Archive for the ‘sex of the icky parental kind’ Category

Am told my piece for Meanjin has a broken link at the moment so I’m re-posting it here. From the end of last year when I wrote about reading and love affairs…

There’s a small child in the bed with us. I hold the sheet over me and reach down blindly to find clothes on the floor. Under the sheet I slip my underwear and t-shirt back on. So, this is dating now.

One evening I find myself sitting in bed reading Hairy Maclary dog stories to the small child. “Out of the gate and off for a walk, went Hairy Maclary from Donaldson’s Dairy..”.

It’s not my small child, it’s the son of the man I am seeing. My children are with their father tonight and I’m missing them. The father of this small child is in the living room feeling down. I’m trying not to see that as a bit of an indulgence. And instead, I’m reading to his son and those smalls hands on my arm and a small head rested against my shoulder are bringing a rush of pain to me.

This maternal business, when I’m not with my children, is tearing at careful compartments. But decompartmentalising is this man’s specialty. Out of the gate and off for a walk.

I meet his mother, and then in a rush, his whole family. He wants to meet my children. At first, I believe he’s fearless. He might be wrong for me in several ways but at least he’s fearless.

Last year I read Autobiography of Red by Anne Carson. This year I am re-reading it. I mostly re-read books this year because with everything happening in my life – the work, the grief, the rebuilding, the column writing, the conferences, the dating, the parenting, the budgeting, the anxiety and the calming – I can’t read anything new. I just can’t take anything else in. If I am going to consider anything in it has to be something I already know that I just want to understand better, and differently.

I read a lot to my children. They like re-reading books. The storybook I most enjoy re-reading to them is Stanley’s Stick by John Hegley. The rhythm in that book is something else. I marvel at it every time I read it. Every time.

I hardly read anything. Actually, I read constantly, all year, but hardly anything I think appropriate to highlight in a literary journal, like Meanjin. For instance, Twitter. For instance, Thich Nhat Hanh’s The Miracle of Mindfulness. I read that over and over again for part of the year, in a ‘dark night of the soul’ kind of way. I read papers and papers for work. I read a Coroner’s report with a fine-tooth comb. About the death of a child the same age as my daughter. Her mother kills her slowly, but quite thoroughly in the end.

She kills her slowly enough that people are wondering now how that happened. When you read the details, I mean really read them and re-read them, you see a lot of unraveling and the mother knows, she knows she’s unraveling. She asks her daughter to cover up the unraveling with her in more and more ludicrous ways. Most children killed by parents die before they develop the power of speech. But this daughter, who can speak and therefore reflect back what she sees in you, tries, reasons but also colludes. She is protecting her mother the way a mother is supposed to protect a child. Children do.

I distill the findings into something concise and lifeless for a report.

While driving home from the coast my own daughter starts reading aloud to her little brother and me from The Pinballs by Betsy Byars. It’s a young adult novel about children in foster care and I read it when I was about her age. Listening to her, I gasp. I forgot how sad this story is, I say. My daughter pauses thoughtfully and agrees before saying it is one of her favourite books.

When I arrive one night he is in a candlelit bath drinking wine, smoking cigarettes and wearing his dead father’s rosary beads around his neck. Even with tears in his eyes he can laugh. You look like something out of a film, I say. And I take some photographs.

Get in the bath, he tells me. And when I have pulled off my clothes and am stepping into the water he says to stop covering myself. We’re not young, don’t worry about it. He says it with such softness that for a moment I think I am falling in love. (You’re younger than me, too young, I think secretly). I hope you change me, he whispers in bed with a kiss. I can’t change you, I can only be with you while you change yourself, I reply. I guess, he says.

I read The Culture of the New Capitalism by Richard Sennett, the poem of Relational Self-Portrait by Dean Rader, A Moveable Feast by Ernest Hemingway, Long Division by Kiese Laymon, The End of Eve by Ariel Gore, The Forgotten Waltz by Anne Enright, and Aftermath by Rachel Cusk again (and again). It goes without saying I recommend every one of these. In a way, I am reading about uncertainty, but then everything is about uncertainty. Eventually I am reading new things.

But I am also still re-reading The Autobiography of Red. It’s a novel written in verse. Everything is a metaphor. It is terribly beautiful and you need to read it slowly and if you have forgotten how to read slowly, as I have, then you simply read it repeatedly. The more you read it the more you realise stories about love affairs are really stories about trials are really stories about dreams and monsters are really stories about self.

We were supposed to be bringing one another stillness, I point out. He promises me he’s very calm. Yes, I say, because you’re the eye of the fucking storm, you might be calm but no-one else around you ever is. He likes that and we both laugh. But he has a shadow self. It’s appearance is even more alarming to him than it is to me. The kindness, the openness, the intuitiveness and most of all, the fearlessness are gone.

