Friday, February 24, 2023

What satisfaction do gay men get out of anal sex? by Kyle Phoenix

 

I think there are multiple pleasures, that are both personal, social and biological.

Personal

Personally I’ve enjoyed the closeness with a male partner, a Bottom, whether in love/a relationship or not. There’s an inherent trust that one has to establish with a Bottom because you’re doing something both socially verboten and physically-sexually challenging to penetrate the exterior and interior sphincter muscles. I have done so with a lot of guys and I try to be present—-not wild, whoo hoo porno sex—-but hey, let’s have fun and enjoy each other sex and also we’re in this together, I like you enough to do this with you—-I’m not just fucking to get off—-I’m engaging in thoughtful, present sex for our mutual pleasure—-which is often different from other men’s constant gay experiences/same sex experiences. Many times Bottoms talk about being fucked in almost revulsion from Tops—-they talk about wanting to be kissed, touched, rimmed, body contact—-talking about body contact!——as if it’s unusual for it to occur.

In that connection, I try to be present, be with someone, even if it’s just a hook-up, a one night stand, with someone I’m attracted to, not just to get my rocks off. I teach in workshops with men to reframe some of the language they use—-instead of horny—-seeking intimacy—-more adult, more expansive, of a greater truth.

I aim for intimacy in topping a dude. In time spent, positions, closeness, checking it, treats and cool water and towels on the nightstand, teasing, joking, laughing——treating lovers—-even temporary ones, like friends (and conversely, friends like lovers.)

Some of the satisfaction I get then is in that intimate connection, to being allowed to penetrate a man, to make him vulnerable in sex, sexuality, to expose him to my own self, my own masculinity, and maleness and be a safe space—-a protector, a provider, of pleasure.

Social

Socially, it’s a great way to get to know someone. To become a part of someone else, their body and their desires, and find their inner self, to be allowed into their sexuality, their psyche. What I mean in that is that LGBTSGL folk as a construct, an identity, an acceptable sexuality, is relatively new, I’m maybe the second, third generation, of this wave of Identity Progression/advancement and thereby, now, social acceptance. Being a part of social-sexual act with someone is slightly revolutionary, in the sense that it used to be a veiled, whispered, closeted, deeply closeted thing—-now not so much. Now someone can elect to share this experience with me and me them—-and we can use locations and the internet and social centers to find one another.

To be with a like-minded person from amongst billions of people, to make such an intimate connection and be able to do so so freely here in NYC, and other states, towns, countries, I’ve had sex in, is wondrous.

You feel that when you penetrate a man, when you’re with him—-it’s like a balloon, a whooshing, that comes out of him psychically, emotionally. Those are the best Bottoms to be with, those who relax, who feel into that connection, that freedom, that revelation. And it makes, even temporary connection sex fun and enlivening and delicious. It, not always from love, is close to it as it is a love of the freedom to be, to recognize to connect in such a way.

Biological

A friend and I, Michael Foster (one of the dozen smartest or so people I’ve met in life) and I belonged to a men’s organization that I would bring my workshop participants to. He and immediately geeked out—-he was a teacher at a museum and then a full time coordinator for the men’s group—-and we would observe the hundreds of men and their issues and thoughts. But we would consider them not simply as individuals but also as men, people, humans, acting out an identity, a sexuality.

I was bringing a broad range of materials form all over the world, making a deep dive research, for myself from a decade before, and then as a teacher then, about sexuality-identity, etc.. One of the things I came upon was the work of sociologists, sex therapists, psychologists around male sexuality, with other me, and the examination of How and Why these men, did what they did. Was their biological causation. Which is where I found many people using differing language about biological or genetic impact to sexuality and sexual positionality.

I was close to establishing a language for what I was seeing in the hundreds of men, from 14 to late 70s, in my groups—-like watching birds fly, en masse, through the sky, acting certain ways as a pack, as individuals. Also as the teacher/facilitator, I was trying to provide questioning men with concrete answers to their own inner ideas and turmoil and desires.

From Dr. Pat Allen, I was able to cull accurate descriptions for Masculine and Feminine energy, regardless of physical-biological sex. We got there!

