FRIENDS - GIAMPAOLO MARIOTTI

GIAMPAOLO MARIOTTI

or

"PRINCIPE CORSINI"

Giampaolo Mariotti was, perhaps still is, an elegant aristocratic looking gentleman of below medium height with a fine Roman nose and profile. He came from Perugia and lived in Rome and other places and appears on page 2 of Giorgio Quntini's novel, I malnati, as "Giancarlo", for he accompanied Giorgio to Paris and shared bohemian lodgings there with him. Although I have a vivid recollection of Mariotti, I can find no photograph of him, though many years ago Giorgio sent a press cutting with one, which may still exist somewhere. However, there are many photographs of Giorgio on this blog and, as he says on page 12 of his novel, they were often taken for brothers, also because of the way they moved and behaved.

Mariotti appears briefly in Giò Stajano's banned novel, Roma capovolta (1959), as "Giampaolo", who is often with "Quintino" (Giorgio) and looks like a copy of him. They had known each other since Giorgio went to live and spend his adolescence in Perugia.

In later life Giorgio saw much less of him and tended to keep him at arm's length because of his criminal record, which, however, amused him. At a certain point in his life Signor Mariotti had very credibly started to pass himself off as the Prince Corsini. There is a page on him in Giò Stajano's memoirs, La mia vita scandalosa (pp. 53-54), although Giorgio has annotated that at the time Giò met him he was not a confidence trickster at all.

On 5th April 1987, the La Repubblica newspaper published an article on his career in crime, which is reproduced below.

