I want to write books the like of which have never been seen before (5th August 2006)

I want to write books the like of which have never been seen before. Journals of a man subsumed in a life of emptiness and nothingness, but who revels in and gorges himself on this emptiness and nothingness, like a mother eating her own placenta. Journals about the visceral pleasure in detachment of an autistic person. About transcendency, about finding lenses that enable one to focus all the rays of this emptiness and nothingness like a magnifying glass used to focus the rays of the sun to start a fire, like the mirror that Orphée steps through to enter the Underworld, and then the transcendency flares into life like a white phosphorescent explosion, and one orgies in the transcendency, in the sublime orgasmic detachment from everything and everyone around you, in the supreme quality of emptiness and nothingness stretched to the nth degree like a taut violin string that is at any moment about to break but never quite does; what exquisite pleasure is then to be found. If Guy Debord's view of life was to seek the perfect point of inebriation, mine is to locate the perfect point of transcendental orgasmic detachment. The nights I would go to the Coliseum and have to creep in the darkness to the gentleman's toilets and furiously masturbate so aroused was I. The nights at the opera in Berlin, when I had to leave at the interval in search of Kant and cunt, so highly-strung and aroused had I become.  It is possible to take an aesthetic appreciation in fine pornography, fine aids to arousal and ejaculation; indeed it is impossible not to. The night in Munich I had to leave Strauss's Arabella in desperate race back to Schiller and Goethe. It was Karl Kraus who said a woman can sometimes be an acceptable substitute for masturbation, but that it requires an awful lot of imagination. When I think of all the brief connections I have made this year with women, -----, Melani, Amanda, Pamela, Lydia, I can say that not one of them gave me an iota of the pleasure that I felt when the woman in the cinema let the men crowd around her with their cocks out, and let me wrap her hair around my cock to masturbate with in the dark. Transgression is not only possible, but beautiful. I would go further. Transgression is not only beautiful, it is essential. The double life is absolutely essential in order to save one's life.

Oh I cannot wait to get back to Nuremberg again! To go back to the Pils Bar to look for Martina! To go back to the Caribic on a Saturday night! My trips always used to be a three-way battle between Love, Art and Eros, this in the days when I was tormented by my desires and my repression, and the more I repressed my desires the more they overwhelmed me. Truly the only way to avoid temptation is to give into it. Only by indulging your tormenting desire does that desire go away and leave you free to go on with more constructive things, like writing about it. In the last two or three years, however, I have achieved a unity of the three. Love, art and Eros have been forged together so everything I do is motivated and fuelled by the combination of the three. I go to the Wiertz Museum during the day, and walk around that extraordinary single big room—alone, always alone—and already achieve a fine erection. My cock strains hugely in my trousers and rolls from side to side like a ship in a storm as I walk slowly around the room. By the time I penetrate into the three smaller rooms at the end of the corridor, it is all I can do not to remove my swollen member from its captivity and frig myself maniacally there & then on the spot. How Wiertz’s Napoleon arouses me, his Satan. Because I remember every time I have been here before, it was a precursor to the exquisite coils of desire I would envelop myself in later that night, so the Wiertz Museum serves as the appetiser, the foreplay, the anteroom on the first floor, as it were, to the brothel on the second.

