A Quote by Mason Cooley
Sex and writing live on playful cruelties.
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I'd really like to see smart sex writing, writing that can take sex apart and try to put it back together, that doesn't just put a box around "sex writing" and give it glaring neon lights but assumes that sex is part of everything else in our lives.
A pacifism which can see the cruelties only of occasional military warfare and is blind to the continuous cruelties of our social system is worthless.
The greatest cruelties of our century have been the impersonal cruelties of remote decision, of system and routine, especially when they could be justified as regrettable operational necessity.
It is generally my thesis then to insist on the importance of imagination in sex, to insist that the practice of sex, as performed among human beings, be accorded the same deliberate and playful application of fancy, imagination and intelligence as any other significant human activity.
Charlotte Bronte was writing about sex. I supposed Jane Austen was, too. Where do you get a hero like Darcy unless you are writing about sex?
Poetry is very playful with language. I think all poetry, at its heart, is playful. It's doing unusual and playful things with the language, stirring it up. And prose is not doing that. Primarily it's not attempting to do that.
Our characters act silly, even totally ridiculous at times, and most of our jokes don't come out of pop cultural references. It seems like we're aiming at a child audience, but everyone can laugh at the basic human traits that are funny. It's playful, the humor is playful, the world is playful. You can kind of let go.
If you had a daily printout from the brain of an average twenty-four-year-old male, it would probably go like this: sex, need coffee, sex, traffic, sex, sex, what an asshole, sex, ham sandwich, sex, sex, etc
Playful arising is authorized by both risk and trust in the process and in oneself. To be truly playful and improvisational one must not look for results.
In your thirties, you're much more comfortable with sex. First of all, sex is something you've done more. You know you can have sex just to have sex; you can have sex with friends; you can have sex with people you love; you can have sex with people you don't like, but the sex is good. And you can joke about sex much more.
When I first started writing, there was no way I'd write a sex scene. That just seemed impossible. That's why in "Fight Club" all the sex happens off-screen. It's all just a noise on the other side of the wall or the ceiling. I just couldn't bring to write in a scene like that. So one of the challenges with "Choke" was I wanted to write sex scenes until I was really comfortable just writing them in a very mechanical way.
I think Deborah Harry has a really sexy, cool and quite playful sex-kitten kind of style I really like.
There are moments when you have to write certain things and you don't have to think of your sex. If you are writing about the population of the thirteenth district in Paris, even if you are writing on the women in the thirteenth district, there's no need to consider your sex.
When you make sex to a person, woman or man, you think it unites you. For a moment it gives you the illusion of unity, and then a vast division suddenly comes in. That's why after every sex act, a frustration, a depression sets in. One feels that one is so far away from the beloved. Sex divides, and when love goes deeper and deeper and unites more and more, there is no need for sex. Your inner energies can meet without sex, and you live in such a unity.
As a songwriter, the minute you start having sex, you can totally see the difference in the writing. You become an adult - that's kind of the whole backbone of it, really, your identity as a person and what sex means to you.
Writers have problems writing sex scenes, because writing one really well is pornography.
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