When you are younger your market sexual value is high
When you are older your market sexual value is low.
Elizabeth Wuretzel learn the hard way. BTY...i love the movie based on her first book
When she was younger
and NOW
Because I need to make a point, I'm just going to be immodestly candid: I was a remarkably adorable child, the kind with such rosily expressive cheeks that grown-ups couldn't resist pinching them. So when I became a teenager and then an adult, I was what you would call a hot number or something like that—at any rate, they put me half-dressed on the covers of my books to sell them, so draw what you will from that. Now that I'm in my forties, people say, I think kindly, She still looks good. This is to be followed by a phase of ...for her age, which is hot on the trail of handsome, and then—then who knows? I think it deteriorates from there, enough so that the vain among us start to look forward to death, or at least stop resisting its horrific pull.
So here's what I'm getting at: I was, at least at some baseline, a pretty girl, the kind that boys were supposed to like and sometimes did. And because I was cute all along—it's not like I blossomed into honeysuckle after adolescence—I was given to believe that love would be easy, men would be elementary, and I would have my way. I was meant to date the captain of the football team, I was going to be on a romantic excursion every Saturday night, I was destined to be collecting corsages from every boy in town before prom, accepting such floral offerings like competing sacrifices to a Delphic goddess. It was all supposed to be to the tune of some glorious Crystals song from the early '60s, when everything was still innocent, and my life would be a wall of sound from "Then He Kissed Me." Love would be simpler than tying a string bikini, the kind I wore a lot while waiting on the beach for my ship to come in.
Alas, love has been complicated.
The men have piled up in my past, have fallen trenchantly through my life, like an avalanche that doesn't mean to kill but is going to bury me alive just the same. There's really no point, this late in the day, in picking through all the boys in order—alphabetical, chronological, epistemological—but looking back, I have been in far too many scenes that could have happened in a John Cassavetes movie or an Edward Albee play, if only they rose to that literary level. I attract (and seek) bottle throwing, foot stomping, door slamming, pot clanging, hair pulling, and, above all, a lot of loud screaming and walking out in a huff—usually leaving me crying, wondering what just happened, or, more often, too astonished to cry.
Or else: There is the thrill of loving for a little while—a night, a week, a month, even a year—and then loving stops, just like that, in the coldest, blankest way, a screen going snowy at the end of a movie. There is no yelling, only silence—the kind in a Carole King song: the phone that doesn't ring, or the words you didn't say that you think of on the staircase spiraling down once the door is locked behind, or maybe even months later.
When I was still in my twenties, for several years I had this wonderful boyfriend; I'll call him Gregg—he's the one we're all waiting for: tall, blue-eyed, with this thick black hair, all smart and sensitive, an inveterate graduate student who used to rub my feet at the end of the day with a lovely pink peppermint lotion from the Body Shop. It was young and romantic. You'd have thought we were happy. I think really we were happy. He was good for me: People met him and liked me better because I was going out with him; his sweetness redounded to me like a sunny day on a dark sidewalk. I could have and probably should have spent the rest of my life with him, might have avoided scenes like the time some guy I was seeing later on chased me down Topanga Canyon with a hot frying pan, screaming at me something about learning to make my own goddamn omelets. In other words, had I just stuck with the good boyfriend, I could have prevented a good deal of extraneous craziness.
But something went wrong—terribly wrong. The calm I had during those years was like a dormant illness or an allergy that doesn't emerge until later in life, or something you don't see coming because it's coming from within: You are making yourself ill. I became seasick with contentment. It was nauseating daily, and I couldn't still myself against a funny feeling that there had to be more to life than waking up every day beside the same person. To say I was bored would be to misunderstand boredom: I did not need to take up table tennis or ballroom dancing—I needed a sense that this wasn't the end of the story. The idea of forever with any single person, even someone great whom I loved so much like Gregg, really did seem like what death actually is: a permanent stop. Love did not open up the world like a generous door, as it should to anyone getting married; instead it was the steel clamp of the iron maiden, shutting me behind its front metal hinge to asphyxiate slowly, and then suddenly. Every day would be the same, forever: The body, the conversation, it would never change—isn't that the rhythm of prison?
My imagination, my ability to understand the way love and people grow over time, how passion can surprise and renew, utterly failed me. I was temporarily credentialed with this delicate, yummy thing—youth, beauty, whatever—and my window of opportunity for making the most of it was so small, so brief. I wanted to smash through that glass pane and enjoy it, make it last, feel released.