Able to discuss and discern in one another identity by energy—-internal self direction whether one was a Masculine energy man of a Feminine energy man—-using Dr. Allen’s work as a baseline. I wanted to and her years and years of research, which she specifically delineated past physical sex and sexuality I was able then to roll alongside the Imago system, designed by Drs. Harville and Helen Hendrix, psychologists. Ultimately their teaching about Imago being how we learned to love—-a psyche-mentality-love emotional map that we designed based upon our parents/caregivers.

From there I was able to incorporate Keith Swain’s work, his surveying of thousands of men who had sex with men, to the Alpha and Beta Mating System and it’s descriptors of men as primarily Alphas or Betas in physicality and mentality/emotionality make up—-further from A and B, incorporating both A primary, a secondary with B primary, b secondary, and the applicable traits by the ABMS self-exam survey (including in the book).

Armed with all of this information, teaching over years, thousands of men, Michael and I started ad hoc experiments, asking men questions.

Like when they went to nightclubs how they attracted to men? Pheromones, sweat, semen—-was it possible to give off “scents” to attract men?

Betas—-primarily Bottoms, being able to scent out unconsciously Alphas based upon their having higher levels of testosterone (conversely Betas having higher levels of estrogen) affecting their physicality, intentionality, and sexuality. Alphas being primarily Tops and Betas Bottoms or versatiles, based upon hormones and then the question of how that attraction happened.

Yes, we had guys go to clubs after gym workouts and further, what if they—-Alphas masturbated before arriving or even kept on sweat clothing or applied semen to their sweat glands areas. (It works—they reported higher attractions-connections.)

I explain all of this to you to go further into what Michael and I discussed, which I think—-my thinking ability being to bring together disparate information/data—-seeing patterns and connections in the mass of confusing data.

Michael (who died of pneumonia suddenly as we were working out correlating data, how to bring together people, etc.—-he was a double Masters in sciences)—- and I also discussed why men did things, based on hormones. Men topping and bottoming and most importantly HIV transmission as such a prominent issue in the LGBTSGL community, pointedly Black and Latino groups having such high infection rates.

We hypothesized that Betas, Bottoms, ultimately the positionality most infected by HIV/Tops were doing so out of a biological urge to essentially merge estrogen to testosterone.

That we, sexed human beings, are drawn to each other biologically, regardless of our physical biological sex by those hormones. That those hormones thereby are affected by say another switch in us, our DNA, which effects sexuality.

Think of it like a slot machine. But similar to a slot machine, with multiple slots—-Sex (Biological), Sexuality (Personal), Gender (Social) were affected by the myriadical combinations but at the same time teh combinations affect one another.

What the fuck does that mean, Kyle?

It means that estrogen signals people, regardless of physical/biological Sex to get penetrated and testosterone to penetrate. Now of course we can override this all. (Which is where we bring in “free will” and the variety and diversity of Sex, Sexuality and Gender identities throughout time and to be explored now and in the future.)

But this also suggests in Topping, that a Bottom is trying to get—-testosterone——and a Top to “impregnate” to estrogen.

Now to incorporate the personal—-it does feel—-having been with men and women—-there is a desire, a biological “feeling”——under the attraction that we mentally experience and ride along. And when you talk to other Tops, who are aware enough and capable enough to try and discern the under-feeling (Bottoms as well) there is an impulse to do something, to give something to the person—-male or female you’re penetrating.

Which brings us yes, logically to barebacking, breeding, sperm-semen into another human as a desire to fulfill—-yes, having talked to Bottoms—-to receive—-we’re trying to give and receive biological information.

Even if you can’t get the receptacle pregnant. I’ve been teaching for years that just because your fire hose is pointing to, penetrating a different receptacle than a vagina-uterus——don’t mean the impulse to impregnate is lost in the liquid-jetstream.

Which yes, folds back into that under-feeling being some of the human—-male impulse—— to receive semen and to insert it—-which yes, would lead to an unexpected fourth slot into our human slot machine—-Disease-HIV-Sexual Transmitted Infections—-opportunistically being detrimental to that under-feeling, biological impulse. Which would explain the rampant infections over the past few decades and the continuous ignoring of STIs to those willingly practicing unsafe sex, without condoms or PRep, to even the desire to become HIV+, on purpose, in “breeding” from men. Yes, breeding being an apropos, though unintentionalterminology, to that under-feelings impulses in same sex attracted males. In discussions, in sex, in my own experiences (hence, why I wrote about it and lots of other things in my own books—-check out the other books and dive deep into other books on sexuality) there is a desire, that yes, can’t be biologically fulfilled with a man I might be penetrating—-but there’s something there, an impulse, an under-feeling that in topping I’m trying to….get to.

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The Definitive Guide to Pleasuring Tops, Bottoms and Versatiles: A Guide for Bi, Gay, Omnisexual and Same Gender Loving Men (4th Edition)
2021 EDITION Information captured from hundreds of workshops with men, surveys and in person counseling sessions, this book outlines what men who have sex with men like, feel, want and the sensations and actions that lead to pleasure. Includes Bonus Book: Mastering Online Dating! This book in the...

What unpopular opinion do you have regarding the LGBT community from the perspective of a member from the LGBT community? by Kyle Phoenix

I don’t think it’s that….unique or special, in the span of humans. It’s all part of the human-samesies for me.

But I will subvert my own shrugging at it with the fact that I’ve done so much work in LGBTSGL spaces and research and workshops for 20+ years, that I’m like Jedi level about LGBTSGL, therefore it lacks a newness for me as a community, as a social group, label or identity.

Vivienne Cass designed this measurement chart which has some biases and such to it—-mainly how culture and social class effect sexuality stages/coming out—-they do—-that I’ve written about—— but as a baseline measurement—-like taking someone’s blood pressure vs a more sophisticated MRI scan—-she’s on the nose.

Her point is that we go through stages, phases with the goal to arrive at Identity Synthesis. But I’ve worked for and volunteered for LGBTSGL agencies for a decade, did workshops all the way back in university, came out in high school, have been on the news about it, been to protests, created a whole TV show discussing it, written dozens of books about it and created hundreds of videos.

I’m Out. I’m so Out, I feel sort of invisible. Not unseen but unnecessary to come out.

I’m at Identity Synthesis, Stage 6. Unless it’s work related or I’m teaching a workshop I personally have no big desire to discuss it. Myself, personally, my life, in the sense that I don’t hide anything and you can Google search me so I sort of have to remember to “come out” to people explicitly because I’m already out to millions and you sort of forget Oh, this one person may not be one of those millions. (Yes, it’s a little bit like being famous.)

Also, and I’ve gotten this reflection back from lots of friends and colleagues, I’m not demonstrably flamboyant or “gay” in mannerisms or attitude or affectations, so I’m difficult to clock to sexuality/preferences. Not for any big masculinity reason—-there are things, aesthetic tastes, odd purchases I make, that I would classify as “feminine” but I don’t think of that as pointedly gay or femme. Probably because from a physical standpoint since my late teens I’m in the body of an Alpha Black man. Yes, I know the cultural stuff (also something I’ve taught and studied for years) so it too sort of fades into my mental background about my identity—-other people’s stuff brings it up for me, around sexuality as well. But that ambiguity creates ambiguity so people are “unsure” about me and I’m not all flag waving and lisping so I’m not always directly answering an unasked question. But then should one?

I also have been a member of many LGBTSGL related groups as a member, volunteer, or employee but since my early teens, I’ve always thought of myself as omnisexual, about 20 years before the term became big—-synonymous or similar with pansexual but not the same. Gay never fit, bi either, and SGL Same Gender Loving—-I thought yes, a progression over gay, but still short of my own expansive omni.

But I’ve sat in rooms, taught folk their level of stuff/words/labels, while holding my own, private self definitions and expansive beliefs that have included attractions and relationships with some-all 21 of the defined 21 biological sexes and 60+ gender configurations and permutations.

I believe in all of the above because of biological proof of 21 sexes and also my activist beliefs in that my freedom is attached to supporting the freedom of others personal self definition. When not specifically in LGBTSGL work mode, I politely correct people, or express support, or lessen attacks in some ways about those other identity labels, because I try to be a good person.

However, my spiritual beliefs include not believing in Time, Space, the Body or Death——so once you take that position and leap—-a lot of shit goes out the window, a lot more comes in, but more importantly, you learn to accept (not tolerate) a lot of different perspectives and personal realities.

I don’t see that universally in LGBTSGL communities. Soft bigotry often comes from those most discriminated against, I’ve noted in these 20+ years, so I dip and dive, create works, teach things, but don’t reside in culturally specific neighborhoods or groups, and the same for sexuality. I consciously visit and then leave for the greater social reality of being a human being.

Here’s an example.

An adult student and I were texting back and forth one evening and he suggested we meet since we were so close on the East Side of Manhattan. I met him and he went through a litany of gay bars nearby we could go to. I pointed at a pub, a nice spot, across the street and he was like it’s not gay and I was like—-They serve humans. They serve liquor and wings!

That’s what gay people are like—-will only drink the gay water at the gay watering hole, poured by the gay bartender who made the lemonade with gay lemons.

I’m totally for personal/cultural spaces, but I’m also for acting like a person.

Another example.

I’ve only been to two Pride Parades.

One, I was working for GMHC and part of the contract was to coordinate one at a location. Luckily there was one on a Sunday, 10 blocks from where I live in Washington Heights—-upper Manhattan.

The second time I happened to have been walking along on a Sunday from the east side to the west side and the Parade was in-between on 5th Avenue. And I was like Oh, that’s right it’s parade day.

Here’s the thing: I’m not a big crowd/parade kind of person. Yes, I go to parties and such but for things like concerts, I buy great tickets so I’m not stuck in the center of the crowd. The noise, the people, the jostling—-I’m not into that voluntarily. I even organize being off-rush hour times around work so as not to travel on crowded subways—-yes, I will wait out crowded trains to get on a less crowded one.

Those aversions have nothing to do with sexuality, but more to do with my own personality usurping being in the thick of those things. I don’t mind parties and events and specific groups towards sexuality but I also mix and match other groups, straight groups, etc.. But that also means unless in the above circumstances, I’m in no rush, hurry or design to be in a parade—-especially in the heat. I detest the heat.

I think now, I’ve been so inured with sexuality ideas that it’s in my belief system or attached to it, so I can’t even fathom it as in any way abnormal. Even the wacky shit folk do or relationships they’re in or labels and activities they put themselves through.

I just don’t think anything LGBTSGL is that unusual—-compared to some of the other weird shit the heteros are doing. It mushes all together for me, all those people, and I don’t find it deeply enrapturing on personal level. It’s just normal to me. Yes, even the really out there, which is abnormal, I’m all like “meh” about.

Why do so many writers hate revising? by Kyle Phoenix

 

Thanks to the late, great Raymond Federman one of my mentors and friends, whom I worked for/with as a TA for several years, I am addicted to his mandate to do 12 Drafts of all of my works. I wish I could proudly decry him wrong in his estimation that such revision, multiple times, at least 12, would not garner a better work——but sacre bleu!——he was damnably correct.

I’m finishing revisions on one large project, Hush and Puzzle—-both Final Drafts lost in computer Hell so the Final drafts were lost and the wrong file used to create the books themselves. Only after receiving the Proof copies and reading it did we realize what had occurred and shut off the book on Amazon, search for the files, not find them and finally submit to another revisioning.

Then in Hush there are, thanks to the late great Federman inspiration several experimental points in text, layout, etc. that are not possible in the way they were before due to printer issues. So that meant what could have been a few weeks of revisions turned into months because the whole book had to be reformatted.

The problem is, though I teach it to Advanced/Certification level, MS Word has an upper echelon limit of what it is capable of for 250–700 page novels/manuscripts. I’ve slowly been peeking over to InDesign to complement my Premiere TV show editing software subscription but these pre 2021 works have to be revised in Word. That’s a basic layout pain.

But to actual narrative revision, I do find that when I get the Final Proof copy—-I like to think it’s finished. It never is. I set it aside and then in the middle of the night, when it’s sleeping, I attack it—-I attack it like a beast. I tear into the book as if I deeply dislike Kyle, as if he has wronged me, and this is my revenge. Commas, quotation marks, layout, margins are fast slashes but my deepest cuts go into sentences—-maybe and just—-words that I generally delete and delete thousands, I do not even realizing they are my form of textual mitigation.