His sense of self crumbles. He tries to argue with me about things I don’t recognise. It’s his past, not mine, and so I lack the bitterness towards it that he is seeking. I return home in a panic. Safe inside my own house I suddenly feel like I am reassembling. Enough, I decide.

Out of the gate.

And off for a walk.

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your auntie & ‘nem done finished the wine & put on that Ohio Players or whatever album makes them feel blackest. they dancin’ nasty & you watching from the steps when you should be sleep. your uncle is usually a man of much shoulders & silence but tonight he is a brown slur in the light, his body liquid & drunk with good sound. you feel like you shouldn’t be looking at how shameless he moves his hips, how he holds your auntie like a cliff or something that just might save him. your mama is not your mama tonight – she is 19 again, unsure what burns in her middle. your not-mama is caught in a rapture so ungospel you wonder if this is what they mean by sin, & if it is, how, like really how, could this be the way to hell? you’ve never seen her this free, this on fire this — “BOY!” she screams at you but not so you’ll go back to bed. she calls you to her, you grab her hands, she shows you where you come from.

From “Notes For a Film on Black Joy” by Danez Smith in Gawker.

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Be with an artist

and find sketches of your body parts.

bb sketch

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I don’t agree with much of this by Laura Kipnis – for instance, I have trouble being that casual about university teacher-student sexual relationships – but I think her article, “Sexual paranoia strikes academe” in The Chronicle of Higher Education is raising some worthwhile questions about vulnerability and power.

Reading this article it strikes me that the over-simplification of sexual abuse/assault/harassment means that victims are only victims if they are ‘good people’ and conversely, abusers can only be that if they’re ‘bad people’. Realistically, both are ordinary people and there’s vulnerability all over the place. And ok, the woman in this situation might have forgotten that the man is also vulnerable. But he has forgotten that the woman he desires in a fairly objectifying way is actually a human, like him.

What struck me most, hearing the story, was how incapacitated this woman had felt, despite her advanced degree and accomplishments. The reason, I think, was that she imagined she was the only vulnerable one in the situation. But look at the editor: He was married, with a midlevel job in the scandal-averse world of corporate publishing. It simply wasn’t the case that he had all the power in the situation or nothing to lose. He may have been an occluded jerk, but he was also a fairly human-sized one.

So that’s an example of a real-world situation, postgraduation. Somehow I don’t see the publishing industry instituting codes banning unhappily married editors from going goopy over authors, though even with such a ban, will any set of regulations ever prevent affective misunderstandings and erotic crossed signals, compounded by power differentials, compounded further by subjective levels of vulnerability?

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See The Babadook because it is really about the claustrophobia of single parenthood.

The Babadook

See Actress because it is really about the sexuality of mothers.


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I just can’t believe it. That all you have to do is sleep with somebody and get caught and you never have to see your in-laws again. Ever. Pfffft! Gone. It’s the nearest thing to magic I have yet found.

But I am being hard on my husband, who I loved, and who is now fighting with me about money, never mind broken dreams. In fact everyone is fighting with me about money: my sister, too. Who would have thought love could be so expensive? I should sit down and calculate it out at so much per kiss. The price of this house plus the price of that house, divided by two, plus the price of the house we are in. Thousands. Every time I touch him. Hundreds of thousands. Because we took it too far. We should have stuck to car parks and hotel bedrooms (no, really, we should really have stuck to car parks and hotel bedrooms_. If we keep going the price will come down – per event, as it were. Twenty years of love can be consummated for tuppence. After a lifetime it is almost free.

Anne Enright in The Forgotten Waltz. I adore Enright’s books and this one was a terrific recent read.

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Conversations were governed by the same rules as matches. Lead with a pussy joke about my cat? Dick is abundant and low value. Choose a meeting place that doesn’t account for my commute there? Dick is abundant and low value. Ask for nudes too soon? Dick is abundant and low value. Cancel twice? Dick is abundant and low value. Send an unsolicited photo of your lower body in your laundry-day underwear with your hand suggestively but not sexily placed over your semi and not even bothering to crop out your poor cat? Dick is abundant and low value.

Some will read my gleeful rejections on the many faces I encounter on Tinder as evidence of a disturbing uptick in malevolent, anti-male sentiments among single straight women. It is not. It is evidence of us arriving nearer to gender equilibrium where men can no longer happily judge the clear and abundant photos and carefully crafted profiles of women but become incensed when they take the opportunity to do the same.

From “The Dickonomics of Tinder” by Alana Massey in The Medium. This is spot on.

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