And so, I cheated on him. With everyone I could. Bass players, editors, actors, waiters who wished they were actors, photographers. And everywhere I could, like that Sarah Silverman and Matt Damon video: on the floor, by the door, up against the minibar. I couldn't sit still or stand still or lie still. And I didn't want to lose Gregg either.
He knew, or must have known. But he was such a gentle guy that he gave me a chance to fix the damage. We were sitting at brunch one Sunday; Gregg was in his denim jacket and Sonic Youth T-shirt, his hair swept across his face, and he grabbed my hand over the table and looked at me so earnestly that if it had been a movie, the audience would have laughed. "I wish I could make whatever is bothering you feel better," he said.
"I know," was all I could say.
Months later, when Gregg found out for sure what I was doing, when he went through files on my Mac and found letters never sent to this lover or that one, he didn't want to make me feel better anymore. He threw a two-thirds-empty bottle of Stolichnaya at my head when I finally found him at a friend's house. He told me, I was your only chance at happiness—now it's over for you.
Years later, when I was dating a guy who drank much too much and did things like toss lamps around because he had a temper when he was loaded, and I was ducking to avoid some projectile and wondering how I'd found my way to this, I knew Gregg had been right: I could have been a contender; it was over.
And then, somehow, years go by.
Dating this person for three months, that one for a few weeks, sometimes longer. They come, they go, someone is always coming as someone else is going; it's not like there's no one, but it's all so lonely. I have no trouble meeting them, and I meet them everywhere: the usual places like friends' rooftop barbecues and downtown dive bars—but also in business meetings, where we end up making eyes at each other instead of working, or standing in movie lines or walking home at night. I am a hopeless, shameless flirt. I wish I were shyly, quietly intriguing, like Jacqueline Bouvier Kennedy, like someone French and fashionable who knows how to twirl her ladylike locks just so and walk adroitly on kitten heels, who is all gesture and whisper—but I am unfortunately forward and forthright: When I am interested in a man, he absolutely knows it. And I like men quite a lot and convey so much excitement and heat that I can keep the game going, at least for a while. Occasionally, I meet someone truly wonderful, and my heart breaks because I don't know how to sustain the energy. It never quite starts, and I can't tell you how it ends—all this pretty persuasion is a big pull for men, but then they're gone. All of them. Somehow, I can seduce and be seduced for a moment here and there, but I can't seem to meaningfully connect. That's why it's not seduction at all; if it were, I'd be getting what I want.
And I can get what I want in so much of life. I can sell sand to the Saudis, tea to the Bengalis. I get fired from one great job and then hired by a better organization. I decide in my thirties to go to law school and get into the very best one despite some questionable credentials. It's what you would call not a bad life, even a good one.
But I am baffled by men. When they want me, I don't want them; when I want them, they don't want me. We are just shooting dirty pool. Or maybe it's more like I'm still sitting at the baccarat table at a smoky, dingy casino in Reno, it's well past 3 a.m., I'm in hock to the house, I'm drinking bottom-shelf martinis and eating stale canapés from the complimentary smorgasbord, my mascara is smudged, there's no reason to reapply Cherries in the Snow to my chapped lips, it's long past the point where any reasonable person would have cashed in her chips and gone home—but I keep thinking I still might win or at least break even one of these hours or days.
Age is a terrible avenger. The lessons of life give you so much to work with, but by the time you've got all this great wisdom, you don't get to be young anymore. And in this world, that's just about the worst thing that can happen—especially to a woman. Whoever said youth is wasted on the young actually got it wrong; it's more that maturity is wasted on the old. I was both emotionally unkempt and mentally unhinged—deeply depressed, drugged, sensitive, and nasty all at once—during the years I was supposed to be spousing up. My judgment was so lousy, I probably deserve plentiful wedding gifts—Tiffany silverware to serve several dozen—for all the people I didn't marry, because the men I dated were awfully bad choices, and I was not such a good bet myself.
These days, I am a stable adult professional—a practicing attorney, capable of common sense—but I still know how to live life on the edge. I was a terrifically brooding and mature teenager, then a whiny and puerile adult, and now I may finally approximate the grace of a person who has come of age. But it took a very long time—probably far too long. Now that I am a woman whom some man might actually like to be with, might actually not want to punch in the face—or, at least, now that I don't like guys who want to do that to me—I am sadly 41. I am past my perfect years.