Similarly, I go to the Museum of Modern Art in order to arouse myself by looking again at the deliciously dirty Paul Delvaux pictures, the Profond des Plaisirs, Salvador Dali’s Temptation of St Anthony, Tresors de Satan, and Alfred Steven’s Salome, knowing what it will lead to later. How can I not walk around art galleries with an erection! Especially if there is some sexy woman walking around the galleries just ahead of you, so you sometimes pass her and she sometimes passes you, in an erotic dance, a waltz, where you both know less than half your mind is on the pictures, and your eyes are surreptitiously looking at each other much more than at the paintings on the wall! Oh art galleries are the most erotic places on Earth! Classical music concerts, too. I have never met so many single women as I did when I used to go to concerts every week. The red scallop neck top girl who followed me back into the auditorium at the Barbican after the interval, and who as I looked up from my notebook, I made suddenly electric eye contact with. For the entire second half of the concert, as she sat two rows in front of me, her chest rose and fell like she had been running, so excited and aroused had she become about what might happen between us afterwards. Of course, nothing did. I sidled miserably home on my own, hating myself more with every step I took, but still—the mutual arousal and anticipation had been thrilling. So many times I have had encounters like this at classical music concerts. The Irish-looking lush in front of me in the Wigmore Hall ticket queue, who kept looking back at me, and then for no discernible reason bent right over, so I could see up her skirt. Women can be quite primitive in their seduction techniques sometimes. And people say to me “How boring! Art galleries! Classical music concerts!” They have no idea. The highly developed dirty mind, the truly smutty intellect, can find sex in a pot plant. And don’t get me started on tropical palmhouses and butterfly houses! Steamy indeed! Steamy in every sense of the word! I want to write smutty monographs of no more than 45 or 50 pages each, to document how deliciously dirty the world is. For the true connoisseurs of smut.

I am so tired & jaded of London now (23rd Nov 2006)

I am so tired & jaded of London now. I must instead go & get drunk in Brussels & Berlin. Reacquaint myself with Karl Kraus, and F Nietzsche. 

All that matters is my bleak books, written in blood, with blue hands in cold stoveless rooms around Europe. My studies in solipsism, the visceral pleasure in detachment of an autistic person. Autismus. Lotta & Sophia. The Cold Icy Air of the Mountains. Casanova. 

I have moved beyond —–, & Olga, and am free of them. Now the travelling starts again. To write my books in Brussels, Berlin, Munich and Vienna. 

I will run up such a debt I will no longer be able to go out in London, will just pay all my money on my credit card repayments & interest. That is OK. I will go back to drinking in my mother’s house & the Calcutta, while listening to the songs that remind me of travel, until I can travel again.

The Vienna visit feels like such a waste when I have nothing particularly to go for except that it will be Christmas (13th Sept 2006)

The Vienna visit feels like such a waste when I have nothing particularly to go for except that it will be Christmas. At least in Berlin I have got La Traviata and Carmina Burana to see in January, that is the hook I can hang the visit on, and in April I have got Katarina Dalayman’s Salome. But Vienna seems pointless and totally obscenely extravagant when I am already so much in debt and probably by then paying such huge interest on it. What other chute moments have I had? The American girl on the Eurostar to Brussels. That ruined my entire four day stay before I got there. I could not get over it. A crippling indecision what to say and inability to act meant I let her just walk away from me and killed myself. The pink top blonde on the plane to Munich. The crippling fear is that once I start talking to them they will realise I am not the man they thought I was from looking at my pretty eyes and sweetness. Once I try to get involved with a girl, my total inablilities in that area become exposed, as they did with Lotta and Chess Goddess, when normally I keep them so well covered up by my silence and my reticence, which attracts them and lures them in. Florence hushed me with a gesture when I arrived, that is her revenge for me turning away from her when she tried to say “It is nice to see you again” last time. And the last time she collected she didn’t just hold out her jug, she plumped both elbows on the bar and leaned there next to me as if this was an invitation for me to say something but again I just put the pound in without a word and she quickly turned and left. It is like it took her so many months to lure me out of my shell, and now I am never going to let her lure me out again. I have crept back under my stone and I am going to stay there. I had my chute moment with Chess Goddess too, that is why I left a trail of blood along the Exhibition Road. And of course with Pooky, that led to the psychological destruction during my trip to Oslo. When you are going through a psychological meltdown people seem to sense it and rush in to give you a kick while you are down. It is like a joyous, gleeful feeding frenzy. Indeed people are like wolves to me. As they were to Kaspar, to John Merrick, to Van Gogh, to Oscar Wilde after his imprisonment. All these beautiful, sensitive, gentle people were absolutely ripped to shreds by gleeful, vicious society.

