Tell Everyone About ‘Don’t Tell Anyone,’ literary smut by Shakira Andrea Sison and Ian Rosales Casocot

‘Don’t Tell Anyone literary smut‘ was supposed to be an erotica anthology featuring both straight and gay stories. But because the stories submitted by the straight writers weren’t bastos enough, the book project ended up being a gay collection written by gay persons, Ian Rosales Casocot and Shakira Andrea Sison. In short, the gays won because gays follow rules. If they are tasked to write erotica, they write ones with unflinching smuttiness.

‘all my broken i love yous’ begins with ‘how to melt stone,’ which I presume is an accurate depiction of lesbian courtship and climaxes. It starts out coyly, telling a certain ‘you’ how to act around a Drakkar Noir-wearing lesbian lover. It’s short and sweet, and for a moment, I thought the stories would all be this saccharine.

It’s only a matter of time, though, before “bare crotches,” “proud clits,” and “shiny thighs” begin to take center stage. You’d be foolish to expect a moment of rest from really hot lovemaking because from the second story, ‘short,’ onwards, it’s all steamy sexing with only a few pillow talks in between.

By the third and fourth story, I needed a reprieve so I jumped into the Casocot side, ‘all the loves of my life.’ And I was rewarded with stories that are sexy but also have characters who communicate. In fact, I recommend switching from the lesbian side to the gay side to avoid fatigue. Whereas Sison’s stories are truly erotic, they sometimes get to be too much.

That said, it helps that:

-the writing is superb; you won’t get lost mapping the geography of Laurie, Lana, Teresa or any of the ladies’ bodies because Shaki is an expert navigator and she makes sure you don’t get lost. But I couldn’t help but giggle at the many colorful ways in which vaginas were described, which include ‘my half’ (or something), ‘mound,’ and more. I realize these are standard descriptions of the female organ but they sometimes elicit laughter instead of something else.

-lesbian sex is rarely described in any piece of art, unless you seek it out. If you’re reading this because you’re curious or because you need to know, consider your curiosity satiated (although it’s really not in my place to say whether or not this is accurate).

-the characters, when they get a chance to speak, are articulate. They’re very horny but also very smart. In “The Teachers,” professors Lena and Carla discuss the finer points of lesbian sexuality and attraction, which intelligently raises misconceptions and confusion about the way lesbians perceive attraction amongst themselves.

Reading the lesbian stories first, gay ones second also works. The women in the lesbian side are, I feel, too serious and intense, and only pause briefly to catch their breath, smoke, or negotiate with pervy campus security guards who catch them humping.

Casocot’s stories, on the other hand, are quite conservative, and the characters are easier to remember. For example, you can tell the boys from ‘the boys from Rizal Street’ apart: Samuel is the douche with the huge d, Tobias is the cold top, and Joseph is the map enthusiast who says things like, “But sometimes even a fake map is a good measure of the real borders we believe our lives to be contained in. Their (they’re ?) renderings of our imagined places—and for that, they’re beautiful.” He gives the narrator named ‘Ian’ a hard-on.

This is why I love this story: I love that the author doesn’t even care that his name is Ian and his story’s protagonist is also named Ian. Some works of fiction are very thinly veiled personal anecdotes and to me that’s okay as long as they’re good stories.

‘the thank you girl’ is a lighthearted and engaging romp about two guys who met on Grindr and found themselves in too deep talking about an acronym you may or may not have heard of, OGT, which stands for Obviously Gay Trait. Their chat inevitably leads to a necessary Miss Universe strip game. I see a movie on the horizon starring two heartthrobs, preferably ones with great comic timing.

‘Don’t Tell Anyone’ is a breath of fresh air. I had to look up ‘smut’ because I thought the gay side was not sexy enough. It turned out I’ve equated smut with porn. Smut is, per Urban Dictionary, a work of fiction that includes one or more sexually explicit scenes, with a thin plot and lots of romance. And because Ian and Shakira follow rules, they’ve created really good smut. ‘Don’t Tell Anyone’ is an exhilarating (the lez side, especially) good time that titillates, tickles, and educates.

