Mai più fecondi sono i momenti di dubbio, come quelli che viviamo ora...
He crosses the front room, which he calls his study, and comes down the staircase. The stairs turn a corner; they are narrow and steep. You can touch both handrails with your elbows and you have to bend your head – even if, like George, you are only five eight. This is a tightly planned little house. He often feels protected by its smallness; there is hardly room enough here to feel lonely.
Nevertheless — Think of two people, living together day after day, year after year, in this small space, standing elbow to elbow cooking at the same small stove, squeezing past each other on the narrow stairs, shaving in front of the same small bathroom mirror, constantly jogging, jostling, bumping against each other’s bodies by mistake or on purpose, sensually, aggressively, awkwardly, impatiently, in rage or in love – think what deep though invisible tracks they must leave, everywhere, behind them! The doorway into the kitchen has been built too narrow. Two people in a hurry, with plates of food in their hands, are apt to keep colliding here. And it is here, nearly every morning, that George, having reached the bottom of the stairs, has this sensation of suddenly finding himself on an abrupt, brutally broken-off, jagged edge – as though the track had disappeared down a landslide. It is here that he stops short and knows, with a sick newness, almost as though it were for the first time: Jim is dead. Is dead.
He stands quite still, silent, or at most uttering a brief animal grunt, as he waits for the spasm to pass. Then he walks into the kitchen. These morning spasms are too painful to be treated sentimentally. After them, he feels relief, merely. It is like getting over a bad attack of cramp.
- Christopher Isherwood, A Single Man (1964)
Screenshot from "A Single Man", by Tom Ford (2009), with Colin Firth, Nicolas Hoult, Julianne Moore
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