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QUEER TIME AND DEEP SPACE

On 30 April 1965, the body of accountant Pietro Andrea Gargiulo was discovered in his apartment on Via Flaminia, Rome, a few hundred metres from where the Maxxi art gallery stands today. Gargiulo was strangled in his own home following a presumed attempted robbery by two young men. The case temporarily threw a very public light onto the hidden world of 1960s gay sex in Rome: contemporary cronache report that Gargiulo had probably invited the men, whom he may have known, to his house, had dined with them and shared a cognac before moving to the bedroom to undress, at which point he was hit on the back of the neck with a kind of dumbbell. Unsurprisingly, the language of these reports relies heavily on allusion: the report of the crime in L’unita uses the word ‘omosessuale’ only once, as late as the fifth paragraph, and not even in direct reference to Gargiulo (in fact, this term rarely appears in any contemporary reports). Instead we are told repeatedly of the man’s ‘tendenze’, his failed marriage, and given stereotypical descriptions of his appearance and character: