Virginity ended when I was twenty. Before that night of carpet and green-glass light, there were other nights: nights when sex was something that existed in books, on computer screens, and threaded through internal monologues (or external, if I was on my bike and the night was dark and empty). The words in my head, and the words that I read, tended to be carnal.
Short story: I thought a lot about fucking.
Shorter story: I’m fucking human. A fucking human. A human that fucks. A human.
But there’s an interesting sexual truth to be found in thumbing through old stories, the words I wrote in 2010 and before. While the books I write tend to be snarled rhizomes and roots of palimpsests, and marrow, and fascination pounded seed-like into the ground to grow into groves of fungal trees supported by giant underground networks of mycelium, my short stories are more…momentary. More vicious. They have teeth, and they are mine.
At least, my stories of today are. In 2010, they were quiet and withdrawn. Stories about foggy people, dispersing–or wanting to disperse–like vapor. People who found all their bliss in a single bite of hyper-sexual brownie (at the time, I edged around the sex, and call it aphrodisiac). But whatever the time, however, my stories have always been flashes of me that breach my interior and break out onto the page, where some level of deciphering can be managed. Often, they are lies and diversions, tricks to make you think they aren’t their writer, but ultimately, my words are the existence I’ve made for myself from the gunk caught in my existential filters.
Which is how I know that, four years ago, I thought a lot about fucking. But it was peripheral fucking. I knew I wanted to fuck, and be fucked, but when said fucking was the centerpiece of my brain, I was on the edges. My short stories had sex on their edges, ghost-words that alluded to intercourse, but nothing more. I thought about death, and dissolution, and fictional people having sex, but I was still a virgin in my head.
These days, in my skull-space, I still don’t think much about sex and myself. My stories, however, are an intimate act, braver and wilder than before: I sort through the entrails of me and fucking, and both are split bellies. Not just genital-thrust fucking. I mean fucking in a bigger way–brutal acts of mayhem, learning to take the world, or let it take you.
So when my editor asked if I was interested in writing a short piece of erotica as a precursor to my forthcoming novel, Skyglass, the decision was quick and easy. Of course I was interested in writing something sexy. I’d wanted to explore the back story of one of my two main characters, Phoenix, anyway–a girl who’s more fire than flesh (literally), whose back story is probably better described as an, uh…erotic history.
Even outside the velvety depths and shallows of erotica, it just makes sense to layer the fat of a story on a backbone of sex (if you’re going for something more straightforward, at any rate). Look at traditional narrative structure–stories are sex: foreplay, climax, afterglow. Plot triangle. But when I set out to write this story, I didn’t want the sex to be a ghost, a vital, but invisibile map to follow. I wanted the story’s climax to be a climax. An orgasm. I wanted sex to be empowering, the catalyst.
I wrote “Cinderseed”. A story of birth, the story of a creature of heat stolen from her sun-home, forced to navigate the cold and nasty human world. She has to find a new fire, hers, her own, taking it and making it as she goes–in part through the thrust and grab and friction of sex.
Read a sample here. Or acquire the whole thing here, out now from Cherry Bomb (Sparkler Monthly‘s adult imprint).
I had no second thoughts when I wrote it. Stories are sex, and erotica is story, after all. But I’ll admit, when I first started talking to people about the piece, I stressed the story, the story! (Because, as much as “Cinderseed” is about sex, it’s also mostly story and–oh, who am I kidding, they’re the same almost always THE SAME) Because maybe I was embarrassed? Or felt the need to make it important, give it gravity? Because for some reason, my brain has been trained (or I’ve trained it so) to think that sex for sex in literature isn’t important. Or gravid. Now? I probably still put the same emphasis on narrative, but in my head, I know it’s all padding, justification, mostly unnecessary, because really–who the hel doesn’t want to read about fucking?