Three One Three: Boxes

I've been going through boxes and looking for ghosts from my past. I found the journals Levin gave me, and I've spent nights sighing over them. It's odd--- I have so few photos of Levin. I have her pencil and pen-and-ink sketches in the Pentalic journals, and she did lovely self-portraits. What I regret, though, is not taking photos of her. 

That's always been a regret for me. There are really no photos of me, let alone any of me with lovely young companions. I've always avoided being photographed. I can think of only two that I know exist. One is of me at my brother's wedding. The other is me standing outside the house where I'd rented rooms while I finished my doctorate. One of me in a tuxedo, one of me in black blazer and black long-sleeved tee. Two existing photos in all these years. I suspect you can guess the reasons. I'm not fond of my body or my face. And to be photographed next to a lovely young companion would only emphasize how I don't belong there next to her. 

The first time I went to Europe, I flatly refused to bring a camera. A camera, I thought, would mark me as a mere tourist, a rube from the provinces. And so I have no record of my life in Vienna. A year of my life might as well not exist. I feel the same way now about photos of girls I've been with, girls I've loved. I've no clue if any of them contrived to get photos of me, or if they managed to get photos of the two of us together-- though I know that I didn't get any.  Back in the day, I'd have been terrified of being photographed, terrified that any photo of me with a lover would be a kind of mockery of the stories my young companions and I told ourselves about who and what we were. I'd have been terrified that her friends would see photos of me and feel only disdain and contempt. 

Levin and Liberty were able to be muses for older lovers. Miss Ginny in Montreal, too. They were all of them proud of being someone's muse. For Levin that was the painting professor, the man who did that nude portrait of her. For Liberty it would've been the gallery owner in Santa Fe. And for Miss Ginny, it was an aging Russian emigre who played chess with her, taught her to do vodka shots, laughed at her obsession with Swinging London and the early Sixties, and gave her a couple of cartons filled with old issues of Cahiers du Cinema. I'm sure they each had other older lovers for whom they were muses and inspirations, but I keep thinking of that portrait above Levin's bed and about Miss Ginny sitting on the floor of her rooms near McGill, going through articles about half-forgotten French and East European films. Or of Liberty in just a man's shirt, being taught how to paint desert light. 

Liberty told me about her mysterious journal with its "My Older Lovers" chapter, about the entries she'd been making since she was sixteen about the things she'd learned about older men and about how to manage older lovers. I never asked to see it, of course. I certainly never asked her what she said about me--- or if I was in her entries at all. But I do have visions of Liberty sitting cross-legged on a sofa in just a pair of faded, cut-off denim short shorts, brushing that mass of red-gold hair off her face and reading from her notebook on older lovers. I always loved her voice, and I can imagine her doing a kind of podcast, telling her stories out over the aether. Liberty was always very direct and straightforward, always very earnest. It's easy to imagine her reading out her guide to older lovers not as regrets or even as erotica, but just as a clear set of memories--- an operator's manual with clear descriptions of procedure.

Miss Ginny claimed to have something similar, by the way--- written in French, like a good Montreal girl, and bits of her father's Polish ---with lists of books and films older admirers had told her about. Miss Ginny, though, would have focused on the books and films. She wanted, she told me, to sleep with at least one famous academic and one rare book dealer. She wanted the lists, she said, wanted to have a bibliography, an annotated bibliography, to go with her life and experiences. 

There are boxes somewhere in rooms wherever Liberty and Miss Ginny and Levin are tonight. I have to believe that they still have boxes, that they've kept journals and notebooks all these years, that they treasure the stories and the lists they made.  All three girls told me that they set out very deliberately to find adventures and experiences, that they  spent their late teens and early twenties keeping notes and lists, finding raw material for the art and the books they wanted to create.

I miss them. I miss that attitude. I miss the way each of them saw my age as a positive thing, the way each of them set out to design a world for herself, the way each of them kept notebooks and lists. 

Three One Two: Paint

I've spent time going through my storage cube and seeing how much of my past is hidden away there. In one plastic storage box I did find things Levin left for me long ago. I remember her packing to go off to grad school, remember that she packed up her life in a couple of bags and a few cardboard boxes in the trunk of her car. She gave me a few of her old notebooks--- You're a historian, she said.  This is history. She may have said my history or our history, Too long ago to remember.  But I have been looking through them and thinking about ghosts. 

The notebooks are hardbound Pentalic journals--- both sketchbooks and lined, What's the size? 5 x 8? I haven't seen Pentalic journals in forever, and I have no idea if they're still made. These have hard blue covers; I like the solidity.

