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.
Brexit happened". A text from Ulijona via iMessage. "I hope you changed your pounds to dollars early". I didn't. I’d hoped I wouldn’t have to. I’d hoped it was a bad dream. “omg”, is all I can reply.
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.
I cast around for literature, words to find myself – ourselves – in. I need to get my head around the weirdness of sharing my body with another and my changing sense of self. Pregnancy books discuss the physical changes, but fall silent on the mental and emotional experience of becoming an ‘us’, no longer a ‘me’.
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!
When she saw him, her heart did all the things a heart must do: it swelled, it leapt, it skipped a beat. She crossed without looking left or right and stopped directly under the ladder – because, of course, it had already happened to them both. The terrible luck.