Category Archives: Life Story

The Apprehension is for the Possibility

Apprehension – Charlie Marseille (2026)

I have a feeling that something bad might happen. It makes me nervous. Like when you want to have a shit but you’re worried because the drains keep backing up.

The Boy Danced Naked Under the Apple Tree

Naked – Charlie Marseille (2026)

The apples were nearly ripe. Red where the sun had kissed them too hard, green in the hollows of shade. Some were freckled, some split open already, pale flesh browning, bees drunk on the sugar. The smell hung low and thick. 

He didn’t decide to dance. It happened the way shivering happens. One bare foot scraped the ground, testing it. His shoulders rolled, stiff and then looser, like he was shrugging off something heavy. His arms lifted, awkward, elbows bent too sharply, wrists slack. He laughed under his breath at how stupid he must look, alone in a field with no one to see.

That was part of it. The not-being-seen.

But the boy danced naked under the apple tree.

Tolerance is a very dull virtue. It is boring

“A bore is someone who deprives you of solitude without providing you with company.” – Oscar Wilde

Why do people talk shit and think that I am interested? The problem is me. I sit and listen and do my best to look interested, but it gives them an excuse to come back and talk even more boring shit. I need to stop being a drip tray.

A Guide to Recognizing Your Saints

A Guide to Recognizing Your Saints (2006). Directed by Dito Montiel. With Channing Tatum as Young Antonio and Shia LaBeouf as Young Dito.

There was this guy, always half-naked like he was daring the block to say something. All nerves and sweat and attitude. All fight in him. You could smell the testosterone, I swear—like sweat, cigarettes, and bad decisions mixed together.

You ever hear somebody get called Pistachio Dick? Yeah. Welcome to Queens. Ho yay!

Antonio was like that with Dito—mean to everyone else, but around him? Forget it. Full guard up. Like he was protecting something he didn’t even know how to name. Two guys, both tough, both turning red whenever they got too close. Nobody said anything. Nobody had to.

And here’s the thing that kills me about Channing Tatum—this guy did nothing. Nothing. Just the right sperm hit the right egg and boom, whole fuckin’ world started orbiting him. Not my line. Some guy named Anonymous said it. But yeah. That’s how it went.

The ‘Stripped Down’ Spectacle

Frazer Harrison//Getty Images

The body grows older; the mind, one hopes, grows softer. Justin Bieber steps onto the Grammys stage wearing little more than boxer shorts and black socks, and suddenly we declare him grown. A raw act, we’re told—an offering of honesty, of soul laid bare. Others call it baffling, even disturbing, unsettled by a performance that flirts so closely with undress. But who are we to protest?

Once, the disdain came loudest from older men who sneered at his pre-pubescent voice, his softness, his prettiness—at the very things that made him desirable. He was easy on the eye, a doll to be admired and dismantled in the same breath. It was fashionable to hate him.

Then came the litany of recklessness: urinating in a restaurant mop bucket, the abandoned monkey in Germany, the tabloid parade of bratty excess. Legal troubles piled up, stories of disrespect followed close behind, and obscene wealth insulated him from consequence, from the slow education of ordinary life. Entitlement clung to him like cologne.

And yet here we are. A sharp crew cut, a half-naked body under the glare of millions, and absolution arrives. Forgiveness, it seems, does not always come through music. Sometimes it comes through the body.

The Weight of Wonder

When You Look at Boys – Charlie Marseille (2026)

When you look at boys, do you really look – do you look in detail? People see Bradley and assume that beauty must imply intelligence. It doesn’t. The truth is, he’s a bit of a himbo. There’s a Yorkshire saying for people like that: “thick as pig shit.” And Bradley, I suppose, fits it perfectly. He smiles – handsome, devilish – with a guileless sense of wonder. But how long can I keep swallowing my frustration? Physical attraction fades quickly, and I realise the only role he can play is arm candy: a beautiful body, empty-headed, ornamental.

My Head is Full of Random Shit

*****

“Video Angelus internehilium et imortalis Even as we speak our hearts entwine. Senex et angelus video venestus caelum. Equiden lavare in meus vita empeteus Ah eeh ah eeh ah.”

*****

The boy who likes the excitement of fear.

“I worry about being thrown off the carousel in later life.” 

A skinny body and dirty pants.

*****

“He’s got it. Yeah, baby, he’s got it. I’m your Penis, I’m your fire. At your desire. Well, I’m your Penis, I’m your fire. At your desire.”

*****

Be careful who you choose because it can go wrong.

Is it that Bailey is still a virgin?

