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106 His female clients: Ada Louise Huxtable,
Frank Lloyd Wright: A Life
(New York: Penguin, 2004), 66.

106 wilderness called Taliesin: Although Taliesin is not an officially recognized avatar, his death and rebirth by water, a classic motif of the fertility god, suggest his affinity with them.

107 “unprepossessing”: Quoted in Secrest,
Frank Lloyd Wright
, 240.

107 “kissed his feet”: Quoted in Huxley,
Frank Lloyd Wright
, 143.

107 Wright then married: Roger Friedland and Harold Zellman,
The Fellowship: The Untold Story of Frank Lloyd Wright and the Taliesin Fellowship
(New York: HarperCollins, 2006), 435.

107 “hideaway” or “blue lagoon”: Richard Rodgers and Lorenz Hart, “My Romance,” in
The Rodgers and Hart Songbook
(New York: Simon & Schuster, 1951), 151.

107 “space speaks”: Quoted in David Givens,
Love Signals
(New York: St. Martin’s Press, 2005), 175.

107 “A sweet voice”: Burton,
Anatomy of Melancholy
, 699.

108 “the most ecstatic”: Robert Jourdain,
Music, the Brain, and Ecstasy: How Music Captures Our Imagination
(New York: Avon Books, 1997), 328.

108 keener, more refined: For women’s superior sense of hearing, see Fisher,
First Sex
, 86–87. Louann Brizendine discusses women’s ability to hear a broader range of emotional tones, in
The Female Brain
(New York: Broadway Books, 2006), 17.

108 In studies they rank: Cited in Givens,
Love Signals
, 175.

108 “the food of love”: William Shakespeare,
Twelfth Night or What You Will
, ed. Charles T. Prouty (Baltimore: Penguin, 1958), act 1, scene 1.

108 “It’s a matter of experience”:
The Complete K
ā
ma S
ū
tra
, trans. Alain Daniélou (Rochester, VT: Park Street Press, 1994), 11.

108 men must prepare themselves: Ibid., 48.

108 One medieval caliph: Wendy Buonaventura,
Serpent of the Nile: Women and Dance in the Arab World
(New York: Interlink Books, 1994), 183.

109 “rattle”: Jourdain,
Music, the Brain, and Ecstasy
, xii.

109 “almost defenseless”: Oliver Sacks,
Musicophilia: Tales of Music and the Brain
(New York: Vintage Books, 2007), 52.

109 One explanation: See Daniel J. Levitin,
This Is Your Brain on Music
(New York: Plume, 2006), 85–87, 248–249.

109 Darwin proposed: For Darwin’s explanation, see ibid., 251.

109 Very likely, Pleistocene: Miller,
Mating Mind
, 276.

109 Music’s erotic force: For the sacred origin of music, see Jourdain,
Music, the Brain, and Ecstasy
, 305, 307; and Geoffrey Miller, “Evolution of Human Music through Sexual Selection,” in Nils L. Wallin, Björn Merker, and Steven Brown, eds.,
The Origins of Music
(Cambridge, MA: MIT Press, 2000), 353.

109 opera’s “diabolic” force: Doris Lessing,
Love, Again
(New York: HarperPerennial, 1997), 241.

109 Music can be just as ecstatic: See Joann Ellison Rodgers,
Sex: A Natural History
(New York: Times Books/Henry Holt, 2001), 245–247; and Ackerman,
Natural History of the Senses
, 179.

110 When Warren Beatty: See Suzanne Finstad,
Warren Beatty: A Private Man
(New York: Three Rivers Press, 2005), 209.

110 “Trembling like poor little larks”: Quoted in Nigel Cawthorne,
Sex Lives of the Great Composers
(London: Prion, 2004), 93.

110 “perfectly crazy”: Pianist Amy Fay quoted in ibid., 97.

111 toast of the music world: Kate Botting and Douglas Botting,
Sex Appeal: The Art and Science of Sexual Attraction
(New York: St. Martin’s Press, 1996), 110.

111 electrified: She “felt the electricity going through [her] from head to toe.” See Abram Chasins,
Leopold Stokowski: A Profile
(New York: Hawthorne Books, 1979), 255.

111 “glamorous to the end”: Ibid., xiii.

111 “I am undone”: Quoted in Burton,
Anatomy of Melancholy
, 699.

112 Maggie Tulliver: George Eliot,
The Mill on the Floss
, ed. Gordon S. Haight (1860; Boston: Houghton Mifflin, 1961), 365, 335.

112 “broads swarmed over him”: Anthony Summers and Robbyn Swan,
Sinatra: The Life
(New York: Vintage Books, 2005), 52.

112 “wasn’t the best singer”: Kitty Kelley,
His Way: The Unauthorized Biography of Frank Sinatra
(New York: Bantam Books, 1986), 37.

112 “dick in [his] voice”: John Lahr,
Sinatra: The Artist and the Man
(New York: Phoenix Paperback/Random House, 1997), 16.

