Showing posts with label sex. Show all posts
Showing posts with label sex. Show all posts

Thursday, January 8, 2015

Episode 88 | Belittled lives




My father and mother would often disagree. Since the very beginning in Punaouilo (actually, all had begun on the Île du Blanchomme, I now had to adapt my memories), I feared their explosions -- Catherine's rage and Carlo's indignation. It escalated from quarreling to bickering to serious arguing until they were fighting -- though never physically. In France, it had not been different, and their disputes even worsened. 

And when my father and I had returned from the Apennines, they started having fights every day, often many times a day. Now I was getting to understand the reasons.


Carlo and Catherine rarely agreed on anything concerning our daily life. While Carlo loved cooking and eating pasta, she hated it -- only many years later would Catherine learn to enjoy it, when it was Edoardo cooking. Maybe she had eaten it solely to please him, whom she loved.

But my parents had especially disagreed on my education, disputing about my happiness. Carlo would even link the two words, and spoke of an "education for happiness". Catherine retorted that it was "new age bullshit", and stood up for the traditional education.






"Our son is not happy here, Catherine." That's how many of their quarrels often started -- when I was the main subject. Their errands and rather different daily routines would keep them apart for hours or even days, when Catherine started her studies and later teaching in Belgium, so that their room -- the bed, more specifically -- was the only place my parents knew they would meet.

"Oh, not that speech again, Carlo!" Catherine snorted, showing her impatience. She kept her head buried in her books, ignoring Carlo's presence unless he provoked her. "He just needs time to adapt. He'll learn to like it here in France. Anyways, Laurent is a child, and he has to be where we are. He has no choice. It is as simple as that."

"You really don't care about his happiness, do you?"






"Don't be unfair, Carlo!" Catherine replied, shutting her book, ready for battle. "Of course I do. And that's why I know he has to stay in France. He'll get the best education, here. A proper education. In Punaouilo he was just learning how to be a third class citizen."

"It's not just about education!" My father would insist. Not so much defending his points of view, he was standing for what he thought was good for me. "It's about his happiness! Laurent is increasingly sad here..."

"So what? Do we send him back to that island? To Aunt Joanna?" She laughed disdainfully. "Plus, Laurent has always been sad. Such a melancholic boy, isn't he? I hope he'll make friends with other boys his age here in France, and become less dependent from our company... It's not good for a child to be constantly with adults only."






"I could go back to Punao--"

Catherine did not let him finish the sentence, nor pronounce the awful name. 

"Then you'll go back all on your own, Carlo! My son is staying here with me!"

My heart fluttered as my parents played tug of war with my destiny. Our rooms were on the second floor of the house, opening onto a veranda so large that held several pots of flowers and a bench for three, offering lovely views of mountains in the distance, groves interposed to cultivated fields all around, and the rural road that ended at our front garden. There was even a table with three chairs, that we had never sat at as a family. The doors to our rooms opening onto the veranda were hardly shut in the summer evenings, and to my desperation I could hear my parents arguing next doors. Depending on the breeze, or lack of, I could understand their words quite distinctly -- until one of them, usually Carlo, closed their door, or I put on my walkman.






"Catherine, don't you ever miss Punao--?"

"Not ever. Not the least." She made a very peculiar gesture with her hands, sharply slicing the air, that indicated the discussion was over for her. Punaouilo and her involuntary exile had become an episode in her life she would avoid mentioning in her biographies.

Because, to the heavenly aroma of tropical flowers, that attracted myriads of insects and birds, Catherine preferred the latest in French perfumery, that she would get overseas as gifts from Celeste -- and one day she had asked Uncle Will to simply cut down all the bushes around the small cottage of my childhood. People around the world dreamed of the ring of indivisible beaches stretching all around the island, green palm trees, fine white sand and the translucent blue of the Pacific Ocean -- that Catherine avoided, since she hated walking barefoot and having her hair undone and made greasy from the salty breeze and the daily showers. How she must have missed the beauty saloons!  In Punaouilo, she had dreamed of strolling the Parisian boulevards on her high heels, going back to the Sorbonne and the Cinematéque, returning to her beloved 6e arrondessiment.     