E DAVANTI AI GIOIELLI DIVENTAVA MR. HYDE

ROMA Buon giorno, ho visto un delizioso cabochon in ventrina, una pietra tagliata alla perfezione, quasi una citazione barocca. Sa, vorrei fare un regalo a mia moglie, è colonnello della Croce Rossa. Sì, un pensierino da abbinare al tailleur Chanel. Domani sera abbiamo un party in casa Colonna. Lei naturalmente conosce donna Vittoria.... Il biglietto da visita di Giampaolo Mariotti, 58 anni, di Perugia, era questo, cortesia e conoscenza evidente dei personaggi del jet set. Più l' uso di un cognome abbastanza celebre per sopire i dubbi dell' orefice. A Milano funzionava bene quello del principe Ferdinando Caracciolo, a Venezia quello del professor Bracci, a Torino quello di Francesco Ferlaino, fratello del presidente del Napoli, a Roma, quello di Luciano Braghetti Peretti, presidente dell' Api. Un gioco delle parti che gli è servito a truffare, in tre anni, centinaia di milioni in gioielli. E' stato arrestato venerdì notte in un albergo della stazione Termini, l' hotel Siracusa. Prima di essere portato in carcere ha chiesto agli agenti un pullover beige.Per favore ha detto posso portarlo con me? Non mi piace uscire con i calzini che stonano col resto dell' abbigliamento. Si è conclusa così una carriera eccellente iniziata nel 1984. Giampaolo Mariotti, capelli radi, pettinati all' indietro, non molto alto, l' aria distinta di chi, nel mondo, si è sempre trovato a suo agio, era stato rinchiuso nel carcere criminale di Aversa. Un soggiorno obbligato dopo l' ennesimo imbroglio. E una perizia psichiatrica che aveva stabilito: sdoppiamento della personalità. L' uomo, 3 anni fa, a dicembre, aveva ottenuto un permesso di 5 giorni per buona condotta. Vado a trovare mia sorella a Perugia aveva detto ma non si era più presentato. La sua vita, che sarebbe piaciuta allo Stevenson di Jeckyll e mister Hyde, si svolgeva tra una stanza di albergo e l' altra, su e giù per i treni, a spasso per via Montenapoleone, via Roma, via dei Calzaiuoli, nelle boutique specializzate in collier, negozi di lusso, ma di classe. La sua tattica era raffinatissima: entrava per acquistare un ninnolo, (Sa, la mia nipotina è appassionata di animaletti... diceva) e poi si fermava a parlare con il proprietario. Quattro chiacchiere sulla season, un commento sul giardino all' inglese dell' industriale più in voga, una battuta sulla nuova moglie del marchese Paternò, sull' esistenza dei suoi alter ego, sapeva tutto, era una specie di enciclopedia. Poi togliendo un invisibile filo dalla impeccabile giaccia di cachemire, pagava con un assegno e usciva, auspicando magari ci vediamo domenica al Circolo degli scacchi. E la conoscenza continuava: gli acquisti aumentavano e così l' amicizia e la fiducia dei negozianti, fino al colpo finale: un collier da 100 milioni, un anello da 150. Allora lo pseudo principe Caracciolo, alias Roberto Grimaldi, alias professor Bracci, alias Braghetti Peretti spariva dalla circolazione, lasciando, nelle casse del gioielliere assegni con tanti zeri, falsi o rubati. Comunque, a vuoto. Il misterioso personaggio era stato segnalato alla polizia di tutta Italia, l' associazione degli orafi avevano lanciato l' allarme ma la camaleontica capacità di Mariotti di cambiare cognome e perfino prununcia (conosce tre lingue: tedesco, francese, italiano ed è in grado di rifare qualunque dialetto) rendeva impossibile l' identificazione. A Roma però ha fatto un passo falso, ha giocato troppo. Il commissariato di Castro Pretorio era in possesso di una foto segnaletica e di un voluminoso dossier sul novello mister Fregoli. Da giorni la polizia setacciava i luoghi deputati alla ricettazione degli assegni rubati. Lui, Giampaolo Mariotti invece passeggiava per via Sistina, dove aveva conosciuto un gioielliere, Daniele Branca. Una persona a modo, un perfetto gentleman, sempre vestito con blazer dal taglio perfetto, scarpe di marca. E conosceva i miei amici, sapeva nei dettagli avvenimenti e pettegolezzi riguardanti i miei clienti dice ora l' orefice a me si è presentato come Luciano Braghetti Peretti, con il suo tesserino dell' ordine degli ingegneri che spuntava discreto dal porta-carte quando tirava fuori il libretto degli assegni. E, nella gioielleria oggetti d' arte Branca, Mariotti ha comprato, oltre ad una serie di piccole cose di valore, una borsetta d' oro dal peso di 300 grammi, costata circa 13 milioni di lire. Uno sfizio per la sua collezione mi ha confessato spiega ancora Branca (che, grazie al ritrovamento della polizia del Monte dei Pegni, ritornerà in possesso della scatola' ) lunedì scorso mi ha invitato a cena, nel suo appartamento di Porta Pinciana. Ma il numero civico non esisteva. Intanto la polizia continuava a frugare negli alberghetti, del centro, mostrando l' istantanea invecchiata. Giovedì dopo una estenuante ricerca in circa cinquanta piccoli hotel tra piazza dei Cinquecento e via Giolitti, l' ultima chance, l' hotel Siracusa. L' avevamo trascurato dicono gli agenti perché in genere è frequentato da barboni, ci sembrava strano. Il truffatore era lì, in una stanza al terzo piano. Ha esibito tremando i documenti, ha guardato con un pizzico di scoramento le carte di identità con i nomi falsi, i documenti dei vari ordini professionali contraffatti, i libretti di assegni (Banco di Napoli, di Sicilia, di Roma) le polizze dei gioielli, le sessanta paia di scarpe allineate, le decine di tubetti di lucido per calzature, le cravatte di seta. Non dite niente a mia sorella, è l' unica persona al mondo che mi vuole bene ha chiesto al commissario, mentre lo ammanettava.

ALESSANDRA ROTAhttp://ricerca.repubblica.it/repubblica/archivio/repubblica/1987/04/05/davanti-ai-gioielli-diventava-mr-hyde.html

Giorgio, who remained in contact via telephone while he was in Rome, said that Giampaolo Mariotti had managed to escape prison by being declared incapable and not responsible for his actions. We do not know if he is still with us. He would be 86 now.

