Mar 142015
 
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By billierosie

Slowly, slowly, the beacon fire smouldered. In 1897, Bram Stoker struck the first spark when he published his horror novel Dracula. The kindling had been stacked up for centuries, in the form of mythologies, rumours and stories; those creepy tales whispered about Vampires. Creatures of the night; the undead, seeking you out to sink their fangs into your tender jugular and drink your blood; draining you. The stories go back thousands of years. Now, in 2015, the beacons have crossed oceans; the fires flame fiercely, proclaiming that the old stories are still being told and new tales are being written.

Stoker could have had no idea that his short novel would precipitate a whole genre of writing that would hold sway on our collective imagination for decades.

Although Stoker did not invent the vampire, the novel’s influence on the popularity of vampires has been singularly responsible for many theatrical, film and television interpretations throughout the 20th and 21st centuries.

From the beginning of history, vampire-like spirits and beings have been recorded. The Akhkharu were blood-sucking demons, written about back in the time of Sumer. We’re talking about 5,000 years BC. The ancient Chinese wrote about “hopping corpses” which would go around and consume a victim’s life essence (commonly known as chi). Even ancient Egyptian lore had a story where the goddess Sakhmet was consumed with bloodlust. From the earliest of times, vampire-like beings have been prominent in the folklore of several different cultures.

The most well-known versions of vampire myth are those of the Slavic and Romanian cultures, which, due to their proximity, are similar. And it is from Eastern Europe, that Stoker’s Count Dracula originates.

There are several reasons that a person may become a vampire, such as unnatural death, birth defects, or conception on certain days. Romanian legend gave rise to the belief that being bitten by a vampire would doom one to become a vampire after death. Both Slavic and Romanian myths hold the belief that, with the advent of a vampire, there would be deaths of livestock and family members of the vampire. The favoured way to kill a vampire in these two myths is by driving a stake through the heart, decapitation, and if necessary, dismemberment. Slavic and Romanian vampire myths have given rise to the most popular world-view of vampires.

But what’s the fascination? Why the endless retelling of this old story? Are we playing with danger from the safety of fiction? The horror of vampires is very real; I should know. I spent my adolescence terrified of them; especially Dracula. I invented bizarre little rituals to ward him off and keep me safe. Positioning on my left side as I lay in my bed, was paramount—as was a convoluted prayer; a mantra that I would recite over and over again. Sleep would be a long time coming.

The success of Dracula spawned a distinctive vampire genre. The vampire is such a dominant figure in the horror genre that literary historian Susan Sellers places the current vampire myth in the “comparative safety of nightmare fantasy”.

We relinquish control to the vampire. He swirls his cloak around his victim and bites. His teeth penetrate us. It’s a reconstructed image of the sexual act; in fact actual copulation seems tame compared with what the vampire can do. The victim has no control over his ghastly lover. The victim flirts with death.

Sex and death.

But it’s not just the Count we have to fear. He is scary, but his entourage of female vampires more so. Female vampires are predatory and take their pleasure where they will; they are women who take control of the sex act itself. Victorian men—beware! The ideal Victorian woman was chaste, innocent, a good mother. She definitely wasn’t a sexually aggressive huntress.

The three beautiful vampires which Jonathan Harker, Stoker’s narrator, encounters in Dracula’s castle, are both his dream and his nightmare; indeed, they embody both the dream and the nightmare of the Victorian male imagination in general. The sisters represent what the Victorian ideal stipulates women should not be; voluptuous and sexually aggressive—thus making their beauty both a promise of sexual fulfilment and a curse. These women offer Harker more sexual gratification in two paragraphs than his fiancée Mina does during the course of the entire novel. However, this sexual proficiency threatens to undermine the foundations of a male-dominated society by compromising men’s ability to reason and maintain control. For this reason, the sexually aggressive women in the novel must be destroyed.

