Luigi took me aside this morning and said that, however much he enjoys our leetle get-togethers, he can no longer—-despite his best efforts and my best efforts—-hide the absence of any payments towards Room 312 from the all-knowing reservation system of the Savoy Palace Hotel. He fussed with a drawer, and held up a credit card. Here, he said under his breath, go to the Via Tornabuoni, buy yourself a new outfit, and take up position on the steps of the Loggia della Signoria…that should solve your leetle problems, pretty boy that you are. But don’t forget to return the credit card first.
He then looked left and right the way Italian hotel managers look left and right before getting a blow job, waved me to his side of the reception counter, and there we went again: me squatting in the hollow space under the desk accommodating his Italian dick, while he accommodated a new guest, a Contessa, apparently. I’m a slut, fortunately, I can handle this.
So, that’s why I’m here on the steps of the Loggia sitting next to the marble statue of Cellini’s Perseus, me a wannabe hustler with a boyfriend who, suddenly, last month, discovered his passion for the Tuscan Renaissance and begged me to take him to Florence where he would study with a certain Professore Pellegrini, a mysterious art historian...
Jamie & Dex, the almost-underage duo, have just been presented with a strange contraption, something that holds the middle between a copy of Michelangelo's David and--- yes---what? Hint: a remote control comes with it:
Jamie wouldn’t get physical unless all thought experiments fail, so he hands the clicker to me. And I, I’m not particularly bright (as you know), and I’m also the only person in the world scared by too many buttons on remote controls. So, I put the thing aside and feel hungry. I don’t know what time it is, but dusk is advancing, and I call room service to order the few items on the room menu that Google Translate understands.
It takes forever, of course, but around witching hour there’s the din of a trolley outside, accompanied by the young, Italian voices of Michelangelo and Leonardo, the two cutest pages of this establishment, them always on the night shift on special orders of the all-knowing Luigi. I know this because we know them, and there has been certain camaraderie growing between us, due to the fact, oddly, that we can’t tip them with our comatose credit cards. As usual, Michelangelo and Leonardo enter with a sense of splash (“Ecco qua”), and, like their famous namesakes, they’ve perfected the Mona Lisa smile---how do grownups say, the art of ambiguity, they say---always leaving in the middle whether their eccoes refer to the food or to themselves. If it wouldn’t be so difficult between Jamie and me, we’d have possibly agreed long ago that the pages are---or would be---much tastier that the food, but there’s no time for further reflection since Daviddo is still the elephant in the room. “Que cos’è questo?” Michelangelo asks, and I, glad to get rid of it, grab the clicker and hand it to him: “You find out.”
“Hé, hé, hé,” the page coughs, and pushes one of its buttons. It must have been either the right or the wrong button because the Daviddo springs to life, a bit too forcefully, but then he removes the golden loin leaf from his crotch with a smooth, experienced gesture, and now he activates his right hand---somewhat oversized, his paw, like on David’s original sculpture---and undertakes to touch himself in unmistakable ways. And the organ in question, it obliges with an unmistakable reaction, something never seen before on Renaissance statuary.
“That’s why his hand is so big,” Michelangelo exclaims, whose English is better than Leo's. He grabs the remote and pushes a different button, some sort of volume control looks like, since Daviddo accelerates his jerking (“up”), decelerates it (“down”), then pauses. Michelangelo shoots a questioning look at Jamie: red lines need to be crossed, or not, who knows. Leo, the more forthcoming of the two, reclaims the remote and says, “Mi chiedo se può venire.” He looks expectantly at his polyglot partner, who shakes his head, but then confides, with a charming blush on his cheeks: “Micco wonders if he can cum.”
The food is getting cold, but we wonder too. Even little Jamie does. Isn’t this what you read in the math books, how sex puppets change your life? Leonardo hands the control to my partner. Jamie, the resident genius, pushes a red button, and the thing halts its jerking.
“No-no,” Micco cries, “we want to know.” So, Jamie pushes a different button, and Daviddo’s tool resumes its improbable expansion. The days of tiny willies are gone. In its original state his little thing wasn’t even two inches, but now it balloons to, what, seven, eight, nine, ten, eleven, twelve, thirteen, fourteen, fifteen inches and counting, projecting from his torso like the improbable phallus of any of these mythological satires you see on LustSpiel (the internet mag that won this porn prize last year).