WRITER - "IO CATERINA"

"IO CATERINA"

Monologue of Catherine II, "the Great", of Russia

If one wishes to date Giorgio Quintini's writings exactly one can only regret that he did not keep a diary, although many of his friends may be happy that he didn't, as he had an eye for recording scandal. One of the last monologues he wrote, if not the last, seems to have been this one in which Catherine the Great of Russia looks back on her life and recalls it, mostly in chronological order.

Catherine II of Russia by J. B. Lampi

Catherine II of Russia (1729-1796) interested Giorgio as another of those strong women who ruled in a world of men. They fascinated him. This "Messalina of the North", who was notorious for her enjoyment of sexual relations with various younger and attractive men, was an appropriate subject for his pen. At the centre of the monologue is the line, "I was the only woman who used power to get sex, where women used sex to get power." When she finishes, a second monologue starts which shows her from the opposite point of view of her servant girl and personal maid, Mascia. Giorgio Quintini here looks forward to the period when the servants would abandon and betray their masters in the Bolshevik Revolution. (Although he never voted in Italian elections, Giorgio's political sympathies were with the hard left wing.)

The monologue was written in Ovada and appears to have been given at least twice for the local cultural association "Due Sotto l'Ombrello". Once in Villa Elvira, where he had performed other works (for a manuscript introduction to that occasion exists), and once at Ovada's Scalinata Sligge, according to the newspaper cutting attached below, which unfortunately bears no date.

The Villa Elvira performance, done by Giorgio himself in the part of both Catherine II and of Mascia (we have said elsewhere that for this sort of reading Giorgio Quintini's naturally high pitched voice was an advantage), was preceded by a shortish but discursive introduction on Catherine herself and containing various digressions about her and other ruling houses which he thought might entertain his listeners. This is the manuscript first page of that presentation.

In his file on the monologue Giorgio Quintini, who was ruthless with books if they served his purpose (some friends never lent him books because of this), attached the portrait of Catherine as a stout and aging queen by Lampi (1751-1830). It clearly appealed to him and his monologue is from the narrative voice of this Catherine, who is old, like Giorgio himself. In the opinion of the present writer, however, the author does not penetrate the feelings of his character as he manages to do with Colette and other subjects of his. This develops into a nostalgic listing of her lovers, which is not adequately counter-balanced by the denunciation of her maid, Mascia. However, this is a personal point of view.

The Lampi portrait Giorgio attached to his manuscript.

In a local paper, Simonetta Albertelli reviews "Io Caterina" at the Scalinate Sligge

When Giorgio Quintini had personally typed his manuscripts, the typescript became the original copy, which he usually signed and sometimes but rarely dated. He seems to have destroyed his first rough copy manuscripts. On one occasion, with Il Gestore, he also had the play put onto a computer disc and it was printed also in a readable acting copy. "Io Caterina", whose title and first words look back ironically to the famous letter to the Pope by the patron saint of Italy, St Catherine of Siena ("Io Caterina, serva e schiava . . .", which Giorgio and the present writer used to quote when we had household chores to do), is on twenty-one leaves of A4 typing paper, 1 to 15 for Catherine and 16 to 21 for Mascia. Here is the opening and then the last and signed page.

The opening of the monologue by Catherine the Great

The close of the monologue by Mascia, her servant.

FRIENDS - GIUSEPPE REPETTO

GIUSEPPE ("PINO") REPETTO

When Giorgio retired from what might be called some sort of regular job he found that his pension and other funds would not allow him to live comfortably in the city which was his birthplace and which he had called home for so long. He was also having to give up his flat in Via Giulia and to find another place to live. Having mismanaged certain opportunities he’d had through his family, he was forced to think hard about his future and was very lucky to have a good friend in Giuseppe (“Pino”) Repetto.

Pino Repetto at the Gianicolo, Rome

Pino had known Giorgio since 1974 and had other close friends in common. For a certain period he had rented a room in Giorgio’s flat to use when he needed to be in the capital; he hailed from Ovada in Piedmont but had a job which often kept him in Rome. However, by the time Giorgio had to move Pino had his own flat overlooking the Colosseum, where later on Giorgio would stay when he came on his rare visits to Rome.