In a passage highly charged with erotic symbolism, Jonathan Harker writes in his journal,

“I was afraid to raise my eyelids, but looked out and saw perfectly under the lashes. The girl went on her knees, and bent over me, simply gloating. There was a deliberate voluptuousness which was both thrilling and repulsive, and as she arched her neck—she actually licked her lips like an animal, till I could see in the moonlight, the moisture shining on the scarlet lips and on the red tongue as it lapped the white sharp teeth. Lower and lower went her head as the lips went below the range of my mouth and chin and seemed to fasten on my throat. Then she paused, and I could hear the churning sound of her tongue as it licked her teeth and lips, and I could feel the hot breath on my neck. Then the skin of my throat began to tingle as one’s flesh does when the hand that is to tickle it approaches nearer, nearer. I could feel the soft, shivering touch of the lips on the super sensitive skin of my throat, and the hard dents of two sharp teeth, just touching and pausing there. I closed my eyes in languorous ecstasy and waited, waited with beating heart.”

The vampire lover is receptive erotica personified. You relinquish control; you do nothing, other than give yourself up to the seduction.

Janine Ashbless suggests; “We don’t fantasise about controlling vampires—we fantasise about how we have NO control over them. They are stand-ins for Death itself.”

Stoker’s narrator flirts with the promise of an intercourse so erotic that he will give up his life.

Later in the novel, Count Dracula has made his way to England, and sets about possessing the upper-middle class Lucy.

Once infected by Dracula, Lucy becomes sexually overt and aggressive, and is portrayed as a monster and a social outcast. She feeds on children making her the maternal antithesis as well as a child molester. In order to rectify Lucy’s condition she is sexually overpowered by her fiancée, Holmwood; the scene is witnessed by Jonathan Harker and Van Helsing. Holmwood penetrates her to death with a stake through the chest, a staking which is openly sexual in interpretation:

“The thing in the coffin writhed; and a hideous, blood-curdling screech came from the opened red lips. The body shook and quivered and twisted in wild contortions; the sharp white teeth champed together till the lips were cut, and the mouth was smeared with a crimson foam. He (Holmwood) looked like a figure of Thor as his untrembling arm rose and fell, driving deeper and deeper”

The killing of Lucy is a sort of legitimised gang rape, legitimised because the Victorian balance of sexual penetration from the female domain is back in its accepted station within the male domain.

The reasons for our fear of, and fascination with, vampires change with the times we live in. To Stoker’s contemporaries, Count Dracula posed many threats to Victorian social, moral and political values: he changes virtuous women into beasts with ravenous sexual appetites; he is a foreigner who invades England and threatens English superiority; he is the embodiment of evil that can only be destroyed by reasserting the beliefs of traditional Christianity in an increasingly skeptical and secular age; he represents the fear of regression, a reversal of evolution, a return to our more primal animal state.

Think of the wealth of literature, film and television dramas that we wouldn’t have if Bram Stoker hadn’t written Dracula.

Perhaps they leave you cold—I love them! I’m over my teenage angst about them. There’d be no exotic Lestat, from Ann Rice. No Hammer House of Horror. No vampires with a conscience; M.Christian wouldn’t have written his vampire novel, Running Dry. Neither would Janine Ashbless have written her short story, “The Blood of the Martyrs”. All wonderful stuff; my favourite writers digging around in my agonised psyche.

And then there’s those TV shows; Buffy, True Blood, The Vampire Diaries. A blood-letting, tinged with magic. I lose myself in a world, of exotic, erotic fantasy. A strange world of death and immortality. Stories that speak to us once again of an ancient, horrid rite and fear.

***

billierosie has been writing erotica for about three years. She has been published by Oysters and Chocolate, in The Wedding Dress. Logical Lust accepted her story “Retribution” for Best S&M 3. She has also been published by Sizzler, in Pirate Booty and in their Sherlock Holmes anthology, My Love of all that is Bizarre, as well as Hunger: A Feast of Sensual Tales of Sex and Gastronomy and Sex in London: Tales of Pleasure and Perversity in the English Capital. She also has a collection of short, erotic stories, Fetish Worship, as well as novellas Memoirs of a Sex Slave and Enslaving Eli, both published by Sizzler Editions in 2012 and available for purchase at Amazon.
billierosie can be found at Twitter, @jojojojude and at her blog.

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Feb 212015
 
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By billierosie

My friend Ed likes to be dominated by a woman. For Ed it is his raison d’etre—his reason to live. I asked Ed to explain how it works. Here’s what Ed told me…

For the past 35 years or so, beginning long before I was old enough to act on my desires, I have been drawn to the mystery and magic of dominant women. There are millions of men just like me, though relatively few discuss it openly. In fact, many overcompensate with a macho pose that reminds me of teen boys who think smoking makes them look cool. You know the type: they pinch a cigarette with a pinky jutting out that has no other place to go at the moment. Holding a smoke in an inexperienced hand, the kid announces to the world his nervous foray into manhood, or at least an awkward semblance of it.

