[syndicated profile] tacit_feed

Back in 2019, Eunice and I spent some time in New Orleans, a place I’d never visited before. We did all the normal New Orleans touristy things: explored an abandoned and partly-flooded power plant, did some urban spelunking in the ruins of an old mansion…you know, the usual.

While we were there, we also officially broke ground on immechanica, our near-future, hard-SF post-cyberpunk novel. We officially started working on the background of the world in a laundromat whilst waiting for our clothes to dry.


A couple weeks ago, a random troll on social media informed me, with the cast-iron certainty of those who make their home on the rugged and inhospitable slopes of Mount Dunning-Kruger, that I would never accomplish anything because clearly my entire life revolved around sex. (I’d include a screenshot, but honestly I’ve only had one cup of tea so far today and I absolutely cannot be arsed to go find it.) The dude is, and I’m sure this will come as a surprise to nobody, a conservative Evangelical Christian, and he also exhibits this weird quirk where he (randomly) puts words in (parentheses) whenever he (writes).

I’ve long suspected that folks who do that sort of weird inappropriate (emphasis)—sometimes it’s random Capitalized words, sometimes it’s random ALL caps—have a defineable, quantifiable mental illness, because it’s so overwhelmingly common amongst a certain type of Internet troll—but I digress.

Anyway, the thing is, he’s not exactly wrong, but he’s so wrong he has accidentally looped all the way around to right, in a manner of speaking, kind of like what happens in that video game Asteroids where you go off one side of the screen and reappear on t’other.

But I digress.

Whilst we were there, we went out one evening to a very nice seafood teppanyaki dinner. Before we left for the restaurant, I took some PT-141 (bremelanotide), a potent aphrodisiac that works gangbusters on me.

It started to hit in the restaurant. We walked back to the AirBnB through the French quarter hand in hand, with Eunice whispering the most delicious filth at me the whole time. We got back, got naked, spread out a huge collection of sex toys all over the bed, and...

...started talking about the book.

Then I got out my laptop.

The next thing you know, it’s past 2AM and we’re both sitting on the bed naked, writing, the toys forgotten around us.


See, here’s the thing: I like sex. A lot. I mean, yeah, a lot of folks like sex, but I might like sex more than the average bear.

But when I say I like sex, I don’t necessarily mean I like having sex, or having orgasms, or doing the bumping of squishy bits. Don’t get me wrong, I like all those things, but what I really like, what really drives me, is that the impulse toward sex is, in a literal sense, the most fundamental expression of the creative impulse. I do not see how it’s possible to separate sex from creativity.

Which is kind of a big deal, because co-creation is my love language.

I like sex, yet two of my lovers are on the asexuality spectrum, and that’s fine. They’re both creative, and all creativity is sex.

When I look back over the things I’ve created and am creating, sex is intimately tied up in all of them, even if the connection isn’t necessarily visible from the outside.

I mean, yes, often it is. Sometimes it’s pretty heckin’ obvious.

But sometimes it’s not. There’s basically no sex in our novel immechanica, but the writing of it was a highly sexual act, even though it literally, not figuratively, prevented us from having sex.

Last time I visited my Talespinner, a lover with a sex drive so breathtakingly vast and deep she makes me look like a celibate monk in a monastery, I got an idea for a novel I’m working on that I’ve been stuck on for a while.

In the middle of a very kinky threesome with her other boyfriend.

So I did what anyone might do in that situation: I excused myself for about an hour or so and banged out about 1200 words on the novel whilst they carried on doing their thing. When I was done, I rejoined them and the kinky sexy festivities continued.

Which is kind of my point. Yes, my life is, from a certain point of view, very much about sex (and caffeine), because sex (and caffeine) drives my creativity. My normal background emotional state is basically happy and basically horny pretty much all the time. I turn sex and caffeine into words...even when those words aren’t about sex or caffeine.

To be fair, they sometimes are; I write about sex rather a lot. But in the Passionate Pantheon universe, a series of novels that contain a lot of sex, we use sex to explore philosophy, radical agency, consent, justice, and morality. We’ve received feedback that sometimes people are left a bit confused by the novels because they skip over the sex, but important plot points, character development, and ideas happen during the sex—you can’t take the sex out of the stories and still follow what’s going on. 


