This article appears in the March '17 issue of Esquire. Sex in fiction, like sex on a beach, ought to be a no-brainer. On the one hand, there's, well, sex, a source of mystifying pleasure and profundity that for most people rarely elicits any articulation other than a contented grunt, groan, or gasp. On the other hand, there's the novel, an artistic enterprise devoted to making verbal sense of mute experience. In theory, the setup seems the perfect illustration of the Reese's principle: two great tastes that taste great together. But theory is not practice, and life, friends, is not a peanut-butter cup.
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I 've finally finished unpacking. Propping a photograph on the window ledge by my bed, I glance round at my new flat. The plant that Nicki bought me as a moving in present sits next to an empty bottle of Cava and two ancient champagne flutes, remnants of our celebrations last night. A bed, two stacks of books and a bulging clothes rail make this half of the flat look overcrowded already. This is my new studio flat containing everything that I own in the world. To a stranger, it might look pathetic, but to me it's perfect. After a relationship that should have ended a lot sooner, I finally broke up with my boyfriend of three years three months ago.
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Who was the most erotic poet of the late Renaissance and early Baroque, when the quatrain reached its courtly zenith? It was about his art-making, but the communal life was based on erotic liberation. Meanwhile, Carmela has an erotic religion-tinged flirtation with Father Phil back at the house. Wetlands, based on the bestselling German erotic novel of the same name, is the year's dirtiest—and weirdest—movie. The Velvet Tongue is an erotic literary soiree held by poet Ernesto Sarezale.