I have known other submissive men, and the Pose is a common theme among them. They talk about women as though they understand, appreciate and ultimately conquer them with a rakish style, a heady cologne and swagger. They fool some of their mates, but they don’t fool me. Never have. I have been submissive to exotic and commanding women since before many of these chintzy peacocks were born. And what have I discovered? Exactly this: any woman with a healthy dose of self-esteem and a cultivated air of authority will bring any heterosexual man—be he submissive, dominant, neither or both—to his knees whenever she pleases.

Even when being coyly submissive, such a woman is in control of herself, in control of the situation, and in control of the overheated male, blind to his own complicity in her plans for seduction. It probably has been like this forever. If there indeed was a Garden of Eden, it was Eve after all that wielded the apple, plunged Adam from his perch of grace and blamed it all on a lying snake. That she also was banished from Paradise only authenticates her humanity, else countless men would be tempted over and over again by her sweet, swaying sorcery. Heaven would never be rid of us.

Yet don’t we men clumsily forget that essential fact, her very powerful humanity, as applied to the domination of males throughout the ages? If Woman was Divine and not mortal, where would be the glory in her triumph? Goddesses at play are a provocative myth, but the power of Womanhood is tangibly real. In the fever swamp of lust, up to our eyes in desire, we men surrender our tenuous grip on independence—a maddeningly ephemeral quality even in daily life—and we fall to our knees and worship the source of our physical being. No price is too high or sacrifice so exorbitant that we can resist answering with a meek yes when She shouts Her stern, insistent warnings. And then we jump madly, all primally enchanted fools, into the ultimate trap, a honey-moistened delta of destruction awaiting our swollen egos.

And, clever in her erotic wickedness, She will have us begging for more. In the inescapable clutch of her talons, our pride bleeds away as our seed splashes into the void. Thus She encloses and conquers him, and the archetypal Femme Fatale is celebrated, adored and obeyed by the very victims that would greedily have held her for ransom had they been conceived with the pluck to outwit Mother Nature.

I do not know a man alive or dead (starting with myself!) who would not play out this eternal drama to infinity, Sisyphus grunting and pushing his damnable rock, so long as occasionally, as might satisfy our rulers, their gates of Heaven opened, however sparingly, admitting the unworthy—all of us simple, salty males—to enjoy, however fleetingly, the ecstasy of release, madly shooting spasms of our essence through her portal to the stars.

Men are proud beggars, an irony of hard muscle and weak will. Women who grasp this verity are fit to rule their men, from affairs of the boudoir to the politics of the planet. It is the next Great Awakening.

***

billierosie has been writing erotica for about three years. She has been published by Oysters and Chocolate, in The Wedding Dress. Logical Lust accepted her story “Retribution” for Best S&M 3. She has also been published by Sizzler, in Pirate Booty and in their Sherlock Holmes anthology, My Love of all that is Bizarre, as well as Hunger: A Feast of Sensual Tales of Sex and Gastronomy and Sex in London: Tales of Pleasure and Perversity in the English Capital. She also has a collection of short, erotic stories, Fetish Worship, as well as novellas Memoirs of a Sex Slave and Enslaving Eli, both published by Sizzler Editions in 2012 and available for purchase at Amazon.
billierosie can be found at Twitter, @jojojojude and at her blog.

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Sep 232014
 
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By billierosie

My friend Jonathan is in a heterosexual relationship; but it’s a heterosexual relationship with kinks—massive kinks. Jonathan is a dominant; his partner, Susie, is his submissive. I asked Jonathan to tell me about his and Susie’s life together. How do they organise things and deal with household pragmatics? Is their relationship typical of the lifestyle of dominant and submissive? Is there such a thing as a typical dominant/submissive lifestyle? Here’s what Jonathan told me…

“I should start by saying that it’s one of those questions where different people will undoubtedly have different answers. There’s no ‘one size fits all’ type of dominant, and I’m not even going to try to create a typology. Even the terminology is flexible: dominant/submissive isn’t quite the same relationship as top/bottom, with the conventional understanding being that the former is more about power exchange and the latter about the administration and receiving of pain and pleasure.

