Read Come Portable Document Format - A Memoir Ebook by Rita Therese book; Read Online Come: A Memoir Portable Document Format; Get a copy of Come MOBI; (Rita Therese Portable Document Format. Bold, brave and darkly funny, COME is the extraordinary story of Melbourne sex worker Rita Therese and the love, sex and death she has experienced in her life so far. Two selves intertwine and it leaves you, in the dance room, making a decision that winged liner is just for work. A CONVERSATION WITH MELBOURNE SEX WORKER RITA THERESE, AUTHOR OF 'COME' Words by Peta Petidis It’s an intimidating task to write about a writer, especially a writer who’s dignified enough to refer to her writing as “the work”.
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Virtual girlfriends and online "d*ck ratings" could be the new norm for sex work as the industry gets creative during the coronavirus pandemic....
Come, a memoir - By Rita Therese. This is an incredibly open, honest, funny and real account from an Australian 20-something sex worker.
Virtual girlfriends and online "d*ck ratings" could be the new norm for sex work as the industry gets creative during the coronavirus pandemic.
People assume that several aspects of the sex industry would be considered ‘disturbing’ – but author and sex worker Rita Therese was infuriated by this one part. Picture: Dirt Erotic.Source:Supplied
When author of Come and sex worker Rita Therese first started stripping, she couldn’t believe the hypocritical comments men made.
“When I first started as a Bar Bunny, the idea of not having a bra on shocked me. Within a few weeks I barely noticed I was topless. At Bar Bunnies, we had toppies (topless waitresses) and strippers (the show girls). At a buck's party, it was usually the same deal – you’d have a couple of toppies for two to three hours, and then the stripper would show up.
The first time I ever saw a show, I was blown away.
Strip shows usually go like this. The girl struts in, in her Juicy Couture sweatpants, accompanied by a big dude clutching a blow-up paddling pool and an AUX cable. She disappears into the bathroom. The guys round each other up, with somebody yelling, “The stripper’s here!” a la Pauly D’s “Cabs are here!” and they form a semicircle in the lounge room or backyard.
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Occasionally some forward-thinking gentleman will pull out a big blanket and lay it on the ground so the stripper doesn’t end up with carpet burn, but the girls working the circuit usually come prepared with their own.
The stripper emerges from the bathroom, always in some amazing costume and always in a pair of Pleaser Heels. The burly guy sets up her paddling pool, gets the music ready and stands at the back of the room, arms folded across his chest.
Come: A Memoir, by Rita ThereseSource:Supplied
I don’t know who the first stripper ever to do a buck’s party was, or how the moves were passed down generation after generation, but there are moves and gags you’ll see in almost every show. Get the buck on a chair in the middle of the room and give him a lap dance.
Push your t*tties in his face, flip your hair around to Sweet Cherry Pie by Warrant (I blame the sex industry for my love of ’80s hair metal now).
First off – the skirt, then the bra and lastly, as you fire up the room with hand gestures and suggestive winks – the G-string. But always a G-string with clips on the side – you want one swift movement, not a fumble with your drawers like you’re in a changing room.
I was so impressed by the strip shows, but this was also the point at which I realised that the men had less respect for you the further you were willing to go. As the show would start, I’d be sitting front and centre with the guys.
Usually, at some point, one of them would turn to me and make a comment. It could be about the shape of the stripper’s p**sy, or that, “The show’s fun and all, but I’m glad you don’t do them.”
I could sense that some of the girls I worked with felt superior too, seduced by this distinction of ‘good wh*re’ and ‘bad wh*re’. As an 18-year-old who wanted approval and acceptance, I initially fell for this, but quickly realised it was the men and their slut-measuring system that were the f***ing problem.
Author Rita Therese. Picture: Dirt Erotic.Source:Supplied
At this point in my life, I was also very ignorant about drugs. Once again, ‘good wh*re’ and ‘bad wh*re’ came into play as the men congratulated me for not doing a line of coke, and making fun of the girls who had, all while wiping white residue off their own noses.
Maybe, I thought to myself, men are a bit f***ed.”
This is an edited extract from Come by Rita Therese. You can buy it here and see more from her here.
This article originally appeared on Body+Soul and was reproduced with permission
A CONVERSATION WITH MELBOURNE SEX WORKER RITA THERESE, AUTHOR OF 'COME'
Words by Peta Petidis
It’s an intimidating task to write about a writer, especially a writer who’s dignified enough to refer to her writing as “the work”. And particularly when “the work” in question is a book that reignited my love for reading and fed my voyeurism for human experience. I read Come at the beginning of first wave of coronavirus in Melbourne. It was a recommendation from a friend and I was intrigued to read the memoir of a sex worker from my city. I read it in three days.
