Pier Paolo Pasolini
Olivia Laing’s hard-driven narrative, set mostly in 1975, combines a gay romance with a literary text about the dangers of resurfacing fascism, a discourse on 20th-century avant-garde film-making, and a political thriller.
It is the volume’s autobiographical component, the accounts of Pasolini’s wide wanderings in art and aesthetic revelations, with their dramatic, cinematic flashbacks, that give this collection much of its literary value.
Long live Fluxus, with its questionable boxes of ephemera, its baggy bags of soil, and its mad prankster sensibility.
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