Julie Burchill

I was in S&M relationships from my teenage years to somewhere in my naughty forties. Why did I go in for such strange antics? Damned if I know. Is it because I wanted to be different? Because I didn’t want a calm, cosy, devoted relationship, like my parents had? Because when I thought of romantic and sexual love, I thought of volatility, and that seemed hard to reconcile with vanilla sex? Or did I just conform to the type that also marks out many male masochists – I was ‘powerful’ in my realm, excellent at my job, and was curious to find out what being powerless felt like? (This last one, in the face of what I know now about how many girls and women experience powerlessness throughout the world, makes me feel shame in a way that very few things do.

The pop star Sam Smith appears not only to have a magic mirror which affirms that he’s stunning and brave, but also that he’s a lovely little thinker. During lockdown, self-isolating in his £12 million home, he filmed himself weeping because he was already bored with his own company. ‘I hate reading,’ he cried, suggesting that if you have no life of the mind, you’ll always be a bad companion to yourself – even if you do refer to yourself in the plural. Having said this, he then had the nerve to say: ‘When people mess up a pronoun or something... It kind of ruins conversations. It’s going to take time. We’re changing a language here.

Anne Hathaway’s latest film, The Idea of You, has become Amazon’s most-streamed rom com, causing me to reflect that Hollywood's young man/older woman scenario has changed for the better since The Graduate. Though everyone was mad for it at the time, was there ever a grimmer film about relationships? We’re meant to empathise with the over-privileged, over-grown, over-thinking spoilt brat of a hero – especially when he becomes the ‘prey’ of the much older Mrs Robinson – but that the toy boy is played by the 29-year-old Dustin Hoffman and the cougar by the 35-year-old (and far more attractive) Anne Bancroft merely highlights the misogyny of the enterprise.

The day after the Serbia vs England match, while sunbathing on my balcony, I espied an interesting vignette taking place on the lawns beneath my apartment block. A little boy was playing football with a man I took to be his father, who looked like a hipster of the kind you can see by the score in Brighton and Hove; goatee, vintage t-shirt, Converse sneakers and a facial expression strongly implying that he’d been to places which made Planet Earth look like a one-horse town.  You’ve got to really love something naturally, in your bones, to hate a song about a robin The little lad was having the time of his life, kicking the ball at his dad. He was totally living in the moment. The dad? Not so much. In one hand he held a mobile phone which made him a poor goalie.

Like a lot of people who didn’t know him, I felt sad hearing of the death of Michael Mosley on the Greek island of Symi, being familiar with him as a doctor whose pleasant voice I often heard on the radio. He had the gift of giving advice without being patronising or preachy. Mosley seemed to be a wise man – and for this reason, the way he died seemed all the more shocking. I found it particularly poignant that his body was found just 30 meters from the perimeter fence of a beach resort. Somewhat sheepishly, I immediately identified with the inhabitants of the beachfront compound; if I’d have been on that island, that’s where I’d have been, flat out by the swimming pool, cocktail to hand and no trek more adventurous planned than that between beach and bar.

On reading that the Maldives are to ban Israeli passport holders from entry as an alleged protest over the war in Gaza, I hooted with laughter. That dump – I wouldn’t go there if you paid me, – which is exactly what happened in 1995, when the Sunday Times sent me abroad for the very first time. I was 35, and due to a combination of being very keen on London, where I lived, and not wanting to have extra sex with my first and second husbands (which I’d heard was probable when one went en vacances) I’d never missed visiting the rest of the world. If I wanted to swim, I’d go to Brockwell Lido; if I wanted to sunbathe, I’d go and play sardines in Soho Square. But in the honeymoon stage of my relationship with my new young mistress, I was keen to show her a good time.

I’m a highly insensitive person, which means that I’m rarely perturbed by aural excitement. I love public noise, the sound of the crowd. I would never want double-glazed windows – and I even like the sound of drills and construction because I enjoy living in a boomtown where lots of people want to be. The only noise I don’t like is that of children screeching in restaurants, pubs and bars, but that’s because I don’t believe they should be there in the first place; I love noisy adults in restaurants, having the time of their lives. Little dogs barking in these places I don’t mind – but not big ones as they look like they’re showing off. I like quiet in libraries – and that’s about it.

Like many Brits, I never had perfect teeth. Even when I was young they weren’t gleaming white and the two front ones had a gap between them. I grew to quite like my gap – ‘diastema’ to give it the correct name – and found out all kinds of interesting facts about it. In The Canterbury Tales, the ‘gap-toothed Wife of Bath’ symbolised the supposedly lustful nature of diastemata types, who include Madonna and Brigitte Bardot. In some African countries, the condition is considered so attractive that there is a roaring trade in cosmetic dentistry to create it.

Three years ago, I started employing actors, when I had my first play in the Brighton Fringe. I always think they slightly disapprove of me as I’m a fidget and tend to leave rehearsals early (as I remarked to my husband and co-writer of the latest one as we hightailed it off to the pub one day after only an hour of watching our cast run lines: ‘We didn’t ask them to sit in the room and watch us write the ruddy thing, did we?’) but I love to observe them. In fact, I find it almost too affecting an experience, which could explain my reluctance to watch them too much. That and being a booze-hound. I even made up a word, ‘limberessence’ - a fusion of limbo, limbering up and luminescence - which describes that perfect moment between privacy and performance.