“I would say, though, that the essence of domination and submission is about having a sexual relationship—or indeed several sexual relationships—that include a particular dynamic. The nature of that dynamic is that my play partner is seeking excitement and gratification through being controlled, and I’m seeking those things through exercising that control.

“What that means for me is that I need to think in a very precise way about what my submissive is seeking. Do they want the experience of being taken back to some point in their life, perhaps a point in childhood, where they were controlled and perhaps punished by a father figure? Do they want to experience a type of control (and reward) that one might use with a family pet such as a dog? Do they want an experience they can fight against and yet be forced against their will, as in an interrogation scene? Do they seek a more spiritual and meditative experience, the kind that’s common with rope bondage?

“There’s a sense in which being a dominant isn’t about being bossy and bullying—or if it is, that’s because the submissive feels the need to experience those things. It’s about recognising what your submissive needs and being, as I’ve sometimes put it, the vehicle through which the submissive can express and explore their desires. My gratification as a dominant is about being successful at doing that. That’s not to deny the gratifications of hearing the thwap of a flogger hitting flesh and the soft shriek of shock and pain, seeing the way skin colours up when it’s been tortured, and smelling the sex in the air. Those are all great turn-ons. But the key thing for me is taking the trust of the submissive and proving to them they were right to trust that I can deliver the fantasy-into-reality they were seeking. That’s the thing that gives me a crazy smile on my face for days after an intensive play session.

“Being dominant can be demanding. It requires me to think about what I’m doing at every point: planning what I’m going to do, doing it, being alert to issues that arise during play, and following up afterwards. For example: will it be feasible to tie someone up in a certain way given their known health condition and the way rope constriction can affect muscles? If the sub has, for example, asthma that means they need their inhaler available at all times, is it to hand? Does a particular fantasy—for example being treated as a non-person through the use of a hood—trigger something bad in the sub when it happens for real, so the scene needs to stop? And how do they feel after the whole experience when they’ve had time to reflect on it?

“I’ve sometimes wondered, incidentally, how dominants manage in dom/sub relationships that are 24/7 because frankly, I don’t think I could keep up that level of attention all the time. I’d assume those relationships are more like master or mistress and slave, because they surely can’t exist on the basis of being permanent domination sessions.

“How, then, did I get into domination? It started fairly early with pre-pubescent fantasies that involved the kinds of things we now term ‘power exchange’. As a teenager I found pulp magazines that told me, if nothing else, that I wasn’t the only person to have such fantasies. Shortly thereafter I found sexual partners who were similarly exploring their sexuality and not averse to being tied up. And on it went from there.

“In real life I’m a pretty laid-back person. I don’t impose myself on others, have a particularly dominant bearing, or other obvious trappings of being a ‘dominant person’. But I’m generally a good listener and try to understand what my submissive wants. I have a wicked turn to my sense of humour. I’ve taken time out to understand the range of ‘tools’ I use in bdsm—from rope and bullwhips to gags and candles. I know what they do, and wide range of ways they can be used.

“And I was lucky enough, a decade ago now, to meet the submissive who is now my partner. We met in a fetish club; I was doing an impromptu bondage demonstration and she was a volunteer…

“By way of a conclusion, I’ll offer these thoughts.

“A dominant isn’t someone who ‘feels dominant to their core’, was ‘born to rule others’ or feels they should always be privileged over others. People who persistently act that way can usually be described using other, less savoury terms such ‘pain in the ass’—or perhaps ‘bully’.

“It is, of course, important sometimes to act in such ways, because that’s part of the play of domination and submission. But if someone starts taking that kind of role as the key part of their personality they’ll quickly find themselves being laughed at.

“A dominant is someone who takes the gift of submission and works with the submissive to make it something more beautiful and more meaningful to both parties. This is why domination is a craft. It requires dedication, self-reflection and an open and enquiring mind—as well as a balanced personality, a sadistic imagination and a rigorous approach to what is safe, sane and consensual.”

