How to Be Both by Ali Smith is a marvelous book –gorgeous language, innovative form, a moving story, and, best of all – it’s packed with art references! One of the main characters is Francesco del Cossa, an Italian Renaissance fresco painter of whom very little is known, but nevermind, Ali has created a story for him (her), and woven it together with the story of George, a teenage girl in modern day. There are discussions about art, love, gender and sexuality, death, and more, as well as a great cover (a photograph of Sylvie Vartan and Françoise Hardy, an image which is referenced in the book) and inner cover images from Francesco del Cossa’s greatest masterpiece – an elaborate allegorical fresco in the Palazzo Schifanoia (meaning palace of escaping from boredom) in Ferrara, which also plays an important role in the novel.
Smith’s prose is dazzling and clever. In the extract below Francesco talks about the gift of being a painter, and in the passage below that, he describes what he sees when he finds himself in modern day (the “votives” he speaks of are in fact our smart-phones and tablets):
“It is a feeling thing, to be a painter of things: cause every thing, even an imagined or gone thing or creature or person has essence: paint a rose or a coin or a duck or a brick and you’ll feel it as sure as if a coin had a mouth and told you what it was like to be a coin, as if a rose told you first-hand what petals are, their softness and wetness held in a pellicle of colour thinner and more feeling than an eyelid, as if a duck told you about the combined wet and underdry of its feathers, a brick about the rough kiss of its skin.” (p. 42)
“I am wondering where it is, grave of my father, wondering too where my own grave, when the boy sits up, faces the woman’s house, holds his holy votive tablet up in both hands as if to heaven, up at the level of his head like a priest raising the bread, cause this place is full of people who have eyes and choose to see nothing, who all talk into their hands as they peripatate and all carry these votives, some the size of a hand, some the size of a face or a whole head, dedicated to saints perhaps or holy folk, and they look or talk to or pray to these tablets or icons all the while by holding them next to their heads or stroking them with fingers and staring only at them, signifying they must be heavy in their despairs to be so consistently looking away from their world and so devoted to their icons.” (p. 43)
The book is split in two parts (both titled part one), one which is centred on Francesco and the other on George. One of Smith’s experiments with structure was to vary the order of these two parts randomly from book to book. My book started with Francesco’s story, and I must admit that, knowing nothing about the book beforehand, I found it hard to make head or tail of it to begin with. So after some research I decided to skip forward and start over with George’s story. This made all the difference, by the time I got to Francesco’s section I had no problem understanding it. So if you’re having trouble getting through, don’t give up – just try switching it around!
Here are some images of Francesco del Cossa’s frescoes in the Palazzo Schifanoia in Ferrara, Italy, executed c. 1469–70:
Bar Italia by Hugo Williams
How beautiful it would be to wait for you again
in the usual place,
not looking at the door,
keeping a lookout in the long mirror,
knowing that if you are late
it will not be too late,
knowing that all I have to do
is wait a little longer
and you will be pushing through the other customers,
out of breath, apologetic.
Where have you been, for God’s sake?
I was starting to worry.
How long did we say we would wait
if one of us was held up?
It’s been so long and still no sign of you.
As time goes by, I search other faces in the bar,
rearranging their features
until they are monstrous versions of you,
their heads wobbling from side to side
like heads on sticks.
Your absence inches forward
until it is standing next to me.
Now it has taken a seat I was saving.
Now we are face to face in the long mirror.
Brazilian artist Vik Muniz is famous for using materials such as chocolate sauce, sugar, dirt, and cotton wool to create fleeting images which live on in the photographs he takes. In Medusa Plate he re-creates Caravaggio’s Medusa, rendered in pasta marinara. He describes himself as an alchemist who makes visual magic out of the mundane.