Featured in
- Published 20241105
- ISBN: 978-1-923213-01-2
- Extent: 196 pp
- Paperback, ebook, PDF
Already a subscriber? Sign in here
If you are an educator or student wishing to access content for study purposes please contact us at griffithreview@griffith.edu.au
Share article
About the author
Dominic Symes
Dominic Symes is the author of the collection I Saw the Best Memes of My Generation, published in 2022 by Recent Work Press. He...
More from this edition
The window
FictionOne dinner, in the midst of playing with Seb in the reflection, Rudi laughing and squealing away, there came the distinct burst of a sob. We stopped in our tracks, looking around at each other in confusion until we located the downturned whimpering in Tim’s eyes and mouth. What is it? I asked, putting my hand on his shoulder. He turned and buried his face into my neck. What is it? I repeated. I don’t like them, he moaned, his hand pointing towards the window.
Gay saints
Non-fictionWhat is it that makes cinema, for Pasolini, sacrosanct? The answer lies in his affinity for a painter who made only one fresco. Not only was Caravaggio’s reputation restored by Pasolini’s teacher and mentor, Roberto Longhi, but Caravaggio and Pasolini have the same taste in men. Swarthy, young and savage – as likely to sit for a portrait or engage in a bit of sloppy top as to stick a knife in your ribs. You wouldn’t want to run into his John the Baptist in a dark alley (unless maybe you would). It is not just the revolutionary psychology of Caravaggio’s painting that speaks to Pasolini but his selection of subjects – his sacralisation of the scorned, the unclean, the seething subproletariat both created and rejected by an indifferent urban landscape; Caravaggio’s ‘new kinds of people’.
Believe it or not
IntroductionCultural critic Chuck Klosterman reminds us that ‘any present-tense version of the world is unstable. What we currently consider to be true – both objectively and subjectively – is habitually provisional.’