Pino, who is a practical man, did a few sums and suggested that Giorgio could afford to live in the provinces; he suggested that if he came to Monferrato, not only would he be returning to the land of his ancestors, but would also find friends to give him a hand. Pino found him a very reasonable flat in the centre of the town, which overlooked the river. He also arranged for the move.

Giorgio took to living in a provincial town very well. After all, he had lived in Perugia and many of his oldest friends in Rome had already passed away. In Ovada, as can be seen in various other postings here, Giorgio became a large fish in a small pond and soon found his way around. Not being able to drive, Pino took him to many of the ancestral sites he had never before visited but which he knew from his historical research. He also introduced him to a set of younger people whose company Giorgio enjoyed in the way of any elderly raconteur.

GQP at Casaleggio Boiro (Monferrato) 

granted to William the Old of Monferrato by Frederick Barbarossa in 1164

When Giorgio put his finishing touches to the unpublished book which he considered his life’s work, I Paleologo-Oriundi di Monferrato, he wrote a few lines of acknowledgment to five people. The last of these, whose name ends Giorgio’s book, was Pino: “un ringraziamento anche a Giuseppe Repetto, di Ovada, che è stato una preziosa guida negli antichi feudi monferrini.”

GQP at Casaleggio Boiro (photos by Pino Repetto)

When later on Giorgio became unable to manage for himself, it was Pino who helped him in many very practical ways and on uncountable occasions. He was instrumental in finding him his last home, the Castle of Lercaro, just outside Ovada, where Pino took the present editor to visit him shortly before his death. 

If it is true that “a friend in need is a friend indeed”, then Pino Repetto can certainly claim to be that. He was directly responsible for Giorgio Quintini Paleologo’s having a decorous and interesting old age in Monferrato.  

WRITER - "Le Marie" (from "Apocalypse Wow!")

"LE MARIE"

As a writer Giorgio Quintini was given to the kind of digression which you might find in Sterne, although he usually returned to his plot fairly rapidly. In his unpublished novel Apocalypse Wow! (finished in 1987), he often allows himself the pleasure of opening windows onto the current Italian and especially Roman social scene. Like his other big unpublished work on the Paleologo of Monferrato family, Apocalypse Wow! is the fruit of years of experience in the world. It will be the subject of a later post, but this one and a half page digression in the 239 typescript pages of the novel, can stand on its own and might amuse.

The text is self explanatory. I had hoped to include some photographs of a couple of the Marys, but find that they are living nonagenarians, and so cannot do so. Here then are the famous Tre Marie, which is also the name of an Italian panettone cake, often bought to take to dinner parties at Christmas in Rome because of its name.

In the novel one of the protagonists (an Englishman, Bobo Bullington-Smith) needs to visit a doctor specialised in STD, known to all and sundry in certain Roman circles as Maria-Antibiotica. This gives Giorgio an opportunity to speak directly to his readers about the whys and wherefores of such a name, revealing that nicknames beginning with Maria were common among many single men.  Giorgio's ironic narrative voice, full of understatement, comes through in this passage.

ART DEALER - with LAURA ANTONELLI

GIORGIO QUINTINI  & LAURA ANTONELLI

As a gallerista Giorgio hoped that his exhibition openings would be filled with attractive people and celebrities, to use a term not then in vogue. Stars and starlets were always welcome and here he is at one exhibition with the then young Italian actress Laura Antonelli, who has died today. It seems to have been in a frame at some time, but must have had coffee spilled over it.

Giorgio Quintini (1933-2013) & Laura Antonelli (1941-2015)

ROOTS - POSING FOR THE CAMERA (aged 9)

POSING FOR THE CAMERA IN ROME IN 1942

The box camera, presumably wielded by Giorgio's father, Adolfo Quintini, captured the youngster of 9 posing for the lens in various places in Rome one day in 1942. It is clear that the young Giorgio enjoyed being photographed and being the centre of attention. If it is true that the child is father to the man, a keen eye may be able to discern the direction in which Giorgio's life was going to lead. Certain of these poses became familiar, such as his nonchalant occupation of the bench, or his inclined head with sun glasses and a half smile. The six photographs he saved begin here with his languid smelling of a flower.

