Prologue
"Remember," he used to say, patting my head as I studied at the kitchen table, "context is everything. Everything you study in school and life is nothing but a collection of meaningless facts unless you know the stories that surround it. Context puts the leaves on trees and the sun in the sky. It is the bad breakfast that re-writes history, the bus ride that inspires relativity, the love that composes sonnets and builds cathedrals. It is the story not the fact that changes the world, the means rather than the end by which it is changed. Context is the story, context is the means."
Context: it was Dad's catchphrase, his rule of thumb, the abiding principle by which he lived his life. And though I didn't think so back then, the older I get the more I agree with him. One can observe a scene with one's own eyes -- a bag wafting in a breeze, say, snow falling from a black sky, or two lovers filming themselves in bed -- but without knowing the context, one is little more than a voyeur, and what one sees will likely fade from memory before the day is through. But throw in the context -- the apocalypse that imbues a single plastic bag with memories of all that has been lost; the woman gazing out at the snow and laughing as she remembers making snow angels on her fifth birthday; the girl who for years didn't dare reveal her exhibitionist craving for fear of rejection, but who now fucks wantonly in front of the camera, filled with love for this man who accepted and encouraged her to be herself -- and these events suddenly mean something greater than the sight ever could.
This book, too, is about context. Aren't they all? But tell me at the end: how much more arousing does that film become, for the context I recount here.
Chapter One
Were we to meet sometime - in a bar or on the street - and I were to introduce myself as Amelia Rose, you would be unlikely to know who I was. But just perhaps, if you were to peer closely into my eyes, you might find a hint of recognition. I'm a little older now, perhaps less perky than once I was, but that age has taught me never to underestimate the shock that registers on someone's face when they realise from where that recognition stems. Particularly women. There have been two customers in the past year or so who have turned a terrible colour of puce when they made the connection. But -- in case this story inspires you to stop by -- please don't be embarrassed. I am proud that just the memory of me is enough to turn complete strangers on. If you've enjoyed the film, don't shrink back and make your excuses: sit down, share a coffee with me, and I'll tell you all about it. Because that is what sex and nudity should be: a means of bringing people together.
I am 29 now, married, and running an independent bookshop. We have the best fiction section in England, a very loyal customer base and a pretty unrivalled collection of erotic literature to boot. Whether you want to discover something a little out of left field, international writers of global acclaim such as Elfriede Jelinek, the backlist of classic authors like Guiseppe Tomasi di Lampedusa, or the latest Philip Pullman, you will find it here, right alongside erotic collections, confessions, and sex guides. And when you bring the book to the counter I will smile, regardless of whether you recognise me or not.
I remain much the same person I was aged eighteen: a voracious reader, compulsive book buyer, and obsessive dreamer. I tend to live in my head somewhat more than most people, fantasising the day away, but there's nothing I like more than turning these fantasies into reality. My husband and I -- and occasionally some of our closest friends -- have a pretty fulfilling sex life, all things considered.
Only last month, for instance, we got together with Anna and Ben and spent a weekend screwing each other senseless at their house. The liberation I feel letting myself go in the company of those I love is a little like that I imagine a toddler feels when jumping into the ball pit at a party with their parent watching on. There is exploration and a little fear, but with it a sense of individual exertion, of pushing oneself to the very limit of enjoyment.
My mind is perhaps best compared to an ocean of champagne: there is vastness, there is effervescence - and, if you're not used to it, the effect can be quite overpowering. There's not a great deal I haven't tried sexually in the last decade and I have to thank some wonderful friends for helping bring my fantasies to life.
The only cloud on an otherwise blue horizon is a fear that one day I might lose this power of imagination. That I might one day be overtaken by dementia, left a hollow shell of a person, is more than I can bare. Ever since I first heard of Alzheimer's it has terrified me. A couple of months ago an elderly gentleman came into the shop looking for help in getting to the hospital. Although I helped him as much as I could, I was engulfed by a sense of the utter loneliness of forgetting. What torture must it be to live life without point of reference; without being able to sit in a chair and cast the mind back to a beautiful day in June when the flowers were in bloom, a plane floated overhead, and life was full of possibility?
What beauty can exist without memory? The mere thought of that emptiness is too much for me to bear. Confronted with this horrific possibility, I have decided to put my life onto paper, so as to save some of my memories for posterity. Even if sometime in the future I have completely forgotten everything else in my life, I will be able to take this book off my shelf and relive it all, from the first tentative plans, to the glorious culmination of all my dreams and fantasies.