***

billierosie has been writing erotica for about three years. She has been published by Oysters and Chocolate, in The Wedding Dress. Logical Lust accepted her story “Retribution” for Best S&M 3. She has also been published by Sizzler, in Pirate Booty and in their Sherlock Holmes anthology, My Love of all that is Bizarre, as well as Hunger: A Feast of Sensual Tales of Sex and Gastronomy and Sex in London: Tales of Pleasure and Perversity in the English Capital. She also has a collection of short, erotic stories, Fetish Worship, as well as novellas Memoirs of a Sex Slave and Enslaving Eli, both published by Sizzler Editions in 2012 and available for purchase at Amazon.
billierosie can be found at Twitter, @jojojojude and at her blog.

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May 222014
 
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This month’s Fetish Column takes an introductory look at one of the most potentially dangerous forms of “edge play”: autoerotic asphyxiation. While the editors of WriteSex are pleased to include this information among its other fetish-related posts—we feel it will inform our readers’ writing and general knowledge—we would like to remind readers that neither this nor any of our “edge play” posts serve as endorsements for reckless behavior in real-life bedrooms or dungeons. Which is also to say: do not attempt autoerotic asphyxiation without the supervision and assistance of an experienced, highly-trained expert, and/or without having attended a class/workshop given by an experienced, highly-trained expert. At the very least, do not do it alone.

Both the writer of this post and one of our editors have lost dear friends to unassisted autoerotic asphyxiation and have no desire to see any of our readers numbered among them.   —Ed.

 

By billierosie

What is Autoerotic Asphyxiation?

Autoerotic Asphyxiation is the intentional restriction of oxygen to the brain for sexual arousal. It is also called asphyxiophilia, autoerotic asphyxia, hypoxyphilia or breath control play. Colloquially, a person engaging in the activity is sometimes called a “gasper”. The erotic interest in asphyxiation is classified as a paraphilia in the Diagnostic and Statistical Manual of the American Psychiatric Association. Psychiatrist Joseph Merlino states that it meets the criteria for a disorder because it has the potential for death or serious injury.

The carotid arteries, on either side of the neck, carry oxygen-rich blood from the heart to the brain and the accumulation of carbon dioxide can increase feelings of giddiness, light-headedness and pleasure, all of which will heighten masturbatory sensations.

When the brain is deprived of oxygen, it can induce a lucid, semi-hallucinogenic state. Combined with orgasm, the rush is no less powerful than cocaine, and like cocaine, can be powerfully addictive.

Various methods are used to achieve the level of oxygen depletion needed, such as a hanging, suffocation with a plastic bag over the head, or gas or volatile solvents. Sometimes, complicated devices are used to produce the desired effects. The practice can be dangerous even if performed with care and has resulted in a significant number of accidental deaths in the United States, the United Kingdom and across Europe.

Death from Autoerotic Asphyxiation

Deaths often occur when the loss of consciousness caused by partial asphyxia leads to loss of control over the means of strangulation, resulting in continued asphyxia and death. While often asphyxiophilia is incorporated into sex with a partner, others enjoy this behaviour by themselves, making it potentially more difficult to get out of dangerous situations. Victims are often found to have rigged some sort of “rescue mechanism” that has not worked in the way they anticipated as they lost consciousness.

In some cases, the body of the asphyxiophilic individual is discovered naked or with genitalia in hand, with pornographic magazines nearby, with dildos or other sex toys present, or with evidence of having orgasmed prior to death. Bodies found at the scene of an accidental death often show evidence of other paraphilic activities, such as items of fetishistic clothing (e.g. corsets, harnesses, frilly underwear) and masochism. In cases involving the discovery of deceased family members, parents/siblings/spouses might disturb the scene by “sanitizing” it, removing evidence of paraphilic activity.

The great majority of known erotic asphyxial deaths are male. The typical age of accidental death is mid-20s, but deaths have been reported across a wide range of ages, from adolescence to the mid-70s. Very few individual cases of women with erotic asphyxia have been reported.

Autoerotic asphyxiation has at times been incorrectly diagnosed as murder, especially when a partner is present. Some hospitals have teaching units specifically designed to educate doctors in the correct diagnosis of the condition.

Lawyers and insurance companies have brought cases to the attention of clinicians because some life insurance claims are payable in the event of accidental death, but not suicide.