ROOTS - CHILDHOOD IN ROME

SOME PHOTOGRAPHS

Giorgio Quintini spent his childhood in Rome, the city where he was born. His roots were in Ancona and he later went to live in Perugia when his father was posted there after the 2nd World War. Any child from upper and middle class families in Rome would have been photographed by the celebrated Luxardo studios in Via del Tritone, which was specialised in Royalty and the stars of the Fascist era. It continued there until well into the second half of the 20th century and continues elsewhere in Rome. Here is the young Giorgio in 1937 aged four, photographed by Luxardo.

The Quintini family had some land on Monte Mario and there are a few pictures of Giorgio there. Here he is aged two, photographed, presumably by his proud father with a box camera on 24th August 1935, year XIII of the Fascist Era, as is written behind the snapshot. It seems he was told to do a fascist salute in this early photograph.

Another snapshot dates from 21st March 1936, year XIV of the Fascist Era, as annotated, when Giorgio was still two years old and driving a pedal car. In later life he never learned how to drive a real car and did not have a driving licence. 

LIFE - GIORGIO & KAFTANS

KAFTANS

With flower-power and the sexual revolution of the 1960s came the introduction of the kaftan into the west through the Beatles and then USA male fashion wear.  Giorgio embraced the style immediately and wore kaftans in his own premises regularly. If he was not going out or receiving, they were his normal wear and as he was connected with the fashion business he designed them and had them made for him.

Unfortunately there is now but one photograph of him wearing a sort of house coat of a heavy brocade - he had summer and winter kaftans.

He used to tell a story about how one day around 1982 his doorbell rang when he was expecting nobody. At that time he was allowing a young man to stay in the flat when he came to Rome from his village in the country and the man at the door was this person's grandfather, who, suspecting something immoral had decided to travel to Rome to investigate. Giorgio invited the old man up to his 3rd floor Via Giulia flat, gave him coffee, sat down and chatted to him quite normally, but he was wearing one of his smart kaftans.

Giorgio was concerned about the reaction of the young man's family to the news of this surprise visit. He need not have been, for grandfather returned to the village and told everyone that they need worry no longer since young Mario (or whatever) was staying with a most charming and elegant lady from the upper classes, who was very kind to him. Giorgio had a naturally high-pitched voice and had spoken in his normal voice; he was surprised but amused at having been taken for a grande dame.

He would later use this gift of his for being taken as a woman, bald though he was, when he appeared as the Princess Olga in a stage show. But that belongs to another post.  Here is a photograph of Giorgio taken at about the same time as the one above (apologies for the speckling).

WRITER - an account of a royal descendant in Ovada

"Una pronipote dell'Imperatrice Elisabetta d'Austria ad Ovada"

URBS, silva et flumen, XVIII (2005), pp. 150-152

Giorgio was always on the lookout for interesting people. If they were also titled or had some connections to the aristocracy, all the better, though it would be far from true to say Giorgio Quintini was a snob, in the English sense of the word. He enjoyed the odd and the different and he liked to have a good story to tell.

In Ovada he met an American couple who lived in the town for some months every year and they had got to know a good many of the locals. As cosmopolitans Giorgio made friends with them and was surprised when the lady told him her father was a son of the Duchess of Alencon, Sophie of Bavaria, a sister of the famous Elizabeth, or "Sissi", who married Emperor Franz-Joseph of Austria.

His imagination was captured and he started to investigate the claim. The result was his last article in the local historical association's journal, which is reproduced below. A pdf file with the article is available at the URBS website, here: http://accademiaurbense.it/annate/Urbs_2005.htm

Giorgio worked out a family tree and clipped it to his copy of the article. The current writer is not qualified to comment on its details.

After this article Giorgio Quintini published no more in URBS, though he continued writing and performing. He went on perfecting his book on the Paleologo family and adding notes to various files.

