Zen and the Art of Motorcycle Maintenance uses the notion of taxonomy to uncover the disintegration of its protagonist’s mind, how his motorcycle fits together and how an understanding of the mechanics of the bike is fundamental to maintaining it correctly. Taxonomy as applied to animals (and those that live in the sea in particular) is often traced back to Aristotle’s Historia Animaliam and the so-called Ladder of Nature as applied to ‘cosmic structure’ in The Timaeus, and certainly we can see two tidy minds at work here. Pirsig is interested in ideas of order and disorder, but I think Zen is also a book about being a competent grown-up and what that means, primarily in relationship to technology. Here, I want to think about what that means in relationship to other people and how we categorise ideas and behaviours in relationships.
The opening pages of Zen consist mainly of Phaedrus describing the relationship his friends John and Sylvia have with technology. The novel describes a fundamental disagreement between Phaedrus, John and Sylvia on how much one should maintain one’s motorcycle (and all other kit, by extension) oneself:
It seems natural and normal to me to make use of the small tool kits and instruction booklets supplied with each machine, and keep it tuned and adjusted myself. John demurs. He prefers to let a competent mechanic take care of these things so that they are done right. […] I could preach the practical value and worth of motorcycle maintenance till I’m hoarse and it would not make a dent in him […] He doesn’t want to hear about it.
Sylvia is completely with him on this one. In fact, she is even more emphatic. “It’s just a whole other thing,” she says, when in a thoughtful mood. […] They want not to understand it. Not to hear about it.Robert Pirsig, Zen and the Art of Motorcycle Maintenance (London: Bodley Head, 1974), pp.10-12.
I suggest that John and Sylvia don’t want their broken motorcycles to be fixed by a mechanic because they want it ‘done right’, but because they want it done by someone else. Phaedrus gives us another example of a dripping tap. John attempts to fix it and fails. They don’t call a plumber and they don’t ask anyone else for help: they just put up with the drip. To use the terminology of the book, they wish to use technology, but they do not wish to maintain it. They also project the negative feelings that this produces in them (hatred of their own incompetence, say) onto the things they do not wish to maintain, blaming those objects for needing maintenance at all. Quentin Featherston does the same thing in my favourite passage from The Children of Dynmouth:
In the garage, he examined a machine called a Suffolk Punch, a lawnmower than was now exactly ten years old. […] Quentin hated the Suffolk Punch. […] He pulled at the starting device, a coil of plastic-covered wire that snapped obediently back into position after each attempt to engage the engine. […] You could spend all day pulling the plastic-covered coil, the skin coming off your hands, sweat gathering all over you. You could take the plug out and examine it, not knowing what you were looking for. […] You could take it to the kitchen and put it under the grill of the electric cooker in order to get it hot, without knowing why it should be hot.William Trevor, The Children of Dynmouth (London: Bodley Head, 1976), p.103.
On the following page, we discover that Quentin also hates his car, the washing machine and the radio, each of which require maintenance he doesn’t understand or parts he can’t obtain, and thus each of which fails to work as it should. He takes a plug out of the Suffolk Punch (yes, I was confused too: surely a Suffolk Punch is a horse?) and finds it to have ‘a shell of carbon around the points.’ Naturally, this tells him nothing (‘He never knew if there should be carbon there or not’; Giant Bear, who is much better at dealing with machinery, tells me that no, there should not). In the face of the silent lawnmower, his instinct is to retreat into the shed (a manly space full of Tools For Men) and take up the objects a more competent man might have used to actually fix the problem. We can thus conclude that, in some dim and arm’s length way, Quentin feels that his manhood is being challenged by the lawnmower.
Quentin falls back on the great traditions of Men in Sheds: he wipes the thing with newspaper, considers poking it with ‘a screwdriver or a piece of wire’ and eventually uses a hexagonal spanner to remove the plug, all the time with no earthly idea of what he is doing, hating his own ignorance (and presumably hating the fact that it is taking him so long to make the lawnmower come to life at all, while the lawn remains unmowed), but situating that hatred in the object. In other words, he blames the lawnmower for the fact that it won’t work, rather than reflecting on his own lack of knowledge and making a note to remedy this in the future (ideally, before his next attempt to mow the lawn). Notice that, while I haven’t yet related any of these ideas to sexual relationships, this whole episode is rooted in Quentin’s masculinity (or lack of it; note that he is reduced to fruitlessly taking the offending plug into his wife’s domain (the kitchen) and putting it under the grill).
