As 1951 surrenders to the first breath of 1952, Albert Burton sits hunched at his kitchen table, spelling truths for his wife with a near-invisible hand. How he is able to grip the pen, to touch it to the paper, he does not understand ... Because Albert has been dead for exactly seven days.
At the edge of a ploughed field sits a burned-out Smart car. Its squat dimensions make it appear as if compacted in a Thames Estuary wrecker’s yard, prior to being set alight. The carcinogenic hulk against a pastoral backdrop is a particularly Essexian sight, as is the detritus scattered around it: a chalky, transparent baggie and a discarded Durex packet — Es and sex.
We’re in a labyrinth of ladders, arcing and curling around one another, following others’ routes, occasionally being given a hand over treacherous rungs. Some ladders lead to dead ends, others to platforms from where we can shout down encouragement, or ignore all beneath.
In the video for her song Criminal, I watch Fiona Apple’s body and wait for it to tell me how I should feel about her, or towards her, and in this video, the messages are mixed. Her body says that something is wrong, but what she sings is more complicated and as the way she is filmed renders her as a thing, I come back to thinking that her body, in its communicating that something is wrong, is where the attraction lies.
Why did I want a child? I just did. My cells did. Like the writer Maggie Nelson says, “the muteness of the desire stood in inverse proportion to its size”. For all my concern about bringing another carbon footprint into the world, I couldn’t hush the yearning. It was my sehnsucht, as the Germans would say, my life-longing.
In this age of paradox around disability, how do disabled people juggle their internal desires for love, affection and yes, even sex, with external perceptions of desirability that actively ignore their existence and have remained unchanged for decades?
November 29th Pulse: frenetic Hair: resolutely static Unclear how body is capable of sustaining both states. Suspect insidious damage. Nevertheless, symptoms frustratingly slight and socially invisible. A has a story that she tells about heartbreak. It’s not a story, actually.
The Oilfield Allegorist: Dorothy Ellis — Drill Daddy Drill (1952) Thirty-six years before Dallas brought us the oil-centric Ewing family, there was Drill Daddy Drill, an ode to oil extraction that’s really an ode to sex, and is also not to be confused with the (Republican, therefore deeply unsexy) slogan Drill Baby Drill!