he is in some way too much of a conscientious lover?”
“Yeah.”
“And he’s constantly paying attention to you?”
“Which is very thoughtful.”
“Very thoughtful indeed, but not exciting.” I add. “It’s all very affectionate, very cozy; it’s just not sexual. You’ve replaced sensual love with something else. It’s what the sex therapist Dagmar O’Connor calls comfort love.”
Candace nods, “Like a flannel nightgown.”
The caring, protective elements that nurture home life can go against the rebellious spirit of carnal love. We often choose a partner who makes us feel cherished; but after the initial romance we find, like Candace, that we can’t sexualize him or her. We long to create closeness in our relationships, to bridge the space between our partner and ourselves, but, ironically, it is this very space between self and other that is the erotic synapse. In order to bring lust home, we need to re-create the distance that we worked so hard to bridge. Erotic intelligence is about creating distance, then bringing that space to life.
In one of our sessions Candace describes how nothing turns heron more than to see Jimmy perform onstage. But when I ask her if she ever goes backstage afterward, she tells me no. “Why don’t you go into the dressing room?” I ask her. “You look at him up there onstage and you’re all excited by him. He’s totally in possession of himself and his talent. But then you wait until he comes home and he instantly becomes deeroticized.” She nods in agreement; he looks disappointed.
“Why don’t you divorce him?” I suggest. “Stay with him but divorce him. If you’re not married to him, he won’t look like such a homebody.”
“You know what I said to him?” she admits, “I said, ‘If you left me today I would be sexually interested in you.’”
Candace recognizes that the feeling of emotional closeness she longs for with Jimmy stands in the way of what excites her sexually. In order to circumvent this pitfall, she needs to create psychological distance. Long before meeting me, Candace had attempted to do just that. She had come up with her own solution to the predicament: Jimmy was to ignore her when he came home, rather than instantly approach her. As she said, “If I feel that you don’t need me at all, you become desirable.” Intuitively, without knowing why she needed this particular plot, she was trying to generate desire.
Unfortunately, Jimmy wasn’t up for the game. He saw her need for being at arms-length as a rejection of him. He poignantly articulated his longing when he explained, “I’ve had so much anger. I remember a time when all I had to do was rub my knee up her thigh and she’d get all turned on. But for so long I haven’t truly felt that she wanted me like that. I want her to want me. I want her to be hungry for one thing and one thing only. And that thing is me.”
“Yet you see her request for a breather as rejection,” I respond. “You know, desire acts in weird ways. Here she is asking you to ignore her, not to want her, as a way for her to want you. I can see why this makes no sense. Why such detours? And I understandyour reaction. But you see, she needs to separate the intimate from the erotic, and for that she needs space. She invited you into a scheme that would allow her to do just that. It wasn’t a rebuff; it was an invitation. You have to imagine it not literally, but as a form of sexual play. Play at not needing me. Play at ignoring me.”
But Jimmy could not play, because he was caught in a struggle with Candace. He didn’t want to engage in such contortions to elicit her desire. He wanted her to want him his way. Jimmy had felt deprived and rejected for so many years that the main feeling that escorted him was anger. His bile only highlighted the extent of his longing and need. The way they neutralized the threat of rage was through massive affection. Their almost constant physicality acted like a
“Yeah.”
“And he’s constantly paying attention to you?”
“Which is very thoughtful.”
“Very thoughtful indeed, but not exciting.” I add. “It’s all very affectionate, very cozy; it’s just not sexual. You’ve replaced sensual love with something else. It’s what the sex therapist Dagmar O’Connor calls comfort love.”
Candace nods, “Like a flannel nightgown.”
The caring, protective elements that nurture home life can go against the rebellious spirit of carnal love. We often choose a partner who makes us feel cherished; but after the initial romance we find, like Candace, that we can’t sexualize him or her. We long to create closeness in our relationships, to bridge the space between our partner and ourselves, but, ironically, it is this very space between self and other that is the erotic synapse. In order to bring lust home, we need to re-create the distance that we worked so hard to bridge. Erotic intelligence is about creating distance, then bringing that space to life.
In one of our sessions Candace describes how nothing turns heron more than to see Jimmy perform onstage. But when I ask her if she ever goes backstage afterward, she tells me no. “Why don’t you go into the dressing room?” I ask her. “You look at him up there onstage and you’re all excited by him. He’s totally in possession of himself and his talent. But then you wait until he comes home and he instantly becomes deeroticized.” She nods in agreement; he looks disappointed.
“Why don’t you divorce him?” I suggest. “Stay with him but divorce him. If you’re not married to him, he won’t look like such a homebody.”
“You know what I said to him?” she admits, “I said, ‘If you left me today I would be sexually interested in you.’”
Candace recognizes that the feeling of emotional closeness she longs for with Jimmy stands in the way of what excites her sexually. In order to circumvent this pitfall, she needs to create psychological distance. Long before meeting me, Candace had attempted to do just that. She had come up with her own solution to the predicament: Jimmy was to ignore her when he came home, rather than instantly approach her. As she said, “If I feel that you don’t need me at all, you become desirable.” Intuitively, without knowing why she needed this particular plot, she was trying to generate desire.
Unfortunately, Jimmy wasn’t up for the game. He saw her need for being at arms-length as a rejection of him. He poignantly articulated his longing when he explained, “I’ve had so much anger. I remember a time when all I had to do was rub my knee up her thigh and she’d get all turned on. But for so long I haven’t truly felt that she wanted me like that. I want her to want me. I want her to be hungry for one thing and one thing only. And that thing is me.”
“Yet you see her request for a breather as rejection,” I respond. “You know, desire acts in weird ways. Here she is asking you to ignore her, not to want her, as a way for her to want you. I can see why this makes no sense. Why such detours? And I understandyour reaction. But you see, she needs to separate the intimate from the erotic, and for that she needs space. She invited you into a scheme that would allow her to do just that. It wasn’t a rebuff; it was an invitation. You have to imagine it not literally, but as a form of sexual play. Play at not needing me. Play at ignoring me.”
But Jimmy could not play, because he was caught in a struggle with Candace. He didn’t want to engage in such contortions to elicit her desire. He wanted her to want him his way. Jimmy had felt deprived and rejected for so many years that the main feeling that escorted him was anger. His bile only highlighted the extent of his longing and need. The way they neutralized the threat of rage was through massive affection. Their almost constant physicality acted like a
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