FRIENDS - GIO' STAJANO

GIO' STAJANO

or

Maria Gioacchina Stajano Starace, Contessa Briganti di Panico

(1931-2011)

Giò Stajano in the 1950s

Italian readers of gossip magazines of a certain age will probably be familiar with the life and doings of Giò Stajano. Others may not be, but can easily find out more in various web pages.

Giò Stajano in the 1980s

Some idea of the relationship between Giorgio Quintini and Giò Stajano was given here in the post for 11th May 2015, which gives three different accounts of Giorgio from various books by Giò (always known in Casa Quintini as "La Giò"). They met and shared a flat in Rome in the 1950s, when both of them tried their hand at art. Giò tells the story in his/her memoirs, La Mia Vita Scandalosa (1992), which is illustrated in the earlier post. They were young and from backgrounds with certain things in common: they were both obviously and flamboyantly homosexual; they both came from the provinces of Italy and had moved to the capital to live more freely; they were nearly the same age; they had both been brought up with parents or grandparents who were firmly rooted in the military life of the Fascist period; they both flaunted convention, though Giò was braver than Giorgio in this; they were both snobs with a passion for people from the lower classes.  The third person in their ménage was the more successful painter, Novella Parigini (1921-1993), who is pictured  with Giorgio in the post for 13th May 2015.

The present writer remembers that during the supper which Giorgio gave so he and another friend might at last meet "La Giò", which took place in the 1980s after her return from the sex-change operation, Stajano spoke much about the amazing time she had spent answering the letters sent to a weekly magazine called "Men". Naturally, a great deal of the evening was spent talking of absent friends as they had shared much of their youth with other extravagant people of the period such as "Titania, La Biondi", who lived in Milan, and the "Principe Corsini" who comes into most of Gio's books and, as one of Giorgio's friends,warrants a separate post here.

In this period I recall sitting with Giorgio one evening when Giò was taking part in a talk show which invited calls from the public. Giorgio telephoned pretending to be a woman of the lower classes from a suburb of Rome asking for advice about her errant husband. Giò, who had recognised Giorgio's naturally high-pitched voice, let himself go in a tour de force of improvisation. They were a marvelously funny double act, both  self-taught but highly intelligent and cultivated people.

However, after the operation in which Giò changed sex, Giorgio was apprehensive about seeing him too often. There was a conventional side to Giorgio Quintini which was lacking in Stajano, and Giorgio did not wish to be compromised. Giò advised him to go to Casablanca and get the operation done: "It will work better for you, because you are a little person," ("Con te funzionerà meglio, tu che sei piccina").

It was in this period that Giorgio was writing a new and unpublished novel called Apocalypse Wow!, a sort of satire on Italian and especially Roman "Society". One of the characters is a Sicilian duke who changes sex. There is no doubt that some of this character is based upon Giorgio's old friend Giò.

Apocalypse Wow!, opening paragraph of Ch. VII (1985)

Giorgio kept up with news of Giò but he did not see her, especially after she had become a sort of semi-religious recluse in her native Puglia (she had announced to Giorgio years earlier that she intended to become a female saint). The bare bones of his/her life may be found here: 

http://it.wikipedia.org/wiki/Gi%C3%B2_Stajano

However, since all of her books are thinly-veiled autobiography, a full reading of them is the best introduction to this really extraordinary and ground-breaking person, who was such a real part of Giorgio Quintini's life when he was a young man.

WRITER - "IL GESTORE" (1994)

"IL GESTORE" , Proust's friend Albert Le Cuziat & Carlo Reali

When Giorgio Quintini finished writing "Il Gestore", the obvious actor for the role he had created was his old friend Carlo Reali, about whom we shall say little here as he will be described by Giorgio himself later in this post. Suffice it to say that the current writer had the privilege of seeing Carlo Reali in the role in Rome and he made a perfect Le Cuziat.

