1. 
He begins to walk away, love’s inertia loosening its grip. He may not sleep with her after all. “WHERE YOU THINK YOU’RE GOING, BABY?” she howls into the night, gutturally, full to the brim of vulnerability and expired loneliness.
“HEY,” she calls out.
“I JUST MET YOU!” she cries.
She explains, in the language of love—English—how crazy it would be to just—oh, fuck it—she gives him her number.
But, she is no fool (if anything, she’s overeducated), and she doesn’t want to be perceived as Bertha-in-the-attic hysterical crazypants, so she nonchalantly—eyes cast downward and demure as hell—conveys he can call if he wants, but no big deal if it doesn’t happen; no big deal at all, she whispers in her own ear. It’s hard to look him in his soul-sucking eyes when she gives her number to him—she can’t not, it’s her biological imperative—but we can never forget that she is RELAXED about the transaction (only to him is she RELAXED, but we, the audience, familiar with dramatic irony, know the truth of her passion and desire).

(via: HAROLD BRODKEY EXPLAINS CARLY RAE JEPSEN’S “CALL ME MAYBE.” By Elissa Bassist)

    He begins to walk away, love’s inertia loosening its grip. He may not sleep with her after all. “WHERE YOU THINK YOU’RE GOINGBABY?” she howls into the night, gutturally, full to the brim of vulnerability and expired loneliness.

    “HEY,” she calls out.

    “I JUST MET YOU!” she cries.

    She explains, in the language of love—English—how crazy it would be to just—oh, fuck it—she gives him her number.

    But, she is no fool (if anything, she’s overeducated), and she doesn’t want to be perceived as Bertha-in-the-attic hysterical crazypants, so she nonchalantly—eyes cast downward and demure as hell—conveys he can call if he wants, but no big deal if it doesn’t happen; no big deal at all, she whispers in her own ear. It’s hard to look him in his soul-sucking eyes when she gives her number to him—she can’t not, it’s her biological imperative—but we can never forget that she is RELAXED about the transaction (only to him is she RELAXED, but we, the audience, familiar with dramatic irony, know the truth of her passion and desire).

    (via: HAROLD BRODKEY EXPLAINS CARLY RAE JEPSEN’S “CALL ME MAYBE.” By Elissa Bassist)

Notes

  1. shookenandshy reblogged this from water-veiled
  2. tyrannosaurusarex reblogged this from itsaruse
  3. water-veiled reblogged this from imwithkanye
  4. itsaruse reblogged this from imwithkanye
  5. greggoryyxxx reblogged this from imwithkanye
  6. allie-ooops reblogged this from imwithkanye and added:
    This is incredible.
  7. omgitstracid reblogged this from imwithkanye
  8. cyahnide reblogged this from toebuyus
  9. hopefullyso reblogged this from barely-illegal
  10. toebuyus reblogged this from barely-illegal
  11. thefaceofit reblogged this from barely-illegal
  12. barely-illegal reblogged this from courantdeconscience
  13. worstfuckingideas reblogged this from imwithkanye and added:
    this is, without a doubt, in my top 3 things i’ve ever read on mcsweeneys. or like, anywhere. bless elissa.
  14. bookz reblogged this from romachic
  15. redeyedshark reblogged this from imwithkanye
  16. romachic reblogged this from courantdeconscience
  17. goodideaadia reblogged this from imwithkanye
  18. b-p reblogged this from imwithkanye
  19. gasoilne reblogged this from imwithkanye
  20. oneboreddk reblogged this from imwithkanye
  21. oynkn reblogged this from imwithkanye
  22. courantdeconscience reblogged this from imwithkanye
  23. rageagainstthepusheen reblogged this from imwithkanye
  24. amala83 reblogged this from imwithkanye