Polley's RUN TOWARDS THE DANGER: Worst [Age Gap] Date Ever | Teen Choking Fetish?

Dave Itzkoff related in his New York Times piece that "Sarah Polley Is OK With Oversharing" (Feb. 17, 2022). In the piece, Itzkoff wrote that Polley, the accomplished actress, shared that when she 16,  after a(n) (consensual) age-gap date, she experienced a violent "sexual encounter" with 28-year-old Jian Ghomeshi - the musician and former CBC host.

In another chapter [of Run Towards The Danger], “The Woman Who Stayed Silent,” Polley revisits what she used to call “a funny party story about my worst date ever” with Jian Ghomeshi, the musician and former CBC radio host [...]

Describing the episode now without euphemism, Polley says that when she was 16 and Ghomeshi was 28, she left his apartment after he became violent during a sexual encounter in which he ignored her pleas to stop hurting her.

Polley, now 43, shared in “The Woman Who Stayed Silent” that when she was 13, she danced with Jian in Moxy Früvous' "King of Spain" video:

He asked me to appear in a video for one of his band’s songs, “King of Spain.” I was thrilled beyond belief, dancing with him outside the Bloor Street Cinema. (I was thirteen so forgive me, world.)

And when Polly was 14, she was captivated by ≈ 24-year-old Jian after he "tenderly'' tucked a strand of hair behind her ear and gazed upon her lips:

I met him again when I was fourteen and was the MC for another fundraiser, this time for the Canadian Peace Alliance. He was there to perform with his band, Moxy Früvous, which I loved at the time. While another band was performing onstage, we sat together on a back staircase. He told me I was doing great. He tenderly pulled a strand of hair out of my face, tucked it behind my ear, and gazed at my face, my lips, my forehead in a way that made me think he was going to kiss me. He didn’t. But I was captivated.

Interestingly, Meghan Daum wrote in her New York Times piece, "How Sarah Polley, Child Star and ‘Canada’s Sweetheart,’ Grew Up Way Too Fast" (March 1, 2022), that 15-year-old Polley left home and moved in with her 19-year-old boyfriend.

Born into a theatrical family, she was 11 when her mother died, after which her father, who “prided himself on ‘not being a father,’” retreated into a solipsistic funk. With her much older siblings long out of the house, Sarah decided at 14 she was grown up enough to leave home and, by 15, was living with her 19-year-old boyfriend.  

15-year-old Sarah Polley in Exotica (1994)

Polley went on to describe the "sexual encounter" with Jian by sharing that after their date, she went back to his apartment and after they kissed, he warned her that he was into "some pretty weird stuff" before he ran his "devil hands" all over her young body:

A few years later, Jian asked me out on a date. We ended up back at his apartment. I was nervous [...] After he had played me some recordings of his music and cursory amounts of kissing, he said, “I’m into some pretty weird stuff, Sarah. Do you think you can keep up?” In the story as I told it, I would say, in an adult fashion, a simple “No.” He proceeded to stand behind me and run his hands all over my clothed body at a million miles an hour, saying, “You’re in hell, you’re in hell, there’s devil hands all over your body, you’re in hell, it’s the devil!”

16-year-old Sarah Polley in Avonlea (1995)

The "pretty weird stuff" that Jian was referring to was his erotic\sexual asphyxiation fetish, but Polly wasn't a fan. Consequently, a "furious" ≈ 28-year-old Jian bent Polly's 16-year-old legs over her head and penetrated her until her muscles ached, and she cried out in pain:

“[...] he wouldn’t get his hands off my neck, though I tried to pry them away and managed to say, while he briefly moved them away from my neck, that I hated having my neck touched like that and I didn’t want him to do that again. He did it again [...]

[...] the sex became painful after that. He bent my legs back over my head and wouldn’t stop when it felt that muscles were being ripped and I cried out. I left out that I expressed that it hurt and wanted him to stop and he ignored this, looking at me with what looked like abject hatred. 

Daum reminded us that Polly: "[...] flattered and flirted with Ghomeshi when they crossed paths in professional settings [...]" For example, in an email exchange with Jian, Polly even offered Jian her "hot sister":

“He writes: “you owe me. But we knew that already…:p”

And I reply: “Ah. You are the best. I shall provide you with my hot sister.”

And curiously, Polly wrote that she shared her age-gap one-night-stand story at parties, but she left out some details like her age:  

Throughout my twenties and early thirties, I had a funny party story about my worst date ever. [#worstdateever]

Lastly, per the Training Institute on Strangulation Prevention, unlike Polley, some teens appear to condone choking during sex:

Among 14-to-18-year-old girls with sexual experience, more than one in eight has experienced choking during sex [...]