Then from and formFrom always comes out form. It is my special personal dyslexia. And no red lines for correction appear because both are words.

Page Count

How does it effect the amount of pages? Some work, I end up as a stronger editing so I lose pages—-as many as 10–20. In other works I’m furiously scribbling in the marginalia so I can end up with 100–500 more pages which is a major revision; generally again though about 10–50 pages added/lost.

What am I revising? What changes?

In Hush I had a Latina housewife, Jackie who has subsumed herself to her “perfect” handsome husband and his family. I had a good 4–8 pages where I switch POV from him taking their son out for the day and her going back inside to her “world”—-it was a way to get inside of her for the first time, 150 pages into the novel, and she’d been seen mainly through the eyes of her husband, Victor.

I had a mini-chapter within a larger chapter about Victor, exposing Jackie and then ending with Victor and his son not going where he told her they were going, supporting her burgeoning sense of his duplicity.

Read it several times, it was fine, but it also gave sort of short shrift to her—-it’s another 150 pages before she emerges again, pivotal to understanding Victor’s secrets, by her seeking to go back to college and his violent reaction. When I considered her—-most of her narrative internal, observational, purposefully non-communicative with the other half dozen main characters——I thought about her daily life, for these past handful of married years.

I had played with her first section entering in parentheses and italics Jackie's family’s reaction to Victor and their warnings. For every odd observation/realization I added:

(They had warned her, hadn’t they?) What I wanted to do there was reveal Victor on a different level, I had considered that he was sort of invisible to his wife or that she was blinded by his looks, his attention to her. But I didn’t want his mask to be infallible. I started to see her blindness as more voluntary than his ability to hide himself. His son noticed discrepancies, why didn’t Jackie?

Within the novel itself, there are multiple kinds of women—-a young girl with a baby, who has assumed her older (dead) sister’s identity for Welfare; a middle aged caretaker who has never been in love; a former activist-revolutionary who has turned to drugs and alcohol; an old oracle woman; and finally a prostitute/sex trafficker. Lots of differing kinds of women but all present in this building. I needed then to more deeply etch Jackie.

And that’s what revising often is, noticing your theme/pattern, the road of a narrative paved through the novel itself but there are still bushes and thickets and fallen trees on the path so you walk the road of a character and clean it up, clarify intersections, paving hills and valleys better so they’re easier to traverse.

One thing I did with Jackie in her first of 3 pivotal sections (maybe a total of 25 pages of a 700 page novel) was I detailed out her routines, in almost monotonous details. She’s taking care of 6 other people in this apartment so she must have a routine, a system, be organized in some way?

I don’t always write in page/chronological order so I noticed a thread about her cooking, prepping dinner for her and her husband’s family and I pulled at it——and drew it out another thousand words or so—-the shopping, the carrying, the prepping, who liked what, who didn’t like what, who wanted what—-red grapes for the family, green for Victor——spicy food for him, less spicy for them, and on and on, in ways that keep bringing Jackie to a sort of staccato, a march, a repetitive action that fills years and years. In the Draft # 11—-I highlighted this food prep paragraphs in red—-and I liked it.

Then I looked around her life, the apartment, in my mind’s eye, and I copied the same paragraph into 5 more places in her 4–8 page 1st POV section—-and changed the first sentence—-SEX WITH VICTOR, CLEANING THE APARTMENT, HER FAMILY/HIS FAMILY, HAVING A BABY, HER SECRETS. I went through the physical Proof making a thousand more little notes and minor edits and revisions and additions then I came back to the Master File and in one sitting went at these 5 Jackie sections-paragraphs in red on these subjects—-aiming for about a thousand words each within her already complete chapter.

The challenge of doing it within set sections is that one, I have to say, plumb out something new, something interesting, germane and that progresses the chapter, the character and the overall plot. Not exactly a flashback but an inner flash or inner vision, to the text itself. Now you, the reader, and me and even Jackie, see new things, better connections.