I listen to a lot of podcasts, and thus am being regularly hassled by an oft-repeated, faux-spontaneous ad for a podcast called GrownUpLand, which is premised upon the idea that being a grown-up is both baffling and dull, and that listeners require help with the identity crisis that Getting Older will inevitably produce in them. The very first episode is entitled ‘What does it take to be a grown-up?’ and the ‘welcome to’ episode includes the quite startling statement that “an out-of-hand dinner party for me consists of cracking into their parents’ port” (surely grown-ups host dinner parties in their own houses? Surely grown-ups buy their own port?) and a listener asking for suggestions of a tattoo he could get specifically to piss his parents off. The response to this is from a Syrian refugee, who suggests that the listener tries being stateless as a way to distract his parents from his tattoo, and so I want to be clear here that, while I have no intention of listening to something I feel about a hundred years too old for, I am not finding fault with this podcast specifically, but rather the broader social trend that it both represents and feeds upon. I reject wholeheartedly the notion that being a grown-up is something we should resist or mourn. I have always been desperate to have as much autonomy as humanly possible. I wanted to own my own home, work hard at a job and earn an income that I could spend exactly as I saw fit (i.e. on food and books). I craved control, and I craved responsibility.
Adulthood, in other words, was something I could not wait for because being a grown-up means taking responsibility for all your decisions. Secondly, I was also pretty sure that being a grown-up meant, in some sense, being concomitantly more capable. I therefore looked to people who were already grown-ups for ideas of what being a competent adult might look like. It may seem that I have wandered away from Pirsig’s novel, but no:
[John and Sylvia] talk once in a while in as few pained words as possible about ‘it’ or ‘it all’, as in the sentence ‘There is just no escape from it all’. And if I asked, ‘From what?’, the answer might be ‘The whole thing’, or ‘The whole organised bit’.Pirsig, Zen, p.16.
John and Sylvia, who own a home and have several children (and thus unquestionably are adults) do not want to be adults. More broadly, the people who protest about ‘having to adult’ or who congratulate themselves on social media for ‘good adulting’ because they managed to feed themselves and put the bins out on the same day do not want to be adults; that’s why they are using ‘adult’ as a verb rather than a noun, as if it is something you do rather than something you are. I do want to be an adult, and I think the tension between those two positions comes from a difference of opinion about what being an adult should involve.
We might relate some of these ideas to relationships, and particularly sexual relationships (those with so-called ‘adult’ content, perhaps). I expected my ability to look after myself to keep pace with the level of independence I was granted, and I have consistently suggested to students with questions about relationships and sex that feeling ready for a relationship or a particular sexual experience should prompt self-reflection about the relevant relationship skills and notions of consent. If you feel ready to ask that nice woman on the bus to have coffee with you, you should also be asking yourself whether you feel ready for her to say “no, but thanks for asking”. In other words, if you are big enough to ask for something, you should also be big enough to be denied it, and to take that denial in a calm, grown-up fashion. I felt adulthood would be a time of feeling competent, including within relationships. Surely, I thought, one of the reasons Young People were actively discouraged from sex and other Adult Activities was that we/they were judged to be too immature to do them properly. Such things are for people who are older and therefore by definition more competent, but of course people do not necessarily become more competent as they age. GrownUpLand rests on the idea that we reach peak competence well below the threshold that would allow us to have fully functioning adult lives, and then we just continue to age, becoming steadily more baffled by the bewildering, boring tasks maturity requires us to perform.
Esther Perel’s book about sex in long-term relationships Mating in Captivity also makes a link between adulthood and dullness. Where Pirsig divides schools of thought into ‘romantic’ and ‘classical’, Perel uses the terms ‘romantic’ and ‘realist’:
The romantics refuse a life without passion; they swear that they’ll never give up on true love. […] Every time desire does wane, they conclude that love is gone. If eros is in decline, love must be on its deathbed. They mourn the loss of excitement and fear settling down.