No one says to my face that 41 is just a little too old to still be dating—in fact, people like to point out how it's normal these days, which is also true—but I know what's up. I just moved a couple of months ago, and I made a determined effort to put my effects in order. I went through a box of old photographs and contact sheets from shoots I had done throughout my twenties and thirties, pictures in all kinds of poses, various stages of dishabille and froufrou and frippery, too much makeup and barely a bit of blush, Kodachrome and black and white, in studios and hotel rooms and cornfields and corners of streets—piles of portraits, marking a life. And I looked at the girl in all these images, as varied as they were, and still I could see the same person somewhere in there. But most of all it wasn't me anymore. It's not what I look like now—I have aged since. Oh, it's nothing to cry about, nothing to mourn for—I probably have another decade before I really start to look old, but something has changed.
I don't know what it is—I don't have wrinkles or age spots or any of the telltale signs that the years have gone by. Thank God for La Mer and Retin-A and Pilates—and, yes, hot sex, which is good fun and may be no more than a Maginot Line against the inevitable, but that's not nothing. And my hair, honey-highlighted for years now, has the swank length of mermaid youth—which is how I plan to keep it no matter what proper pageboy is age-appropriate. No question, there are physical facts about my age that are undeniably delightful. I am much sexier now than I used to be—I suddenly have this voluptuous body where I used to just be skinny and lithe. Really oddly, a couple of years ago I got serious breasts, to the point where people think I've had them surgically enhanced, which I certainly have not. Still, I think, the honest truth is that I'm just not as pretty as I used to be. Something has abandoned me. I don't know what that thing is—they've been trying to jar it and bottle it for centuries—but it's left, another merciless lover. My hips are thicker, my skin is thinner, my eyes shine less brightly—will I ever again glow as if all the stars are out at night just to greet me? What finally falls away, after enough things don't go as planned, is that look of expectancy—which, when worn down to pentimento, is revealed to be exhaustion.
So here's the funny thing: There seem to be more men coming around these days, and they keep getting younger as I get older—I'm an interesting, mature woman to a man in his twenties, while to a guy my age, I'm just jaded—but I think they are falling in love with a person I used to be, with a girl in a picture, with an idea or an image, not with who or what I am now. Because with every passing second, I feel I am less physically desirable, even though I'm finally, in fact, a desirable person. It makes no sense, it's not fair, and it sucks.
I'm hopeful that there will be a moment in the next few years when I'll be more striking than ever because some aura will wash over me in that way that these things just do: as when feminine confidence and feisty intelligence overwhelm the depredations of age, and suddenly women smolder anew—running companies, winning Oscars, reaping millions, landing heavenly younger men. After all, there are many famous women who seem ageless, like Catherine Deneuve; or have aged sexily, like Susan Sarandon; have aged voluptuously, like Catherine Zeta-Jones; have aged beautifully, like Michelle Pfeiffer. But eventually, at some somber and sobering calendar date, most of us lose our looks and likewise one of our charms—and I will lose mine. At which time, for me at least, there won't be much point to life anymore at all.
I don't want to look back at what was, tell stories of once upon a long time ago, of what I used to do, of the men I once knew way back when, of 1,001 rapturous nights that were and are no more—I don't want my life to be the trashy and tragic remains of a really great party, lipstick traces on a burned-out cigarette at the bottom of a near-empty champagne goblet. Sex and sexuality, at least for me, are not some segment of life; they are the force majeure, the flood and storm and act of God that overtakes the rest. Without that part of me, I'd rather be dead. And I know all I can do right now is hold on tight to the little bit of life that's left, cling to the edge of the skyscraper I'm slipping off of, feel my fingers slowly giving way, knowing I'm going to free-fall to a sorrowful demise.
Maybe I would not have to hold on with such tough white knuckles if I'd done things right when I was still young.
Oh, to be 25 again and get it right. People who say they have no regrets, that they don't look back in anger, are either lying or boring, not sure which is worse. Because if you've lived a full life and don't feel bad about some of what you did, pieces are missing. Still, there are some mistakes that one is eventually too old—either literally or spiritually—to correct. I can't go back.