They did not agree even on the house in which we lived. Carlo wanted to build a pool for me, but Catherine did not want to invest in a home that she considered "too middle class". 

"It's a lovely home, Catherine. Don't you think so? I thought you had chosen it yourself."

"Oh yes, of course I chose it... among the options that Celeste gave me, all of them, far away from Paris!" My mother had enjoyed living again in Paris, even if it had been just as my grandmother's guest, in the room she had occupied since childhood, but to which she had "lost the right", Celeste had stated. My mother regarded our rural house as another exile, an exile within France itself. "This house is so ordinary. But at least we don't have a middle class neighborhood around here. I could not stand being invited to those middle class dinners and weekend lunches that are the routine of the ordinary middle class neighborhood. So at last yes, being secluded, this was the least worse house from the options that I had..."







I began to truly worry about my parents relationship when, after their quarrels, they started sleeping apart. One early morning, before dawn, thinking I had heard a noise outside the house during the night, I went to check. I thought it could be my dad -- he always liked to work late into the night. But his studio was empty.







I found him in the small room attached to the studio, that we used as a guest room. In fact, I was the most common guest there -- whenever we had illustrious guests, usually famous writers or movie directors or actors Catherine would invite, they slept in my room, which was much larger and more comfortable, and I occupied the small bedroom next to the studio. 

For me, it was like sleeping out, since it was in a separate building from the main house -- it used to be a deposit, that Carlo had adapted to be his studio. 

 I was too young to properly benefit from the presence of Mr. Chabrol and other illustrious guests from Catherine, with their highly cultivated conversations that often left Carlo out, but I was always thankful that they would send me away from my own room.







On those last weeks before leaving home forever, Carlo would occupy that room every night. Still, I figured it was a passing period. Or at least I hoped -- but the prospect of becoming another child with divorced parents, like so many in my class, seemed to draw dangerously close on me.







Generally, after quarreling, Carlo and Catherine would reconcile in bed. The physical attraction they felt for each other was true and strong still. And as I would later learn -- an adult and sexually very active myself, in the period after Edoardo's death, when Catherine and I were sharing about our lovers --, not only had Carlo had an attractive body, fit and manly and hairy like my mother preferred, and been well endowed; he had also been well trained by Catherine for her own needs, growing from a clumsy virgin to an expert in giving her pleasure. He performed in bed aiming only to please her ever demanding ways, and quench her sexual thirst -- often holding back his orgasms obediently, until Catherine was satisfied or grew tired and allowed him to finish, too. Other times, the game was Catherine trying to make Carlo quickly ejaculate, while he resisted. In a time when several artists and other famous personalities advocated tantric sex, I was convinced my parents were adepts. Our house was never as peaceful as during their sexual marathons, and it must have been satisfying for both. Carlo just couldn't offer Catherine the spiced variety she seemed to enjoy while having several lovers, of several ages and nationalities, and he had silently learned to cope with that -- mainly, it seemed, to maintain our household going.







Instead of feeling ashamed or some sort of awkward curiosity about the sounds of my parent's love making, I felt relief whenever it followed their quarrels. I'd rather wake up to their muffled moans and the bedhead banging against the wall that divided our rooms, than with their screams and shouts. 

But a time came when not even sex would reconcile them. Thinking in retrospect, during my father's last months in our home, Catherine must be making it out with the young officer from the Tax Authorities, and that's how Carlo had lost his main access to my mother. And she might be leaving him out of her bed and their room because of the gipsy girl, Jaella, and that other supposed son of my father's.





*****






"No, you don't have any half brother, Laurent! Even you shall doubt me, son?" Carlo had replied, clearly hurt. Apparently, he hadn't realized I was joking, and that, after discovering my mother had a half brother, I wouldn't be shocked discovering I had one myself. But Carlo was too earnest, "faithful like a dog", Angelo would have commented, to cope with a joke about his fidelity. "I've said it already... I never had any other woman in my life who was not Catherine. As it was proved, later, all tests taken, that the child was not mine. It could never have been..."






Catherine, however, could not, and did not want to believe otherwise. From her own perspective and experience, a second family was something perfectly possible -- and thus weary and traumatized, she did not want to see it repeated in her story.