At the opposite extreme are the realists. They say that enduring love is more important than hot sex, and that passion makes people do stupid things. It’s dangerous, it creates havoc, and it’s a weak foundation for marriage. In the immortal words of Marge Simpson, “Passion is for teenagers and foreigners.” For the realists, maturity prevails.Esther Perel, Mating in Captivity: Sex, Lies and Domestic Bliss (London: HarperCollins, 2007), p.3.
In other words, as we grow older, we also become disappointed, sad and boring. As Hilary Mantel has it in an early novel, ‘You feel, surely there’s more to life than this. But there isn’t, and it [the feeling] passes off.’ No wonder we need cheery podcasts to help us navigate these dreary waters. Perel notices how popular culture tries to prepare us for this decline. She says, ‘the volatility of passionate eroticism is expected to evolve into a more staid, stable, and manageable alternative: mature love’ and argues that this is the natural result of believing that ‘[d]iminishing desire is inescapable’. Louis de Bernières writes in Captain Corelli’s Mandolin that ‘Love itself is what is left over when being in love has burned away’, a sentiment I could not disagree with more.
So, while passion might initiate a relationship, it cannot sustain it. Rather, the passion, phoenix-like, must be destroyed so that the couple can then sift through the ashes of their eroticism to see what is left (“oh look, darling – years of arguing about the washing-machine! And is that your elderly mother under that bit of charred pillowcase?”). Add to this how our culture continually positions both love and lust as things that are fundamentally for young people with firm bodies and no responsibilities, and the link between maturity and sexless, passionless boredom is complete. Of course we no longer have sex with each other! We’re old! Nobody wants to have sex with old people, including other old people! Evenings that used to be taken up with frantic, tender sex are now to be given over to discussion of the compost bin. Knickers will be flung into the laundry basket rather than over the bannisters. Sofas upon which we once clasped one another with vigour and intent are now places to sit calmly, discussing the relative health of our house plants and planning the euthanasia of our parents.
As a society, we fetishize youth, and we fetishize novelty. Rather than patiently seeking new ways to explore a relationship with one another as it grows deeper and richer with the passing of time, we are, therefore, led to believe that a relationship (and certainly a marriage) will inevitably hit problems that the couple will be unable to solve, and demand compromises they are reluctant to make. One will, then, be faced with the following options: living alone; a revolving door of new partners, each one re-booting one’s sense of desire; or staying with the same boring old person: partly because by the time you realise how miserable you both are, disentangling yourselves will be both complex and expensive; and partly because that’s what adults do (‘[y]ou are expected to tough it out and grow up’). Thus are we sold the myth that the longer a relationship lasts, the duller it will be; a myth, moreoever, that many of the relationships we find ourselves in and that we see around us may appear to confirm.
It doesn’t have to be this way. I suggest that the passage of time is not the cause of this decline, but rather poor relationship skills and unhelpful, normalised expectations. I include here both expectations that are too high (expecting to feel the same butterflies in your stomach when your husband of ten years comes home from work on a wet Wednesday as you did on your first date when you had known each other for five minutes) and too low (thinking that the aforementioned lack of butterflies means that you no longer fancy your husband and that this is Just What Happens). Here is my theory, combining some of Perel’s ideas with Pirsig’s notion of an ‘intellectual scalpel’ and the Aristotelian notion that there is power in both taxonomy and calling each thing by its right name, as Pasternak has it. The activities that constitute a relationship (any relationship) can be divided into two categories, which I’m going to call Joy and Maintenance. Joy refers to the intrinsic i.e. things you choose to do within the relationship, with each other, purely because you enjoy them. Here we might include dating (whatever that means for you); sexual encounters; conversation about things that interest you; any other activities and hobbies that you do simply for pleasure. Maintenance refers to the extrinsic i.e. things you have to do in order for your lives to function and that involve some sort of engagement with the outside world. Here the list might be paying bills, going to work, doing housework and so forth (see Iron Get Hot Now for the division of labour favoured in the Filthy Comma/Giant Bear household). I’m using the word ‘maintenance’ because of Zen, but also because it carries connotations of necessity and regularity that I think are helpful here. However, we might just as easily use ‘admin’ (or, if we really can’t go five minutes without repurposing perfectly good words, ‘adulting’). The activities I am filing under Joy don’t necessarily always fill us with joy, and there are of course some activities (e.g. a family wedding) that could go either way. Similarly, admin doesn’t have to be dull. I am dividing Joy from Maintenance in terms of intention, then, rather than whether it turns out to be enjoyable. This is emphatically not ‘joy=joyful; maintenance=dull’, but rather ‘joy=things that are intended to be fun; maintenance=things that are necessary’. We don’t have to have sex: we choose to do so, because it is intended to be fun. Even if you spend the afternoon having sex that is, for some reason not enjoyable (e.g. wasp), sex is still classed under Joy. Similarly, we have to go to work: we agree to do so because it is administratively necessary. Thus, even if you enjoy your job enormously (and I sincerely hope that you do), it is still classed under Maintenance.
