Writing
The Cars
Like the settings in A Painting to Die For, automobiles play a significant role in reflecting the values and aesthetics of the characters. Although the main protagonist, Bill, doesn’t own a car and has never learned to drive, a principal antagonist, Aiden, views autos with the same fervour as the Futurists, a fascist-art-collective of the early 20th century. As the Futurists’ founder, Filippo Tommaso Marinetti, wrote in their manifesto:
“A racing car with a hood that glistens with large pipes resembling a serpent with explosive breath … a roaring automobile that seems to ride on grapeshot—that is more beautiful than the Victory of Samothrace.”
Note to readers: The Victory of Samothrace is a venerated Macedonian sculpture from 200 BC, now in the Louvre)
Sharing the Futurists’ philosophy, Aiden drives a vintage Alvis, a British car known for its beautiful lines, but his real pride and joy is a postwar Daimler, which he claims was commissioned by socialite and nightclub owner Lady Docker, whose husband sat on the company board. Eventually, the Dockers’ profligacy led to their downfall (Click Here to watch a video for a detailed account).
Given Aiden’s own love of the high life and his habit of exaggerating and conflating, the reader is left guessing whether the vehicle is the ‘The Real McCoy’ or not.
Uncle Glen collects art, not cars. For him, a flashy car simply underlines his status. A chauffeur driven Bentley limousine provides that in spades. It telegraphs to the world Glen has arrived.
