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

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Their memoirs are “sister books” from across the Atlantic, both celebrating, albeit with different cultural inflections, a historical era Stendhal considers the lost “Golden Age” for women. Queer love has come a long way; what was once used as a sexual slur is now a buzzword for LGBTQ+ Pride. The textuality of the lesbian body, the diverse texts of fictional and/or corporeal lesbian bodies, even the writing of lesbian erotica are all at issue here.

While Marianne suggested that by turning around, Orpheus doesn’t make the lover's choice but the poet’s choosing to retain the memory of the beloved, Heloise counters by suggesting that maybe it was not only his choice – maybe it was she who said ‘turn around’. LGBT social media networks were recently buzzing with news that a reboot of The L Word, the lesbian drama that ran for six series between 2004-09, is in the works at Showtime. Whilst placing the sapphic gaze at the centre of the narrative, the following two foreign-language films are historical period dramas that subvert genre conventions by portraying a queer feminist love story and a female saviour trope rescuing upper class heroines from their patriarchal shackles.Yet, the lack of any US lesbian-centred drama with the partial exception of Orange is the New Black is, Chaiken has argued, the reason behind the decision to bring the show back. Rather than isolating certain scenes for their lesbian subtext or their resistance to a contemporary pathologized lesbian reading, I argue that the sexual intelligibility of such scenes is inseparable from the kinetic aesthetics of the flapper that Arzner harnesses to organisze the film's visual schema. As such they offered new representational models for lesbians across the world who were starved of positive or attractive images. That’s one of the reasons why the worlds we are writing about in these books matter so much, why it feels so important that they not be forgotten.

Stendhal: On the other hand, the culture of seduction, as you put it, seemed a necessary part of liberating our repressed women’s sexuality. It’s as if we had a direct window into now; what we feared and raged against back then has come to fruition in bone-chilling ways.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 explicit mention of ‘wetness’ in the film is visually translated by a steamy warm bath water through glittering surface of a deep red lollipop and Sook-hee’s glistening face looking up from between Hideko’s legs to the bare bodies exploring their desires through the oral lubrication of sex toys. The revival will feature series regulars Beals, Kate Moennig and Leisha Hailey who are reported to be taking roles as executive producers along with Chaiken, who was the creative force behind the series.Lise Weil : The most obvious affinity between our books is that they’re centered in the same culture/movement but in different countries. Yet, as sex therapists continually note, sexual intimacy is a vital part of every romantic relationship, and it deepens emotional intimacy.

Dorothy Arzner's The Wild Party (1929) has been reclaimed for a lesbian cinematic canon, but it is only relatively recently that scholars have engaged more directly with the homoerotics of Arzner's films, and the question of the representability of female homosexuality in late 1920s Hollywood classical cinema. Access to content on Oxford Academic is often provided through institutional subscriptions and purchases. 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. Regardless of how much we adore and applaud every sex scene the film Blue Is the Warmest Color, most of us would find more candid realism in the experiences of Nic and Jules in The Kids Are All Right, or Abby and Kate in Concussion, where the lesbian couples are barely intimate . This is a lot unlike the male guests who hid their perverted and pernicious desires underneath their formal attire.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. 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.