I have no idea how long I slept, but now I’m awake, risen by the bed-side phone. These phones have stopped ringing a long time ago unless it’s from the reception desk, meaning a visitor is calling whose name is something like Shah Ruk Khan. He has an Indian accent and informs me that he’s ordered “on the highest authority to present a gift to the young sirs-—a bestowal from His Serene Highness.” Three minutes later a midget with a turban enters the room, ushered in by manager Luigi himself, and followed by a nerdy-looking porter pushing a dolly. On the dolly sits a very large box, wrapped cross-wise in silky red ribbon, looking like an over-sized Christmas present. Jamie raises his eyes from his math book. Luigi exits with some ado.
"The statue is bound to live an interesting life of its own."
You're
possibly expecting a followup to the last "Yellow Parrot" teaser, but
we are misbehaving as usual and have switched channels, and so we are working on a novella about Jamie & Dex, the heroes of a somewhat discordant series of short stories. In its present form, and mutatis mutandis, the manuscript uses our contribution to Rob Rosen's anthology "Best Gay Erotica of the Year, Vol. IV" as a point of departure, and continues with Jamie and Dex holed up in their unaffordable Florence hotel room. We've just had a flagrante delivered by Jamie, with Dex and Uume on the receiving end, and now...Dex narrating...
I skip a few details.
Jamie—-well, he knows I’m a slut. We fart in each other’s presence, there aren’t many secrets between us. And his mathematical mind will have figured out that Luigi’s pecuniary lenience---how would Jamie say this---is a dependent variable in any equation explaining our staggering Savoy bill. But one can go too far.
Uume has redressed, pretty unfazed, and blown air-kisses in departure
Uume has redressed, pretty unfazed, and blown air-kisses in departure, at both of us-—this wasn’t his first flagrante, you can tell. And Jamie, tidy Jamie has collected my Tornabuoni outfit from the floor, briefs, T, and shorts, and stacked them away. He sits next to me on the bed and stares at these damned Archlight trainers from Louis Vuitton still loitering on the carpet as silent witnesses of my recent past. I’m stark naked (another silent witness). Jamie-—I steal a sideways glance-—is pale, dead pale. Well, he’s always pale, even under the Californian sun he was, when we fell in love, or I fell in love with him. But he’s beautiful, so beautiful with his androgynous face: the fine, low-bridged nose, a nanosecond too long, the blue, expressionless eyes (each time I look at him I have to check whether the color hasn’t changed), or his perfect chin lines framing the sensitive, always questioning lips. Not to mention the angelic forehead capped by a ginger brush of fine, shiny, honey-scented hair---the perfect hair of a truly-young person.
We got a new (four-star) review of the GREEN EYES (by Becca, on LoveBytesReviews). Here it is: Whew. This book. I am at such a loss with this book. It was good. The main character is bipolar, and I’m like borderline with severe depression and ADD, so I could understand the running commentary. This book is from the perspective of the main character John. My biggest problem with this book, though, is that I felt incredibly stupid because some of the vocabulary. I had to stop and go look some words up. That kind of threw me off. Maybe I need to go read the dictionary next. Shew.
John. John. John. John is a French teacher that teaches in Georgia schools. He is out for the summer. He decides to go walking along the beach in the gay section and ends up in a sexual encounter in the dunes. With a man with the most incredible green eyes ever. Then a third comes along. After the encounter, John tries to help the third man find his shorts and ends up looking for a towel to steal to lend the third man. He gets busted and is late to the third man. The third man is gone. Later he ventures to a bar to chill be for a party next door when the third man, known as Maurice, comes in and tells a story that is shocking. Maurice ends up in the hospital and now everyone is trying to figure out how to stop a psycho killer before being killed themselves. All the while, having sexual encounters at almost every turn it seems. During this the man he loves, Alex, has come up with a plan of his own, and it causes him to have amnesia. All kinds of twists and turns in this story. And hopefully it will bring a happy ending.
Reading the GREEN EYES
I’m not going to lie here. I kinda had a hard time keeping up at times. Sometimes I felt like I was reading out of my own head lol. But sometimes it was really hard for me to keep up. It’s a good book, don’t misunderstand me.I just feel like I need to be smarter or something to appreciate it the right way. I liked John. He was a complex character. They all kinda were. Each had a depth to them you didn’t quite expect. But what I loved about John, is even with all the crap going on around him, he was worried for his friends and their safety. He would pile them all up in his tiny apartment, just to make sure everyone was safe and no one was getting hurt or come after. He was trying his best to take care of them all. I felt bad at times for him, because it seemed like a never-ending circle you couldn’t step out of, but he stuck with it. Even when it came to taking out a killer. That was stupid beyond belief, that they thought they could do or even try, but they felt if they didn’t fix it somehow, it would never stop or change.