“If someone asked me to do it again, I don’t think I’d say yes,” Rita Therese tells me over a Zoom call. She explains that writing the memoir was an exhausting emotional process that began the regression of her trauma. It’s a story of starting sex work at 18, thriving on taboo, losing both of her brothers to suicide, and of a journey with abuse and the vices of the industry.
Through the video window, I see Rita flip her newly styled hair back and take a drag of her vape. She’s cool. Her voice has a hint of a lisp, a sibilant ‘s’ that makes her seem even more authoritative. She’s great to listen to.
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Writing the book was both a healing and suffocating emotional period for Rita over the course of the last three years (making my three days of reading it seem like an insult). She speaks of how memoir writing is painful and exposing. She noticed patterns in her behaviour that she’s now working on and she omitted facets of her childhood because she wasn’t ready to write about them. But the hurt and adversity of her experience as a young woman still shines through exceptionally with moments of subtle self-reflection.
“My book is not really about sex work as it is the background noise of sex work, the hum that fills the room as you're experiencing life as a young woman,” she says.
“My book is not really about sex work as it is the background noise of sex work, the hum that fills the room as you're experiencing life as a young woman.”
We discuss the process of her writing, the exposure of her past and the current climate for her industry. We discuss how annoying it is that covid-19 has hogged the limelight amidst her golden achievement and how she discusses sex work in the book.
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Rita is fairly critical of her work. She is grateful for the positive reviews and fandom that’s emerged from its release, but she identifies the negative feedback as being her path to healing. “The healing began when I thought, ‘Why is it so important that the critics of this book are more valuable and their insight into my work is more valuable than the people that read it and loved it?’ That was when I had to start looking within at myself and be like, ‘Is there more that I didn’t unpack with this book? … Why am I so hyper fixated on the negative of my book?’ That was when the real healing happened; that was when I needed to do more work on myself.”
What I’ve come to recognise about Rita is that she wears many hats. She’s always hopped between her writing persona, Rita, and her sex worker identity, Gia. But during our short conversation, I can see a multitude of identities. She is on the autism spectrum—she calls it “neuro-diversity in prose”—and has ambitions to work in family law at Legal Aid. She also has an interest in philosophy, an infatuation with introspection and the existential complexities of being human.
It’s immoral, says who? Where do morals come from? What is a moral? It doesn’t exist. You can’t see it, you can’t feel it.
“When the book came out I had spent a lot of time trying to really separate being Gia and being Rita,” she explains. “And all of a sudden I felt like I needed to bring back my work persona [while] I was sharing my book because I needed to make an OnlyFans [account]. I needed to make an income… that was another really jarring and painful experience where I thought I had escaped or left behind this identity that didn’t serve me any longer and decided I had to bring her into a space that was meant to be about me as a writer and as Rita.”
Rita holds myriad identities and while I’ve learnt more about her through our meeting, it’s important to acknowledge just how well her book conveys this. She plays with her clients’ egos, she pushes them to be better, she realises they won’t change and so she puts up a wall or changes her character to better assist in the arrangements of working relationships.
“I’ve been such a serious person for most of my life and there’s an element of escapism for me because I am a fairly serious person in my day to day life. When I go to work I’m now someone else, the fun side of me. I’ll laugh and make jokes and just talk about stupid fun things or my favourite fantasy novel,” she laughs.
Her fascination with the study of philosophy helps her see the world in new ways: Loaded with moral judgements, strewn with choices and riddled with the freedoms of existence. She loves philosophy but she wanted to make money, so she used her philosophical mind to engage in an industry that questions and redefines the moral code.
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“Sex work is just so cut and dry to me and so existential that the only reason it’s considered wrong is because of the ideas and morals that we place on it—it’s immoral, says who? Where do morals come from? What is a moral? It doesn’t exist. You can’t see it, you can’t feel it. That’s where I got really fascinated by the idea of philosophy, dismantling ideas and pulling shit apart and being like, well if you fuck for money what does it matter? It doesn’t mean anything, nothing means anything and nothing means everything.”
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A distinguished but brilliantly blended mind of vision, pain and dissection, Rita’s story is one of self-discovery as well as social commentary on the nothingness of moral determinants. She’s healing and she’s a human who just happens to be a sex worker.
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Come was published in March 2020 and is available through Allen and Unwin.