The opening chapters of a relationship usually consist almost entirely of Joy. We go on dates; we make meeting for a coffee last four hours; we have sexual encounters; we meet each other’s friends. We spend time together because we want to spend time together. There is very little admin to be done, beyond arranging to be in the same place at the same time, and so we are using our partner’s ability to Be Good At Fun Stuff as the primary criterion for choosing to continue the relationship. We probably have very little idea whether they are any good at admin yet, because each partner is taking care of their own stuff. I suggest that my hypothetical couple (let’s call them Sandy and Lee so that they can be any gender) and all their friends would find it perfectly reasonable for the relationship to come to an end because there was a problem with the Joy: the sex was patchy or they didn’t like the same books, say. These friends would not, I suggest, be as supportive if Lee ended the relationship on the grounds that Sandy refuses to carry a wallet, doesn’t understand how to use an iron and can’t be trusted to pick up dinner on the way home, but that’s not going to happen in these early stages, because Lee doesn’t know any of that yet. Notice that the first set of examples suggests people living in their own spaces, pursuing their own goals and spending time together as and when they can fit it around their other activities, while the second set suggests a couple sharing a living space, a fridge and probably a joint account. This is because the balance between Joy and Maintenance shifts, subtly but inexorably, the longer a relationship goes on.
In the early stages, then, Sandy and Lee simply enjoy each other. Lee, who is a generous lover, never forgets a birthday and bakes the best ginger cake Sandy has ever eaten, won’t later leave the relationship because Sandy ceases to be fun. Sandy hasn’t ceased to be fun. Sandy has simply continued to suck at admin. Similarly, in the early stages of the relationship, Lee found it endearing that Sandy continually confuses June with July, doesn’t keep a diary and can’t understand money, because at that point what kept Lee in the relationship was the fact that Sandy is funny, gentle and covered in freckles – but Lee will care about these things very much once they move in together and buy a cat. Both Sandy and Lee love Mr. Whiskers, and Mr. Whiskers appears to love them both equally. It is, however, mostly Sandy that plays with Mr. Whiskers and buys him endless treats and toys (Joy), while mostly Lee takes him to the vet, buys the catfood and feeds him (Maintenance).
Being bad at Maintenance kills relationships. It kills them far more often and more thoroughly than being bad at Joy, because the likelihood that someone who is bad at Joy will be in a relationship for more than a few weeks is so low. The admin gradually ramps up as the lives of Sandy and Lee become more tightly entwined, as does the need for the admin to be done promptly and well. Lee gradually does more and more of the admin because Sandy isn’t any good at it, and by the time Sandy remembers a regular admin task needs to be done (putting out the recycling, say), Lee has often already done it, promptly and efficiently, but resentfully. They might try to manage this by each choosing discrete areas of responsibility, but Sandy (who really sucks at admin) can’t seem to do their tasks without being reminded several times by Lee, who is now forced into a role of not doing the admin, but project managing the admin. Lee and Sandy might even phrase this to each other in terms of maturity (“it’s like living with a student”; “it’s like living with my mother”). What ends the relationship, therefore, is not a lack of Joy, but rather a gradual, cumulative preponderance of undone Maintenance. This culminates in an awful week-long row about whose fault it is that neither of them took the keys round to the neighbours so that the neighbours could feed the cat while Sandy and Lee were on holiday. The final, relationship-ending row will appear to be about the emaciated cat, whose pathetic little face will haunt them both for years, but will in fact be about Sandy’s tacit expectation that Lee should take responsibility for admin because Sandy is horrible at it, and Lee’s resentment that Sandy leaves all the admin to Lee. “You didn’t love Mr. Whiskers at all,” they hiss at each other.