Sometimes situations call for drastic measures. There seemed to be quite a few of those in this book. But the things you do for friends and loved ones…..
What happens with your new book, people are asking. Well, we're progressing slowly, slowly, but here's at least the second part of the first chapter.
Context: John has been asked by Alice Sandeman to replenish her shrinking stock of Eleanor Beasley paintings---Eleanor Wagner-Beasley, Godehart Wagner's spouse of convenience, now deceased. If your read the first part of the saga, you may remember that Eleanor specialized in canvasses of white dots painted on white backgrounds. So that's what John's has been doing in Alex's old pad, when he's caught red-handed (or paint-smuded) by the notorious art critic Souren Souleikan. Minds meet, and there's something transactional in the air:
Under more auspicious circumstances I would feel my dick now. But I don’t. We will need some lubrication. And we need some assurances as to the transactional character of this since said lubrication could get into the way: Souleikan gets drunk, then he gets laid; then he doesn’t remember the deal (and I’m fucked).
“I need a drink,” I say. And Souren needs a drink too, except that there won’t be any tipple left in this desolate attic, what with Alex’s tipsy attitudes.
((Hold on.))
This is where the old Alex lived with the constrained, self-denying personality of his previous life; he didn’t drink then. There may be some hold-over bottle of booze he kept for his friends, or the friends he didn’t have. I get up.
“Mind, you,” Souren says. “No Chateau Margaux. Claret should flow at the table in the company of kindred food and kindred company, but nowhere else.”
“I’ll be back,” I say, touching his shoulder. He nods.
I am back from the kitchen where I found and untouched bottle of Bourbon in the left cabinet below the counter. I hold in my left hand now, the other hand, digits spread, clinging to two low-profile tumblers. I set this all down, uncork the bottle, pour stiff drinks. We’re past the point of return, we’ll be getting laid straight away. Souren downs his shot wholesale. Another shot, and another. Gulp. Terrible, the mechanics of substances. We swim, we float, we undress, we-—we don’t go into details.
Cool, folks, we have a new story out in Gay Flash Fiction, which is an installment of the growing, yet somewhat incoherent Jamie & Dex saga. Yours truly and his lovely boyfriend have somehow relocated to Guerneville, a small town on the Russian River 1.5 hours north of San Francisco. They move into a small place in the poor area of town (the part that gets flooded when the river overflows) and get sucked into the trouble of the neighbor's household---a mother and her adolescent son. The mother is gradually turning into a lunatic and dies eventually. We take Jamie in. He's damaged goods now, can't go to school, or to sleep, until he discovers an abandoned math-book on Michael's bookshelf. He reads it, reads all of Michael's math books (Michael, the failed mathematician), and starts to solve the "open problems"---conjectures that are yet unproven---which math-book-authors add to their books as a tease. Now Dex, a school friend from Santa Rosa Highschool shows up and eventually manages to convince Damie to return to school. Dex sleeps over, eventually moves in for all practical purposes. This being California, nobody really asks questions...Here's the link. The second story---forthcoming in Cleis's anthology "Best Gay Erotic Fiction" but somewhat out of sequence---has the two boys traveling to Florence, where the expected-unexpected is going to happen amidst the "tiny willies on the marble statues." Here's a picture that might give you an idea:
The third story, the one which is out today, is back in Guerneville, and in time. Both Dex and Jamie have acquired dogs that need to be walked every day, and since Jamie is busy solving open math problems, Michael and Dex take the pooches for a walk along the beach where Dex asks a funny question: "Do you think Jamie is gay?" Here's the link. Enjoy.
We all know Goodreads has had it’s share of drama. We’re
battle-scarred & throw up our hands saying “we just want to read
books”.
So, I, too, got the message from the troll "Tammy".
But, unlike some, I believe what she posted is true. And IF any of it’s true,
it isn’t just drama. It is HUGELY problematic, potentially illegal, and has the
power to really hurt people.
Recently the author MA posted on
his blog an entry showing pictures of himself. He said it was because anon
trolls were trying to dox him and out his personal information - something he’s
long said he’s tried to keep private, though much of which he himself has
shared online. *shrug*
In this post he himself admitted to sending fake pictures in
the past to people in his readership and friend circles. He admitted to this
lie. It hurt a lot of people, people who trusted him. That sucks. But maybe,
for some of you, that doesn’t sound like such a big deal…fake pictures? Meh.
But it’s the lie that sets this stage.
