This book is a footnote in the way it both chooses — and is forced — to exist in the margins. Marginality, here, is not only the lack of centre but also a site of tension, resistance, and quiet assertion. The visual metaphor of the footnote holds the politics of homoerotic expression: always adjacent and often overlooked.

Flexible Ending Arrangements is a collection of memory, love, desire, sex, familial dynamics and loss — held in language and image. The photographs scattered across its pages are not stand-alone artworks but traces. They function like fragments in a field notebook or a research paper — not meant to illustrate, but to gesture toward: evidence of lived experience, emotional data, images that expand the text by what they withhold. Each photograph carries weight not by composition but by context — taken with my phone, in passing, with intimacy.

The writing moves through sex as a method of inquiry — a way to examine how the body carries grief, how intimacy becomes an archive, and how touch can both record and undo. This is not just a book of personal reflection, but one that understands lived experience as a form of research. The erotic is not a detour from theory; it is the terrain itself.

This work doesn’t seek neat conclusions. Like its title, it leans toward the provisional — toward endings that shapeshift, resist closure, and remain permeable. This is an offering, a record, and a refusal.