Interestingly for awhile, a solid sitting of a good 15–20 minutes—-it’s just Jackie’s novel, about Jackie. I realized so many of the other main characters were strong, got to tell their story and she hadn’t. She hadn’t because she, as a character, and as a forced housewife, is invisible—-so she’d become sort of invisible in the text itself.

Her future rebellion against Victor is now evident in her own personal history and finally the nut of why she married him—-she was on a “roll”. She told Victor she was a virgin but she’d had two lovers beforehand—-and they’d been good men, only minor problems, so she was confident in picking men, lovers. When Victor came along, extremely handsome and interested, she never analyzed him closely====instead she was proud to parade him as the man who’d asked her (a supposed virgin) to marry—-something her mother, sisters and even brothers, hadn’t achieved.

Jackie is competitive and Victor was a prize, unattainable by her family in their relationships—-a good, smart, hardworking, well earning man—-so she couldn’t see anything wrong with him. Or that psychological traits learned in her family would press her to choose a man like Victor, far more similar in dysfunction than not. He always was her norm to unlearn but pride and arrogance got in her way, thinking as the first one in college, she was better than her mother and aunts and sisters and brothers.

I found out about Jackie's arrogance in the revisions.

Now her later shock, devastation and embarrassment makes sense. Fits her.

Handwritten

Yes, I start all of my works, about 80% as handwritten first, in notebooks on pads. It’s generally the first few drafts that I’m working with, carrying all of the time and then typing up.

In Hush what happened was after I printed out the 8 x 11 Draft # 5 or 6, I start doing my grammar, layout and narrative edits—-which I demark with post it notes to appropriate colors.

That then brings me to not just marginalia but a sense of what’s missing or too much—-I’m working toward Drafts 10 to 12 being my final submission Drafts for editing and then publishing. By the time I go through it so many times, a lot of the debris is cleared away.

Then I can have a full book Proof printed out and look at covers, try different ones out. see what works and the physical look of the book itself.

In the multiple Proof drafts what I'm looking for is how the covers “work: in colors to theme of the novel itself. The action happens in an apartment building so I tried out the first, then the old oracle is named Mother Moon and she’s pushing a lot of the characters in the book so I played with her in a motif on the cover—-then there’s a moon motif, a fire and a cleansing and I found a pic of an eclipse, then another of a moon this time playing with the coloring of the moon and making it a full span—-front and back pic.

Inside of each Proof Draft I’m doing more marginalia edits and additions, strengthening scenes, taking some out. My rule in writing is that each scene must progress the book itself, the plot, the characters—-everything is a step—-no pausing, no meandering, no silliness.

In that yes, I do work on climaxes, denouements, beats—-Hush is divided into four seasons but as both weather and allegorical to the characters. Deep Winter, Spring’s Truth, Summer’s Fire and Fall’s Promise—-but then I even go back and revise some of those descriptors to what each “becomes”—-each section, because there are chapters, to a theme, each chapter to a point in time—-then I started playing with time itself in thinking about the denouement, a crescendo, reached in Summer's Fire.

So the chapters themselves become experiments, ascending——1 to 36 Chapter Numbers, as you’re reading along——and passing through the first two seasons/sections and it’s building, conflicts occurring, needs and growth and drama…….. and then like music, like an aria——Chapter 36 holds the note—-so it’s 1 through 34, 35, 36….holddddddddddd 36 again,

Chapter 36

Chapter 36 again

and Chapter 36 again

and Chapter 36 again

and Chapter 36 again—-every character playing out in this 36th Chapter—-multiple/overlapping time signature, seemingly pivotal in the same moment, minutes, days and then like a roller coaster the work itself reaches this apex——-

and drops……..Chapter 36,

35,

34,

33,

32,

31,

30,

a descending Chapter numbering, shorter, shorter, faster, faster chapters until we crash through to Summer’s Fire at about 21, 20, 19 and then all hell breaks loose in the climax, and then the completion into Fall’s Promise—-chapters, 6, 5, 4, 3, 2, 1….

and the irony in Chapter 1, the last chapter of the book, of the inversion of the titled section “fall”.