Louis-Léopold Boilly: French Painter of Teen [Lipstick] Lesbians & Foot Fetish Nymphets

Louis-Léopold Boilly, Self-Portrait

Per National Gallery of Art, by 1779, Louis-Léopold Boilly (French: 5 July 1761 – 4 January 1845) was painting portraits in Arras, but he moved to Paris in 1785 where his family portraits attracted attention and commissions. Beginning in 1791, Boilly "[...] regularly exhibited portraits and genre scenes at the Paris Salons. [But] [w]hen private patronage dwindled after the outbreak of the Revolution, he sought to reach a wider popular audience by painting boudoir scenes, of mildly licentious character [...]"

Two Young Women Kissing (Deux jeunes femmes s'embrassant), about 1790

Boilly's Two Young Women Kissing (Deux jeunes femmes s'embrassant), about 1790 and Comparing Little Feet (La comparaison des petits pieds), 1891 are two examples of the French painter's erotic pieces that profiles nymphets. 

Per Alain.R.Truong: "'Comparing Little Feet' (1891, The Ramsbury Manor Foundation) uses a seemingly innocent competition between two young women as a means of exposing their legs and décolletages, whereas works such as 'Two Young Women Kissing' (about 1790–4, The Ramsbury Manor Foundation) are more explicitly erotic."

Comparing Little Feet (La comparaison des petits pieds), 1891

Here's an excerpt from Sotheby's catalogue notes for Comparing Little Feet:

This unique erotic composition reveals an interior in which a woman, seated at left, crosses her right leg over her left knee in order to remove her shoe and compare her foot with that of her friend. Both have one red shoe and one blue shoe each; they have obviously exchanged them. The woman on the right, standing with her breasts casually uncovered, lifts her skirt. In the doorway a voyeur observes the scene with an interested, if not salacious air. Such licentious genre scenes caused their creator, Louis-Léopold Boilly, no little trouble during the so-called Reign of Terror (1793-94) for the loose morals they portrayed. With a polished technique, the artist here reveals how capable he is of rendering the intimacy of the scene through the magnificent play of fabrics and subtle lighting. 

Alexandre Chaponnier (d’après Louis-Léopold Boilly) La comparaison des petits pieds (fig. 1)

At least three versions of this composition, entitled Comparing Little Feet, were made, including one now lost and only known through an engraving by Alexandre Chaponnier (fig. 1. The principal group of the scene is identical but the third figure is now on the floor, in a grotesque pose, trying to see even more. 

Teen Knee & Ankle Fetish [UPDATE]

Barbara Wyllie wrote a review in the Slavonic and East European Review (2015) of John Bertram's Lolita - The Story of a Cover Girl: Vladimir Nabokov's Novel in Art and Design.

Here's part of Amazon's description of the book:

Lolita - The Story of a Cover Girl: Vladimir Nabokov's Novel in Art and Design reconsiders the cover of Lolita. Eighty renowned graphic designers and illustrators [...] offer their own takes on the book's jacket, while graphic-design critics and Nabokov scholars survey more than half a century of Lolita covers. 

Wyllie wrote that Bertram was "inspired by Dieter Zimmer’s ‘Covering Lolita’, an online collection of over 200 Lolita editions."

Reportedly, Nabokov was ‘emphatically opposed to any kind of representation of a little girl’ on the cover of Lolita. Nabokov's wishes weren't fulfilled, but a number of covers appear to take a middle course by merely portraying the bare legs of a nymphet.  

Interestingly, the 1997 US Random House (Vintage) cover has the following blurb from Vanity Fair: "The only convincing love story of our century."

In The Allure of Nymphets, I shared the poem “man mowing the lawn across the way from me” by Charles Bukowski:

man mowing the lawn across from me

don’t you see the young girls walking down the sidewalks now

with knives in their purses?

don’t you see their beautiful eyes and dresses and

hair? 

don’t you see their beautiful asses and knees and 

ankles?

Bukowski couldn't fathom why the man wasn't infatuated by the knees and ankles of the passing nymphets. But Bukowski isn't the only one with a nymphet knee and ankle fetish. Jérôme, the 35-year-old protagonist in the french film Claire's Knee (1970) [French: Le genou de Claire], "is struck by teenage girl Claire and harbours an unquenchable desire to touch her knee." (IMDb).

And the book covers for the novels pictured below, which are all about nymphets who are involved in age-discrepant relationships, were clearly chosen by a publishing company that was aware of the seductive nature of the knees and ankles of nymphets. Could that also be why men find catholic school girls so alluring?