My point here is that you have to be with someone for a decent length of time, and probably move in together, before you have any idea of whether they are any good at admin. This is, therefore, a leap in the dark, and most likely a leap that one will make only when one has already reached a certain level of emotional commitment. This emotional commitment makes it tempting to just put up with shitty admin (or to tell oneself that one’s partner is bound to get the hang of it sooner or later, etc.), rather than facing the fact that being bad at Maintenance kills relationships and the fact that your partner doesn’t do the ironing without being reminded three times is a much bigger problem than it might appear. This may be a useful point at which to return to the label ‘maintenance’. Admin is boring, but it maintains the relationship. Bricks are boring, but they keep a house up; bread can be boring, but it doesn’t half hold a sandwich together. By the time Lee fully realises how much Sandy sucks at maintenance, they have been together for three years and living together for two. It feels far, far too late (and far, far too petty) to say, “Sandy, I really can’t stay in this relationship unless you treat the washing up with the seriousness it deserves”, and so Lee doesn’t say it. Instead, a new era of tense, repetitive, mean little arguments ensues, revolving around chores that neither partner particularly wants to do, but which are necessary for the household to function. This is what people mean by ‘the little things’, but these things are not little: they are dull. The relationship circles these tedious issues like water trying to drain through a clogged plughole. There is never quite enough energy to dislodge the metaphorical slice of onion or mushy rice, but neither is there a sincere attempt to really scrutinise how those things got there in the first place (spoiler alert: poor admin).
What makes a relationship work in the long-term, therefore (I suggest) is both people in the relationship working hard at both Joy and Maintenance. Consider Perel’s other book The State of Affairs and Chapter 10 of Mating in Captivity, in which she argues (among other things) that infidelity arises partly out of asking too much of a single person, expecting our chosen partner to fulfil all of our needs: ‘once we have found “the one”, we will need no one else’. Asking one person to be all things to you is unfair, isolating and likely to lead to disappointment, as well as probably causing the partners to spend far more time together than the relationship can stand, making them both bored and frustrated with each other and craving change. The way the relationship is being run is what is creating the boredom, but it is easy to see why both people involved might mistakenly draw the conclusion that it is their partner they need to change, rather than their behaviour. Perel says,
I also suggest that an affair may also seem appealing because, much like the start of a new relationship, an affair is light on maintenance and heavy on joy. That’s the whole point of an affair: spontaneous, short-lived and passionate, we expect it to burn itself out before any maintenance is required.
Let’s go back to the beginning of Lee and Sandy’s relationship, when they spent their time having sex, talking and enjoying their shared love of West German cinema. The time they spent on admin (if any) revolved around who would replenish the KY jelly, what time Sandy would pick Lee up so they could go away for the weekend and whose flat they would be staying at that night. All those tasks are certainly admin, but they all also hold an erotic charge: Joyful Maintenance, if you will. Let’s now run the tape forward to a few days before Sandy and Lee take their ill-fated holiday: a holiday they are taking specifically because “we never see each other”, and which they set off on with light hearts, casually locking the cat in the house with the spare keys (each under the impression that the main set have been left with the neighbours by the other) and waving goodbye to Mr. Whiskers from the back seat of the taxi. At this point, their lives now involve a tremendous quantity of admin, generated by the fact that they now share a home and a cat. There is also a qualitative difference from the admin they did as single people, and in the early stages of their relationship. Lee is paying their bills, ironing their clothes and checking the cat for ticks; Sandy is taking out the bins, cooking hurried dinners and trying to remember why Lee thought it was important for Sandy to balance the chequebook for the joint account. The admin is not sexy anymore. Moreover, because Sandy sucks at admin, and because neither Sandy nor Lee has figured out a way to address the fact that Sandy sucks at admin, the admin is taking up a lot more space in their lives than it needs to. In other words, rather than being able to get the Maintenance out of the way early on and then get onto some Joy (as we might see in the first conversation below), Joy is squeezed out.
Lee: Hello, darling. Did you remember to pick up the dry cleaning?
Sandy: Yes, and I put it away in the wardrobe when I got home.