Levin had posed naked for sketches and paintings since she was in high school. Self-portraits and for friends and (older?) lovers when she was a high school girl, for the painting professor whose muse she was at university, for lovers male and female. Her sketchbooks have details of nude self-portraits, sketches of collarbones and throat leading down to breasts, sketches of Levin done in a mirror. 

I remember that at one point she and her painting professor had spent time laughing and painting on one another. She'd been thrilled at that. Not just because it felt good or was part of sex, but because her older lover had been able to laugh about it, had been able to give up authority and art-world fame and just play.  So there in the sketchbooks are drawings of herself topless, or just of her breasts and throat, colored in in pencil. 

Levin had large areolae and nipples. I liked that, liked the way it looked when she was in the boy's white singlets that were a uniform look for her, She liked it sometimes, but felt awkward at others. A boy in high school had mocked her for having "pepperoni tits", and she'd been wounded by that. Still, Levin was always bra-less, and I loved the shadow of her areolae and nipples against thin cotton.  I love the drawings, too, and love the colors she used. 

She told me once that one summer she'd worked as a server in a men's club called Rembrandt's. The club wasn't exactly a strip bar. Its gimmick was that the servers and bartendrix girls were topless and painted--- the body paint glowing under the black light that flooded the club. For something like $25 you could paint on one of the girls. Girls had designs and names painted on them.  A patron, she told me, could touch a girl's legs and stomach and back and go around her breasts, but couldn't touch the breasts themselves (something the bouncers enforced). Depending on the tip, the girl would paint her own breasts or slyly trace a glowing streak across the crotch of her bikini. I did laugh when she told me how many men wanted to paint football team names and slogans on a girl. I listened to Levin talk about the club and spent time imagining that there was a secret inner club where girls were totally naked and that girls and their patrons were having black light sex in VIP rooms. I have to grimace about that now. Black light is so very much a period thing, though never one that's been retro-hip. I've run ice cubes around Levin's nipples and dripped candle wax on them and kissed vodka and champagne off them, but we never played with paint. 

One of the notebooks has long passages in Portuguese in it. Levin had done a year abroad in Lisbon, and she was proud of knowing the language. A couple of the passages are marked in red and have my name by them. I've never done Portuguese or Spanish, and I have no idea what the passages are about. She used to whisper to me in Portuguese while we were having sex, and she told me that she was saying the most outrageous Talking Dirty things she knew. I took that as a gift then, and I still take it as a compliment. I wish I could've responded better in German, but in those days my German was far too academic and formal. I should've looked up more bedroom-useful words and phrases. 

I do wish I'd been able to paint her or sketch her...or paint on her. I can talk about a few, a very few, things in art history, but I have no artistic talent of my own. 

Her sketchbooks have a couple of sketches of my face. That's my name and a date on the page, but it's so hard for me to recognize the young man there all in pen-and-ink or colored pencil. Yes, at some point I did have a goatee. Yes, for a while there was a white streak dyed in my hair. Yes, I must've been that thin. I know that I gave her written things--- love letters, the odd bit of poetry (don't ask) ---but I wish I could've given her something visual. I wasn't hopeless at photography in those days, and Levin would've been perfect as a photo model. Portrait photos, nude or not, would've been something to give her.

Levin's painting professor told her once that she needed always to point her toes when she posed naked for him. Nothing, he said, was more alluring than a lovely girl who stretched out her legs and pointed her toes--- especially alluring, he said, if she was in the midst of an orgasm. I have to agree, and I do remember that when her legs were over my shoulders she always stretched and pointed. I'm not sure that means anything now, but I did take it as both very sexy and as a gift.

Three One One: Receipts

Here in an age of social media, screenshots, and "bringing the receipts", do you think that anyone with a proper sense of self-preservation would ever write a significant other a love letter? The risks seem far too high.

Social media, screenshots, and the ease of forwarding emails and scanned documents would all seem to be things that would kill the love letter.  Yes, of course letters could always be found by those other than an intended recipient. A recipient could share the letters with others. There's a trope from how many stories and novels--- the cache of love letters found hidden many years later, the ribbon-tied letters that solve a mystery or dissolve a marriage. But social media makes "bringing the receipts" so much easier.

And who could risk that? Love letters show you at your most vulnerable. Love letters reveal what you feel, what you need and want in your life. Any love letter that's the least "erotic" or "hot" risks revealing your particular desires, fetishes, obsessions. Worse, possibly, it reveals whether you're capable of writing erotica competently...which isn't a universal skill. Inept erotica leaves you open to derision just as much as being seen to have any non-vanilla desires. 