Famous and Fictional Deaths

The composer Frantisek Kotzwara died from erotic asphyxiation in 1791, which is probably the first recorded case.

Albert Decker, the stage and screen actor, was found in 1968 with his body graphitized and a noose around his neck in his bathroom. The artist Vaughn Bodé died from this cause in 1975. Stephen Milligan, a British Conservative MP for Eastleigh, died from autoerotic asphyxiation, combined with self-bondage, in 1994. Kevin Gilbert, songwriter, musician, composer and producer, died of apparent autoerotic asphyxiation in 1996. The actor David Carradine died on the 4th of June, 2009 from accidental asphyxiation, according to the medical examiner who performed his private autopsy. His body was found hanging by a rope in a closet in his room in Thailand, and there was evidence of a recent orgasm; two autopsies were conducted and concluded that his death was not caused by suicide, and the Thai forensic pathologist who examined the body stated that his death may have been due to autoerotic asphyxiation. Two of Carradine’s ex-wives, Gail Jensen and Marina Anderson, stated publicly that his sexual interests included the practice of self-bondage.

The introductory scene of the film The Ruling Class shows the death of Ralph Gurney, the 13th Earl of Gurney (portrayed by Harry Andrews), from accidental autoerotic asphyxiation. Autoerotic death was also used in the Robin Williams film World’s Greatest Dad.

A Final Word

And death by Auto Erotic Asphyxiation isn’t just the reserve of those with celebrity status. The tragedy hit close to home when my friend George found his older brother Charlie hanging from a coat hook on his bedroom door. The Coroner’s Report registered Autoerotic Asphyxiation as the cause of death. They played Don McLean’s Starry, Starry Night at Charlie’s funeral.

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Apr 082014
 
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By billierosie

A while back, I wrote a story called “Will You Be my Mommy?” It’s in my Fetish Worship collection. The tale explores the fetish of infantilism. I talked about the despair and isolation that I imagine having such a fetish can entail—the sense of being the only person in the world who could possibly feel like that; of having no one to communicate with. The shame of being found out; of being laughed and sneered at. I think the story struck the right tone, judging by the comments it’s received. So I followed it up with another story called “I’m Sorry, Mommy!” where I continue to explore the deepening sexual and emotional relationship between my two protagonists. In this latter story I introduced a lactation fetish—a desire to suckle and drink milk from a woman’s breast. The two seemed to fit together. And there were more excited comments.

“Paraphilic infantilism,” explains the Wikipedia entry on same, “is also known as autonepiophilia , or adult baby syndrome, and it involves role playing and regressing to an infantlike state. Behaviours may include drinking from a bottle or wearing diapers. Those involved in the role play can engage in gentle, nurturing experiences; an adult who only engages in an infantilistic play is known as an adult baby. Others may be attracted to wearing diapers; the Infantilist may urinate or defecate in them.”

Some may want to be punished and be attracted to masochistic, coercive, punishing or humiliating experiences. While infantilism—like BDSM and role play in general—requires the consent of both partners, it is often said that the one receiving the punishment or humiliation ultimately controls the way the scenario is played.

Little research appears to have been done on the subject of infantilism. It has been linked to masochism and a variety of other paraphilia. It has been confused with paedophilia, but the two conditions are distinct and infantilists do not seek children as sexual partners. Rather, they want to roleplay as the children; the adulthood of the other people involved adds to the relative “littleness” of the infantilist, and the appeal of the scenario as it plays out.

It seems that the motivation is around the need for a parental figure, usually that of a mother, who will look after the adult baby’s life and make the world feel safe—though as we’re talking about adults, it’s usually sexualised as well. This sexualisation can be expressed through scenes that play with the tension between permissiveness and discipline: the adult baby transgresses some kind of rule and is spanked or smacked for it; the adult baby can do absolutely anything in their playpen or cot, including soiling their diapers—at least until “mom” finds out.

When I wrote about Infantilism, I focused on the needs of a high-powered businessman desperately seeking the woman who would play the part of his mommy. When Joel walks into his home at the end of a stressful day, he kicks off his shoes, relinquishes his control and plays the role of a twelve-year-old, relying on Sally to make everything safe and okay.

And then there is the “Daddy” fetish: Daddy is strong and warm, a comfort, a source of strength and power that doesn’t have to come from within. He takes away the responsibility that the sub, or the little girl/boy, has grown weary of having to handle.

