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“You are awake.”You still didn’t move your head to look at me, No need. My morning erection gave me away.A single fingernail oh so lightly traveled from the base of my cock to just below the head, then back down. That brought a slight gasp from me and a rise from my hips.Again. And again. Teasing.Finally you rolled your head back, eyes closed, and our lips met for a soft, lingering kiss. As they did, your fingers wrapped around the length of me and pulled gently.It was my turn to moan.Our tongues twined and danced. Our lips pressed tighter, then softer in the kind of kiss that makes us both weak. Your warm body pressed into mine as your fingertips stroked me. Long, slow strokes that made my hips roll up and back.The kiss broke as easy as it began. You moved your head a few inches away and just looked at me, a slight smile on your lips.My mouth opened to speak, but before a syllable could come out, a simple “shhhhhh” came from you.“Don’t speak. Close your eyes and. These rides may in themselves be good, bad, or indifferent. The ‘uses’ which the many make of the arts may or may not be intrinsically vulgar, depraved, or morbid. That’s as may be. ‘Using’ is inferior to ‘reception’ because art, if used rather than received, merely facilitates, brightens, relieves or palliates our life, and does not add to it.” -- An Experiment in Criticism, X [1961]What Rachel was talking about was the way Dupain’s and Williams’ work was received. The way the patterns (the landscapes), invented by each, enabled our view of Australia. Each takes us for a different bicycle ride. But the important thing was the ride, not the description of the ride. What was it Lewis wrote? Oh, yes: “If we have to choose, it is always better to read Chaucer again than to read a new criticism of him.” For Rachel, look at the painting or photo, not at what the critics say about it.She was going to have to distinguish between history and criticism.He was still thinking when Olwen called..
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