Lee: Thanks for doing that. Shall we watch a film tonight? <civilised conversation ensues about the work of Werner Herzog>
Lee: Hello, darling. Did you remember to pick up the dry cleaning?
Sandy: SHIT THE BINS.
Lee: You forgot?
Sandy: I had a really hectic day.
Lee: I reminded you twice.
Sandy: I know. I’m really sorry.
Lee: Why the fuck do I have to do everything? <argument ensues, with both Sandy and Lee thinking throughout how much they fucking hate dry cleaning and how they would each happily eat an entire suit with a knife and fork if it meant they never had to argue about the dry cleaning ever again>
In such an atmosphere, it’s not difficult to imagine Lee having an affair, finding a thrill in the irresponsibility of putting the relationship at risk after being forced to take on far more responsibility than Lee really wanted. Affairs do include some admin, of course (those lies don’t just write themselves), but crucially the admin has become sexy again. For someone like Lee who is good at admin, the kick Lee gets out of having an illicit relationship at all is supported by the smaller (but in some ways more powerful) kick Lee gets from successfully concealing the affair. Sandy will never notice, Lee thinks. This just goes to show how little Sandy knows me, etc.
It’s also not difficult to imagine Sandy having an affair, with (say) a colleague, easily fitted around Sandy’s already chaotic schedule without Lee noticing. In fact, although Lee is more discontented with the situation than Sandy, it’s Sandy who is more likely to stray in some ways. For one thing, Lee is too busy. For another, as Perel says, ‘excessive monitoring’ (which may well be how Sandy interprets Lee’s constant reminders) can push a person into ‘transgressions that establish psychological distance from an overbearing relationship. […] Trouble looms when monogamy is no longer a free expression of loyalty, but a form of enforced compliance.’  Sandy finds an attractive new colleague ‘less anal’ than Lee and revels in naughty takeaways and flirting over the photocopier while working late. Sandy turns this new colleague over in their mind, paying even less attention to admin while in the grip of various fantasy encounters. Sandy’s new colleague doesn’t know Sandy is in a relationship, partly because Sandy never seems to run any of the errands one might expect to see done by someone in a long-term relationship (do your fucking admin, Sandy!), and partly because Sandy and Lee are spending so little time together at home, which is now less a shared home and more of a backdrop to their latest admin-based row. Sandy’s situation quickly escalates into flirtatious emails, groping in corridors and eventually hurried, partially-dressed sex in a slovenly flat. When these things are over, Sandy simply says, “see you tomorrow” and leaves, without anyone nagging about defrosting the freezer or demanding an update on the cat’s bowel movements. Perel says, describing a harassed wife, ‘[she] can feel like a woman again; her lover knows nothing about the broken Lego set or the plumber who failed to show up for the second time.’ When Sandy gets home, Lee asks why Sandy is putting work ahead of their relationship and lists the tasks Lee has had to do in Sandy’s absence. “You never spend any time with me or Mr. Whiskers,” Lee might say. Lee is no fun anymore, Sandy thinks. This just goes to show how little Lee knows me.
Chris Kraus’s baffling, tedious book I Love Dick is relevant here. I’ve read the whole thing twice and still haven’t the slightest idea whether it is an elaborate joke that I simply don’t find funny, or 250 pages of navel-gazing drivel. I find so little in it that I recognise as feminist that my first assumption was that the blurb was also a joke. Emily Gould wrote in the Guardian that ‘Everyone is right: this is the most important book about men and women written in the last century’, so I am clearly in a very small minority when I say that it feels to me like an utterly unimportant book about self-absorbed people whose relationships I didn’t care about (although I note that at least two people have taken the time to write ‘self-reflective wank’ and ‘GET IN THE SEA’ in the comments on Gould’s article). Maybe it has something to say about men and women more broadly, but for me the three central characters are so bizarre (and yet so dull) that I don’t feel able to extrapolate any of their behaviours, and certainly wouldn’t consider them typical or representative (not of anyone I know, anyhow). According to the blurb on the back, this is ‘the most important feminist novel of the past two decades’, but I hated it with the fire of a thousand suns and since I only want to use it to illustrate a brief point here, I really can’t bring myself to read it a third time solely to unpack why I found it so unbearable. For my immediate purposes, let’s just consider the notion that it rests upon, which is that an affair is inherently interesting. We know Kraus thinks this is so because literally nothing else happens: the entire book is just three people in a love triangle talking to each other about the fact that they are in a love triangle. Kraus has a whole book of things to say about an affair that takes a hundred pages to get past first base, at which point the marriage is over and so technically not an affair anyway. Chris and Sylvère (the central married couple) have an extraordinary amount to say to each other, too (‘Was the conceptual fuck merely the first step? For the next few hours [HOURS], Chris and Sylvère discuss this’). I Love Dick relies on the idea that an affair (any affair, including a conceptual one i.e. one that will have bored the arse off the reader long before the people in question get round to having sex) is exciting, daring and endlessly interesting, but the affair the book describes is none of those things. The three people involved find themselves in a love triangle not because of a sudden, thrilling passion or a meaningful and completing sense of wholeness, but because all three of them lack relationship skills, self-awareness and boundaries. They certainly have no idea what it is they hope to get out of either relationship, other than a breath-takingly self-indulgent book (‘We never have any fun together,’ she [Chris] sighed into the phone. Sylvere replied gruffly: ‘Oh. Fun. Is that what it’s supposed to be about?’).
