I think that what I knew as a teenager, and what I rediscovered in my mid-forties, was - aside from the primacy of sexual desire and how strongly it rules me - this idea that we are lucky to feel something. Even if that something is sadness.

The patchwork nature of the forms are a reflection of sexuality itself.

Your sexuality belongs to you, and think about your own desire.

I wish I would have been more of a maker. I wish I would have been more of a writer. I wish I would have not subsumed my will to every boy I had a passing fancy about. That's the part that is horrifying.

I carefully lifted out of the pose and spoke up: Uh, Fran? When I'm doing the pose (camel), I have this feeling in my chest, kind of a scary, tight feeling.-Fran was adjusting someone across the room. She had a way of looking like a thoughtful seamstress when she made adjustments: an inch let out here, a seam straightened there, and everything would be just right. She might as well have had pins tucked between her lips and a tape measure around her neck. Without missing a beat or looking up she said, Oh, that's fear. Try the pose again.-Fear. I hadn't even known it was there.

Drinking and drugging make it so your reality flies away from you. Your body and your mind are not present. I loved that feeling as a kid. For me, the strongest way to have that feeling was love and sex. Not only did I enjoy it - that feeling of being transported - but because I was so boy-identified, first as a tomboy and then as a girl who liked to sleep with boys.

The book Love and Trouble is asserting that sexuality lives inside us, and in the culture, and in the people who do things to us - and the forms reflect that.