Slick’s flat, Sunday the 22nd of January, 12:42
Good morning world. It’s a surprisingly nice day in North Yorkshire, I’m having a very enjoyable weekend, and in two weeks (if all goes to plan) I will be qualified to teach English to foreigners, thus ensuring myself a steady income while I continue to Peter Pan about form place to place.
Therefore today, this blog will return to classic form, and I’d like to talk to you about the fine Art of Seduction.
Now, I don’t mean by that this will be a sort of “Slick’s guide to picking up women”- god knows, if I could write such a guide successfully, I would probably be out applying it. I’d also probably be a less likeable person. Rather, I’d like to talk a little about seduction in the abstract- seduction, if you will, as an art form.
Now, the most important thing to realise about seduction, done properly, is that it is a dialogue; a negotiation. It is a two-way process, a process in which both parties have a stake- each has something the other wants- generally one another’s bodies. On it’s most basic level, seduction is simply the act of coming to a mutually acceptable compromise, in which each participant tries to get as close to exactly what they want as they can, whilst allowing room for the other parties desires, inhibitions, and expectations.
It is not a hostile take-over, a one way process in which a seducer overcomes the mental/emotional physical defences of a victim in order to get exactly what they want. That would be more accurately described as harassment. The important thing about seduction, done properly, is that each party can walk away at any time. That is why one of the most uncomfortable things in the world is watching someone (let’s be honest, its nearly always a guy) relentlessly hitting on a girl until she is forced to literally push him away, or, even worse, she actually succumbs to his constant badgering and responds. I’ve seen this happen, and it always leaves a bad taste in my mouth.
This is not to say, of course, that there is no such thing as an active “seducer” and a passive “seduced”- it is simply to say the the distinction is not total, and that the seducer, in the process of seduction, finds him (or her) self being seduced. Indeed, the main difference is simply that it is normally the seducer who initiates the seduction. Once that has happened- and assuming the intended seduced isn’t simply disinterested to the point of just walking away- which does happen- er, so I’m told, it becomes an organic process. A dialogue, if you will.
In this paradigm of seduction as a negotiation, we can see that the most important ability one can posses is empathy- or, in some cases, the ability to feign empathy with great success. You need to understand what it is the other person needs and offer it to them, without compromising your own needs. This is why, anecdotally, good salesmen tend to be good with the opposite sex (or the same sex I suppose- i’m forced to assume that seduction in the homosexual community is sufficiently similar for the analogy to hold true). You need to assess what they want, and offer it to them, and, most importantly, convince them of your sincerity- the easiest way to do this is, of course, to be sincere, but I’ve heard from reliable sources who are totally not me, that it is sufficient to simply convey an air of sincerity. Finally, having understood your partners needs and desires, the goal is to introduce your own desires in such a way that it seems they were the other persons all along. As I’ve said however, this is not a one-way process, and while you are acting upon the other person, they are acting upon you- the end result, ideally, being that everyone gets what they really want- or, at least, what they are now convinced they really want. It probably wouldn’t do for us all to get exactly what we want all the time anyway.
The most important moment in this model of seduction is the first moment, the first obvious eye contact, the first smile or intense, smouldering glare. Generally, it is possible to see in that first moment whether or not your intended partner is interested in buying what you are selling. Now, that’s not to say that good eye contact is necessarily any guarantee that something will happen- there a hundred and one things which can go wrong with any negotiation, after all- but I consider any attempt at seduction unlikely to succeed if there is not sufficient spark in that first contact. Indeed, my source who is totally not me tells me that he has never been with a woman with whom he did not feel that thrill, that surge of electricity on first locking eyes with them. I once heard that a man will assess whether or not he would have sex with a woman in the first 5 minutes of knowing her. I respectfully submit that you can make such a decision in the first minute.This is also why I find it distasteful to see a man simply dance up to a woman, grind on her from behind and, in the worst cases, succeed. To me, it seems cheap and empty.
Now, it is possible, I admit, that I am being some sort of seduction snob when I say that a good or valid seduction consists of x but not y. You might respond by saying “Slick surely any course of action embarked upon by one person with the aim of having sexual relations with another is a valid act of seduction, especially if it is a successful one”- and it is here that the art analogy comes into play. Seduction, for me, should be like a great work of art- a communication between artist and canvas. These other tactics occasionally deployed to hook up with the opposite sex are more like shallow modern art, designed solely to achieve a specific reaction. If Romeo’s courtship of Juliet is the Mona Lisa, then grinding on a woman in a dark nightclub until she drunkenly agrees to go home with you is Tracy Emin’s “My Bed”- and you can make of that analogy what you will.
Yours seductively,
Slick