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Us and Them

carol-movie2

When ‘Brokeback Mountain’ came out in 2005, I loved it so much that I bought the soundtrack even though I never really liked country music. I thought that if I could at least play the score at home, I would be reminded of what such a beautiful movie made me think and feel when I first saw it. If it had been a love story between a man and a woman, I would not have bought the album but it’s doubtful I would have liked it less. But then, it would have simply been a film about two adulterers cheating on their spouses, and therefore would not have been as tragic and as touching.

Incidentally, tragedy is what makes ‘Brokeback’ an unforgettable, moving movie-going experience. This may be such a dramatic way of describing it but if you’ve actually seen it in a theater, you’d know that it definitely is an experience in as much as a movie with two men kissing induces hysterics, hoots and howls in the audience is an experience.

‘Brokeback Mountain’ is depressing but it’s the kind of gutting you want to relive. I want to do the same for ‘Carol’ which, although not half as tragic as ‘Brokeback’, is just as devastating.

The film, adapted from the Patricia Highsmith novel The Price of Salt, takes place in the 50s when it was tough for lesbians to be openly affectionate with someone they love (I don’t know this for sure but it seems like it). Carol (Cate Blanchett) and Therese (Rooney Mara) meet in the toy section of a department store where the latter works as staff. Amid the frenzy of the Christmas season, when eager-to-please mothers and overworked retail store attendants can’t help but cross paths, the two lock eyes and sparks instantly fly. They are lipstick lesbians in a conservative decade, so much of their dates have to be done in a manner befitting two criminals conspiring to unleash unspeakable crimes on their unsuspecting victims – Carol’s  semi-estranged husband and daughter, and Therese’ live-in boyfriend. There will be struggles ahead.

The pacing and acting are languid and understated. You wait for Carol and Therese to get it on but all you get, at least in the first hour, are furtive glances and cautious touching of hands. Cate Blanchett and Rooney Mara do not have big acting moments, except for one in which Carol snaps and cuts through the lawyers’ argument, and snatches her husband’s attention away from everyone to tell him to fuck all the lesbian accusatory shit as all she wants is visitation rights. The most touching scenes, though, are when Carol and Therese hold back on their emotions, so that when they find themselves alone in a motel, they hug and kiss as if someone might pop up and handcuff them, and hold them forever as captives in straight world prison.

Much like ‘Brokeback’, ‘Carol’ has gay characters fighting for their right to love. To say that someone is ‘fighting’ for the right to love is to risk sounding like song lyrics from a 90s boyband (specifically a 98 Degrees song). But Carol has actual battles: for the custody of her daughter and for the defense of her mental state, seeing as her lesbian ways were viewed as symptomatic of ill health.

It sounds a bit too much to say that Carol and Therese are ‘fighting’ for their right to love, but that is what is going on in films with and about gay people not being allowed freely to make out publicly, not even if they do it classily. Having bought but never read The Price of Salt, I feared it would end the way most of these types of films end: with someone getting raped, murdered or banished in a mental hospital. None of these potential endings are inconceivable; it’s a Patricia Highsmith novel after all. Fortunately, neither Therese nor Carol commits suicide.

I’ve always felt that lesbians have entirely different experiences in matters of forbidden romance. Even though I’ve known some lesbians, I never really felt like us and them have a shared struggle for the probably idiotic reason that girl-on-girl displays of affection raise way less eyebrows than boy-on-boy ones. But, to paraphrase a Lisbon sister, clearly I’ve never been a lesbian person. It might also have to do with the fact that I’ve never heard or read as many coming-out anecdotes from lesbian friends and acquaintances as I have from gays. Movies have been informing me about lesbians and ‘Carol’ has just told me that I’m wrong, and that in fact we have the same struggles and difficulties. What a beautiful reminder this is.