Marc Jacobs' Ads: The Lolita Effect and Seductive Teen Models

About a month ago, I saw an advertisement on 40th and 8th in Manhattan for Marc Jacobs’ Daisy Wild perfume. Consequently, I recalled a short post that I wrote back in January of 2013 about Marc Jacobs' Oh Lola! perfume advertisement that featured 17-year-old Dakota Fanning holding a large phallic shaped bottle of Oh Lola! invitingly between her legs.

Jacobs related that he chose Fanning because he, " [...] knew she could be this contemporary Lolita - seductive yet sweet." Thus, we know from Jacobs himself that Fanning was chosen to seduce.

In addition, Jacobs agreed with professor and "man of letters" Robertson Davies' assessment of Lolita as: “[...] not [about] the corruption of an innocent child by a cunning adult, but [about] the exploitation of a weak adult by a corrupt child."

However, Mark Sweney posted on The Guardian “Marc Jacobs' Dakota Fanning ad banned for being 'sexually provocative'” (8 Nov 2011) Sweney wrote:

A provocative ad campaign for Marc Jacobs perfume featuring 17-year-old Dakota Fanning, the US actor who has starred in films including War of the Worlds and Charlotte's Web, has been banned [in the UK] following accusations that it sexualized children.

The magazine campaign [...] featured Fanning wearing a short skirt and holding a bottle of Marc Jacobs perfume in what the advertising regulator deemed a "sexually provocative" position between her legs.

And Sweney shared that the UK’s Advertising Standards Authority (ASA) received complaints that the advertisement was offensive and irresponsible, because it portrayed 17-year-old Fanning in a "sexualized manner" due to the "sexually provocative" way that the bottle of Oh Lola! “drew attention to her sexuality.” And, in the eyes of the ASA, Fanning “looked to be under the age of 16.” The ASA elaborated:

"We considered that the length of her dress, her leg and position of the perfume bottle drew attention to her sexuality." 

"Because of that, along with her appearance, we considered the ad could be seen to sexualise a child. We therefore concluded that the ad was irresponsible and was likely to cause serious offence."

15-year-old Ever Anderson for Daisy Wild | Marc Jacobs

Undeterred by the ASA, about a decade later, Jacobs had 15-year-old Ever Anderson pose with a large bottle of Daisy Wild in her lap, which “drew attention to her sexuality.” (Note: Anderson posted on her Instagram account that the photos were taken on October 22, 2022, in Atlanta, GA.)

And Anderson posed, one could say, comparatively innocently, with a number of other teen models; however, I would imagine that the ASA would have some issues with the video for Daisy Wild. In the video, the barely covered teen models stripped down to their white bras and panties, intimately touched while posing for the camera, and then skinny dipped into a Georgia lake. After frolicking in the lake, the scantily clad models attended a bonfire where they danced intimately. One model even danced at the bonfire in a sheer mini-skirt; thus, revealing her white panties. 

Prior to the release of Daisy Wild, Introducing Daisy Trio (2014), a film directed by Sofia Coppola, was posted on YouTube (Nov 25, 2014). In the film, once again, the teen models were skimpily clad in all white and, once again, the models frolicked intimately with implied sapphic diversions. 

In addition to perfumes, Jacobs has a fashion line. Brooke Frischer posted on Fashionista that "Heaven [by Marc Jacobs] and Bluemarine Made the High School Movie Wardrobe of Your Dreams a Reality" (JUL 7, 2023). Frischer wrote that Heaven by Marc Jacobs and Bluemarine are "beloved by Gen-Z" and that the campaign was shot "[...] by Petra Collins to boot.".

Per Frischer, Blumarine by Marc Jacobs features 11 of the brand's best-selling pieces, which boast the brand's "signature touches". The best-selling signature pieces consist of ultra-mini skirts (and they mean ultra), lacy pink camisoles, baby tees (and they mean baby), and cropped sweatshirts - among other revealing pieces. 

Frischer related that Collins photographed the, seemingly, teen models at "the same high school the photographer used for Olivia Rodrigo's "Good 4 U" music video". Why? It was done, strategically, to further: "[...] the appeal of the new collaboration for angsty teens and angsty-teens-at-heart everywhere." 

