After a teenager enters into a passionate, devoted BDSM sex relationship with an adult, what remains? What is the aftermath once the teenager is an adult himself? That’s what Rasmussen’s … I’m going to call it an essay (though the publisher calls it a novel) seems committed to evoking. The assumption of course is scars—emotional and in the protagonist Bjørn’s case literal, as one of the things he does is cut lines, shapes, and words into his skin. What I liked about the book was how it always complicated the narrative of abuse, and kept the lines between love, lust, devotion, and subjugation evocatively blurry.
Plus the language is sublime in places:
When the weed kicked in, you waded into the pond. I watched you standing there, the red remains of evening winking in the water that surrounded you from the hips down. The pronounced V of your Apollo’s belt reflected in the surface, ripples caressed your public hair, the insects flitted around you.
You were crying. I’d never seen you cry before. You’ve cried many times since, and with good reasons; my two hands aren’t enough to count the times you’ve been pained to the bone, but at the time: your chest heaved, snot ran from your nose, the sound you made was like a stag maimed by a botched rifle shot. You roared.
This, of course, is a translation from the Danish, so I’m talking less about the words/sounds themselves, and I’m talking much less about the sentiments or emotions behind these words (this, too, isn’t beautiful because it depicts a man crying, or because it depicts devotion and beauty), I’m talking about Rasmussen’s choices of how to build this moment, and where to take the sentences. I’m talking about that roaring stag. Maybe this bit does a better job of capturing his imaginative talents:
Believe nothing of what I say about feelings. I only have the rudiments of anything genuine. And if anything genuine does come along, it always falls to pieces: talk to me about implosion, about atoms. You chase a frog for hours and when finally you get your hands around it, it dies of shock. And if I really get you someday, I won’t want you anymore. I’ll want something else instead. What. Tell me the difference between want and need—I don’t think there is one. What is there then. Capitalism, talk to me about capitalism. No, human nature. Oh, listen: it’s black as night inside my ass; inside my ass, about 6cm up, there’s an erogenous zone equivalent to the clitoris or the head of your dick. Fact. When this point is touched, vibrations go through the spine, the hammer, the stirrup, and listen: the asshole is dialectical, the asshole is a dead man’s flower, a dead woman’s flower, the asshole is a fugue, a theme with variations; feelings, on the other hand…frogs, mothers, riding instructors, and feelings, they’re the same old story. Suck my plot.
The book is elliptical in this way, usually not my thing, but a friend recommended it after I told of my complaints about the writing in Garth Greenwell’s Cleanness, where sex becomes in its slow detailed scrutiny utterly lifeless, and Rasmussen’s talents lie in all the ways he’s able to make sex come alive, all the things he can make of sex. A longer post than I have time for would get at Rasmussen’s and Greenwell’s different handlings of sexual submission, but all I’ll say here is that The Skin is the Elastic Covering… left me with the clearer sense of how submission can fill the self with warmth and strength that doesn’t necessarily lead (only) to a hardened core, a scarred shell.
Buy The Skin is the Elastic Covering that Encases the Entire Body at Two Lines Press.