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INDEFINITE OBJECTS

At one point—after we had stopped seeing each other, while we were still being amiable, and before things had gotten heated—we had a conversation. We divided up territory. He said, “Take whatever you want,” he acquiesced. “But you can’t take The 19. It’s the only place I feel comfortable, and I know so many people there.”

I replied, “No. The 19 is Switzerland.” 

He reluctantly agreed to The 19 as the Safe Space, as Sanctuary. At the time, I thought that was a success.

I often still go there, late at night with friends, a nightcap or a pre-party. It’s a place I feel comfortable. I know so many people there. And I’ve never seen him. I’m unsure as to whether I should consider this an indicator of my success or my failure.

Posted: 10 months ago
L.

During “lunch,” I fooled around a bit with a guy who was staying at a hotel near my office.
After work, we met for a drink. I learned that he was an aspiring playwright in an open relationship (presumably because of all the travel he did for his non-playwrighting job), and we had a conversation about when he thought his boyfriend would propose to him. (Around New Year’s, he predicts.) “If you’re into that sort of thing,” I said.
The life I have been leading lately has been surreal.

Posted: 11 months ago
"You haven’t updated that in a while."

Some brief words, some vague traces.

I have run into the same father and child multiple times this weekend. The daughter is probably three or four. The first time I saw them was at a thrift shop, the two of them sitting at a bench near the entrance. They were playing “I Spy.” There was, honestly, not very much to see where they sat, but in the handful of seconds that it took me to get from the store’s doors to a range out of hearing, they had already found three objects to be named: something pink, something big, something flat. There was, apparently, very much to see where they sat.

The father is probably in his early to mid-thirties, which is probably why I noticed them in the first place and probably why I remember them each time we have crossed paths. I’ve realized only recently that I only pay attention to fathers who are within the age range of the men with whom I sleep.

Only recently, I had some of the best sex I’ve had in while. We started around 1am and ended at 5am and fell asleep for a bit, a tight spooning, intricately woven, absorbed, fingers laced, my head resting impossibly comfortably in the V between his forearm and bicep. I awoke at 6am and kissed him and he awoke suddenly, a fairy tale. We started up again for a bit or so, this time silently. Later that afternoon, I went to an art historian’s lecture. She spoke about mothers and children, about things that last and those that leave us, about moments and memories that mark yet fade, about images and bruises, images that bruise us, images of bruises, images as bruises. He left for his flight out of the city mid-lecture. I know because he sent a text, naughtily, as he was ascending, and I felt him vibrate on my thigh.

The second time I saw them, I sat on my porch, typing at my laptop. The girl walked, and the father pushed an empty stroller behind her. She pointed at me, and her father asked, “What do you see?” and I made an effort not to look up, made an effort to be engrossed, absorbed, an object for her to identify, an object for which she needed to find the words, an object to name. “A man and a computer,” she replied.

I went to brunch with a friend, and we sat at opposite sides the table, though our waitress (a woman whom we, two gay men who spend hours cultivating our equally fretted over exteriors in order to look merely mediocre, both admired for her impossibly effortless beauty) believed were dating for a bit before we corrected her. We spent the hour talking about men and looking at those around us: someone older with tattoos, someone hegemonically beautiful, someone in an auburn shirt with an amazing ass, someone who had bruised us. It was wonderful and pleasant and unargumentative, and he said, “This brunch and this restaurant and this conversation are wonderful and I don’t want you to take it the wrong way but I wish I were here with someone who I would later sleep with.” And I understood him. And we took long, thoughtful, final sips of our drinks, finding our words, and set our glasses down on the table in unison.

An aside: an early entry in the Oxford English Dictionary for the verb “fret” reads: “To devour, consume, destroy.” This definition of fretting referred often to animals, another entry clarifies.

An aside: the tables we sat at were made of copper, a material that, apparently when it comes in contact with moisture, becomes marked. Previous glasses have left their traces, light and faint rings on the tables’ surfaces; circular, mouth-like outlines. They are not bruises: the marks are lighter than the original (“pure”) copper surface and are permanent. As well, these watermarks trace only the edges of the cup’s bottom—they are like bite marks, the imprints of teeth.

The man spent much of the night grabbing my ass, cupping it, kissing it, hitting it (naughtily, like a father). When I showered later that day, looking in the mirror, at my image, I found slightly pink traces of his large hands lingering on my bottom, slowly fading.

The art historian (a name: Carol Mavor) pointed our attention to the early lines of Chris Marker’s La Jetee. The film’s opening sentences, as they are recited to us in English, speak. “This is the story of a man marked by an image from his childhood.” The art historian makes little of the later, more famous, line, “Moments to remember are just like other moments: they are only made memorable by the scars they leave.” It is not the scars Mother Mavor takes interest in, nor is it, in the end, the process of making memorable those moments. Rather, it is a different kind of mark, more deeply hidden yet more lasting, upon which she lingers: those bruising obsessions that leave us and come back ephemerally, unexpectedly, the images that return to us. The power of the bruise, another art historian (my art historical mentor-mother, her name: Jane Blocker) added, is that the mark remains beneath the surface (of memory, of the skin) despite its physical impermanence; it is, in fact, this impermanence, its out-of-sight-ness, that makes us notice, point to, remember the bruise more than the scar.