I would imagine that only an angsty teen would wear a pink lace baby graphic tee with an ultra-mini camo skirt to her high school English class, because I opine that Blumarine by Marc Jacobs is giving 1970s Times Square (teen) prostitutes.

Interestingly, of the graphic pieces, Frischer shared that Nicola Brognano, Blumarine's Creative Director, related: “Each piece of the capsule is a gem and truly reflects today's spirit, balancing ease and coolness in the most feminine and lighthearted way." Feminine? Yes. Lighthearted? No

And Ava Nirui, the creative director of Heaven by Marc Jacobs, said in a statement. "[...] I think this collection makes total sense for both of us."

David Hamilton's "Tendres cousines" (1980)

In the end, Marc Jacobs’ perfume campaigns raises some rhetorical questions: 

1. What does (near) teen nudity and sapphic diversions have to do with (selling) perfume? 
2. Were Jacobs and Coppola inspired by David Hamilton? 
3. And would the ASA approve of Blumarine by Marc Jacobs?

(FRAMING) BRITNEY SPEARS & Tavi Gevinson: Self-Sexualized Sex-Positive Teen Feminists or Sexualized Teens?

In Tavi Gevinson's New York magazine/”The Cut” piece, “Britney Spears Was Never in Control” (FEB. 23, 2021), Gevinson wrote that The New York Times’ Framing Britney Spears documentary did the following:

It made a compelling argument that Spears’ image was an expression of her teen sexuality

It deemed it misogynistic to question Spears’ expression of her teen sexuality

It deemed it anti-feminist\sex-negative to feel that sexualizing a teenager is dubious

It related that Spears’ expression of her teen sexuality is an expression of female power

And the documentary rewrote Spears as a teen feminist icon

In addition, Gevinson wrote the documentary “casts a spell” “specifically of the stretch that chronicles Spears’ rise as a teen idol, starting with the “Baby One More Time” video, but Gevinson shared that she was “unsettled, as an adult, to watch a 16-year-old embody a schoolgirl fantasy.”

“Baby One More Time”

However, once again, in terms of Britney’s teen sexuality, Gevinson wrote that the documentary purported that Britney “made her own decisions” and “was never just some puppet”.

The filmmakers achieve this by alternating between footage of Spears and her collaborators asserting that she made her own decisions [...] If “Baby One More Time” made me feel queasy, I was soon reminded that America is sexist and sexually repressed. If I wondered what kind of say Spears had in the “sexy” Rolling Stone photos taken in her childhood bedroom, I was soon reassured that she was never just some puppet.

The result is a documentary eager to characterize Spears’s early image as an expression of female power [...]

Yet, Gevinson disagreed with the positive assessment the documentary made of Britney Spears' teen sexuality. Gevinson implied that Britney didn’t make her own decision and that Britney was a puppet:

[...] the doc was rewriting Spears as a feminist icon. “[However] [s]he was the Establishment! She was what we were supposed to be: sexy and young. Not a paragon of independence.”

But Spears shared in the documentary that being sexy is naturally a part of being a nymphet. Britney said, “Well, I think we’re all girls, and I mean, that’s a part of who we are. You’d be lying if you said you didn’t like to feel sexy. You know what I mean? You’re a girl.” Wait, was Gevinson implying that the "Establishment" force this stance upon Spears?

Ed McMahon & Britney Spears

And in a 2003 interview with British GQ, Spears answered that the Rolling Stone photographer did a very good job of portraying her - despite asking her to “Undo your sweater a little bit more.”

“How did I realise [I was a sex symbol]? Probably the first Rolling Stone cover by David LaChapelle [...] I was back in my bedroom, and I had my little sweater on and he was like, ‘Undo your sweater a little bit more.’ The whole thing was about me being into dolls, and in my naïve mind I was like, ‘Here are my dolls!’ and now I look back and I’m like, ‘Oh my gosh, what the hell?’ But he did a very good job of portraying me in that way. It certainly wasn’t peaches and cream.” [Emphasis added]

By sharing Spears' 2003 British GQ interview, Gevinson made the point that we’ve been consistently making in our posts, which is that it’s two-way street - both the "Establishment" and Spears are guilty of using her teen sexuality (i.e., the allure of a nymphet) to make (a lot) of money. (e.g., LaChapelle/Rolling Stone: “Undo your sweater a little bit more.” Spears: “But he did a very good job of portraying me in that way.”)

