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The occasion was made more fateful by the news, a few hours before the service began, of the fatwa pronounced on Salman Rushdie, who had become friends with Chatwin in Australia, when Chatwin was researching The Songlines. Those of us present there could only note, with bemusement, that the combination of austerity and exoticism in the Orthodox Church was in keeping with Chatwin’s own taste in such things. There was no evocation of his flirtatious charm, his inexhaustible conversation, or his literary originality-the gifts that brought hundreds of mourners together under the bare brick dome of the cathedral, in an atmosphere thick with incense and liturgical Greek.
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There was no encomium at St Sophia, no valedictory address, no account of Chatwin’s childhood, of his early career in the art world, of his reinvention of himself as a writer, of his marriage, his illness or his death. A memorial service, held the following month at St Sophia, the Greek Orthodox Cathedral in Moscow Road in Central London, compounded the mystery further: the proceedings were conducted in a language none of his friends could understand, and under the aegis of a faith that few were aware he had espoused. When he died in January 1989, his fatal illness-not yet acknowledged to be AIDS-was a matter of speculation.
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If Bruce Chatwin had been portly, myopic and mouse-haired,” writes Susannah Clapp, “his life and reputation would have been quite different.”Ĭhatwin’s death would likely have been different too, had he not been so good-looking and mysterious, so alluring to both sexes. Anatomy of Restlessness by Bruce Chatwin With Chatwin by Susannah Clapp.