I could not have played with the narrative structure, the layout structure—-some characters bleeding across pages—-another character actually stopping the novel, the universe itself, for a singular purpose, if I hadn’t designed through the previous chapters hints and clues and breaks—-sometimes articles and other book chapters written by Cassandra, the writer from her novels, or letters written by another characters long dead father. A writer writes within my novel and then even inserts her work into my novel and then even stops and rewrites my novel!

Revision is like going to a tailor and getting your suit fit to you, your body===but instead to the character the overall plot.

Part of where I get this from is writing——out of time—-so when the full manuscript went to the editor and one of his notes was that with a large cast I had to clearly delineate the lead protagonist, I went back and handwrote 100+ pages of Boys and Girls (playing with the Prince song and Steven, the character’s omnisexuality) and wrote 100 pages of his life and thoughts and then liberally sprinkled it into the manuscript as paragraphs, new chapters, memories and most importantly, connectors to the other characters.

In order to do that I had to have finished the novel to see where I could expand, cut, thicken, deepen. Revisions, for me, are never linear, in fact they are purposefully “out of time”/sequence.

Every novel, sure as rain, I find one section, add in one super long multi-page piece within another section, that deepens and clarifies a huge section in the novel or the theme of the novel.

Yet Another Novel-Inserted Revisions

Stay With Me

In Stay With Me—-it was when I stopped seeing the woman, Christina in the love triangle as simplistically the villain-virago, and instead wrote 4–5 chapters just about her, thought about her as akin to the poet Anne Sexton—-trying to find poetry within herself, her life.

S

In S, the novel I knew Canaan (his name was originally Kanar but I changed it in revision) was hunting the mother and her 7 daughters from his cult, through time. But in the revision, I found the “Black Church”. By found I mean, my mother having been a pastor, I was able to reach into why they followed Canaan, the power of the Black pulpit, the power and infusion and subsuming of women who have acted as the foundation and girders to the Black Church…and then to a deeper why.

I was able to find the eroticism and sex in the ecclesiastical through Canaan and his sexualized persona-preaching. And in that, the control and liberation of spiritual beliefs, the misogyny towards Black women, and their reactions and interactions to it.

I found that chapter—-where I let him preach to hundreds in like the 10th Draft and then I was able to go back and network the rest of the (short—-200 page) novel to that theme.

It’s under 200 pages because I resisted over-writing, adding in a huge backstory for each adult sister—-instead there’s some, biographical glimpses, who have more than others—-some explained in a few lines, some a chapter, very loose descriptions, I don’t even directly assign astrological signs to them as I have one sister think about their charts. They are in many ways ephemeral and static—-the point is the spiritual/time war, not even completely the participants personally. It’s much, much, much stronger in its’ brevity.

Puzzle

In the revision of Puzzle, the heavy work, I was aiming for a polyphonic narrative—-each “chapter” a designated day—-Monday, Tuesday and so on. Then in the revisions I started experimenting with Today, Tomorrow, Every Day, Any Day, as I found in counter-pointing, yes again like music—-that a Black family and a White family, experienced time differently. Definitely differently from the old Native American man who lives on the mountain, and has mystically intervened twice in their lives.

Finally in completing Hush, I looked at the production line of so many books and wanted to play with absence, using Hush, the word itself as a representation of silence—-but also playing on it being the hymnal Hush, Hush, that is integral to the plot then further to a section titled with Selah—-from the Bibble—-the intentional pause, break, taking of a breath in a recitation.

The book then is like this SelahHush in the characters lives——a year when pointed things happen to them.

Hush
Hush

From that came simplifying the cover as a counterbalance to itself and also to the other books which had faces, were busy, played with the abstract. Hush, as a form of silence, quiet to be represented in an absence of too much imagery. I threw in the cane and veve because they’re both integral and objects, symbols/symbolic.

Revising-Hatred. Yes, It Becomes Tedious in Construction/Reconstruction

So yes, I do a lot to get each project to its’ best expression-presentation and I can honestly tell you there is a point, mid-labor, like giving birth to a child, 12+ times, where I hate it, where I hate the process I’m putting it (me) through BUT…..to Federman’s credit and mentorship—-what I begin with, raw dough, and the potential of eventual spun gold, my own writing distilled to it’s strongest bits and bobs and even covers and layout, is worth it.