Right now, my Talespinner and I are writing a novel with the working title A Long Kiss Goodbye. It’s a hyperurban retrofuturist court-intrigue gangster noir. I’ve written before about how we created the book’s setting and plot during sex.

We’ve formally started working on it, and man, it’s been a ride. Indah Tan, our protagonist, is headstrong and stubborn and not at all afraid to tell us “no, I’m not doing that” when we try to write her scenes. I told my Talespinner it kinda feels like this book has three co-authors—her, me, and Indah—and of the three of us, Indah is the most well-armed. Still, it must be working, we’re already a quarter of the way through the first draft.

So yes, sex is an important part of my life. No, it’s not preventing me from accomplishing anything...it’s fueling the things I accomplish.

The United States is, by the standards of Western developed nations, Puritan and prudish to such a degree it’s almost self-parodying. There’s a deep, reflexive hatred and fear of sexuality wired into our collective consciousness, which of course makes us simultaneously fascinated by and repelled by sex. Our advertising is drenched in sex, but serious talk about sex and sexuality shocks us to our core.

In this kind of society, using the sexual impulse to fuel creativity is by itself almost an act of defiance.

Rock On

2026-03-29 19:42
[syndicated profile] huskyteer_lj_feed
It was a travel documentary by the delightful Joanna Lumley that made us think of having a short break in Gibraltar, and she did not steer us wrong.

(Read more ...)
[syndicated profile] tacit_feed

As I move into my sixth decade of life, I’m posting a series of stories from my past. This is part of that series.

We met at a point of transition in my life.

For nearly two decades, I’d been with my first wife, a woman I met in the late 1980s, in a time before the word “polyamory” was in circulation. My wife (now ex-wife) and I had no benefit of community or a roadmap for non-monogamy; we were making it up as we went along.

We started out, my ex-wife and I, in what would now be called a “polyamorous quad” with my best friend (who was also my wife’s lover) and his girlfriend (who I had a crush on, and who was a snogging friend of mine). Like many people back then, my ex-wife and I had a veto relationship, an agreement that if either of us became uncomfortable with the other’s lover, we could demand a breakup.

I never used my veto. My ex-wife did.

Then I met a woman named Shelly Deforte, a woman who blew me away with her intelligence and insight.

Shelly asked me out. I said yes. Very quickly, Shelly chafed under the idea of veto, the Sword of Damocles hanging over our relationship, a weapon terrible and cruel, always there, always looming like a dark shadow over anything we built together, ready to pierce our hearts without warning. She saw my ex-wife veto another of my lovers, saw what it did to us, and she was rightfully appalled. Veto, she said in many conversations that extended long into the night, was intrinsically destructive, a weapon barbaric and vicious, one that eroded trust, destroyed all hope of a building anything stable and meaningful.

Her ideas, which went straight at the root of my relationship with my ex-wife, forced me to see things in a completely new way, to reconsider the impact of the arrangement I’d made with my ex-wife without any input from anyone else. As you might imagine, this drove the relationship with my ex-wife to the brink of ruin. Even though my ex-wife had more “outside” lovers than I did, and for longer, from earlier in our relationship, she still felt threatened whenever I took a new lover. 

It was against this backdrop that I went to a friend’s birthday party.


The place was absolutely jammed, perhaps fifty people packed shoulder to shoulder in an apartment, drinking from plastic cups, chatting while they scarfed down handfuls of potato chips.

I didn’t know anyone there except the host.

That’s when it happened.

Hollywood movies call it “love at first sight,” though of course that’s nonsense. You can’t love someone you don’t know. Biologists talk about major histocompatibility complexes and reproductive compatibility, but that doesn’t give you any sense of the urgency of it, the immediacy, the overwhelming knock-your-socks-off emotional power of it that stops your heart in your chest and makes the rest of the world pale and insubstantial.

She was reading a book on applied cryptography. We saw each other. The universe (or major histocompatibility immune molecules, it’s hard to tell from the inside) sang a song of “Yes!” The host took a photo.

