Chariot of Flesh by Malcolm Nesbit

By Malcolm Nesbit

One of many rarest Olympia titles, first released in 1955 as Vol. 12 of the Traveller's significant other sequence, later reprinted within the impossibly infrequent "Ophir Books" set, and never visible when you consider that.

Chariot of Flesh is the tale of Baroness Carla, deceased on the advent, with reminiscences of the woman's sensuality through her many paramours, informed to a questing former lover.

Alfred Chester (who wrote this publication as "Malcolm Nesbit") has mostly vanished from the literary scene, yet at one element within the past due '50s accomplished prestige for Jamie Is My Heart's hope. He died in Israel in 1971 of a drug overdose, after having two times been ejected from the Beat paradise of Morocco.

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Y o u create specificity t h r o u g h details, whether they are details that distinguish one character's dialogue f r o m another or that describe e m o t i o n , a c t i o n , a l a n d s c a p e , o r the feel o f m o s q u i t o s b u z z i n g a r o u n d your m a i n character's recently pierced ear lobe the August 39 T H E JOY O F WRITING SEX night he loses his virginity i n Yellowstone N a t i o n a l Park by the light of a f u l l m o o n . T h o u g h the two are often confused i n writing about sex, being specific is different f r o m being explicit.

She wrapped one hand in my hair, the other around my left breast. " I ' l l cook you . just you wait. " " O h , h o n e y . " She tasted like frybread—thick, smoked, and fat-rich on my tongue. . Specificity to time, place, and cultural and geographical circumstances abounds i n this sexually explicit scene f r o m The Mambo Kings Play Songs of Love, Oscar Hijuelos' melodious novel about a pair of brothers, C u b a n immigrants, who become stars of N e w York's Latino dance halls i n the 1950s.

This is making love, B e r n a r d , " she said. " "Yes, but you know what I m e a n . " What does dialogue do for this scene? It's funny a n d f u n to as the characters are. It characters a n d thereby o u r interest a n d get us 36 read. It pulls the reader as close to the action delineates the differences between these two creates just e n o u g h gentle conflict to h o l d involved i n the m i l d struggle between them. "SURPRISE M E " A N D O T H E R LITERARY C O M E - O N S In a reversal of the traditional roles, Yolande is experienced a n d comfortable—the aggressor.

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