Cool, folks, cool. We have a new review of "This Is Heaven," an Italian one. It was originally posted on I mei sogni tra le pagine, but is also available on GoodReads and supposedly on Amazon, and it's by S.M. May, the famed Italian author of oh-so-teasing SM-work. S.M. is actually a full-fledged attorney at law---perhaps not so much of a coincidence. Here she goes:
Like the first book, “This Is Heaven” has a bizarre and crazy plot. John, the narrator, tells us of the volatile relationship with his partner Alex, which is further complicated by a gaggle of new friends.
The scenes are often surreal, the dialogues full of jokes and witty quirks. There’s an initial sense of disorientation, but the reader eventually learns to understand the extremely particular/original---and, at bottom---cynical/sarcastic voice of Michael Ampersant, which hides, and thus reveals, a vast cultural/literary background.
From the famous incipit (“It was a dark and stormy night”) of the cataclysmic Chapter 47 to the numerous quotations and allusions in the text: it’s a real treasure hunt.
Ampersant is a very good author who loves to play with words, and the art of writing. And how can we not appreciate a writer whose author picture is captioned: “The author picture is a bit outdated, but not photoshopped” (?). [LOL]
The sequel to the Green Eyes---available now ("click")
From live reviews: "If you like Woody Allen, you will enjoy the book!" "I dreamt of the GREEN EYES and woke up happy." "Grab it an plan to read it from cover to cover immediately!" "A literate and wonderfully witty romp!" Wow! That was my first reaction to reading this book, my second reaction was plain and simple holy shit!" "This is a perfect book for any adult reader!"
We get an email from John Grisham, the author, who talks about the "heady days" of his breakthrough novel, "The Firm," and about Karen Cleveland's firstling, the spy novel "Need to Know", which is apparently poised to mirror his own success.
Since we're wondering increasingly what makes a successful book of fiction, we push the Amazon button and download Cleveland's ebook.
The best thing about the book is the motto, taken from Oscar Wilde:
When one is in love, one always begins by deceiving one's self, and one always ends by deceiving others. That is what the world calls a romance.
Not the best thing about the book is its implicit promise of authenticity. The author is herself a counter-intelligence (CI) expert with the CIA, and so one would expect her tome to convey something of an insider's view of modern spying. Well, to the extent that it does, Cleveland's profession has gone the way of most other occupations: workers and co-workers are couched in cubicles where they stare at computer screens when they don't spy on each other or drive home to collect offspring from overpriced private schools that charge five dollars per child per minute of pickup delay. And after a sexless night (Goodreads reviewers have congratulated themselves on the fact that there is no sex in the book) she kisses her husband ("Matt") goodbye and is back to Langley where she---in this age of algorithms---has been developing her own ALGORITHM, a program that's supposed to filter Russian spies from the rest of the population. Even better, her task is accomplished and today's the day to put her invention to work. She hits a few keyboard buttons and there he appears on the screen, her first Russian spy, and it is---spoiler alert---her husband, Matt.
We're reading the Fire and Fury book by Michael Wolff that came out on Friday, and it's much better than expected, much deeper than the usual collection of scabrous/scandalous anecdotes. Wolff really proffers insight---Krugman, in his Friday column in the NYT wonders rhetorically whether he needs to read the book---yes, Paul you do, trust us. And here, just in between, the funniest thing we came across so far, and by our reckoning still unaccounted for in the weekend news cycle of this publication...
Steve Bannon and you-know-who
(Dramatis personae: (a) Anthony Scaramucci, (b) Steve Bannon, adviser to Donald Trump; (c) Ryan Lizza, a journalist with The New Yorker; Place: US East Coast; Time: July 2017)
Anthony Scaramucci
Having lobbied desperately for a White House Job for seven months, Scaramucchi has been appointed White House Director of Communication. There is a party to celebrate, and Scaramucchi ("The Mooch") has had one too many, apparently. He gets on the phone with Ryan Lizza and unloads about a few people, including Steve Bannon, we quote:
"I'm not Steve Bannon. I'm not trying to suck my own cock."
So Ryan Lizza writes this up (he publishes roughly one piece per day on the NY blog about Trump and his White House). Next thing, the Fact Checking Department of The New Yorker contacts Steve Bannon and asks, hands down, whether he has the habit to suck his own cock. (That was the punch line).
Reince Priebus
You may remember what followed. Reince Priebus, Chief of Staff of the White House, throws in the towel, citing Scaramucci's appointment. Priebus is replaced by John F. Kelley, a retired 4-Star Marine general, whose first order of business is to fire Scaramucci.