"Go live with that gypsy girl, Carlo! Go live with your other son! I can perfectly take care of mine on my own! I don't need no man paying me wage." 

It was no use swearing to Catherine that I had never touched that girl -- nor any other woman. Catherine thought I was avenging myself, because of her own infidelity that had started in Punaouilo still.





"By no means, Laurent, would your mother see that she had herself planted those lies in Jaella's mind. It resulted in a story that resembled the plots of her own books, more than real life. It became as if she was reading something, without recognizing she had written it herself. And that's why our fights were more usual than before, with an alarming and increasing seriousness."





"And Catherine asked me several times that I leave the house. But I could not leave home... I could not contemplate living without you, my son. After all, what would I do all day without having you to give a ride, to feed you, to go shopping with you and for you..."






Since moving to France, Carlo had taken upon himself all the household chores, that in Punaouilo had been Joanna's. It was he who bought the groceries and even cooked -- not because he was a natural cooker, but Catherine wouldn't even break an egg. It was he who went to the bank and to the post office, it was he who picked me up in the club, after the training, when due to one reason or another I could not go home by bus or bike.







"And, of course, Catherine did not want to give up the right of having your custody, not even sharing it. For I sometimes pictured you and me living together in Italy... I engaged in these reveries of a better, calmer life as a means to escape that hellish daily routine that my life with your mother had turned into."





"You have belittled our lives, Carlo!" Catherine would scream, accusingly. Sometimes, she clapped her hands at the end of her sentences, like Tibetan monks do. But while they want to emphasize their statements, she wished to underline her rage, when it was at its fullest already. "For you yourself are a small man! Do you realize that? Your interests and your tastes are so limited! Your opinions are even narrower, and so unassertive! That you care more about the weather than for politics, that you pay attention to the moon but has never read Schopenhauer... It tells so much about the size of your mind. Your presence in our lives is limiting, Carlo! Everything around you becomes weak, blurred, humble, ignoble. Even me, Carlo. I feel underprivileged by your side. Look at our meek lives! This unpretentious, middle class house that you seem to enjoy so much! Look how you've debased our lives! Look what you did to me! Take a good look at what you are doing to Laurent, belittling his life with your low-born idea of contentment!"





"That's funny, Catherine!" Carlo wouldn't lose his temper often, but when he did, "What I usually hear from you is Oh, you're so bigGod, you're so big..." 
Carlo mocked Catherine's moaning voice in bed.

"Oh, you're too rude!" Catherine replied, disdaining his mockery, walking towards the bathroom, where she would stay until she heard Carlo leave the room, his heavy footsteps clearly echoing along the corridor, past my own door and down the stairs. "But you're right. Your dick is the only big thing that you have!"







"Please!" Carlo was running out of argumentation, and he had started pleading. "You can not make me leave my son, Catherine!" But once she had locked herself in the bathroom, Carlo was uncertain she had even heard his plea. When he was sad -- and he was devastated at the idea of losing me -- he could not scream, and his voice waned.





Saturday, January 3, 2015

Episode 85 | Survival strategy



nudity and sex




"Painful, Carlo?" I had expected adjectives like 'shocking', 'bold', which in fact would be used in newspapers and magazines articles, along with 'coarse' and 'scandalous'. I was hoping to become famous with 'Portraying Dorian G', and I did not worry about becoming infamous -- though I would hate the nickname 'The Dark Room' that was to give me so much exposure. 


But instead of my offensively explicit nudity, and the impressive set of enrapturing beautiful men I had collected along my sex life, had Carlo seen my exposed, fragile soul? 

"So you are to be the contemporary incarnation of Dorian Gray?" Carlo was referring to Oscar Wilde's famous character, implied in the title of the show.






I had rehearsed a challenging and nonchalant speech about the ugliness of the soul of our present days. How shallow and uncultivated it was, hiding behind the cult to the body and the apology of a very artificial beauty that slipped back into ugliness, unable to masquerade our souls, after all. Oscar Wilde had published his book in 1890, but Dorian Gray was one of the most iconic characters to that early XXI century, with its superficial aesthetics, the immensely alienating consumerism, a myriad of empty and equivocated values  -- I had an arsenal of topics to address critics and journalists, to at least intellectually justify my presence in such an important museum. Dan Charmand had prepared me to turn my exhibition into a public statement.