At one point, as he fucked me, he held my erect leg by the ankle and began to kiss it and then moved to press his lips against my foot. He slid his tongue from my heel down the tendon, descending until he was mid-calf, and then he kissed there, all while his waist kept perfect rhythm. And then I felt him simultaneously bite and suck it (the calf as breast?), his spit mixing with my sweat and his sweat as it slid down the back of my leg, collecting on the surface of the sheets. As I winced, I cupped the back of his head and pressed his mouth into me.

Back at home, in the mirror, my eyes followed down from the pink mark on my ass to the maroon-blue spot left on my calf.

While Mavor and Blocker theorize the bruise, I think about the hickey also as a form of image making, as a trace of passion. Unlike Mavor, I fret over the making memorable of the moment that produces it. It is a kiss, but a kiss that lingers, a kiss that sucks, a kiss that marks, a not-kiss. It is partially like the mark of lipstick left on a neck, partially like the mark of a spank left on a cheek. It is not surface—it is the mark of a portion of me entering another temporarily, my body almost consumed, taken in, my body inside yet almost (soon) back outside. It betrays, traces, outlines, fills in a desire to devour, to consume, to destroy. The hickey: halfway between kissing and consumption—the body, the skin, the flesh, the calf enters the other’s mouth but then is let go, is released, returns to me. My body fills in the indentation of teeth, but my blood beneath the surface remains pooled, inside yet almost (also) (wanting to be) outside, leaving its maroon-blue mark. The hickey: halfway between kiss and bruise—it appears at those sensitive, erotic areas which receive more passion than punches, but it resembles the mark of a fist more than it does the fleetingness of grazing lips. The hickey acts as both badge and embarrassment, a mark over which we fret in our attempts to conceal it, as it reveals, betrays, points to previous and private passions. This fretting anticipates (and the hickey precedes) another similar reddening, another pooling of blood, another later warmth: that of the flush of my cheeks once the hickey been noticed, once it becomes an object to be named, that blush that is more fleeting than the mark that caused it. An ephemeral version of Marker’s scarring moments, the hickey is the mark of passion made memorable.

The third time I saw them was at the grocery store. She grabbed an apple and began to eat it, her small bite marking the flesh of the fruit. He smiled but calmly instructed her not to eat the food while they were in the store, and then he glanced up and saw me and winked. I turned a corner, uncomfortable with these breaches of decorum, with the gray of his eyes.

In the days that followed, I found my finger grazing the back of my calf, remembering naughtily. But now, today, my leg is no longer tender, and with the flight of that tenderness has gone the trace on its surface. My skin had once been half-consumed and half-devoured; had been simultaneously kissed and punched and bitten; had once, momentarily, been almost-him. But, just as his mouth released me, returning me back to myself, my skin has also released  that night’s passions, has forgotten its devouring and consuming pleasures.

As I left that morning and stood at the door, inside yet almost (soon) outside his hotel room, he asked me what I went by, and I realized that, for him, I still remained an object to be named.

Posted: 11 months ago

lies we told ourselves when no one was looking

Posted: 1 year ago
For James Blake:

Love what happened here.
Love, what happened here?

Posted: 1 year ago

"No," he clarified. "It’s difficult to be his friend. It’s exhausting to be yours.”

Posted: 1 year ago

"You realize," he begins, "you have a fetish for failure." I tell him I hadn’t noticed. He continues, "You don’t just wait for the shit to hit the fan. You can’t wait to dance under its spray." I watch him smile and lean back in his chair. I close my eyes.

Posted: 1 year ago
Movies that haven’t been made yet.
Posted: 1 year ago
I’m so happy that I met you and came to find, this evening, you gave me good advice (and more) and then…oh!
— Arthur Russell, “Tone Bone Kone”

It is really such a horrifying thing being 11pm drunk when it is 5pm. 

Posted: 1 year ago
I think I’ve spent most of my life waiting for men to call me back.

Sometimes I realize it’s silly to think I’m madly in love with one man while texting another one I’m madly in love with all while corresponding with a guy who seems pretty sweet.

Posted: 1 year ago

nevver:

Little Mermaid

Posted: 1 year ago
Solitude leads to loneliness easily.
— Jesus Estrada-Perez, 2013
Posted: 1 year ago
theparisreview:

One last stop, he says. And they drive to Westside Lanes. I grew up bowling. I don’t want to bowl. It was raining. We’re not going to bowl, the circus carpet dark with gum beneath them, and he parts the curtains on the best photo booth in town. He feeds it the three dollars, Get in. They somehow share the short ridged stool. In here we have to tell each other one true thing. You first. Click. This is the best way I could think to have my arm around you. Click. Click. Click.
—Brian Blanchfield, “Smalltown Lift”

theparisreview:

One last stop, he says. And they drive to Westside Lanes. 
I grew up bowling. I don’t want to bowl. It was raining. 
We’re not going to bowl, the circus carpet dark with gum 
beneath them, and he parts the curtains on the best 
photo booth in town. He feeds it the three dollars, Get 
in. They somehow share the short ridged stool. In here 
we have to tell each other one true thing. You first. Click. 
This is the best way I could think to have my arm around you. 
Click. Click. Click.

Brian Blanchfield, “Smalltown Lift”

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