Even Gevinson appeared to agree with our “two-way street” assessment: "There is no need to believe it’s either Everything was Britney’s choice, and therefore she was always a sex-positive feminist or Nothing was Britney’s choice, and the evil adults made all her decisions."

The “90’s Lolitas Volume 3: Wild Things, Cruel Intentions and Britney Spears” episode of the You Must Remember This podcast (October 9, 2023) shed more light on the “Baby One More Time” video and the LaChapelle/Rolling Stone photoshoot. For example, per the podcast, the catholic school girl uniform with the blouse tied above her midriff was 16-year-old Britney’s idea. Karina Longworth narrated:

Nigel Dick had been directing music videos since the beginning of MTV, and was responsible for image-defining videos for artists as diverse as Guns n’ Roses, Oasis, The Backstreet Boys and Celine Dion. [In] Dick’s idea for the “Baby One More Time” video […] Britney would have gone to space with animated characters that looked like Power Rangers. The story goes that she saw the treatment and thought it was lame, and offered her own idea: she would play a bored student who daydreams about breaking free from class and dancing in the high school’s halls.

“Your initial reaction to this is, I'm being told by a 16-year-old-girl what I should do…,” Dick said later. Then he rationalized, “This girl is 16 and I'm a grown man; perhaps she has a better perspective on her audience than I do. So I swallowed my pride.”

When Dick suggested she would be wearing a t-shirt and jeans in class, Britney suggested a catholic school girl uniform. When she showed up on set, she thought the blouse she was supposed to wear looked, in her word, “dorky,” so she tied it above her midriff.

16-Year-Old Britney Spears
(LaChappele/Rolling Stone)

Longworth narrated that Dick recalled that Britney wasn’t “pushed” into anything raunchy; however, she needed to be restrained. And Larry Rudolph, Britney’s manager at the time, related that being “squeaky clean” wasn’t natural for Britney, because she wanted “sexier”.

As Dick recalled, “She genuinely wanted to go down that road. It wasn’t like we pushed Britney into doing anything. Most of the time you have to hold her back a bit.’”

This was the standard line from the middle-aged men who worked with Britney: they wanted her to project wholesome virginity, but she kept wanting to look sexier. As her manager Larry Rudolph put it, “The record company wanted to keep things squeaky clean, and she went along with it at first. But it quickly became clear that it wasn’t natural for her.”

However, per Longworth, Rolling Stone alleged that Rudolph was: “marketing her as the teenage Lolita of middle-aged men’s dreams.” However, Rolling Stone’s April 1999 cover story of 16-year-old Britney was a classic example of the pot calling the kettle black. Longworth opined that:

[...] nothing in the article was as provocative, or memorable, as the photos, shot by David LaChappelle in and around the Spears family home in Kentwood, Louisiana. The cover image, in which Spears wears a white blouse unbuttoned to show a black bra and white silk boyshort panties while clutching a phone in one hand and a teletubbie in one hand [...]

In the most obviously staged image, Britney straddles a pink bicycle, looking back at the camera, which is focused on her white short-shorts, on which the word “baby” is spelled out on one butt cheek.

There are also pictures of Britney in a cardigan open over a white bra and short-shorts, standing in her childhood bedroom surrounded by stuffed animals and dolls, and another of her dressed in a blue satin micromini and bandeau top, dancing in her family’s TV room as though she’s at a club [...]

Longworth went on the narrate that Britney’s LaChappele/Rolling Stone photos were shot to “titillate”, initiate a “Lolita fantasy”, and instigate an “[...] adult sexuality into the spaces of childhood.”

[...] Britney was styled in these photos, which were shot just before her 17th birthday, to titillate, and particularly to activate that specific 90s Lolita fantasy of the child who will seduce you into forgetting that having sex with her is legally and ethically out of bounds [...] The LaChappele Britney photos seem intent on reminding the viewer that you’re looking at a child, while pushing adult sexuality into the spaces of childhood.

16-Year-Old Britney Spears (LaChapelle/Rolling Stone)

However, Longworth went on to say that there are conflicting stories about the photoshoot. LaChappele related that Britney wanted to take advantage of the “Lolita thing” to “[...] get people talking and excited.” And that after Rudolph left the room, the 16-year-old mischievously “unbuttoned her shirt wide open”.

