True Secrets of Lesbian Desire: Keeping Sex Alive in Long-Term Relationships

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Waters’ novel itself made it to the bestseller list and was shortlisted for both The Man Booker and The Orange Prize – two of the most prestigious literary prizes in Britain , followed by a BBC television serial in 2005. Portrait of a Lady on Fire won Best Screenplay at Cannes and it was the first movie directed by a woman to be awarded a Queer Palm. The series presented a fantasy that lesbians enjoyed because these lives were so different to the troubled stereotypical lesbian caricatures wheeled out on programmes such as the Jerry Springer show. Weil : It was a time of profound awakening on so many levels–and above all it was our bodies waking up, our bodies wanting pleasure and wholeness. The L Word was the first mainstream series to place lesbians centre stage – it was the first to feature a lesbian couple who conceive a child through insemination and it was the first to attempt a broadly sympathetic portrayal of transgender experience in a sustained way.

I have already argued that I perceive lesbian Desire as an inter/active mode which mediates two synonymous but operatively distinct, performative terms of relation, the lesbian Subject and the lesbian Other/Self. This was a show, in the paraphrased words of the cast, about community, acceptance, women, the power of friendship and a chosen family. The remedy may be part hot chili pepper lubes, but it is more likely talk and time and attention to detail.You can have a drawer full of the hottest dildos on the planet, but the place where your orgasm starts—even if it’s not the only place it finishes—is right there. But honestly, it’s something all of us need to connect to now, because it’s not just women’s lives or lesbian lives—it’s all life on earth that’s being held hostage. But have you heard about how to avoid it—how to keep the bedroom hot and sexy, no matter how long you and your partner have been together? The regressive mindsets that dubbed LGBTQ+ as unconventional and dismissed lesbian love as ‘just a phase,’ has now been displaced by an all-inclusive, open to all social group where everyone is considered normal and equal. In its susceptibility to analysis, to deconstruction, no text may be trusted as a repository of stable truth (see note 3).

How can any presumably precise word or fixed sign (re)present this active Desire, which by my own definition denotes that which eludes concreteness or permanence? I think it’s because lesbians understand what Jules and Nic are seeking: mindless sexual excitement with a partner who is a virtual stranger. For librarians and administrators, your personal account also provides access to institutional account management. Their sex life is nonexistent and in part we begin to understand why; it’s because where intimacy once was now lies resentment—like a third person in the bed between them.

When author and editor Lise Weil wrote about lesbian desire for the first time, it was in response to Sex and Other Sacred Games, a novel by Kim Chernin and Renate Stendhal. If, as Patricia White has convincingly claimed, the representation of female homosexuality in Hollywood film is more often veiled by ‘the public sexualization of the female body’, then in the case of The Wild Party it is the excessively feminine and kinetic bodies of the flapper that screen – that is, both project and hide from view – lesbian desire as a new form of cinematic knowledge and pleasure. There’s also an underlying reference to impotence by Count Fujiwara where he quips about the penis still being intact before death outlining the gender politics of the film.