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Colton Ward
Colton Ward

Old Mature Woman Sex



In an older woman-younger man relationship, the woman is sometimes called a 'cougar,' in reference to the animal's predatory behavior. While some women embrace the term, most view it negatively or have mixed feelings about it.




old mature woman sex



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The nation's favourite poem, if BBC viewers are to be believed, is Jenny Joseph's charming vision of the feisty, older lady: "When I am an old woman I shall wear purple/ With a red hat which doesn't go and doesn't suit me." And, indeed, this hymn to the mature woman is very much of the zeitgeist. Females over 50 are supposedly hot right now, and as a result the BBC claims to be seeking women newsreaders past the first flush of youth. Obviously, they won't be allowed on TV wearing red hats or being embarrassing, and presumably they will be more Joanna Lumley than Thora Hird, but it's a start.


On radio, despite the hullabaloo over the arrival of 60-year-old Moira Stuart on Chris Evans's show, there are already a host of women at the top of their game. Jenni Murray and Sarah Kennedy are both 60 this year, and they aren't going anywhere. I can't see Radio London's admirable Vanessa Feltz slinking home to her Slanket and sudoku when she hits six decades. And although Sue MacGregor was bundled off the Today programme when she was only 61, it seems that on the radio at least, the older woman can henceforth expect an unstoppable rise.


Enter the older woman. As anyone who identifies as female can attest, once you pass 50, your visibility slips further away each year. With every laugh line etched onto your face, another little bit of you gets erased from public perception, at least in the US. And yet being invisible is a stupendous advantage. Being invisible gives you a chance to study others, to move quietly from place to place, to blend into the background like the most tasteful and forgettable wallpaper. There\u2019s a wonderful story that for a decade or so during the Cold War, the comings and goings of all callers to an important American diplomatic building in West Germany were surveilled by an elderly woman. Her disguise? She didn\u2019t have one. She simply sat on the balcony of her apartment building across the street, knitting peacefully in the sunshine as the photographic equipment hidden in the flowers of her planter boxes recorded each visitor.


Now, I suppose that story might have been embellished a bit, but I choose to believe it wholly, if only for the fact that it\u2019s so plausible. An older woman sitting quietly is so much furniture for most people, unremarkable and unremarked upon. We dismiss these women as harmless\u2014and that\u2019s provided we notice them at all. Of course, this can work to the advantage of the older woman intent on a crime spree. Two different Scandinavian series have recently put elderly ladies front and center precisely because it\u2019s so easy to overlook them as they totter around, committing dastardly deeds. Catharina Ingelman-Sundberg\u2019s Little Old Lady (from The Little Old Lady Who Broke All The Rules and two sequels) tires of life in an assisted living facility and heads up a gang of retirees who turn to art theft to support a more comfortable way of existing. And Helene Tursten\u2019s Elderly Lady (from An Elderly Lady Is Up To No Good and the sequel) goes a step further and delivers an octogenarian serial killer who chooses murder as a tidy solution to life\u2019s little troubles. These two criminals don\u2019t fly under everyone\u2019s radar, but they manage to get away with quite a lot simply because who can imagine a gentle, elderly woman as a criminal mastermind?


But what about the woman who isn\u2019t elderly yet but is certainly on what Hollywood would consider the \u201Cwrong\u201D side of 50? I remember sitting in the movie theatre, watching Diane Lane and Marisa Tomei play the adoptive mother and aunt (respectively) to superheroes. As an 80s teen, I grew up watching each of them morph from fresh-faced newcomer to fully fledged sex symbol over the course of their careers. But in a society where youth and beauty are for many the pinnacle of feminine achievement, the minute a woman starts to age, she\u2019s relegated to a supporting role\u2014often quite literally. While Superman and Spider-Man are dashing around, averting disaster and saving humanity, Martha Kent and May Parker are left to keep the home fires burning and leaving me to wonder, where are their capes? They should be leaping tall buildings in a single bound and saving the day, but crow\u2019s feet apparently don\u2019t mix easily with costumed crusading.


To be fair, there have been a few older women kicking ass like nobody else in the superhero realms. Marvel\u2019s \u201CBlack Panther\u201D gave us Okoye and Ayo from the Dora Milaje while Wonder Woman\u2019s island home of Themyscira is defended by the Amazon queens Hippolyta and Antiope for DC\u2014all played stupendously by actors in their 40s. There\u2019s something unexpected and empowering about watching a woman who is obviously not 25 using her strength and her experience to demolish her enemies. And nobody is going to overlook these women; they\u2019re warriors born and bred to stand their ground and I suspect most opponents would turn tail rather than face them on a battlefield.


Yet for all their sometimes superhuman abilities, they\u2019re still only supporting players, either to men or to younger women. But they deserve to be front and center in their own stories, a feminine counterpart to the endless parade of grizzled, battle-scared male veterans, from Jason Bourne to Batman. Men are never too old to be action heroes, it seems, and if we\u2019re going to accept that James Bond can be a swaggeringly seductive spy played by an actor nearing 60, then surely it\u2019s time to give more mature women a shot. (Roger Moore was 57 during his last outing as Bond, in case you\u2019re wondering.)


and write his name with knives in my soft,spilled breasts. Such an admission, with its mixture of transgression and holiness, itsbrigand, and its sexual violence, is surely a bold one in ourpost-feminism era. The forbidden is again confronted in "The SoftBlack Cotton." "Sucheros in her demure," the speaker says as she retrieves a long-agomemory of her young mother doing laundry, the two of them playing"Let's Describe // or Movie Stars," the speaker's "world in her calmhands, the hours in the workroom / steadily rising, the warmforgetfulround of her body." Thistender scene is followed by the mother's discovery years later that heradolescent daughter has been performing oral sex on boys. Properlyhorrified, she said, "If I had a gun I'd shoot us both." ButFisher-Wirth, as always, avoids the predictable ending. There isnoshame or guilt; instead, the speaker boldly asks, ". . . didn't sheknow I was being her daughter?" In "Muerto, 1982" the speaker initiallyappears to be avoiding anadmission. Using second person point of view, she describes theend ofa marriage, but the specificity of what the "you" cannot bear to leavebehind leads us to believe that she is not addressing someunidentified, faceless woman, but is instead having a privateconversation with herself. This intriguing use of point of viewstrikesus as a protective device and puts us on the speaker's side. We areadditionally touched by the beauty and the fragility of the imagery: 041b061a72


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