Derision of course is the real fear here. If a relationship goes bad and you've left "receipts", you are at serious risk. Any professions of passion or love or desire that you've made can be used against you. Any failure to describe anything sexual with perfect literary and political grace can be used as a sign that you're equally incapable of in-real-life performance, And as I noted above, the slightest hint of any non-vanilla desires can be used to show that you're clearly either pathetic or creepy.

I suppose it doesn't even have to be a risk for after a relationship ends. You're always at risk during the relationship itself. Is the recipient sharing your emails and letters with her friends? Are they sitting together and drinking wine and mocking what you've written? Or, here in a pandemic year, are they forwarding emails and screenshots and scans of letters to one another for round-robin dissection and derision? You'll never know, or you'll only know too late. Leaving any trace of yourself for others to dissect is a risky thing, and all the more risky if anything emotional is involved.

Now I do have to ask myself if this particular fear isn't the male equivalent of the fear women have that ex-boyfriends are circulating the nudes that they sent during the relationship. Women don't send me nudes, so the issue isn't something I've had to face in my own life--- I've been trained all my professional life for discretion, and I'm not about to circulate  anyone's deeply personal gifts to me. Still...I do wonder if the two fears aren't equivalent.

I do take it as a given that any revelations to a lover are dangerous, and growing more so. And I take it as a given that no group of women have ever discussed the boyfriend of a group member without subjecting him to contempt and derision. Even if I'm wrong about that, the possibility is always there. And "receipts"--- meaning any letters, any emails, anything that reveals anything about your feelings and hopes ---make you an easy target.

I've always said that love letters were an art that I admired. And, yes, sending deeply passionate love letters is something I wish people still did. I wish that we could still talk about desires and experiments and adventures with lovers and potential lovers. We can't, though. To have desires, to imagine romance and passion--- those things are no longer acceptable. Those things leave you open to mockery as inept, creepy, pathetic, sad. 

There are antique skills that I miss, and I suppose that love letters have joined the list of things I won't be trying again.

  

Three One Zero: Escorts

 I've never used an escort service. Writing that down tonight, I'm not sure how to feel about it. The simplest thing to say is that I could never afford it. I'd be hard-pressed to pay for even a street girl, and using an escort service to find a sex worker would be (and has been) far beyond my means.

I remember a decade ago, when escort blogs and sex bloggers talked about the idea of sex workers who could provide a GFE, a Girlfriend Experience. I saw the film with Sasha Grey and the cable series with Riley Keough. Fell a bit in love with Riley, too, but you'd expect that, wouldn't you? Twitter still has accounts run by women who market the GFE idea--- that they're socially presentable, knowledgeable about wines and food and current events, well-bred, stylishly dressed, and serve as "companions" as much as they provide sex. I would like very much to believe in them, even if only from a distance. 

The GFE idea will always attract me. What I'd be looking for is a companion who'd have the professional skills to shape an experience for me. I like the idea of negotiating with a high-end escort over creating--- if only for a night and a morning ---a world where I'd feel at home, a world that would be like the films I create in my head.

I like the idea of having someone who'd have the skills and intuition to perform with me in films-in-the-head. I like the idea of negotiating or specifying a wardrobe for her (yes, leggy, yes, all worn next to the skin), of providing her with a basic sketch of my interests and likes and dislikes, and then putting myself into her hands for the evening. 

It's catalog shopping, yes--- select a girl from a set of photos and a biography, then brief her on my tastes. And I'd be under no illusions about actual romance or intimacy. But at least I'd feel...safe. I'd know how to be a character in the films-in-my-head. I'd know how to do my own performance. I'd be able to be what I've wanted to be.  At least for a night and a morning.

We've come to this. Hiring a GFE escort and meeting her after a briefing session is the only way I can think of to feel like I could get through an evening of flirtation, an evening that ends in a sexual encounter, without feeling like I was at clear risk of humiliation and disgrace. I have no ability left to believe in my own body or my own ability to hold a conversation, to flirt, to feel like I could be desired. I think that a high-end GFE escort might-- might ---not laugh at me. I have to believe that professionalism would hold her back from that.  That's all I can really hope for.

Needless to say, this is all speculative.  The sort of high-end escort service I'd need is beyond my reach. I've known a few girls in my life who worked as escorts for a while. We were friends, but I never trespassed into thinking they'd take me to bed. I knew their fee schedule, and I knew they were beyond me. Asking for anything--- a reduced rate, let alone a free night ---would've been disrespectful. I wasn't going to do that. 

Well, I will continue to believe that high-end escort services exist. I will continue to believe that such a thing as GFE-skilled lovely escorts exist. Those beliefs are my only way to believe that I could have sex again where I wouldn't be ashamed or afraid.