A dozen years after his photos of Britney ran alongside her first Rolling Stone profile, David LaChappele gave an interview in which he described the photoshoot as a collaboration between he and his then-16 year-old subject.

Quote: “I said to her, ‘You don’t want to be buttoned up, like Debbie Gibson…Let’s push it further and do this whole Lolita thing.’ She got it. She knew it would get people talking and excited.”

The photographer went on to describe something that happened when he was shooting Britney in her childhood bedroom at 2 a.m, ostensibly trying to get the shot of her with her exposed bra in front of all of her toys. When her manager Larry Rudolph suddenly walked in and asked what was going on, according to LaChappele, Britney acted shy and said, “Yeah, I don’t feel comfortable.” At first I felt betrayed,” he recalled. “But as soon as Larry walked out, Britney said, ‘Lock the door’ and unbuttoned her shirt wide open.”

However, per Longworth, Britney said that LaChappele “tricked” her, because she was a “naïve” 16-year-old.

This was very different from how Britney told this story. Four years after the shoot, she said of LaChappele, “He came in and did the photos and totally tricked me. They were really cool but I didn’t really know what the hell I was doing. And, to be totally honest with you, at the time I was 16, so I really didn’t. I was back in my bedroom, and I had my little sweater on and he was like, ‘Undo your sweater a little bit more.’ The whole thing was about me being into dolls, and in my naïve mind I was like, ‘Here are my dolls!’ and now I look back and I’m like, ‘Oh my gosh, what the hell?’”

But Longworth reminded us that, per Lynne Spears, Britney’s mother, despite purporting in interviews to being a virgin, Britney lost her virginity when she was 14 - to her 18-year-old boyfriend.

The Daily Mail reported in the piece, “‘Britney started drinking at 13, lost her virginity at 14 and took drugs at 15 [...]” (4 September 2008):

Britney Spears' mother [Lynne Spears] is set to lift the lid on the troubled singer's life - with revelations [via the book Through The Storm: A Real Tale Of Fame And Family In A Tabloid World] that she was drinking at 13 and lost her virginity the following year.

Lynne Spears claims Britney was drinking not long after joining Disney's Mickey Mouse Club, a U.S. variety television show.

Mrs. Spears also says her daughter lost her virginity aged 14 to an 18-year-old high school football player soon after she quit the programme.

[...] allegedly [Britney was] caught boarding a private plane (aged 16), [when] cocaine and marijuana was found in her bag.

And per the Daily Mail, Lynne: “[...] encouraged the [teen sex] relationship because she thought it would make her more popular.” And Lynne: “[...] allowed her [i.e., 15-year-old Britney] to share her bedroom with new boyfriend, Justin Timberlake. Mrs. Spears was said to be sure the teenagers were having sex.”

Lynne’s assumption was correct, because per the Cosmopolitan piece “Britney Spears and Justin Timberlake relationship timeline” (25 October 2023), Britney revealed her in book The Woman In Me: “Justin and I had been living together, and I'd been having sex since I was 14.”

Of course, just because 16-year-old Britney had been having sex, for years, in the very same bedroom where the LaChappele/Rolling Stone cover photo was taken, doesn’t prove that LaChappele’s version of the story is correct. But does it prove that Britney was not naïve?

18-Year-Old Tavi Gevinson

Lastly, and going back to Gevinson’s “The Cut” piece, the parts of the post that relate directly to Gevinson are often contradictory. For example, Gevinson wrote that she allowed her 18-year-old self to be photographed “lying across the bed” in her “childhood bedroom” in a “romper”, because she desperately wanted to “update” her “public image as a sexually active being”.

Like Britney Spears, I was professionally photographed, lying across the bed in my childhood bedroom, when I was a teenager. I had been 18 for a month [...] I remember that the romper had symbolized, for me, my new life starting, and it’s very likely I was eager to update my public image as a sexually active being after extensively documenting an adolescence where I favored bulky layers and granny glasses. 

But in the very next paragraph, Gevinson wrote: “Still, when I see the photo now, I just see another thin white able-bodied blonde girl being sexualized.”

Wait, is Gevinson saying that she self-sexualized, she was sexualized or both. #twowaystreet

Blumarine by Marc Jacobs: Fashion for Gen Z Angst or Teen Sex Workers?