I’d never before experienced anything even remotely like it. For the first time, I understood why people believe in “soulmates” and “twin flames” and “love at first sight,” even though those things aren’t real. Those emotions? Heady stuff.

So we started dating.

None of this is new to anyone who’s read my blog for a long time. You’ll find fragments of this story all through my blog if you look—the good, the bad, the deeply stupid and bitterly regrettable. Funny thng about life: your collection of regrets always increases, never decreases.

She introduced herself as Xtina. We started dating. She and Shelly started dating. She and Shelly stopped dating, for reasons I should have paid more attention to.

“Isn’t it funny that Xtina still thinks she gets to be with you?” Shelly said. “Stop seeing her.”

The woman who argued passionately that veto is and always will be wrong, is and always will be morally inexcusable, is and always will be nothing but evil, demanded a veto. The man who’d come to believe her, to believe that veto is in fact a form of intimate partner abuse, complied.


I saw her only once after that, years later, in Portland, I don’t know why. I messaged her out of the blue. She agreed, more charitably than I deserved, to meet at a bar.

I choked.

We said little. In the car on the way back home, I broke down.

For years after Shelly vetoed Xtina, I did everything in my power to convince myself it was all for the best, that Xtina and I were not compatible, that it never would’ve lasted anyway. It even fueled a deep and lingering distrust of instant connection. It’s often the case that we will employ these sorts of psychological self-deceptions to avoid acknowledging the shitty things we do to people who don’t deserve the shitty things we do.

I have done shitty things in my life, of course. We are all made of frailty and error, which is why it’s important that we learn to forgive one another’s transgressions with grace, at least insofar as we can without compromising our own ethics.

I have made shitty choices. There are two shitty choices I’ve made that I would, were it possible, give almost anything to be able to make again. One was to agree to the veto of Xtina, the other to start dating someone I never shoud’ve dated in the first place.

I still think about Xtina way more than you might expect, considering I ended the relationship decades ago.

[syndicated profile] tacit_feed

A couple of days ago, I saw a question on Quora asking why Christian movies always suck. Thing is, Christian movies don’t (necessarily) suck. American Evangelical propaganda movies tend to suck, but there are some extraordinary Christian movies out there, and I say this as an atheist.

I refer, of course, to Knives Out 3: Wake Up Dead Man, which is a brilliant, entertaining, and very Christian movie—probably the best Christian movie of the last two decades.

“But Franklin!” I hear you say. “Wake Up Dead Man has an atheist protagonist! The antagonist is a corrupt religious preacher who builds a dysfunctional cult of personality around himself! This is in no way a Christian movie!”

Ah, but watch this scene, where our atheist protagonist, Benoit Blank, first meets another major character, Father Jud Duplenticy, who is sent out to the corrupt priest’s parrish:

The entire movie has some absolutely marvelous dialogue, but this scene in particular stands out. When Blank enters, and Father Jud asks him what he thinks of the church, he has something pretty scathing to say:

Well, the architecture, that interests me. I feel the grandeur, the mystery, the intended emotional effect. And it’s like someone has shown a story to me that I do not believe. That is built upon the empty promise of a child's fairy tale, filled with malevolence and misogyny and homophobia. And it’s justified untold acts of violence and cruelty while all the while, and still, hiding its own shameful acts. So like an ornery mule kicking back, I want to pick it apart and pop its perfidious bubble of belief and get to a truth I can swallow without choking. Telling the truth can be a bitter herb. I suspect you can't always be honest with your parishioners.

Not a very Christian bit of dialogue, right?

Ah, but wait. Here's Father Jud’s reply:

You can always be honest by not telling the unhonest thing. You're right, it's storytelling. This church isn't medieval. We're in the middle of New York. It has more in common with Disneyland than Notre Dame. And the rites, the rituals, the costumes, all of it, you're right, it's storytelling. I guess the question is, do these stories convince us of a lie, or do they resonate with something deep inside us that is profoundly true, that we can't express any other way except storytelling?

I, as an atheist, found Father Jud’s answer quite moving.