112 “like a girl”: Quoted in Summers and Swan,
Sinatra
, 33.

112 To seduce a woman: Ibid., 122.

112 “Oh god, it was magic”: Quoted in Lahr,
Sinatra
, 38.

112 “Sing”: Ovid,
The Art of Love
, trans. Rolfe Humphries (Bloomington: Indiana University Press, 1957), 123.

112 “Love”: Burton,
Anatomy of Melancholy
, 757.

113 “You got to”: Daddy DJ, “Let Your Body Talk,” Radikal Records, 2003.

113 “Bodily movements may”: Theodoor Hendrik van de Velde,
Ideal Marriage: Its Physiology and Technique
, trans. Stella Browne (New York: Random House, 1930), 39.

113 “Besides spoken language”:
Complete K
ā
ma S
ū
tra
, 114.

113 As well they should be: See Fisher,
First Sex
, xvii, 91–93; and Brizendine,
Female Brain
, 120–123. For more on the impact of nonverbal communication, see David B. Givens’s classic “The Nonverbal Basis of Attraction: Flirtation, Courtship, and Seduction,”
Psychiatry
41 (November 1978), 346–359.

114 “You can say a lot”: Ovid,
Art of Love
, 120.

114 In the first three: Martin Lloyd-Elliott,
Secrets of Sexual Body Language
(Berkeley, CA: Ulysses Press, 2005), 70. See Michael R. Cunningham et al., “What Do Women Want? Facial Metric Assessment of Multiple Motives in the Perception of Male Facial Physical Attractiveness,”
Journal of Personality and Social Psychology
59, no. 1 (July 1990), 61–72.

114 Women like features: See Lloyd-Elliott,
Secrets of Sexual Body Language
, 10.

114 Eyes are heavy artillery: Baudrillard,
Seduction
, 77.

114 Ancient cultures: See Hans Licht,
Sexual Life in Ancient Greece
, trans. J. H. Freese (London: Abbey Library, 1932), 309.

114 They create a “lustline”: E. C. Sheedy, “Midnight Plane to Georgia,” in
Bad Boys Southern Style
(New York: Brava Books/Kensington, 2006), 125. See Givens,
Love Signals
, 54, 82.

114 “eye sex”: This means to stare at someone in “such a lustful way” that he or she “might as well be doing it.”
Urban Dictionary
, ed. Aaron Peckam (Kansas City, MO: Andrews McMeel, 2005), 123.

114 rank men’s eyes: Givens,
Love Signals
, 124.

114 watch men’s mouths: Ibid., 26.

114 “vermillion lips”: Quoted in Henry Dwight Sedgwick,
Alfred de Musset
(Indianapolis: Bobbs-Merrill, 1931), 51. Sarah Wendell and Candy Tan write that the hero’s lips are invariably “Sensitive! Kissable! Full!” See discussion in
Beyond Heaving Bosoms
, 89.

114 Dallas Beaudine’s: Susan Elizabeth Phillips,
Fancy Pants
(New York: Pocket Books/Simon & Schuster, 1989), 48, 121.

114 genuine “Duchenne” kind: Givens,
Love Signals
, 126.

115 instinctively: For the instinctive response to a smile, see Lloyd-Elliot,
Secrets of Sexual Body Language
, 89; and Gordon R. Wainwright,
Body Language
(New York: NTC/Contemporary, 1985), 31.

115 “the best smile”: Quoted in Finstad,
Warren Beatty
, 164.

115 he was nothing to look at: Margaret Nicholas, ed.,
The World’s Greatest Lovers
(London: Octopus Books, 1985), 87.

115 “true artist”: Quoted in Madeleine Bingham,
The Great Lover: The Life and Art of Herbert Beerbohm Tree
(New York: Atheneum, 1979), 93.

115 At close quarters: See psychologist Paul Ekman on this in
Emotions Revealed: Recognizing Faces and Feelings to Improve Communication and Emotional Life
(New York: Henry Holt, 2003), passim, 221–223.

115 Tree finessed this art: Bingham,
Great Lover
, 37.

116 In studies, women show: See Meston and Buss,
Why Women Have Sex
, 17–19.

116 “lithe, Indian-like”: Margaret Mitchell,
Gone with the Wind
(1936; New York: Avon, 1973), 179.

116 “careless, lazy”: Mikhail Lermontov,
A Hero of Our Time
, trans. Marian Schwartz (1839; New York: Modern Library, 2004), 49.

116 “I watched”: Quoted in Botting and Botting,
Sex Appeal
, 104.

116 “primitive”: Quoted in Shawn Levy,
The Last Playboy: The High Life of Porfirio Rubirosa
(New York: HarperCollins, 2005), 168.

116 “And then he danced”: Lord Byron,
Don Juan
(London: Hamblin, 1828), vol. 2, canto 38, p. 279.

116 “I take them dancing”: Quoted in Levy,
Last Playboy
, 224.