I feel an almost physical revulsion at the thought of going back to Cotton Club and Demi and Pamela. But what else is there, so I will eventually. When I know the pleasures I have felt in those places felt so intense. I feel a physical revulsion for going back to those nighttime Vienna places and the nighttime Berlin places. I feel a physical revulsion for spending any money when I am in this saving mode. That is good. I have become allergic to spending money when before I seemed addicted to it. I feel an almost physical revulsion for women. I am a strange man. How can Florence or anyone have a relationship with a strange man like me. I am like Ralph Fiennes's Spider. I only learnt how to be alone when I was a baby, and I always will be. I love places where I can be alone surrounded by loud pounding music and naked girls, that is why I love the dream world of the Bell and the Cotton Club so much. It is the ultimate detachment. The ultimate transcendency. The ultimate lens. The ultimate gateway to the state of bliss that is the Kingdom of Death. Ultimate nothingness. Florence’s finger to the lips in a hushing gesture seems a very big moment. That nervousness so intense I cannot breathe as the train nears Nuremberg & as I got off and walk along the corridor to the entrance hall, and the nervousness I felt so intense I could not breathe as I went down the steps at the Astral, I now feel when I walk to the Scotsman from the north from the 91 stop. I feel it too when I enter Sunset Cinema, hoping to find a woman being monickered, and also when I go up the models’ steps. That is the high. That is the drug.

After Lamm's what else is there to do for me in Munich apart from struggling to the New Pin & trying to make it back to the Intercity before I explode? (4th August 2006)

After Lamm's what else is there to do for me in Munich, apart from struggling to the New Pin & trying to make it back to the Intercity before I explode? Nothing. Really. Lamm's is the be all and end all of my every day in Munich. At nights, the White Coffin becomes the be all and end all but I think even that has finished for me now, as it has become just full of memories which the here and now increasingly struggles to live up to. The more fantastic memories you have built up in a place, or exquisitely painful ones, the more blood you have left on the tracks, the harder it is to get the same thrill out of the place & the more disappointing it becomes. It becomes a law of diminishing returns. There is a rising arc of your first few visits when it gets better & better, then you reach the zenith, then level off, then the arc inexorably descends, and every trip becomes increasingly distressingly flat and uneventful. The whores get more flat-chested and unattractive every time you go. In Berlin, Yulia, Riccarda, Iga, Diana, gone forever. Maybe they were always poor but the excitement of going somewhere new made them seem more sexy and alluring than they really were. The more you return the more you tend to see the same women in the cold light of day, as it were, and you realise they weren’t all they were cracked up to be. 

I want to write books the like of which have never been seen before. Journals of a man subsumed in a life of emptiness and nothingness, but who revels in and gorges himself on this emptiness and nothingness, like a mother eating her own placenta. Journals about the visceral pleasure in detachment of an autistic person. About transcendency, about finding lenses that enable one to focus all the rays of this emptiness and nothingness like a magnifying glass used to focus the rays of the sun to start a fire, like the mirror that Orphee steps through to enter the Underworld, and then the transcendency flares into life like a white phosphorescent explosion, and one orgies in the transcendency, in the sublime orgasmic detachment from everything and everyone around you, in the supreme quality of emptiness and nothingness stretched to the nth degree like a taut violin string that is at any moment about to break but never quite goes; what exquisite pleasure is then to be found. If Guy Debord’s view of life was to seek the perfect point of inebriation, mine is to locate the perfect point of transcendental orgasmic detachment. The nights I would go to the Coliseum and have to creep in the darkness to the gentleman’s toilets and furiously masturbate so aroused was I. The nights at the opera in Berlin, when I had to leave at the interval in search of Kant and cunt, so highly-strung and aroused had I become. 

