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      July 3, 2020SkillsKenny Tanemura

      She said sex was a skill, not just something
      you do. I fumbled with whips and leashes,
      mistaking oddness for art.
      No, you have to be creative, she said,
      and I thought of Henry James’ line
      about how a work of art needs a central force
      to hold attention. I used bananas,
      massage oils, Greek yogurt,
      mistaking experimentation for
      imaginative truth. Don’t you see,
      she said, you must respond
      to my body by sensing how I feel.
      You do something to me out of inspiration,
      and I respond, you react, a series
      of creative acts which are the steps
      to slowly climbing the mountain together, she said.
      But I couldn’t see beyond the fact
      of caress and thrust, like a novelist
      who gives only descriptions and nothing
      of the mystery of living. Then,
      after months, I found that pleasure was so
      simple, it could easily get lost
      in gimmicks. That the climax should not ensue
      until the lover is completely satisfied.
      She could spot a mechanical move
      from a mile away and knew when a body acted out of
      unbearable instinct, or the smaller tincture
      of thought. Don’t think, I told myself, just do,
      but my body, aging with something
      less than grace, wants less to act and more
      to ponder. How sex is an art we can learn well
      or not, like cooking or the complication
      of tango. I want to learn and I don’t.
      Marveling as I do at the ordinary, even the expected,
      from which surprise always comes.

      from #67 - Spring 2020

      Kenny Tanemura

      “Classical Japanese poets sparked my interest in poetry, and I find myself responding to Japanese poetry from Japanese aesthetics to experimentation with haiku by poets and writers from Richard Wright to Rainer Maria Rilke.”