But with Carlo I decided to be personal -- and it was the only time I did it, regarding that exhibition. Not even with Dan.  Clearly, I felt that one painter had already spoken to the other painter about technical matters -- now it was the father talking to his son.






"To be honest with you, Carlo... I am the portrait of Dorian Gray. The painting itself. The picture that in the book suffers decadence, instead of the portrayed. I am the image that becomes monstrous, while the man remains beautiful. I'm the torn soul of the beautiful Dorian... and Gray, in this case, would be Angelo Vivace, my ex-boyfriend." I felt like pacing the room, but my father stood quietly at my side, and I just shifted my weight back and forth, feeling the unrest of my extemporaneous sincerity. "For, while he cheated me, lying with dozens of guys in Vice City," I closed my eyes briefly to that stinging memory, and gulped, "I was alone in our bed, tossing and turning and shedding tears, and crying his name... He would come back to our room radiant from anonymous sex, as I was in tears, having worried about him. While he felt horny, I just felt hurt... He smiled and exulted, while I just tormented myself... He enjoyed it all, while I was just suffering." So many years gone by, and my anger was still there, mingled with a lot of self-pity, too.





In fact, a decade or so having gone by, I had remained being the portrait of Dorian Gray, I thought. Even after my relationship with Angelo had ended. Dan Charmand had pointed that out, once. 

"Why are you trying to look ugly and older, Laurent?" Like Angelo, Dan preferred that I used contact lenses instead of glasses, though he would never go with his own spectacles. "You cannot actually believe that your love life ends with Angelo. And I don't even want to know about these one-night stands you're addicted to, though they become very powerful portraits. What is good for your art might not be good for your soul, have you reflected on thatYour poser image of cruel lover and serial seducer is very amusing, but a hardened heart definitely does not suit you well." Dan had scolded me.






Thus it was that Angelo was present in all my paintings -- although, in fact, there was no image of him on display at 'The Dark Room'. 

He was in every man with whom I went to bed and then dumped -- a continuation of the contempt with which he had treated me.






 I had been remotely inspired by the Hindi tale about Sita and her two beheaded lovers, as retold by Thomas Mann, when purposefully I had kept my face out of that exhibition -- the only faces on display were of my ex-lovers, while the only body to be seen, in all its crude nakedeness, was mine. But with great insight and sensitivity, Carlo had interpreted the show as a portrait of my soul. A wounded, lacerated soul. 

"Did I hurt you that much, Laurent?" He seemed moved, and worried. He saw me puzzled at his question, and added that he had been wondering if he was the cause of the suffering he was seeing depicted in my paintings. "This is clearly destructive, Laurent. You are trying to take revenge on these guys, trying to make them suffer by turning them into mere minced meat... Am I wrong? I mean, have you been hurting them because in fact you'd rather hurt me? Hurt people hurt other people. Does that sound too psychological?"

I almost whined, and glanced at the other side of the room to avoid crying. When my eyes were met by Andrei's, an Slavic beauty and a fierce lover, I regained self-control. "Yeah, you hurt me, Carlo." My father's words had given me goosebumps. He had been twenty years absent, and still, he could read me like an open book? "But all this has nothing to do with you..." Why did I have to lie, at that moment? Everything I had gone through during those years had to do with my father's absence, in a way or another, be it good or bad. "I mean, of course I ended up becoming a painter by your influence, but... the suffering that you seem to identify here has nothing to do with you." Andrei's stare captured in my painting contained all the selfish vanity that made him so superficial, and doubting he would ever have any deep psychological issues, I wished to be just like him at least once. "No." 