None of these affairs make sense, particularly when we remind ourselves that the problem Sandy and Lee have with each other is not sexual, but administrative. What they have created by accessorising their previously committed relationship with an affair is a yin-and-yang matching set of relationships. The relationship Sandy and Lee have with each other is now almost entirely admin. Boring, boring admin. Perel quotes D.H. Lawrence at the start of Mating in Captivity, speaking of ‘the great cage of our domesticity’, and it is the meshing together of Sandy’s life with Lee’s, the crushing burden of cumulative admin and Sandy’s inability to do their share that locks the two of them together, making them feel old, bored and boring. This side of the ying-yang circle is leavened with a tiny spot of joy that reminds them they are still fond of each other and therefore just about keeps the pilot light flickering. On the other side, the relationships they each have with their respective lovers are almost entirely joy. Sexy, sexy joy. This keeps them apart, both literally and metaphorically, concealing their ‘other’ lives and allowing them to explore who they can be with another person: someone who feels dirty and conflicted, certainly, but also someone who feels young, interesting and desirable. This side of the circle is marked with a tiny spot of admin that is just enough to keep each affair concealed. Thus Sandy and Lee have achieved balance of a sort, and this is why (and how) so many affairs drag on for years. Having sex with another person is still counterintuitive, given that the sex Sandy and Lee still have occasionally with each other is still good, but that’s not why they are having sex with each other anymore, and that’s not why they’re having affairs.
I imagined Sandy and Lee fighting for a week or so before Lee finally leaves, and that’s because I’m assuming it is during the fight about whose fault it is that the cat has died that one of them will let slip they have been having an affair. This will be devastating to the other party, primarily because of the breach of trust implied by sexual monogamy (joy-related trust, if you will). My argument here is that being trusted with the cat’s life (and failing to take care of it i.e. maintenance-related trust) feels very different to being trusted not to have sex with another person. However, in terms of how small acts of fidelity and care add up over time (or, conversely, how failing to carry out similar small acts of maintenance wear away at a relationship over time), I think they are equivalent. There is more than one way to betray your partner. As before, note that the revelation that one’s partner has been having sex with a co-worker is a socially acceptable reason for ending a relationship, while that same partner forgetting to drop off the keys with a neighbour or repeatedly going into the overdraft is not. This is partly because we have the vocabulary with which to describe sexual infidelity: ‘Sandy was having an affair’, as opposed to ‘Sandy wasn’t any good at relationship maintenance’, which then has to be explained and backed up with a dozen relevant examples before the long-suffering friend listening to this story is prepared to venture an opinion on whether Lee was right to leave.
