NSUGBY75EP7X
The spot is very cleverly done, but there are all kinds of messages here, both implicit and explicit, both conforming to gender stereotypes and not, and I am wondering what other people see and how they feel about it.
NSUGBY75EP7X
The spot is very cleverly done, but there are all kinds of messages here, both implicit and explicit, both conforming to gender stereotypes and not, and I am wondering what other people see and how they feel about it.
One of eight major works that can reliably be ascribed to Attar, Ilahi-Nama (Book of God or, sometimes, Divine Book) has, according to Encyclopedia Iranica, been translated once into English, by John A. Boyle in 1976, and once into French, by F. Rouhani in 1961. Four of Attar’s eight works—Ilahi-Nama is part of this subset — are mystical narratives, each one dealing with a different aspect of Sufi thought and experience. Ilahi-Nama’s subject is zuhd, or asceticism, which Sufis understand to mean a disciplined stance of detachment and indifference towards one’s desires so that one will not be ruled by them. This focus on the interior world of human emotion differentiates Ilahi-Nama from the other of Attar’s poems with which it is often compared, Manteq al-tayr (Conference of the Birds), his best known work in English. The two poems are similar in form (they are each frame stories) and message (the key to enlightenment exists within each human being, not in the external world), but the framing narrative of Manteq al-tayr, an allegory about a group of birds in search of a king, is essentially a critique of people’s need to find a master who will lead them on the path to true understanding. Ilahi-Nama, on the other hand, is about learning to master oneself.
The framing narrative of Ilahi-Nama is about a caliph who asks his six sons what they desire most. The first son says he wants the daughter of the king of the peris (faeries); the second wants to learn the art of magic; the third son desires Jamshid’s cup because it will reveal to him the secrets of the world; the fourth seeks the water of life; the fifth son covets the ring Solomon used to control demons; and the sixth son wants to master alchemy. As each son gives his answer, the father tells stories to illustrate, first, how shallow and materialistic the son is for wanting what he wants and, second, how the son should understand his desire so he can use it on the path to enlightenment. None of the sons, however, accept their father’s lessons at face value, arguing that he has misunderstood their desires and that the lessons he wants them to learn, therefore, are misguided. When the father tells his first son what has come to be known as “The Tale of Marjuma,” for example — about a beautiful and righteous woman who, after her husband leaves on pilgrimage to Mecca, must fend off a series of men who are so overcome with lust when they glimpse her beauty that they will stop at nothing to have her — the son accuses his father of wanting to eliminate sex. “God forbid[!]” the father replies, explaining that “The Tale of Marjuma” illustrates how sex, properly comprehended and entered into, is a first step on the path to enlightenment:
But when your desire achieves apotheosis,
sex gives birth to a love without limits;
and when this love is pushed by passion to the edge
of its strength, spiritual love emerges; and when
spiritual love can grow no further, your soul
will vanish into the Beloved’s endlessness. (My translation)
Given that the surface of the narrative in “The Tale of Marjuma” feels more like a Perils-of-Pauline-type story in which the depraved and debauched men get their comeuppance than one about the spiritual nature of sexuality, the son’s misreading of the tale is an easy one to fall into. Such a reading, however, fails to account for, among other things, the fact that not all the men who try to possess the woman give in to their desires without a struggle. They are, in other words, neither evil nor merely slaves to their desires; they are human and flawed and, more to the point, they are, in the end, able and willing to repent. Indeed, they must repent, for God has punished them with a paralysis from which — in an irony that is at the core of the story’s meaning — they can be healed only by confessing to the woman everything they did to her. Continue reading
They say it’s a shame we didn’t do it
when we should have, that probably you’ll need it
later in life, when it’s more complicated,
more painful and, worse, you’ll remember it.
They say women won’t want you, that you’ll not
forgive us, ever, especially me, and that
the Jews who’ve died for what it means to be cut
will have died in vain because we left you complete.
And I know I can’t not burden you with that.
You have to, have to, resonate with what
your body would have meant to all that hate,
and you will — but sitting here alone tonight,
my amputated life aching anew,
I’m grateful for all that’s merely whole in you.