It is possible to take an aesthetic appreciation in fine pornography, fine aids to arousal and ejaculation; indeed it is impossible not to. The night in Munich I had to leave Strauss’s Arabella in desperate race back to Schiller and Goethe. It was Karl Kraus who said a woman can sometimes be an acceptable substitute for masturbation, but that it requires an awful lot of imagination. When I think of all the brief connections I have made this year with women, Florence, Melani, Amanda, Pamela, Olga, I can say that not one of them gave me an iota of the pleasure that I felt when the woman in the cinema let the men crowd around her with their cocks out, and let me wrap her hair around my cock to masturbate with in the dark. Transgression is not only possible, but beautiful. I would go further. Transgression is not only beautiful, it is essential. The double life is absolutely essential in order to save one’s life. 

Oh I cannot wait to get back to Nuremberg again! To go back to the Pils Bar to look for Martina! To go back to the Caribic on a Saturday night! My trips always used to be a three-way battle between Love, Art and Eros, this in the days when I was tormented by my desires and my repression, and the more I repressed my desires the more they overwhelmed me. Truly the only way to avoid tempation is to give in to it. Only by indulging your tormenting desire does that desire go away and leave you free to go on with more constructive things, like writing about it. In the last two or three years, however, I have achieved a unity of the three. Love, Art and Eros have been forged together so everything I do is motivated and fuelled by the combination of the three. I go to the Wiertz Museum during the day, and walk around that extraordinary single big room–alone, always alone–and already achieve a fine erection. My cock strains hugely in my trousers and rolls from side to side like a ship in a storm as I walk slowly around the room. By the time I penetrate into the three smaller rooms at the end of the corridor, it is all I can do not to remove my swollen member from its captivity and frig myself maniacally there & then on the spot. How Wiertz’s Napoleon arouses me, his Satan. Because I remember every time I have been here before, it was a precursor to the exquisite coils of desire I would envelop myself in later that night, so the Wiertz Musuem serves as the appetiser, the foreplay, the anteroom on the first floor, as it were, to the brothel on the second. 

Similarly, I go to the Museum of Modern Art in order to arouse myself by looking again at the deliciously dirty Paul Delvaux pictures, the Profond des Plaisirs, Salvador Dali’s Temptation of St Anthony, Tresors de Satan, and Alfred Brooks’s Salome, knowing what it will lead to later. How can I not walk around art galleries with an erection! Especially if there is some sexy woman walking around the galleries just ahead of you, so you sometimes pass her and she sometimes passes you, in an erotic dance, a waltz, where you both know less than half your mind is on the pictures, and your eyes are surreptitiously looking at each other much more than at the paintings on the wall! Oh art galleries are the most erotic places on Earth! Classical music concerts, too. I have never met so many single women as I did when I used to go to concerts every week. The red scallop neck top girl who followed me back into the auditorium at the Barbican after the interval, and who as I looked up from my notebook, I made suddenly electric eye contact with. For the entire second half of the concert, as she sat two rows in front of me, her chest rose and fell like she had been running, so excited and aroused had she become about what might happen between us afterwards. Of course, nothing did. I sidled miserably home on my own, hating myself more with every step I took, but still–the mutual arousal and anticipation had been thrilling. So many times I have had encounters like this at classical music concerts. The Irish-looking lush in front of me in the Wigmore Hall ticket queue, who kept looking back at me, and then for no discernible reason bent right over, so I could see up her skirt. Women can be quite primitive in their seduction techniques sometimes. And people say to me “How boring! Art galleries! Classical music concerts!” They have no idea. The highly developed dirty mind, the truly smutty intellect, can find sex in a pot plant. And don’t get me started on tropical palmhouses and butterfly houses! Steamy indeed! Steamy in every sense of the word! I want to write smutty monographs of no more than 45 or 50 pages each, to document how deliciously dirty the world is.