 

Brooke Frischer posted on Fashionista that "Heaven [by Marc Jacobs] and Bluemarine Made the High School Movie Wardrobe of Your Dreams a Reality" (JUL 7, 2023). Frischer wrote that Heaven by Marc Jacobs and Bluemarine are "beloved by Gen-Z" and that the campaign was shot "[...] by Petra Collins to boot." Let's take a look at Blumarine by Marc Jacobs before recapping our posts on Jacobs and Collins.

To the dismay of orthodox Jews and Muslims, per Frischer, Blumarine by Marc Jacobs features 11 of the brands best-selling pieces, which boast the brands "signature touches". The best-selling signature pieces consist of ultra-mini skirts, and they mean ultra, lacy pink camisoles, baby tees, and they mean baby, and cropped sweatshirts - among other revealing pieces. 

Frischer related that Collins photographed the, seemingly, nymphet models at "the same high school the photographer used for Olivia Rodrigo's "Good 4 U" music video". Why? It was done, strategically, to further: "[...] the appeal of the new collaboration for angsty teens and angsty-teens-at-heart everywhere." 

And I would imagine that only an angsty teen would wear a pink lace baby graphic tee (Teddy Bear) with an ultra-mini camo skirt to her high school English class. We say, it's giving 1970s Times Square (teen) prostitute vibes.

Of the graphic pieces, Frischer shared that Nicola Brognano, Blumarine's Creative Director, opined: "Each piece of the capsule is a gem and truly reflects today's spirit, balancing ease and coolness in the most feminine and lighthearted way." Feminine? Absolutely Lighthearted? Absolutely not. 

And Ava Nirui, the creative director of Heaven by Marc Jacobs, said in a statement. "[...] I think this collection makes total sense for both of us."

As for Jacobs and Collins, this is not the first time they've used the allure of nymphets for clout. For example, for Jacobs' Oh Lola fragrance campaign, Dakota Fanning, 17-years-old at the time, seductively held a large phallic bottle between of Oh Lola between her legs. Why? Jacobs said that he choose Fanning, because, "I knew she could be this contemporary Lolita, seductive yet sweet." 

And Kendall Jenner, 18-years-old at the time, walked in Jacobs' 2014 New York Fashion Week runway show - in a sheer top, which Claire Knebl of Teen Vogue wrote, unsurprisingly, had the "internet buzzing". 

And to sell her art (books), Collins' Discharge photography exhibit and book featured nymphets in, as the Village Voice described, "various intimate scenes" that addressed the "[...] angst of the female teenage experience [...]".

Emma Cline's "Masterful" DADDY: Teen Selling Panties, Teen Nudes & Teen Sexting!

We know Emma Cline from our post on The Girls - Cline’s 2016 debut and instant bestseller, which is about 14-year-old Evie Boyd’s involvement with a cult. As part of Evie’s initiation into the cult, Russel, the cult’s (much older) leader, stroked himself until he came into Evie's young mouth:

"When he came, he gasped. The salt damp of semen in my mouth, the alarming swell [...] But maybe the strangest part - I liked it, too."

As for Cline’s Daddy, here’s Amazon’s synopsis: 

From the bestselling author of The Girls comes a “brilliant” (The New York Times) story collection exploring the dark corners of human experience.

For our purposes, we’ll recap Daddy’s “Los Angeles”, “Marion” and “A/S/L”. 

“Los Angeles”

In “Los Angeles”, Alice worked at a flagship store near the ocean that sold “[overpriced] cheap, slutty clothes”. Alice’s mandatory uniform was the brand’s clothes that were “a little too tight, a size too small”.

As for the store’s decor, large photographs of nubile nymphet graced the walls: 

“On every wall were blown-up photographs in grainy black-and-white of […] girls with knobby knees making eye contact with the camera, covering their small breasts with their hands. […] Alice supposed that was to make sex with them seem more likely.”

17-year-old Oona worked with Alice on Saturdays while during the week she went to a “[…] private school where she played lacrosse and took a class in Islamic art.”

The narrator described Oona as: “[…] easy and confident, already well versed in her own beauty.” Consequently, the men “loved” Oona, and unsurprisingly, “she didn’t mind the men”. 

