night that I met Paolo, I punched him in the face… and immediately regretted it. He was incredibly sweet and beautiful. I wish you could have met him.”

“And this Tom that you spoke about—he has come to Montescaglioso with you?”

“Another unlikely relationship. Tom is much younger than me, and the story is far too complicated to explain. But he is a link between the past and the present.”

Tom was waiting for me when I returned to Piazza Roma. He smiled—a dazzling grin that showed his face had already tanned under the Italian sun. I explained that Tino had promised to visit us at the new apartment and that he had also asked for a copy of Perfectly Hard and Glamorous.

“But the book is in English,” he replied.

“I know,” I said, “but he wants it because that book is part of his family history.”

And that is the end of this long story.

The journey from a bleak northern city that had little going for it in the 1980s to the present, in a small Italian town that nobody has heard of. Tino was right when he suggested that Paolo had travelled to another country to die, and that I had done the same. And that is what will happen.

We are both happy here and will never leave.

Sometimes, when I stand on the balcony of our new apartment at Viale Europa and look at the house across the street, I imagine that I am seeing Park Hill again. And then the laundry tries to break free with the help of the strong wind that blows from the distant olive groves and wheat fields, and the memories evaporate.

I watch people going about their business—the animated, loud conversations, the frequent gesticulation, and that strong personal style. Both the young and the old, slipping into cafés, shops, and gelaterie. Walking between sun-drenched, ochre-washed buildings and piazzas, with the noise of Vespas weaving through the narrow streets. They are blissfully unaware of that sensory blend of ancient history and modern life; unaware that historic architecture is now adorned with contemporary graffiti.

The Italians are wonderful people.

I also think about everyone who shaped that journey: those who are dead—my parents, my best friend Andy, whom I may never forgive, and Paolo, whom I visit every week. I even think about Frank Smith and Billy Mason. Then there is the living—Jack, who will make regular visits to Italy and remind me that I was once a Geisha Boy, who swore, fought, and offered my body to anyone who wanted it; and Tom, who one day will replace Paolo as the love of my life.