Dee’s Back Story

When I look back on the jobs I’ve done, performance sex was the hardest. I don’t mean how I was judged, and even judged myself, because none of that means anything, or even the unpleasantness at times. Some people really do stink. It was more about making it real. It was rare when I could lose that control, not just have that half open mouth, and give what I knew was expected.

It was when I broke from that, that I got frantic, balancing at the tip, and felt like I might slide sideways, barely hanging on. I would push hard and then stop, do that again and again, all taut and stupid, clinging to this good side of the moment, and keep it like that.

And then I would right into like a mania, straight ahead, nothing else but plowing straight for that full-on orgasm, so much that it was almost I’m made me get mad and crazy, like I was a kid and wanted what I wanted, and would not let go, and skip ahead, my feet barely touching the ground, until I was in it and nothing else. It was really hard work, but there were those moments.

Impossible Character: Dee Sinclair

Sex sells. And Dee Sinclair is all about sex. Not just a sex worker, she is a sex performer, taking high-paying jobs to perform for exclusively perverted clients in remote locations such as French Polynesia, Greece and Qatar.

She is an orphan girl, her only sister dead, an alcoholic, drowned. But she won’t talk about that. She won’t talk about anything except her exotic cat, a serval, named Apollo.

Photo credit: Michael Nichols (National Geographic)

She doesn’t actually talk about Apollo either. She doesn’t talk about anything to anyone. She feels herself as distinctly separate, an adjunct, an afterthought, a second thing. She feels like she doesn’t belonged anywhere, except sitting alone on the fire escape. She knows that no one who really cares, that no one who would miss her. She just wants to be left alone.

Dee makes her first appearance in My Bad Side and then in Anori, the first book of The Cx Trilogy. She spends much of her time in the ice-choked emptiness of Greenland, a place she treasures because of its mind-numbing isolation.

And then she is suddenly being chased: Dee watched her hands flash up in front of her face, first one and then the other, fists clenched, just her pinkie out on her left hand. She had heard the helicopter come over the glacier, the rotors reverberating off the ice, sharp and then suddenly faded. She heard nothing now. She was mute. Not her footsteps on the hard ground, not her gasping for breath, not the truck door swinging wildly open, not the engine starting, nothing. Dust swirled up ahead, other trucks going to the launch tower. She couldn’t get the truck to go fast enough. The tunnel took forever. She heard something on the other side, helicopters again, as she headed to the tower. But she couldn’t see. There was only the dust and then Valerie on the edge of the first platform.

As the protagonist, Dee operates as the reader’s stubborn vehicle entering the impossible parameters of science fiction – the space ships, three dimensional internet, artificial skin, and most of all, the idea of leaving Earth for another planet. She doesn’t buy any of it. And neither does the reader. Until it is there and there is no denying it. As much as she (we) can’t accept it, it is there.

Dee works especially well for this book because of her personality. As hard as she tries to separate herself from everyone in the world, she becomes more drawn into a mission that aims to do just that – leave the planet altogether. The irony is that, in her efforts to be apart, she of course becomes deeply committed to the others on the journey into the emptiness.

Thematically, the book is a challenge, as it focuses on abandoning, and ultimately rejecting, our society for something else, and the impossibility of doing that. After all, wherever we go, we are still what we are. And so as impossible as Dee might be to access, it is because of that that she works as an excellent conduit for the book.

Ice Friday: Henry Miller on Writing Sex

Sometimes in the recording of a bald sexual incident great significance adheres. Sometimes the sexual becomes a writing, pulsating facade such as we see in Indian temples. Sometimes it’s a fresco hidden in a sacred cave where one may sit and contemplate on things of the spirit. Ice Friday: Henry Miller on Writing SexThere is nothing I can possibly prohibit myself from doing in this realm of sex. It is a world unto itself and a morsel of it may be just as destructive or beneficent as a ton of it. The gods came down from above to fornicate with human kind and with animals and trees, with the earth itself. Why are we so particular? Why can we not love – and do all the other things which give us pleasure too? Ice Friday: Henry Miller on Writing SexWe fear to lose ourselves. And yet, until we lose ourselves there can be no hope of finding ourselves.

Writing Sex in ‘my bad side’

One of the greatest challenges in writing is getting the sex right, which was an especially difficult matter in my bad side, because it’s a key aspect of the novel.

“But now let us go to bed.” He pulled off my blouse and kissed down my back and stayed at my hips and held himself just away, me standing, legs spread, naked and had me play with his penis. I opened my mouth, my jaw down, pliant, and ran my nails across his stomach and neck, watching the pink trail up his cheek until he had my thumb and forefinger in his mouth, sucking like a baby, getting frantic. Screenshot (981)He pressed against me hard, knocking us onto the bed, desperate, burrowing into my breasts, his tongue sloppily out, like a honey bear, unable to slow his thrusting, faster, kissing and licking my ear and then quiet, trying to pull back, to look at me and then just grabbing as hard as he could. He had his hand on my face and neck, almost choking me, and then pushed all the way in. I grabbed the edge of the bed, pulling the sheet up in clumps. I kept him in that ecstasy, on the brink, tight, and he was trying to lift us all the way to the ceiling and then crazed, holding my leg up like a post.

He snorted coke and wanted me to pose again and held himself exact above me. “Who has been taking my bed from the place in which I left it? He must have found it a hard task, no matter how skilled a workman he was, unless some god came and helped him to shift it.” His penis bounced wildly, and went into me, doing knee bends, carrying us into the bathroom. My shoulder and head were pressed flat on the ceramic tiles, white against my face, a coiling of green vines and branches against my breasts. Screenshot (980)I was victorious over the Cicons. I vanquished the Cyclops, Telepylos and Circe. I have been to Hades. I have heard the Sirens.” He grabbed my waist, the cool of his ring against my bellybutton, and pinched my nipple, whimpered and was done. He filled the Jacuzzi with salts and massaged my back and shoulders and went down into my legs.“I have seen terrible Charybdis and Scylla. I was promised immortality by Calypso. I have come back to you.”