116 study after study has shown: Alok Jha, “It’s True, Dancing Does Lead to Sex,”
Sydney Morning Herald
, December 23, 2005; and Nic Fleming, “Good Dancers Make the Fittest Mates,”
New Scientist
, July 2, 2009.

116 just because he dances well: See Meston and Buss,
Why Women Have Sex
, 17–18.

116 In one survey: Gail Arias, “Dance Survey: What Women Want from Men!” www.dancedancedance.com/whtwomen.htm (accessed January 1, 2010).

117 Ellis speculated: See Havelock Ellis, “Analysis of the Sexual Impulse,”
Studies in the Psychology of Sex
(New York: Random House, 1936), 31, 32, 25.

117 Men whose feet smoke: See summary of the work at Rutgers University on the correlation between dancing skill and mate fitness: “Rutgers Researchers Scientifically Link Dancing Ability to Mate Quality,”
Bio-Medicine
, http://news.bio-medicine.org/biology-news/Rutgers-researchers-scientifically-link-dancing-ability-to-mate-quality-1904-1/ (accessed March 30, 2009).

117 They also exhibit: Miller,
Mating Mind
, 407.

117 By miming intercourse: See Curt Sachs,
World History of the Dance
, trans. Bessie Schonberg (New York: W. W. Norton, 1963), 3.

117 Dionysus, “the leader”: Quoted in Walter F. Otto,
Dionysus: Myth and Cult
, trans. Robert B. Palmer (Bloomington: Indiana University Press, 1965), 82.

117 Traditional cultures: Sachs,
World History of the Dance
, 96.

118 When Hardy Cates: Lisa Kleypas,
Sugar Daddy
(New York: St. Martin’s Press, 2007), 135.

118 “honeys who can swing”: Blogger “Susan,” Romance Bandits, March 23, 2011, http://romancebandits.blogspot.com/2011/03/isnt-it-romantic.html.

118 “one of the best dancers”: Quoted in H. Noel Williams,
The Fascinating duc de Richelieu: Louis Francois Armand du Plessis
(New York: Charles Scribner’s, 1910), 1.

118 “Russian superstar Casanova”: Review, Barbara Aria,
Misha! The Mikhail Baryshnikov Story, Publishers’ Weekly
, March 1989.

118 Ballerina Gelsey Kirkland thought: “Biography for Mikhail Baryshnikov,” IMDb.com, www.imdb.com/name/nm0000864/bio (accessed May 14, 2012).

118 “the greatest male dancer”: Ibid.

118 “Baryshnikov leaps higher”: Katha Politt, “Ballet Blanc,”
New Yorker
, February 19, 1979.

119 “Dancing with a woman”: Tony Clink,
Layguide
(New York: Citadel Press, 2004), 112.

119 “the dance floor” Tom Jackson, “Real Men Don’t Dance,”
The Yorker
, October 30, 2008, www.theyorker.co.uk/news/alphamale/2191.

119 “Love teaches even asses”: Thinkexist.com, http://thinkexist.com/dommon/print.asp?id=176496"e=love_teaches_even_asses_to (accessed June 21, 2011).

119 “Banging, nailing, and screwing”:
The Secret Laughter of Women
, direc. Peter Schwabach, Paragon Entertainment, 1999.

120 landmark 1999 study: See study in Edward O. Laumann et al., “Sexual Dysfunction in the United States: Prevalence and Predictors,”
Journal of the American Medical Association
281 (February 10, 1999), 537–544.

120 more recent five-year survey: See Meston and Buss’s five-year study of over 1,000 women in
Why Women Have Sex
, 78–210. For an overview, see Elizabeth Landau, “Love, Pleasure, Duty: Why Women Have Sex,” CNN.com, September 30, 2009, edition.cnn.com; and Jessica Bennett, “The Pursuit of Sexual Happiness,”
Newsweek
, September, 28, 2009.

120 several 2010 polls: See the sex study reported in the special issue of
Journal of Sexual Medicine
7 (October 2010), 243–373, which polled 5,865 people, aged 14 to 94. For the study of married women, see the iVillage 2010 and 2011 online surveys summarized in “Sex in Marriage: Survey Reveals What Women Want,”
Huffington Post
, February 7, 2012, www.huffingtonpost.com/2012/02/07/sex-in-marriage-study-rev_n_1260699.html?vie.

120 setup for hyperpleasure: For a summary, see Fisher,
First Sex
, 201–205.

120 It’s a “whole”: Natalie Angier,
Woman: An Intimate Geography
(New York: Anchor Books, 1999), 77, 78.

121 Classic male guides: For typical man-to-man advice, see Ian Kerner,
She Comes First: The Thinking Man’s Guide to Pleasuring Women
(New York: ReganBooks, 2004); Lou Paget,
The Great Lover Playbook
(New York: Gotham Books, 2005); and Paul Joannides,
Guide to Getting It On
(Oregon: Goofy Foot Press, 2000).