This past Saturday, my colleague and friend Marcia McNair interviewed me about my book of poems, The Silence Of Men, on her BlogTalk Radio show, The Power of Poetry. I hope you’ll give a listen.
Marcia is a perceptive reader and wonderful interviewer and her questions led me to see things in my poetry that I hadn’t seen before. My favorite part of the conversation was about the poem called “Working The Dotted Line,” which tells the story of the first time an old girlfriend and I had sex, and she was a virgin. What I liked best about Marcia’s reading of this piece was her noticing my mother’s presence in the poem and how that started me talking about something I often encounter but have never given much serious thought. Most of the men I know, even as adults, are deeply uncomfortable with their mother’s sexuality, and I don’t understand it. Or, to be more accurate, while I understand intellectually, I don’t get it emotionally. As well, they often it profoundly disturbing that I am not made uncomfortable not just by the idea of my mother as a sexual being, but by the fact that, when I was growing up, I knew – that she made no effort to hide the fact (though she certainly did not rub it in my face either) – that she had sexual relationships with at least some of the men she dated. I even knew that my mother would occasionally go to bars, or dancing, where men would try to pick her up, or where she might try to pick someone up herself, and it didn’t bother me. Indeed, it seemed to me perfectly natural. Why wouldn’t my mother, who was in her 30s at the time, go out and have a good time, and do things that other single 30-year-old women did when they socialized? My mother has been a single woman since I was around 12 years old, and I have always known that she had a sex life. More to the point, I have never expected her not to have one or to keep it hidden from me. I met all, or at least most (as far as I know), of the men she dated when I was growing up, and it never seemed strange to me or wrong or awkward that she should have men in her life or that I should know she was having sex with them. (Though it was often, I think, awkward for them.) I don’t really have much else to say about this for now, but it is something I want to write about, something I had never really thought to write about until Marcia brought it up. Here is the poem:
I don’t remember what vacation
I was home for, or how Beth
managed to be in New York
on the one day we’d have
the apartment to ourselves,
but I think I recall
my mother’s hanging crystals
scattering the afternoon sunlight
in small rainbows that shimmied
on the walls and on our skin,
and I can still see Beth stretching
nervous along the length
of the daybed’s mattress,
and my fingers tracing
the ridges of her ribs
as she tugged at my erection.
I’m ready. Let’s do it!
It was her first time, not mine,
but it was my first condom,
and I’d forgotten to read the directions,
so I stood there growing soft,
squinting at the print on the box
telling me the step-by-step
I needed to learn
was on the inside.
I ripped the cardboard open
and sat reading on the bed’s edge,
thumbing the foil-packed
lubricated circle,
trying to visualize
what I had to do.
Beth reached into my lap
to ready me again,
but when I tore along the dotted line,
our protection, like a goldfish
taken by hand from its bowl,
slipped from my grasp
and landed under the desk
my mother sat at
when she paid the bills.
When I picked it up,
it was covered with the dust
and small particles of dirt
that settle daily into all our lives,
so I didn’t put the next one on
till I was kneeling hard
between Beth’s open legs.
She raised herself on her elbows,
smiling that the second skin
we needed to keep us safe
should make me so clumsy,
but once I let go
of what the instructions called
the reservoir tip — I thought
of the dams holding water back
in the mountains near where she lived
and what would happen if they broke—
her smile disappeared
and bunching the sheet beneath her
into her fists, she lifted
her butt onto the pillow
we’d heard would make things easier.
I bent for a quick look
at where I had to go
and climbed up onto her,
trying with one hand
to be graceful and accurate
and with the other
to balance over her
without falling.
At her first grimace
I pulled back. No!
She shook her head, eyes
clamped shut and then
staring wide, her voice
a whisper through clenched teeth,
Just do it! Get it over with!
So I entered her again, trying
from the tightness in her face
to gauge how hard not to push,
but when she cried out anyway,
I left her body one more time
and crouched over her,
my latex-covered penis
nosing downward
towards her navel,
and I placed my palms
against her cheeks,
I cannot hurt you like this!