Psychologists and psychotherapists sometimes deal with repressed memories; the return of the repressed. Perhaps infantilism is a way of returning to a childhood—either the infantilist’s own or the one they wish they’d had—through an actual physical therapy that allows, through role play, the ability to relax into a world that involves little to no responsibility and a great deal of loving physical intimacy (compare that to the state of far too many lives in our world, love-starved and burdened with stress). Maybe it’s an effort to reboot one’s entire process of socialization; if you were taught all your manners and potty training and other social restrictions at the hand of an impatient, ill-equipped parent, maybe you want to go back and learn it all again with a good one. Or maybe infantilism is a response to an incest fantasy, or even a memory of incest which needs to be processed. Perhaps it’s a basic, human, long-buried desire to have one parent, a mommy or a daddy, all to oneself in the closest possible way.

 

billierosie has been writing erotica for about three years. She has been published by Oysters and Chocolate, in The Wedding Dress. Logical Lust accepted her story “Retribution” for Best S&M 3. She has also been published by Sizzler, in Pirate Booty and in their Sherlock Holmes anthology, My Love of all that is Bizarre, as well as Hunger: A Feast of Sensual Tales of Sex and Gastronomy and Sex in London: Tales of Pleasure and Perversity in the English Capital. She also has a collection of short, erotic stories, Fetish Worship, as well as novellas Memoirs of a Sex Slave and Enslaving Eli, both published by Sizzler Editions in 2012 and available for purchase at Amazon.
billierosie can be found at Twitter, @jojojojude and at her blog.

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Mar 032014
 
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By Nobilis

Like anything else, kinks run in fads—especially when it comes to fiction. A few months ago, everyone was talking about the authors who sold thousands of copies of dinosaur erotica ebooks. Then it came around to bigfoot and similar creatures. I’m sure in a few months it will be something else again. While each fad was in its prime [and before Amazon started its somewhat zealous censorship campaign —ed.], those books clearly had a large array of readers who couldn’t get enough of them, and I don’t begrudge their authors a bit of their success. This is also a great thing for me, because I consider tentacle sex (one of the things I like to write) to be somewhat related to those stories. I might get a bit of a boost in sales.

And then there are the other topics I like to write about: things like growth transformations, genderfuckery and other kinds of shapeshifting. Those aren’t even close to being in fashion, and they don’t necessarily appeal to the people who would buy them for an ironic laugh. There are folks out there who like those stories, but their sub-sub-genres aren’t getting blogged at Buzzfeed, Jezebel or Io9. And that’s fine too. Maybe someday I’ll get featured in one of those big-name blogs, but I’m certainly not going to build my career around hopes of a few weeks’ worth of fame and fortune by discovering a previously unrecognized novelty niche.

Because ultimately, it’s my career. My hope is that people buy my books because they like the way I write, not solely because they like what I’m writing about. If I’m not a good writer, then they won’t come back after the first book. But if they do like my work, the subject matter isn’t as important. On a number of occasions, readers and listeners have said to me, “I never thought I’d like a tentacle-sex story, but I liked this one!” or “Lesbian sex isn’t usually my thing, but this story really caught my attention.”

That’s my favorite kind of reader. Those are the folks who will stick with me, maybe read things they otherwise wouldn’t have. I think that’s the kind of reader we all ought to aspire to attract, if we don’t already. Does anyone really want the stories they’ve written to leave their readers either vaguely disappointed or unsatisfied? To have their name forgotten when the reader goes to find something new to read? I’m not at my best when I’m trying to write to someone else’s taste, when I’m trying to imitate or emulate; I’m much better off following my own muse. So I stay with what I like to write.

Not that this type of commitment makes it easy to see someone halfheartedly knock out a series of monster-du-jour books and get lots of attention (and dough) for it—I’m not immune to a bit of success envy. But I understand on a fundamental level that the stories I tell have to be my stories.

Because otherwise, who will tell them?

