Equations: Thesis: #39

 

That first spring I spent in State College, Hope swept hopelessly away from my friends and I as a siren. With her pitch black hair, dark eye make-up, Cure shirts, she embodied the mystery of the Gothic, which was a countercultural subtext in the Nineties about outsider-ism, what it meant to subsist as a freak in the world. I didn’t know what she would be like up close— as of August, and the fall semester starting, the dimensional angle hit me as hard as Hope did, who was not taking no for an answer, with any of us. The attitude, once you gained access to her room, was as pure Don Juana as it could be. When she, frankly, pulled off her panties and offered me her crotch, the heat of it made me swoon, so that I could only half-function. She was too bold, too blunt. All of her was fiercely dark, and the fade into her was to cleave to the darkness. Yet, the tactile thing, about lovemaking and sex and the right kinds of delicacy and the right blend or savior faire towards mixing seductiveness, aggression, and restraint, was beyond her. Hope wanted sex to manifest as a Gothic ideal, a stand taken for burrowing into each other’s permanent, corrosive darkness. What two bodies are actually supposed to do to make sex a something pleasurable, was not a relevant reality, when all that black eyeliner spoke more. All of which meant that sex here fell down, past her sharp jaw-line, bulging eyes, and exotically wrought face, into a way of demonstrating rebellion, obstinacy against the normative, but also awkwardness between two bodies hardening and softening in and out of harmony with each other, with their own nudity, and with an attitude too militant, too fierce. I learned that, movies and other cultural talisman objects aside, real sex requires real tenderness, for men as well as women, and when tenderness goes missing, so, generally, does ecstasy.