Oona and Alice wanted to be actresses. And they had an “easy, [and] mild rapport”. Ergo, during a break over cigarettes, Oona shared with Alice that a customer, a man with black hair, informed Oona that he would give her $50 for her panties. 

Oona said, “More like, he said, ‘I’ll give you fifty bucks to go into the bathroom right now and take off your underwear and give them to me.’ ”

Alice was (initially) incredulous, but Oona, whose parents were attorneys, was “giddy”, she found the idea of selling her panties to men to be “hilarious”, and she encouraged Alice to look into the side hustle. 

“It’s hilarious,” Oona said, dreamily combing her long bangs out of her eyes with her fingers. “You should look online, it’s a whole thing.”

Predictably, Oona sold her panties (thong?) to the black haired man for $50, and she assumed that Alice had done or would have done the same. 

“Why?” Alice said.

Oona laughed. “Come on, you’ve done these things. You know.”

However, Alice had not done such a thing, and she asked Oona, “Aren’t you worried he might do something weird? Follow you home or something?” And what was teen Oona’s response? “Oh, please. I wish someone would stalk me.”

Unsurprisingly, after Alice’s mother stopped paying for Alice’s acting classes, Alice started selling panties to men as well.

“Marion”

In addition, to Cline's The Girls, we know Cline from our piece on The Paris Review’s Instagram post about “Marion”. In terms of “Marion”, it’s not uncommon, in both fiction and non-fiction, for teen teleiophiles to indulge in (teen) lipstick lesbianism, which is the case with the 11-year-old narrator and 13-year-old Marion. For example, four paragraphs into the short story we see the narrator “straddling” Marion and massaging her with oil. 

Marion lying on her stomach, her shirt pushed up, me straddling her and moving my hands across her back in firm circles, my palms slick and yellowed with oil. Marion had just turned thirteen. I was eleven.

On a road trip to Los Angeles, the nymphets sat in the “backseat, holding hands” with their “bare thighs sticking and skidding on the leather seats.”

And while Marion photographed the 11-year-old narrator, in the nude, Marion opined, “You look good,” and “You look young, really great”. That was before Marion touched the tip of the narrator’s nipple with the lens of the Kodamatic and consequently gasped, “It’s hard.”

Subsequently, the nymphets kissed, Marion told the narrator to pretend that Marion was Jack - Marion’s much older crush, and she encouraged the 11-year-old to look sexy.

She threw her arms around my neck, loose like a child, and kissed me with her eyes open. “It’s okay,” she said. “Pretend I’m Jack. Look sleepy. Look sexy. Try to look like I do.” We were breathing hard. 

Bobby, Marion’s father, gave Marion and the narrator goodnight kisses “square on the mouth”, and Marion’s other seventh-grade classmates were not allowed to visit Marion, because her father walked around naked in front of the schoolgirls, but let’s skip over Bobby to elaborate on Marion and Jack. 

Jack, like the narrator, was visiting Marion’s family on their ranch. Jack, with his “tanned skin”, stayed in the barn with his girlfriend. As an excuse to see Jack, Marion, while dressed seductively, moaned, “I need cigarettes.” 

Marion was wearing her shorts over her favorite bright orange bikini, nubby fabric stretched tight across her breasts, her shoulders shining from sunscreen.

Men stared at her when she wore that suit, and she liked it. 

Unsurprisingly, Jack was attracted to the allure of the two nymphets. For example, “When Jack first came for dinner at the ranch, he would follow Marion with his eyes when she got up from the table.” 

And while Jack rolled the cigarette for Marion, he glanced at the narrator whom related:

When he glanced at me, I turned and hunched my shoulders, trying to relieve the strain of my breasts against the borrowed [bikini] fabric. 

On a subsequent visit to Jack’s, Marion stole a pair of his girlfriend’s “black lace underwear” - with a “slit in the crotch”. Marion perused the Playboys, “This one’s real skinny, but her tits are big. Like me. Men love that.” And Jack told the nymphets about Roman Polanski, the then 44-year-old Academy Award nominated film director, and “THIRTEEN-YEAR-OLD GIRL” whom he sodomized, which enthralled the nymphets. 

WE talked about that a lot, what the girl might have looked like, how Roman Polanski knew her, how it had happened. Did she have breasts? Did she have her period yet?”

