A Sterephonic Symphony of Sex
Posted October 19, 2013on:
On those days when you have your most rapturous sexual experiences, you can’t help feeling deep in your heart that there is nothing trivial or superficial about sex. If you are going to talk about it, you are going to be as articulate as you can. If you are going to write about it, you want to find the very best words. And if you are going to read stories about it, you want them to be chosen by Kojo Black at Sweetmeats Press.
The very best writing flows like music. Sex is a lot like music too. It has sounds and rhythms. It is amplified and enriched by the synchronous movements of your body. So it makes perfect sense to have a sexual anthology themed to music, and to the idea that your body is an instrument that can be strummed.
Since it is an anthology compiled by Kojo Black, you would expect “Strummed” to include some of the very best writing, conveying, through its sounds and rhythms, the pleasure and profundity of sex. And you would be right.
Here is an example of some beautiful musical writing by the very refined and very sensual Harper Eliot, from her story “And the Midnight Trio.”
As he reached the angular shape of her hip, he kissed her shoulder, pausing there to let her feel the rough stubble on his chin.
It was moments like these, always moments like these, that allowed Violet to escape the mundanity of day to day life. She wasn’t sure when exactly she had agreed to sit and live with boredom, but she went to sleep each night with the wish that she was living a more extraordinary life. Meanwhile she made no attempt to create any constant excitement, living instead off feelings such as these, the stubble of his chin grazing her milky flesh.
The other stories have moments like these too. The writing is not grandiose or pompous but it touches you. It sinks into your subconscious and resonates there.
In “On the Highway 17” by B.Z.R. Vukovina we meet a folk singer called Cob who knows in his soul that he is going to be famous. Cob’s journey has a mythic quality that is expressed not just through the juxtaposition of black bears, totems and the rugged beauty of the Canadian landscape, but also in rhythms like these:
Cob heard the water before he saw it: a faint buzzing that intensified like a swarm of insects, steady without the monotony of mechanisms, always on the verge of crashing, of waves, like the string of a guitar plucked hard, once-and-forever.
The trees ended.
He emerged from amongst them and approached Winnie, who was already standing on the slick, rocky edge of the white rushing water of the (“They call it the Dead Horse.”) river.
The other stories in the collection are more prosaic but the impression they make is no less emphatic. We meet several highly creative cellists in “Well Played” by Stella Harris. There’s a rampant rock chick in “Raw” by Amélie Hope. And in “The Vicar’s Organ” by Percy Quirk we meet the plain spoken Mrs. Evans and the even more plain spoken Mr. Creasey.
“You’re a horny little slut, Mrs. Evans,” he said to me, smirking. My nipples were dark and erect. I could already imagine his hands on my breasts, roughly kneading them, hurting and exciting me. “Get on with it,” he said, gesturing impatiently with his hand.
I unfastened my skirt, again folded it, and laid it next to the blouse on the sofa. I was down to my stockings and knickers.
“Leave them,” he told me. “I will only use your mouth today.”
One of the advantages of reading an anthology is that you get variety. Variety of phrase, of image, of voice. Variety of situation and, let’s be blunt, variety of sexual position. There are different insights and different obsessions. But one of the particular advantages of a Sweetmeats anthology is that the stories are relatively long. They have time to evolve.
I have only given you a hint and a taste of them here. A few chords and motifs. To get the full effect you really need to dive in deeper. So get the full works and immerse yourself in this stereophonic symphony of sex.