My own view is that individual affairs can be interesting, both for the people involved in them and for those reading about fictional characters, but only if those people and/or characters are also interesting. For example, The Once and Future King does a beautiful job of showing all three points of a love triangle, in such a delicate and balanced way that a reader can hold sympathy for all three of them in their heart at the same time. That is because the three people involved are all complex, thoughtful and interesting. Each of them feels the pain of their situation and each of them both regrets it and feels powerless to resist it. Arthur even manages to feel sorry for his unfaithful wife and best friend, both of whom he continues to love with great sincerity and gentleness. He goes out of his way to preserve the fiction that he does not know they are betraying him, just as they work hard to keep it from him – not because they dread being found out, but because they do not wish to hurt him. T.H. White’s handling of the currents of emotion between the three of them is extraordinary and exquisite. Meanwhile in I Love Dick, if ever a character begs to be cheated on, it is pretentious, entitled, patronising Sylvère. Wordsworth speaks of the ‘dreary intercourse of daily life’ and of course he is talking about interactions in general rather than sexual intercourse, but truly, an affair is a deeply dreary response to a relationship being in a tough spot, particularly if the people involved are themselves dull as shit. There is something profoundly bratty about an affair. Childlike, we demand to have the mutually exclusive, and to be the mutually exclusive: spouse and lover, old and young, adult and adulterous. ‘Unfaithful spouse’ ought to be an oxymoron, but it isn’t. It is a commonplace. An affair resolves nothing. It is both the coward’s way out and no way out at all.
As I said, it doesn’t have to be this way. Relationship skills, patience, realistic expectations and being fucking grown-ups can, I suggest, allow us to flourish. As Wordsworth has it later on in the same poem, taking this stuff seriously can make it possible, ‘Through all the years of this our life, to lead / From joy to joy.’
 Armand Marie Leroi, The Lagoon: How Aristotle Invented Science (London: Bloomsbury, 2014), p.277. See pp.101-104 for a discussion of Aristotle’s influence on Linnaeus and Cuvier, among others.
 It’s important to note that a few pages later, Phaedrus makes it clear that in fact many of the mechanics both he and John deal with are anything but competent.
 Or, more specifically, anything other than “yippee!”. If you feel ready to ask your partner to strike you vigorously across the buttocks with a copy of Middlemarch (say), you should also be prepared for responses spanning the full range from “yippee!” through “may I suggest a hardback copy of Robert Coover’s weird-arse novel Spanking the Maid as a more appropriate choice?” to “get out of my house”. See also Shake it all about for some further thoughts on the teaching of consent and the use of the phrase “no, but thanks for asking”.
 “Take it like a man”, as we used to say before we were fully aware of how patriarchy tells men that the word “no” is something they should only expect to hear from women who haven’t yet got with the programme.
 Perel, Mating, pp.201 and 3.
 I don’t have a page number for this because (i) it is in my mind after hearing the surrounding passage read at a wedding rather than because I read it in a book; and (ii) I don’t have a copy of Captain Corelli’s Mandolin in the house because I’m not in a ladies-only book group from the mid-1990s.
 ‘Because they [Chris and Sylvère] are no longer having sex, the two maintain their intimacy via deconstruction’. Oh, do fuck off. Chris Kraus, I Love Dick (Los Angeles: Semiotext(e), 1997), p.6.
 Perel, Mating, p.3.
 Giant Bear and I regularly use the phrase ‘Shit the bins!’ as a shorthand for “I’ve just realised that I didn’t do a boring admin task I was supposed to be responsible for! On an unrelated matter, I now need to leave the room!”
 Perel, Mating, p.179.
 Perel, Mating, p.190.
 Perel, Mating, p.183.
 I have deliberately not offered a definition of what constitutes an affair, either from my own point of view or for Lee and Sandy. Chris and Sylvère agree that Chris failing to have sex with Dick constitutes an affair (this is the ‘Conceptual Fuck’ mentioned above), but whatever your definition of infidelity might be, I doubt that an evening of watching a video of someone dressed as Johnny Cash and then falling asleep on their sofa bed next to your own spouse would count.
 Kraus, Dick, p.6.
 Is this like the ‘zipless fuck’ in Fear of Flying (which I also really hated)? I don’t care enough about either book to find out, so let’s just say it probably is.
 Kraus, Dick, p.74.
 D.H. Lawrence, ‘Wild Things in Captivity’, line 7, as quoted in Perel, p.ix.
 William Wordsworth, ‘Lines composed a few miles above Tintern Abbey’, line 132. Incomplete citation because as a general rule I don’t care for Wordsworth and won’t have him in the house. He also speaks of ‘The coarser pleasures of my boyish days / And their glad animal movements’, but let’s assume he means hiking.