A shelter on a beach full of books.

A lake in an abandoned quarry.

Is it love that never quite reaches an orgasm?

A boy who turns up late is always popular.

Pasticcio.

The Organ of Lorenzini.

Last night I dreamt I was eighteen again

The Boys- Charlie Marseille (2026)

Hormonal Surge: Increased testosterone, fuelling restlessness and the need to discharge energy, sometimes through risky or boisterous play, mock fighting, and testing boundaries.

I wake and can hear music playing in the other room. It is an eighties song – Calling All the Heroes – and it is perfect. My first waking moments are defined by a song made before I was born. It will become a favourite. Whenever I hear it, I will recall the dream.

I’m eighteen. Like I always am. There are twenty boys of a similar age. We don’t know each other, but we have bonded; something connects us, though I don’t know what it is. And now we are friends. Brothers who drink too much, laugh, and joke. We move from bar to bar until the group becomes fragmented, but still we keep bumping into one another — in different bars, on street corners, in dark streets – and each time we greet each other with high fives. I keep losing my coat that contains my mobile phone, but somebody in the group always finds it and saves it for me.”

What am I dreaming about?

Eighteen. Delayed or suspended adolescence. The moment just before categorisation -before ‘out’ or ‘not out’, before relationships are legible, before desire is policed or explained. A moment of pure potential, when attraction, friendship, and self-recognition have not yet been sorted into boxes. A group of boys I don’t know, where intimacy doesn’t have to announce itself as erotic to be real. Touch exists: high fives, a coded language, bodies moving together through night-time space, alcohol loosening edges, and the bond is felt rather than named.

These boys don’t posture. They don’t test me. They don’t ask who I was. They simply accept me. A world that perhaps never fully existed, but felt briefly possible.

The group breaks apart, but there is no need to cling because the bond reasserts itself naturally. “I still know you. You still know me.” I repeatedly lose my coat and my phone – yet I am never punished. I am held by others even when I am careless, distracted, or drifting. I don’t have to hold myself together perfectly. I’m not abandoned for losing my way. A fantasy of uncomplicated male belonging – one where youth, desire, friendship, and identity coexist without fracture or explanation.

The next part of the dream is important.

“There are ten of us staying in a hotel room. It is the only one available. We snack on almonds and slices of apple covered in salted caramel and maple sugar. Two double beds and a single mattress on the floor. When it comes to sleep, we must find space in one of the beds. I choose a double bed where four of us will squeeze together. I’m thrilled that the most handsome boy will sleep next to me. But at the last moment, he is taken. Another boy wants him to share the mattress on the floor, and I am devastated. The dream is never consummated.”

The hotel room matters. It is temporary, improvised, and not designed for this many bodies. I share a bed with four boys. The choice is telling. I don’t choose privacy, pairing, or exclusivity. I choose crowded intimacy – warmth, bodies, breath, limbs overlapping. Proximity without the exposure of being singled out. I am about to be close to the handsome boy without declaring him an object of desire, but he isn’t a person yet – he is a figure onto which desire might safely attach itself. 

The handsome boy doesn’t reject me; he is summoned – pulled away by another boy. Desire is displaced, not denied. My devastation isn’t only about losing him. It is about losing the fantasy of being quietly chosen within the group. But the group has ruptured because somebody else’s desire has rearranged the night. My loss is intimate, quiet, internal – no one else even notices it happening – and so I do not follow. I do not compete. I do not protest. I absorb the loss silently. 

I woke up.

That Moment: Orpheus Is Waiting For Me



A razzle. A night on the town. Blurred lines. Anyone with a penis qualifies. Charlie says “You’re drunk!” I tell him that I’m tortured but coping nicely. “A walk in the fog is all that it needs to calm me.” But Charlie issues a warning. “Beware of Orpheus because he might seduce you on a back lane.” I am intrigued and walk into the fog calling for Orpheus.

In Control of My Own Happiness

Communion – Red Farrow (2023)

A flicker of FOMO. A spoiled rich boy invites everyone to a birthday dinner, and I’m left out. I wasn’t meant to be there – and I wasn’t. Everyone’s buzzing, and no one gives a fuck whether I’m there or not. Still, life goes on. I grant myself a little grace, even if there isn’t much to give. Let them, I tell myself. Let them spend obscene amounts of money, drink too much, and throw it all up later. I’m in charge of my own happiness. I have a ‘wonder mind’. I buy prawn linguine, a tub of Ben & Jerry’s Chew Chew ice cream, and watch Fellini’s La Strada instead.