Albert Le Cuziat

Albert Le Cuziat ran a male brothel which was financed by Marcel Proust, who had furnished it with his mother's furniture. Giorgio's monologue has him looking back on his life, much as Colette did on hers in his Intervista a Colette. As he himself says in an interesting note he has left, the two monologues show two outsiders whose secret lives have different effects upon them. They also reveal aspects of his own. This is his note, which is undated but from the typing seems to have been done in Rome during the 1990s.

The one act play was written in Rome in 1994 but not performed until 5th June 2000 in a group of plays put on for Il Garofano Verde: Scenari di Teatro Omosessuale at the Teatro Belli as a one off performance.

The underlining in red is by Giorgio

Shortly after this performance the play saw the light again in Rome in a series called "Stanze Segrete" from October to December at the Teatro Stanze Segrete in Trastevere (Via della Penitenza, 3 - the address amused Giorgio). He wrote this useful and interesting introduction to the play for these performances; there is also a note on Carlo Reali.

Carlo Reali  in the period he was performing in Il Gestore

The play was evidently filmed and Giorgio had a copy of the tape, which has unfortunately disappeared. It was certainly shown the year following his arrival in Ovada, on Wednesday 6th July 2001, as can be seen from this newspaper cutting.

L'Ovadese, 5 luglio 2001

Some four years later the film was shown again, with an introduction by Giorgio, in which he spoke of Proust, one of the myths of his wide reading - he had read all the Recherche in both French and Italian as well as many biographies.

from Due Sotto l'Ombrello (Ovada), 1st April 2005

(part of the poster is shown at the head of this post)

The author wrote various introductions for showings of the film. The following is the shortest and that in which he states that the play was written with Carlo Reali in mind.

The play itself fills 14 pages of A4 typescript. There are two signed versions extant, one which had been put into a computer for him and his original personally typed script. It is that which is given here. The first and last pages are reproduced.

Proust's Jupien, based upon Albert Le Cuziat, with the Baron de Charlus, 

an illustration by Kees van Dongen.

WRITER - "SOMETHING TRUE ABOUT TRU"

GIORGIO QUINTINI'S TRUMAN CAPOTE MONOLOGUE (2006)

Giorgio Quintini, like Truman Capote, wrote best when he took real characters and used them to write a monologue in which he obeyed Tennyson's advice to "look in your heart and write". They were not sterile reconstructions for he chose those characters which most closely resembled certain aspects of his own personality and life. Capote himself wrote his best work, In Cold Blood, using real people and their stories. In this Giorgio was a similar kind of writer. Even as a historian he had to be closely involved with his characters and he was not always averse to manipulating them for his own ends.

A young Truman Capote, cut from a magazine and attached to Giorgio's manuscript.

Giorgio's interesting introduction to the monologue explains how his friend, the actor Carlo Reali, for whom he had written Il Gestore, his Proust monologue, had asked him to translate into Italian a long play about Truman Capote by the NY playwright Jay Presson-Allen, Tru (1989).  It was considered too long for Reali to do, and according to Wikipedia, its reviews were not all good.  Giorgio decided to build on the USA text, cutting and amplifying as he saw fit, in order to create his own Truman Capote. On the two occasions it appears to have been performed, he read the part of Capote himself, looking back on his life, as Colette had done in the monologue he dedicated to her. Here is his short introduction (there exists a much longer one).

The first public performance was in June 2006 at Villa Elvira, near Ovada, which Giorgio enjoyed visiting, and where he also showed some of his own art. It was reported in the local newspaper.

Later on in the same year there was another performance in the town of Ovada itself at one of the Due Sotto l'Ombrello cultural association meetings. On 17th November 2006 Giorgio Quintini again performed his Truman Capote monologue. We know of no other performances.

Whereas the earlier monologues, written in Rome, exist in Giorgio's personally typed scripts with corrections, later works such as this do not seem to have been typed and exist only in his fair copy manuscript. This is composed of 14 sheets of his usual A4 white paper, written verso and recto in blue felt tipped pen. The first and last pages are reproduced below.

 The opening page

The close of the monologue,  firstly to the words of Edith Piaf, but then to Giorgio's "mah!!"