Damn, I wanted to do all of the ‘J’ posts today. Or yesterday, in fact. I fell over in a very muddy way, instead, but that’s a whole other blog post. Today, the spotlight is on the beautiful Jilly Boyd, who blogs at ladylaidbare.com.
I’ve met her, very briefly, in person, and I hope to get to know her better this year, because she seems lovely. But I’ve only really been reading her blog on a regular basis since she entered both my Polished and ‘Don’t read clickbait, read this instead’ competitions, and I realised I wanted to read much much more of her writing.
As is becoming the predominant theme of these posts, when I read back through her archives there were more than three posts that I really wanted to feature: six, in fact, in Jilly’s case. But I’m limited to three, and these are the three I went with:
Firstly, a post on a subject very close to my heart at the moment: Sex, depression and me. This is brave for two reasons – not only because writing about mental health is a hard thing to do, especially when it’s your own mental health, but also because it makes it clear just how much Jilly values a healthy sex life – she’s not at all willing to just sit back and accept that antidepressants are a fucking nightmare for your sex drive.
Secondly, Real, which is sex writing in a form I’ve never seen it before. I love the poetic quality of the way this is written and how accurately it evokes the fragmented thoughts that really do occur during sex.
Finally, Home is like the dust in a wine cellar, which I got the feeling was a post that Jilly herself wasn’t that keen on (do correct me if I’m wrong, Jilly!), because she’s inserted a jump into this post before you can read the main body of it. She says it’s a ‘long vent about things,’ – I’d argue that it’s much more than that.
I’ve mentioned a few times how much place and sense of place fascinates me, and this conjured up what little of Brussels I know as soon as I read it. It’s beautifully self-aware on personal development, too. Here’s my favourite paragraph:
‘The feeling was already creeping over me as I waited for my train to my home town, having just come out of an extended edition of a Eurostar journey. I was pretty much alone on what seemed like a never ending platform. In front of me lay the angular, almost Brutalist and grey architecture of Brussels, a shower of rain clouding it with an even bigger sense of post-apocalyptic darkness than it usually had emanating from it.’