But it goes so much further than that. This scene is a masterclass of cinematic storytelling, of show rather than tell. You could teach an entire course in composition and visual design just from this one scene. Let’s go through it, shall we?

At the start of the scene, Benoit Blanc, our atheist, walks into the church. The door is behind him; the aisle down through the center of the church is shrouded in darkness. He, as he says at the scene’s start, “worships at the altar of the rational.”

He’s confident, self-assured, secure in his position.

Father Jud stands facing him, literally rather than figuratively standing in the light.

Father Jud approaches Benoit, asking him questions about himself, listening to his reply, meeting Benoit where he is.

Benoit walks past him. At this point, the two of them, atheist and reverent priest, have traded places.

“How does all this make you feel?” Jud says. At this point, Jud and Benoit have traded places, and you’ll see some astonishingly good face acting on Daniel Craig’s part.

Craig (Benoit Blank) asks him, “truthfully?” “Sure,” Jud replies, giving him permission to be frank. Benoit launches into his tirade: “I feel the grandeur, the mystery, the intended emotional effect. And it’s like someone has shown a story to me that I do not believe. That is built upon the empty promise of a child's fairy tale, filled with malevolence and misogyny and homophobia.”

While he speaks, pay attention to what happens around him. The formerly bright part of the church grows dark. The saturation is reduced, leaching the color from the scene. His words spin a veil of darkness that fills the space around him.

More incredible face acting from Craig as his words become more biting, more angry: “And it’s justified untold acts of violence and cruelty while all the while, and still, hiding its own shameful acts,” every word delivered like a bullet from a gun.

As he speaks, there’s some amazingly clever camera work. Benoit in the foreground, Father Jud in the background, the camera moves around so that Benoit, again literally and not figuratively, eclipses the pious priest, completely removing him from view. Benoit is not talking to Father Jud. He’s not even facing Father Jud. He’s talking to us.

It’s subtle but oh so well done, and it is absolutely intentional.

At the end, Benoit, realizing he’s said probably more than he intended to, and with more venom, offers to leave. Father Jud tells him, no, stay, I told you to be honest.

At this point, the entire church is shrouded in darkness. Father Jud isn’s standing in the light anymore. He and Blanc are cloaked in shadow, the darkness of Benoit’s words given physical form.

What is happening here? Father Jud has literally, not figuratively but literally, joined Benoit Blank in the darkness. He’s met Benoit where he is. He hasn’t stood above him, talking down to him. He is there, on the same footing, in the same place as Blanc. He pauses for a moment, and then he begins to speak.

What is the first thing he says? “You’re right.” He reiterates Benoit’s opening thesis: It is storytelling. The church itself, its physical form, is a story, and a false one, an illusion of a Medieval church built in modern times, as much an ancient cathedral as Cindarella’s castle is a real fortification.

Watch what happens as he speaks:

The light returns, shining from above him, almost passing through him. And when he’s finished...

...the atheist stands illuminated, bathed in the light of his words.

Father Jud doesn’t preach at the atheist detective from some higher plane. He meets Blanc where he is, he stands with him, he acknowledges the parts of Blanc’s argument that he believes are true, and then he offers a new way to interpret Blanc’s central thesis—all without condescention, judgment, or self-righteousness.

I am not a believer, but this scene still gave me chills. It’s immensely powerful. It resonates. It vibrates. This is masterful visual storytelling.


The reason people don’t recognize Wake Up Dead Man as a Christian movie is that too many of us have been conditioned by Christian™ movies, movies made by and for low-information, insecure American Protestant Evangelicals.

These movies are like the Chick tracts I used to collect back when I collected religious propaganda. They’re cartoons for the uneducated, caricatures in which every atheist is a slavering buffoon, every religious person clever and righteous, told to an audience so insecure in its faith that no atheist can ever be allowed to make any point and no religious character can ever be permitted the slightest doubt or fault.

American Evangelicals are a weird breed, convincing themselves they’re the persecuted ones at the same time they deliver a venomous mix of hatred and bile to all those who are not like themselves. They believe, they actually believe, that university professors demand their students sign statements renouncing Christianity in order to get a passing grade, then go home and drool over all the people they’ve deconverted that day.

