If you fake it, then because you think you owe your partner this trophy as a reflection of their expertise?
Why? Why not: no work, no pay?
Who owns your orgasm? One of my favourite lines in Verses Nature is when Carmina, after a disagreement with her lover, Tatar, writes in her diary: I refused to let him make me come. Think about that for a while: I refused to let him make me come.
Carmina owns her body, its pleasure, no matter if Tatar is convinced otherwize. Her orgasm: a gift she may choose not to give?
So, when and why did I fake it? Not for them. I did it for us. I did it for Simone. Simone Leigh and I met each other online. She writes coffee break erotica for women. We’re kind of in the same line of business. I write ‘high-brow rumpy dumpy’. Officially, I call it erotic literary fiction. Men are welcome. At some point I mentioned to Simone that I am a performance artist. At a later point I had a copy of her The Virgin’s Christmas in my hands. Two plus two makes…
Sure. Why not?
One of the problems I have with most of what goes by the name of romance is the role women play. When I think that most porn is made my men for men and most romance is written for women by women, then why do romance authors perpetuate the happy end myth of woman becomes wife? Is that all there is to it? To us? Find a man then settle down? I thought Austen was dead (in that respect).
Leigh’s The Virgin’s Christmas, upon first reading, appears to fall into the category of romance (and erotica), where the female is but a life-size toy men may operate, battery-free.
Take a second look. I did. As I rehearsed this piece, it became clear to me that the protagonist, Charlotte, is everything but a mere pawn. When the Christmas gift of a threesome with her ‘Master’ and Michael is jeopardized by a snowstorm, it is Charlotte who takes the initiative. Okay, they are stranded in the middle of nowhere, far from their desired destination, but must that mean all is lost? They have food, they have blankets. They have everything they need. And Charlotte can think of a good way to stay warm and kill time…
With two men serving her from both sides, Charlotte gets the pleasure she had set out for. Her orgasm is but a couple of words in the text, words which could (easily?) be lost in the overall narrative. Charlotte is, after all, outnumbered.
This is where I step in. I transform Charlotte’s climax into the climax of the story, thereby relegating the men’s orgasms to mere narrative side effects. I read the word Master, seeing in my mind ‘Master’, the citation marks meaning ‘so-called’ and thus dethroning him who, throughout the story, remains nameless (thus exchangeable?). The thrust behind the M as I pronounce it – Master… Michael… – could easily override the softer pronunciation of Ch in Charlotte – Ch/sh, like: be quiet… shut up… it’s a secret, so don’t tell anyone… (???)
My Charlotte stays in control. Her climax, not theirs, steals the show, as ‘Master’ becomes servant, one with no other option than to accept Charlotte’s decision regarding when they will meet again.
The Virgin’s Christmas is part of a series and in this particular episode (episode 7), there are no wedding bells, near or far. Maybe the three will meet again in the New Year? Charlotte will decide. In the meantime, she gets on with her life. With her studies. She’s a bright one, Charlotte. Neither her ‘Master’ nor the love-stricken Michael are calling the shots. I loved being her. Even though Simone Leigh doesn’t accord Charlotte’s orgasm the same weight that I, as a performer, may, it’s there in the text. I didn’t write it. It’s there, waiting for me. Is my more feminist-oriented reading of The Virgin’s Christmas to be reduced to simply faking it?
Make your own mind up.