—–

And now I’m going to follow that essay with a story idea, as I do every month. Please have a look at it, and decide if you can make it yours—because a story is more than idea:

What if you were born on an isolated space colony with a small population, say a hundred people or so, and discovered you really were the only person on the planet that had a particular fetish? There’s always something missing from your life—until a starship arrives, carrying someone with a brain implant allowing any fetish to be put on and taken off like a new set of clothes…

—–

Learn more about Nobilis and his work at his…

Website: www.nobiliserotica.com
Podcast: nobilis.libsyn.com
Twitter: @nobilis

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Feb 182014
 
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By billierosie

Hey You! Yes, you peeping through the keyhole. Yes, you, the guy masturbating in the peepshow booth, watching the lady dance her erotic tease.

And you, you, who thought you were safe looking at dirty pictures in secret, while your wife sips her tea from her favourite china cup; you’re not safe. And neither is the sophisticated lady cruising the National Gallery pretending to look at the chiaroscuro, form and line, in the masterpieces.

You’ve been spotted.

The naked females stare boldly back at you.

You’ve been caught out. You’ve been caught looking.

Your quest to fulfill your carnal desires has landed you in big trouble. Your desire to obtain knowledge of the female form cannot be obtained in any innocent way. In the vernacular, you are a Peeping Tom. To give you your polite name; you are a Voyeur. You are no better, no different to Tom, blinded for his crime of looking at his Lady as she rode, naked through the streets. Peeping Tom saw what was taboo; forbidden. So have you.

And you hetero girls, don’t think you’ve got away with it either; so wipe those smirks off your faces. That wonderful statue of David, by Michelangelo; did you know that David’s eyes follow you? He’s watching you looking at his beautifully sculpted cock. He may be flaccid, but you are dreaming of an erection. He can see the lust in your eyes.

And something else that has to be considered; the place of the Exhibitionist. There is something about Michelangelo’s statue that makes the viewer feel that David knows that he is being watched. The tables have been turned; the viewer is now the subject of scrutiny. Painters have responded to the theme, too. Goya’s nude Maja almost glares at the viewer with a sneer of irritation. And Manet’s “Le dejourner sur l’herbe”—the lunch on the grass was shocking at the time Manet exhibited it. A woman naked, casually lunching with two fully clothed men, was an affront to public decency. But the naked women in these paintings negate any suggestion of indecency. The women confront you with an expression that seems to find the viewer’s excitement boring. As if they are saying; “Oh, do grow up!”

Faced with that, the viewer’s lust is diminished.

Film has responded, too, to the place of the voyeur. I was watching the classic Hollywood film Rear Window a few weeks ago. Looking is what film is all about and Rear Window is about voyeurs and the pleasure of looking; the pleasure of looking that cinema offers. James Stewart’s character Jeffries is incapacitated by a broken leg and is confined to his apartment. To alleviate his boredom he takes up watching his neighbours—and here, Rear Window establishes a connection between cinema and television. There are cuts from Jeffries’ face to the shots of what transpires outside his window to the frame of Jeffries himself watching the man in the helicopter watching the women that Jeffries himself was just watching. This classic narrative film is a metaphor for cinema, but it is actually television that the film most identifies with. Jeffries’ viewing—and our point of view is most often that of Jeffries—is more like channel surfing than watching a film. Each window across the courtyard offers a different channel.

And yes, television has made voyeurs of us all. We live our lives through watching lives unfold before us on the screen. The hourly news programme directs us to people dying of hunger on the other side of the world. One man watches another man starving to death. I didn’t want to see the hanging of Sadam Hussein on my television screen. But I had no choice, the moment was there before me before I could switch off or change channels. Reality TV programs, Big Brother. And again the Exhibitionist. The desire to be famous has been well documented; but famous for what? It doesn’t matter; just being seen on television is enough.

 

billierosie has been writing erotica for about three years. She has been published by Oysters and Chocolate, in The Wedding Dress. Logical Lust accepted her story “Retribution” for Best S&M 3. She has also been published by Sizzler, in Pirate Booty and in their Sherlock Holmes anthology, My Love of all that is Bizarre, as well as Hunger: A Feast of Sensual Tales of Sex and Gastronomy and Sex in London: Tales of Pleasure and Perversity in the English Capital. She also has a collection of short, erotic stories, Fetish Worship, as well as novellas Memoirs of a Sex Slave and Enslaving Eli, both published by Sizzler Editions in 2012 and available for purchase at Amazon.
billierosie can be found at Twitter, @jojojojude and at her blog.

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