By their standards, Wake Up Dead Man is not A Christian movie, because Christian movies have to look a certain way, a way that seems written by a drooling eight-year-old who’s never read more than three Bible verses for a Sunday School class.

There’s another scene that drives this point home even more. Benoit Blanc and Father Jud are hot on the heels of the murderer, a murderer they believe they will be able to identify if they can get one key piece of information from the church secretary, Louise. They’re this close to finding the killer. And, well...

...Louise reveals that her mother is in hospice, dying of brain cancer, and she fought with her mother, and her mother refuses to speak to her.

This scene broke me.

Father Jud is working with Detective Blanc to uncover a murderer, a high-stakes mission, but when faced with someone suffering right now, someone he has the power to help right now, he stops what he’s doing to care for her.

This is the absolute best of Christianity, the thing Christianity promises but all too often fails to deliver. It’s not highlighted, it’s not the centerpiece of the movie, it’s not delivered in a “look how good we Christians are, let’s rub it in the face of the callous evil atheists,” it’s just a thing that happens, because of Father Jud is who he is: a flawed but sincere exemplar of loving kindness, not a Christian™ (or an atheist) caricature of Christianity.

A Christian™ movie will never, can never deliver a scene like this.

Benoit Blanc ends the movie as he started, an atheist. There’s no scene in this movie like there is in every Christian™ movie where the atheist character falls to his knees and accepts Jesus Christ™ as his Lord and Savior™. That’s not the point.

The religious figures in the movie are not perfect. One of them is the film’s primary antagonist. That’s also not the point.

The point is, this movie delivers a blueprint, a template of the best that Christianity has to offer: kindness, humility, calm and patient virtue. It is without question a Christian movie, deliberately so, a Christian movie built and delivered with warmth and compassion. A Christian movie even atheists can enjoy.

That makes it far more effective than any Christian™ movie can ever be.

[syndicated profile] tacit_feed

As I move into my sixth decade of life, I’m posting a series of stories from my past. This is part of that series.

Way back in the dim and distant year of 1992, I started my first paying job in the world of graphic arts, working for a small graphic arts studio in Tampa, Florida called Printgraphics.

My job involved using this newfangled software called “Photoshop” from this obscure company called Adobe to do desktop image editing. Printgraphics had this really fancy gizmo called a “color laser copier” that could make—get this—full color photocopies, one of the first such devices in all of Florida, and it let us charge extortionate rates for something almost nobody else could do: not only could we make color photocopies of something, we could even make printouts from a computer in full color by means of a PostScript interpreter that connected a computer to the CLC, for which we charged $16 a page (if you wanted letter-sized printouts) and almost double that (if you wanted larger printouts).

The CLC also acted as a color scanner, allowing us to do scans at considerably less expense (and considerably less quality) than a drum scanner. We could even scan slides and transparencies!

We also had contracts with print shops to do offset printing and posters and things like that...heady stuff in the early days of desktop publishing that seemed miraculous at the time. This equipment was rare, expensive, and cutting-edge, and people who could use it were rather thin on the ground.

About a year or so after I started working there, a polite, well-dressed man came into the shop asking if we could produce some placards and advertising posters for him. He was cagy about what he wanted, except to say that he was looking for prices on laminated full color materials that could be used for “promotional purposes.” They needed to be weatherproof, he said, and full color.

I told him I’d put together prices for him and he left. He came back a day or so later with a bunch of 35mm slides that, he said, he wated us to scan to make the posters from.

The slides all showed horrific, gruesome images of aborted fetuses, usually late-term abortions of fetuses with grotesque physical defects.

That’s when he came clean about who he was. He said he worked for a “pro-life” group called the Center for Bioethical Reform, a shock group that got a ton of media coverage for picketing women's health clinics with grotesque, gruesome signs and banners showing the horrors of “infant genocide.”

He offered quite a lot of money if we would make these signs for him, a lot more than I’d quoted.

I told him I wouldn’t do the work for him, and asked him to leave.

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