"Trump didn’t read. He didn’t really even skim. If it was print, it might as well not exist. Some believed that for all practical purposes he was no more than semiliterate . . . . Some thought him dyslexic; certainly his comprehension was limited. Others concluded that he didn’t read because he didn’t have to, and that in fact this was one of his key attributes as a populist. He was postliterate—total television.
But not only didn’t he read, he didn’t listen. He preferred to be the person talking. And he trusted his own expertise—no matter how paltry or irrelevant—more than anyone else’s. What’s more, he had an extremely short attention span, even when he thought you were worthy of attention."
Michael
Ampersant had dreamed of using some poetry in THIS IS HEAVEN---one character speaking in verse, say---but nothing came
of it. But then he discovered that the first part of Chapter 33, "Harem
Rock" would actually work as poetry if reformatted as a stanza. Nothing
up to Shakespeare standards, but still. Next, the formidable Theo Blaze
put up an invite on his site, asking authors to come up with a brief
story to illustrate one of his pictures. Michael reacted, and they got a
deal; Michael would write a story, if Theo would create an illustration for "Harem Rock." And there we are:
John,
Why couldn’t you,
At the end of a page-turning,
Adverb-packed day,
Of unparalleled heat levels.
Why couldn’t you,
Just down the third ‘fortification’ the lady of the house was handing you,
And chuck your dirty shorts one more time,
And let the sex slave fix the Magic-Mike collar around your neck.
Last week I decided to find a new home for my fake Christmas tree. Formerly it resided in an awkward and difficult-to-navigate corner of the basement, and I’ve finally relocated it to the upstairs closet with the rest of the Christmas stuff. Logically I know I ought to just get rid of the stupid thing. It’s a pain to put up, the branches are all bent way out of shape, a chunk of the topper is missing, and it’s still wearing tinsel from 2006. Yet somehow I’m never able to do it. It always surprises me how attached I am to that tree, even though I know full well the reason why – it’s because it’s exactly like the one my family had when I was growing up. I’m ordinarily not the nostalgic type, but to me that big ol’ fake tree with its pretty, colorful blinking lights is what makes Christmas Christmas. That and my one other indispensable holiday tradition –- 1970s Christmas specials!
Yes, it’s true – Christmas was never more meaningful than it was during that wondrous era in which we celebrated the most important holiday of a child’s year not by going to church, not by singing carols, not by hitting the mall at midnight on the day after Thanksgiving, but by plopping our butts down in front of a nineteen-inch black-and-white at eight pm on Saturday nights in December and losing ourselves in these classic tales of childish wonder. Rudolph the Red-Nosed Reindeer, the story of an outcast who saves Christmas. Santa Claus is Coming to Town, the story of an outcast who invents Christmas as we know it today. How the Grinch Almost Stole Christmas, the story of an outcast who… Wait, I’m starting to sense a pattern here.
Now, I am not going to confess that I still watch these specials every year, and sometimes more than once, even with no children in sight. I will decline to admit that I have all of my favorites on both video and DVD, or that the one day of the year in which even I will almost certainly tear up is when I witness The Grinch having his big change of heart. I will, however, be happy to share my thoughts on that most thought-provoking of Claymation creations – the story of Rudolph.
Yes, because there’s more to the Rudolph the Red-Nosed Reindeer than the patently obvious lesson about the worth and value of misfits. This 1964 Rankin and Bass drama is chock full of enough subtext to satisfy the most diehard of film enthusiasts, and it is still, nearly fifty years later, remarkably evocative of the socially progressive era in which it was born. Let’s look at how.
It doesn't make sense, but then we rarely make sense. Here's a picture by Guy Billout, which beautifully sums up This Is Heaven:
Louis of Versailles and the Titanic in the same frame? Let's start with Louis of Versailles, one of our best neologisms, invented by Greta Wetten Dass, the award-winning romance author, in steamy Chapter 14; Greta recounting last night's adventure with Ben Fletcher and Jane Trumpleton, (Alex and John listening):
“The pursuit of love-making, gentlemen, has a practical component. Despite the best efforts of my pen-colleagues, a male person can have only so many ejaculations during a limited period of time. We would have Ben three, at most four times during the night. Letting him come at that moment would have meant that a quarter of his lust had already been consumed while we weren’t quite undressed.”
“It’s funny,” Alex says, “how your voice oscillates between the practical and the romantic.”