We continued walking through the exhibition in thoughtful silence. Until, as we stood before the marmoreal elegance of slender and tall, nerdish Finnish Timo, Carlo exclaimed, "Your depiction of flesh is extraordinary, Laurent! Not the torn flesh of Francis Bacon, nor Lucien Freud's decay, no. Instead, you portray an enrapturing beauty, but so that it looks... harmful, perhaps? Instead of being in a museum, I have the impression of being in a butcher's shop, and all these guys look like ground beef... This amount and variety of gorgeous and anonymous men, whose only point in common is having had sex with you..." Tilting his head, Carlo again looked carefully around the room, taking in the portraits of my numerous ex-lovers. "Your sexual consumerism, Laurent, is a shocking statement. Serial seducer, you said? Perhaps this is as dangerous as being a serial killer, although it sounds like just a funny pun." He shook his head. His voice was neutral still, if fatherly, but it seemed like he was getting judgmental. "All these guys you have consumed and discarded... And that in the title of the paintings it doesn't appear their names, just a number!" Carlo snorted. I had titled the paintings simply as Portrait # 1Picture # 2, up to a number well above four hundred, though there were only 45 on display. "Is it then right, Laurent, that with this exhibition you are seeking vengeance against your ex-boyfriend? Or actually, finally making it public to him?"





I gasped loud. It was an idea I had not yet had. Maybe in the back of my mind, but I had never admitted it to myself to be my main motivation. Would Dan have helped me to put up an exhibition that was an act of vengeance -- against one of his ex-lovers, too? Of course, I was pretty sure that Angelo, as a journalist, would learn about my exhibition at such a prestigious museum, whose director he had known very intimately. And I would very much appreciate should he visit it. Just to realize how many men I had put between me and him -- the distance being measured in beds, but not just. 

But then, he would understand that he had forever conquered and defeated me. I had been faithful to Angelo for eight years. Since then, I had had only one night stands and explosive love affairs that never lasted more than a couple of weeks. My exhibition, as pointed out by Carlo, was the confirmation that my ex-boyfriend had hurt me indelibly, beyond the possibility of any cure, relegating me to the curb of promiscuity, while he had married the perfect woman, socialite supreme Laura von Tschimmel. 






I startled at Carlo's voice, who wanted to continue sharing his insights with me.

"There is one boy that is repeatedly portrayed, though." Carlo observed, with much wit. "This one young man here... Portrait # 172...And that over there is also another painting on him, isn't it? And I believe in the other room there is another..." It was impressive that Carlo had noticed that it was the same man, because two of the portraits were quite dirty and disfigured. "Is he Angelo?" 

Actually, Carlo had been anticipating a picture of my ex-boyfriend, and seeking for it because, as he later clarified, "this guy who made ​​you suffer so much, my son, is who I wanted to see the most."






"No, Carlo. There is no portrait of Angelo here." Exactly just like how in an exhibition there might be no portrait of the photographer, but he is behind all the photos, always present behind the lens, thus Angelo was in all the men I had portrayed -- I had just realized that. What a peremptory defeat for me, and a definitive victory for my ex-boyfriend, if I were to accept Carlo's interpretation of my work, derived from my promiscuity. "This is Marton... He was..." Also Portrait #193#224 and a couple more, "a little more special... and lasted a bit longer... than the others."







"But he also was committed to another relationship, as I discovered later." Perhaps only for Marton, had I fallen in love during the last decade. But he hadn't been available for a relationship, although he was always available for sex. "We got together quite a few times in Samsara Heights, when he had business there. But it did not work right for us." Nor wrong, actually, I thought, as he had done with me just as I did with all the other guys, using me and dumping me.






It would have too much of an infraction for Ted to have turned the air conditioning on, too, and both Carlo and I were sweating. I suddenly realized a stream of perspiration going down my back and into my trousers when I saw Carlo drying the back of his neck with a handkerchief. The bottom of his hair was wet too, but despite the discomfort, he didn't seem willing to drop our conversation nor leave my show.

"There are so many beautiful men in this exhibition!" Carlo complimented. More the guys than me, however, for he did not seem impressed nor proud of my sexual achievements. Instead, he seemed deeply worried and faintly stunned. "They all are, actually. But their stares... Many of them stare back at us with defiance, others in disbelief. That one over there, for instance," He pointed Rhys, a professional model who had, however, not charged me for his painting, leaving it even after a good and long, hard session on the carpet of my atelier, "appears to be disdainful, but there are also those who stare with... love... even as if worshiping... Were they posing for you, Laurent?"