Intriguingly, Cline wrote that the nymphets were jealous of the nymphet whom Polanski sodomized: 

“We were jealous, imagining a boyfriend who wanted you so bad he broke the law.” However, I wasn’t surprised, because per Hollywood Lolita, Polanski confided in his autobiography: “Many women seem irresistibly attracted by notoriety, and many – especially since the Los Angeles affair – are eager to meet me.”

Subsequently, the nymphets “spent more and more time at the barn” with Jack where “Marion leaned up against his desk [...]” and “[...] smiled at him with an intensity that made her look almost cruel.” And at the barn, Marion asked the narrator to watch Jack to see if he “liked her”. After that, the narrator noted when Jack looked at “Marion’s slim thighs in cutoffs.”

In addition to using cigarettes as an excuse to visit Jack, Marion volunteered to deliver messages from Jack’s girlfriend “[...] in the kitchen to Jack in the barn, or ice cream sandwiches in the peak hours of heat.”

Not only did Marion take nude pictures of the narrator, Marion had the narrator: “[...] take pictures of her naked body laid out on rocks [...] She tied a red ribbon around her throat like she had seen on one of the girls in Playboy.” 

Along with a twenty-dollar bill and a lock of her hair, Marion placed her nude Kodamatic photos in a box and tied the box with the red ribbon. Voilà, a gift for Jack! However, before giving Jack his gift, strategically, Marion suggested that the nymphets had done enough pulling and needed to push. 

Marion, “We’re staying away for a few days. You keep men on their toes. You make them miss you.”

Subsequently, the nymphets planned their return to the barn. The plan included what bras they would wear and what they would say. And to keep Jack close to her while they waited, Marion wrote: “[...] Jack’s name on her body, [and] on the bottoms of her feet, where the ink slid into the whorls.”

But before the girls could return to Jack’s, the nymphets had a spat, and Marion’s mother discovered Marion's photo with the “ribbon around her throat and her legs spread open.”

“A / S / L”

In “A / S / L”, the last time Thora had been in a chatroom was in “high school, [during] sleepovers where girls crowded around a desktop computer and wrote sickening things to men [i.e., sexting], all of it a joke, then furtively masturbated in their sleeping bags.” 

Years later, while her husband was at work, 35-year-old Thora was back in the chat. She used the username Thora18, but despite the 18, she pretended to be a blond and blue-eyed 16-year-old cheerleader. She chatted about how big her tits were and how short she wore her cheerleading skirt, but every time the enthralled men mentioned sex, Thora seductively typed hahahaha and asked What’s that. Thora “enjoyed the back-and-forth”, and the men did too. 

They were ecstatic, writing back instantly, the sudden use of exclamation points like cardiograms from their throbbing erections: I won’t tell babe don’t worry!!!!”

Initially, Thora was reluctant to post nudes, “but then she thought, why not?” 

She had an entire run of photos of herself on her phone now: bending over, the seat of her underwear pulled tightly across her ass, pictures of her face from the nose down, a nipple between her fingers.

“She had never been the focus of so much attention.” However, when she got bored of chatting with the same men, Thora signed in under James45 or DaddyXO, and while pretending to be a man, she exchanged pictures. Of her picture she excitedly typed: Such a whore and Little teen whore.

She had never been so excited: seeing herself as these men did, some unformed idiot who needed to be fucked. Her sheets smelled like sweat, all the curtains drawn. She didn’t eat for whole days.

Thora was absolutely consumed with pretending to be a nymphet and chatting about nymphets. It gave her life meaning. She even chatted while her husband slept. 

[...] truly, she would rather do this than anything else: run the usual errands that kept things in motion, see James, have dinner with him. It was like having a calling, finally, the way she had once imagined she might. A life organized around a higher goal.

While James slept, his back turned to her and the covers kicked off, she typed furtively on her phone to men who sent photos of dicks [...] sometimes overlarge penises with the porn watermark visible in the corner.

Wow, she always typed. I don’t know if it will fit.

We've written about nymphets lying to appear older, but this may be the first time we've written about the converse.

Lastly, per Random House Books, of Daddy, Esquire opined: “Daddy’s ten masterful, provocative stories confirm that Cline is a staggering talent.” And Entertainment Weekly named Daddy one of the ten best books of the year.