The blue room

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Gay saints

Frescoes are cinema avant la lettre, or at least the tech. Wall spanning, the Renaissance frescoes anticipate not only the magnitude and dynamism of cinema but the possibilities of the camera to manipulate the eye. For Pasolini, cinema is essentially oneiric; key narrative developments hinge on dreams, as in Accattone, not because they are shortcuts to the interiority that cinema otherwise denies but because films themselves are dreamwork, beholden to dream logic. In the written Gospel According to Matthew dreams are especially prominent, the otherwise gnomic character of Joseph receiving no fewer than four nocturnal communiques from God. To dream, then, is to be most open to communion with the supernatural, the sacred and the divine.
The streetwalking sequences in Pasolini’s second film, Mamma Roma (1962), typify both his understanding of films as dreams and his conflation of the sacred with the profane. Striding through an open-air brothel, Anna Magnani’s Mamma Roma is trailed by a procession of johns, imperiously indifferent to their presence as she soliloquises divergent scraps of autobiography. The transition from realism to dream logic is seamless – her separate accounts of her erstwhile marriage explicitly contradict one another, leaving the mystery of her son Ettore’s father unresolved.

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No secret passageway

Non-fictionIn 2001 I read an article in The Guardian newspaper about a man who fell from the sky, landing in a superstore car park not far from where I live in London. The article, by journalists Esther Addley and Rory McCarthy, detailed how the Metropolitan Police discovered the dead man’s identity through a combination of luck, Interpol and British-Pakistani community workers. Muhammad Ayaz had managed to slip through security at Bahrain airport, run across the tarmac and, according to witnesses on the plane, disappear beneath the wing of the British Airways Boeing 777. The article quotes a spokesman from the International Air Transport Association: a myth circulates that there is a ‘secret hatch from the wheel bay into the cargo bay, and then into the passenger cabin, as if it were a castle with a dungeon and a series of secret passageways’. No such passageway exists and Muhammad would have found himself trapped in the wheel bay with no oxygen, no heating and no air pressure as well as no way out. If he wasn’t crushed or burned by the retracting wheels, he may have frozen to death once the flight reached 30,000 feet, finally falling out hours later when the plane lowered its landing gear as it prepared to touch down at Heathrow.

Shelf life

Non-fictionEarly in his career, Charles Dickens notably underestimated the reputational risk of library-shelf browsing when he invited the critic George Henry Lewes home for tea. Over steaming cups, Lewes eyed naff triple-decker novels and bland travel books, ‘all obviously the presentation copies from authors and publishers’. He recalled the experience in a waspish elegy published shortly after Dickens’ death: ‘A man’s library expresses much of his hidden life, I did not expect to find a bookworm, nor even a student, in the marvellous “Boz” but nevertheless this collection of books was a shock.’

Load

FictionWhen I wake up from being a dishwasher, curled on the floor of my apartment, it’s like I have woken from the perfect slumber. I don’t think I have felt like this since the womb. Imagine being able to temporarily kill yourself. The world, the body, weighs heavy. Being a dishwasher is the closest I have ever felt to bliss. Before this, the closest I got to bliss, true bliss, was getting high with my dad and eating a cream corn and cheddar toastie at the Murchison Tea Rooms.