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Her sex life during that time continued to be a struggle against the legacy her parents had left her – attempts to satisfy her naturally strong sexual appetite with men alternating with tentative encounters with women that always stopped short of consummation – but one in which she made some gains, emerging with a determination to free herself from the shackles of her past.
One of the people Fenella got to know in the course of her studies played a significant part in her struggle.
Claudine Moulin, besides being descended from a relative of a French Resistance leader who had known and worked with the poet she was researching, was also a lesbian psychosexual therapist, whose offer of treatment she accepted.
She eventually broke off the treatment when she saw that Claudine’s principal aim was not to liberate her to enter into relationships with other women but rather to possess Fenella for herself; looking back Black female crossing syracuse new york. on her revolt against that attempt to corral her she saw it as a milestone in her own progress – an assertion of her will to be sexually free.
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And now her story reached a decisive turning point, with the entry into the narrative of Pilar Díaz Fernandez, the tanguera of Buenos Aires, who in Fenella’s words taught my heart to dance as well as my body.
I didn’t need to go to her Facebook page to visualize that statuesque woman in the photograph.
Back in our student days I had known Fenella to be a keen dancer, but had never known her to have any specific interest in Latin American dancing, let alone tango.
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