It strikes me as almost surreal to be chatting about my love life -- actually, my sex life -- with my father. I had always talked about my affairs with Catherine, for she seemed to take pride in my conquests. "It looks like you have beaten me, mon cher." She had joyfully declared one day over the phone, as if she had been counting the men I had gone to bed with, comparing to her own figures. It had been the survival strategy we had shared, after her partner Edoardo had died and Angelo had dumped me. Death to her, and an end that seemed like death to me, though we were living oceans apart, had united us in our respective celebrations of the continuation of life, that consisted mainly on relishing a wide variety of men.

But confiding in Carlo had a quite different feeling to it -- more existential, as if for the first time I was weighing and measuring the extent of my wrongdoings. On those matters, Carlo was the flawless one, while Catherine and I had been accomplices in our careless freedom. My mother might have demanded that I dress and speak and write and behave to her standards of perfection, but when it came to sex, Catherine's norm was still that of l'amour libre.

I hesitated. How earnest could I be with Carlo? "Some of them... yes." It were so many years, countless memories of the different circumstances on how I had met those men and taken them to bed and then to the easel. Yet, I remembered each one of those guys I had portrayed. "I painted some from photographs. Piers, for example," He was Portrait # 265, "posed for me. We were at a nudist beach in Greece, where we crossed paths. I made several drawings of him in one of the sketchbooks that I always carried with me, and later used them as a reference to paint his portrait, back in Samsara Heights. That blond one is Lars." Or Portrait #311. "I met him in a vegetarian restaurant in Stockholm. I took pictures of him after we had sex. Lars was nervous, tense, restless, and I tried to depict him just so..."






"Then Piers must have been the opposite?" My father had observed. "Tranquil, maybe shy?" His effort to name my lovers and go beyond the number was not just to humanize them -- it sounded a bit moralistic, too. In his mind, names seemed to soften the more voluptuous, sensual aspects of the portraits. What if he started naming them at the vernissage? I doubted Carlo would be very talkative then, among a crowd. He was better in connecting to one person at a time, like with Gabriel at the Nirvana Lounge. A few of my ex-lovers and models still lived in Vice City, and I was hoping some of them might show up -- in those years, how much would they have changed? How many Dorian Grays would we have? Anyway, I calculated Carlo wouldn't play the host and greet them by their names, so I had nothing to worry about. 

Since my childhood, Carlo was aiming at reading the painter behind my painting. Or maybe, was it my heart that he could still read so easily? Where had my father been, all those years? I wouldn't have run into so much trouble, I thought, if he had been there, with his sensitivity and clarity of mind illuminating my path, clarifying my own emotions, leading me out of confusion and delusion. Pacifying me by just being there, simply being there for me.






"That's right, Carlo. Piers was quiet... and sweet, too." I still recalled that, when Pier smiled, his gaze saddened. And not just when we had said goodbye at the port, before boarding different ferry boats. Piers was one of those guys who refused to have sex, and I had enacted beautiful and tender sessions of love making with him, but all along his gaze had been full of melancholy, even when his mouth twisted and moaned, in anticipation to the end of our vacations, when we would forever part.






"You never fell in love again, Laurent?" Carlo asked each question carefully. As if sentence by sentence trying to rebuild his fatherly figure and reconnect. 

"No, Carlo. Never." I uttered, with a vehemence that left me wondering. 

"But this won't have prevented some of these guys from falling in love with you..."






"Maybe, Carlo. But I never enticed them with the promise that I would love them back." I again recalled Piers; how even in the raunchiest moments of sex he was trying to stare right into my eyes, as if losing eye contact must have turned love making into plain sex. "And like I said, many of them were committed. For this reason, I won't ever be able to state that they are all my ex-lovers, in these portraits. But neither shall I deny it..." I laughed. "It's in my commercial contract with my marchand! Part of our marketing strategy, you see?" Carlo twisted his mouth, clearly disapproving that association of Art and selling techniques. "And of course, many of the guys I had sex with did not want to be portrayed. So this here..." I made a gesture encompassing the whole exhibition, "is just a part of my life." 

No, it was not seeing an exhibition, no matter how explicitly autobiographical, that my father would scoop my whole life into his hands again.