“It’s the same with love, Alex. The sensual and the physical, it’s not an easy marriage. Women, you may have noticed, are more practical when it comes to the inevitable; they bear children, they live longer. So, Jane shakes Ben’s maleness knowingly, more precum oozing in all directions, then whispers, ‘He’s bursting, no way he can hold this, he would explode at the very moment of penetration. Let’s enjoy this fountain while it lasts. He has enough ejaculations left, at least one for each of us, trust your sister.’
So, here, finally, is our review of Call Me by Your Name---André Aciman'sbook, not the new movie made from it.
Title & author
Most reviews of the book are fawning, and the few critical ones typically censure it for its not-so-happy ending---Aciman having apparently listened to his agent who told him that "the American public is not ready for a gay relationship that doesn't end in tears." Or he listened to his inner voice, which is Proustian by vocation (he's the director of the Proust Project at CUNY). Anyhow, this is not one of the books that "get stronger towards the ending," as a judge of the Booker Price once put it. But its finale is not the only issue here, so let's do a little bean-counting and separate our critical pluses ("+") and minuses ("-") accordingly.
(+) There's something unique about the combination of high fiction and graphic expressions of longing and desire in this book. Ignorami that we are---we do believe this combination hasn't occurred in world literature before. THIS MAKES THE BOOK STAND OUT.
No? Well, here, Elio, the narrator (on p. 8), just warming up:
"I know desire when I see it---and yet, this time, it slipped by completely. I was going for the devious smile that would suddenly light up in Oliver's face each time he'd read my mind, when all I really wanted was skin, just skin."
Okay, you say, that's just an example of erotic literature done well (more examples on our Handsheet for the Erotic Writer). Ampersant could have done it if he'd be a better writer. But...but little Elio (aged 17), is really a paragon of high fiction; he's inconceivable in any other kind of literature. Here (p. 29 now, Elio conversing with Oliver):
"And yet here he was in his third week with us, asking me if I'd ever heard of Athanasius Kirchner, Giuseppe Belli, and Paul Celan.
'I have.' [Elio replies]."
A paragon of high fiction
(These are all writers, we suppose, because Paul Celan was one). Okay, let's try to find a better example. Next page:
"I was Glaucus and he [Oliver] was Diomedes."
Not good enough? Here, Elio daydreaming (p. 39):
"Did you [Oliver] know that I came in your mouth last night?"
(+) Elio is blessed to grow up in an intellectual Acadia of the 1980's. Father's a renowned professor of something, there's money, an understanding mother, Jewish heritage, and an understanding house keeper (who inspects the bed sheets each morning for stains). There's also a villa on the Italian Riviera with a tree-lined driveway, a pool, and a tennis court (one wonders, given the hilly, seaside topology of the place). And there's TALENT. E.g., Elio is a serious musical prodigy who improvises Busoni improvising Brahms improvising Mozart on the piano, much to Oliver's delight. And this Oliver (aged 24) has already finished his Ph.D. on Heraclitus and come over to supervise the Italian translation of his thesis (among other things).
So, the movie Call Me by Your Name is out this week to rave reviews. Most of them regrettably fail to mention that it's based on the homonymous novel by André Aciman, a book that became something of a cult-hit in the literate gay community since its appearance in 2007. We got hold of the title while writing the first part of the GREEN EYES, and read it with thieving expectations: lifting a few ideas, maybe, or at least a few turns of phrase from Aciman's oeuvre. And in preparation for doing so, we created this Handsheet for the Erotic Writer with steamy quotes from the book. Enjoy...
(Click to enlarge)
Much to our regret, we never managed to lift anything of substance, but...the idea of the Handsheet took hold. And so, in THIS IS HEAVEN, the award-winning author Greta Wetten Dass---while recounting last night's erotic encounter with the ravishing John ("Ben") Fletcher---suddenly holds a Handsheet for the Erotic Writer in her hand... Here's a fragment from Chapter 14, titled accordingly "Handsheet for the Erotic Writer"---Greta recounting, John and Alex listening/interrupting:
“And there we go. While Jane holds onto his shoulder, yours truly tugs at Ben’s trouser legs until the jeans come off. There’s the minor issue of the underwear proper, which is dispatched by a forthcoming sister in one swift gesticulation. She then buries—don’t blush—her nose in the loosened pouch of the garment.
‘Aah,’ she affects with a knowing voice. She hands the cloth to me. For the first time in my life do I sniff willingly and voraciously the scent of male hidden treasures, a scent so unbuttoned and rustic, so intimate and strong. A touch of Marquis de Sade gets involved.”