Look, it’s going to hurt, she said.
There’s no other way.
And I’ve chosen you!
And since I wanted so much to be her choice,
I kissed her eyelids and her mouth,
and with my eyes buried
in the hollow of her neck
moved slowly in
till I felt her flesh
stop giving way. Then,
with one arm around her rib cage
and the other around her head,
holding her tight against my chest,
I pulled down and thrust up
in a single motion I breathed through
like I was lifting heavy boxes.
She screamed into the muscle
just above my collar bone,
bit deep into my flesh,
and, as she bled onto me,
I bled.
We said nothing afterwards.
We didn’t cuddle
or smile at each other as we dressed
or walk hand in hand
to the train that took her home;
and I did not ask her
what her silence meant,
nor she mine, but if she had,
I would’ve told her this:
My wordlessness was shame.
I’d no idea how not to hurt her;
and I would’ve told her
I wanted it to do over,
which is what I’d tell her even now.
A friend of mine who does not like jazz – especially anything that has a saxophone in it – told me once about a conversation she and her ex-husband, a serious jazz-lover, had over dinner with a couple, the male half of which also loved jazz, while the female half felt similarly to my friend. This second woman defined her dislike by saying something along the lines of, “I don’t need to sit and listen to a bunch of men masturbating,” a reference both to the emphasis in jazz on the improvised solo and to the fact that most jazz musicians – or maybe most well-known jazz musicians – seem to be men. My friend said she felt an immediate click of rightness when her dinner guest made this statement, which led to a long discussion about the comparison between music and sex, between improvisation and solo sex – though, of course, jazz improvisation is not usually done in solitude. I have written elsewhere about the connection I made early on in my own sexual awakening between the orchestrating of sexual pleasure during lovemaking and music, but what my friend’s story made me think about was how, say, a certain kind of jazz solo, where the musician explores subtle nuances of melody and harmony, or the various ways in which you can slice up a beat to create different rhythmic textures, corresponds to the kind of masturbation in which you use the pleasure you are giving yourself to explore yourself, either through the fantasies that arise while you masturbate or through the different kinds of awareness your solo lovemaking gives you of your own body; and then I thought about how rock solos or blues solos or the large solo concerts that Keith Jarrett once gave all have an analog in masturbation, from the kind that is just a release of sexual tension to the kind that is an affirmation in deep sadness and/or joy – and/or the entire range of emotions it is possible to feel during sex, which means pretty much all the emotions of which human beings are capable – of the fact that you are alive, which for me is what defines the sound of the blues, to the kind that is large and complexly motivated and that you may never fully understand.
Masturbation is, as all sex is, a working through of who we are and how we feel about ourselves, of what we wish for, of what we wish to avoid, of the history of our bodies, of everything that makes us human in the capacity of our bodies to experience that humanity; and there is a way in which sex is the creation of a symbol of that humanity: in the pleasures we move through on our way to orgasm, not because orgasm is the only and necessary goal of sex – though in masturbation orgasm usually is the point – but because each orgasm, whether we are conscious of it or not, is something to which we have to give meaning, and meaning requires history, not only the specific history of the sensations that brought you to this particular orgasm, but the larger personal and cultural history that each of those sensations taps into. I know I’ve had orgasms that changed me. Some were solitary and some were shared, but all of them captured a truth about myself that I needed to face if I was going to grow, sexually and otherwise.
This symbolic aspect of sex – which may or may not be an accurate way of talking about these things, but which makes sense to me – reminds me as well of something I read a long time ago in Suzanne Langer’s book, Feeling and Form about how music is the symbolic representation of the process of human emotion and that it is this symbol which the composer creates on the page and that the performer plays into existence when he or she performs; and so it occurs to me that sex, solo or otherwise, is the playing into existence of that part of ourselves that is waiting to become, and sometimes we will understand what we are becoming in and through sex, and sometimes sex is what opens us up to the fact that this understanding is what we need to find.
So I am wondering: What have people out there understood? What have they found? Which are the orgasms that have changed you?
Cross posted on Alas.