(via greggorysshocktheater)
Wednesday, July 04, 2012
What's Going On Today
Check out Technorotica for news, reviews, and other fun stuff about my cybersex stuff
Take a look at Meine Kleine Fabrik for articles, essays and - you guessed it - more fun stuff of a non-fictional nature
Tuesday, July 03, 2012
"I put my whole self into everything I do"
It's so easy to think Andy Griffith was just Sheriff Andy Taylor on The Andy Griffith Show. But you have to - and I mean have to - watch A Face In The Crowd to see just how brilliant an actor he man could be.
Changes!
So what I've done is set up two brand new blogs and tweaked my prime blog here and at meine kleine fabrik to focus a bit more specifically on what I do - in the future my plans are to still post pretty much everything here on M.Christian but then put the appropriate content (plus new and surprising stuff) on the new blogs.
Here are the new blogs and (very) brief descriptions of what's on them:
Click here for M.Christian's Technorotica: A Blog Dedicated To My Technology-Inspired Erotica
Click here for M.Christian's Queer Imaginings: A Blog Dedicated To My Queer Erotica
Click here for M.Christian's Meine Kleine Fabrik: A Blog Dedicated To My Non-Fiction ... and Other Fun Things
... and, of course, Frequently Felt is still around: my - a lobcock of erotic trivialities, oddities, and miscellanea transcribed with jaundiced talent for naught but a boxing Jesuit indulgence by a disreputable posse mobilitatis
Stay tuned for even more changes - but in the meantime please feel free to write me with yours comments or (sigh) look up me on Facebook
Saturday, June 30, 2012
Painted Doll, An Excerpt
In celebration of the re-release of my cyberpunk BDSM erotica novel, Painted Doll, here's an except...
Chapter 2
... Qui Dan Road to the High Street, a stumble of crisp British in a city of fish sauce and MSG. The change didn’t alter her steps, modify her movements.
Beautiful? Oh, yes: without doubt, without a question. The splendor of a rose, the loveliness of an orchid. The kimono is flawless, as is the china white of her immaculately applied artificial complexion. As she walks, hearts stop then race. As she walks, heads twist, eyes widen. As she walks, breaths are hissed in, sighed out.
Beautiful? Oh, yes: without doubt, without a question. But she is a knife-edged rose, a razor sharp orchid. Her stride is mechanically perfect, as is her perfectly vertical posture. Their hearts might race, their heads may twist, their eyes certainly widen, their breaths absolutely hiss in and hiss out, but as she steps nearer they instead step back. As she walks, they avert their eyes. As she walks, they pull themselves in.
The woman walking down the High Street feels them watching her, their glances furtive tickles, their quick stares barely felt hooks out of the corners of her always forward facing eyes. Passing a bookseller – tight fans of rough tan paper with lurid Cantonese chops on their glistening plastic covers hung in sagging arcs of cord – a reflection was revealed to her, a caught sight of what they were seeing.
But not what they were thinking. But she knew, nevertheless: each of them lost in illusions and fantasies as carefully crafted as her rouge, as flawlessly presented as the mae migoro and ushiro migoro of her kimono, as immaculately assembled as her performance:
She’s a dragon, some might think: the cruelty of a reptile, the flawlessness of a myth. You may approach her, with bravery beyond that of any battlefield, speaking with a stammer and a twitch, and if you were fortunate beyond your worth she’d slow, pause, turn with prudently measured grace, deeming your presence not completely disgusting. With that look, at that glance, would be a flickering forked tongue of cruel invitation, a scintillating promise of peaked breasts topped with fist-tight nipples, a belly steel plate flat and firm, a behind curving out in twin clenches of muscular intensity, thighs sculpted by rigid posture, and between them a scented valley of ruby silk.
But first, a miniscule task. But first, an all but insignificant request: to firmly stand guard for her honor and dignity; to fetch a inestimable gem, an incalculable jewel, or just a unexceptional sticky-sweet pastry; to perform for her a melody of praise, or a stammering litany of desperate worth; or a quick athletic demonstration of physical merit; or become for her an avenging knight, a battle to defend her honor against some heinous offense.
A minuscule task. An insignificant request. Accepted without doubt or hesitation, the reward a slow curl at the corner of her cold stone face, a bow of gratitude, and a bright flash of serpentine green eyes. Totally entranced by her, completely captured by her, the dragon would then reveal the metaphorical points of venomous teeth, sinking the illusion of her love deep into the shaft of your encouraged penis by showing you the true face of her cruelty.
The prize was yours but the tasks were actually anything but miniscule, not at all insignificant: firmly stand guard for her honor and dignity – for a year; fetch a inestimable gem, an incalculable jewel, or just a unexceptional sticky-sweet pastry – from a thousand miles away; perform for her a melody of praise, or a stammering litany of desperate worth – perfectly, without the tiniest flaw; a quick athletic demonstration of physical merit – unattainable by even the greatest athlete; or become for her an avenging knight, a battle to defend her honor against some heinous offense – in combat against a killing machine.
And so the dragon passes by, a smile on her cold-blooded face. No one approaches her, no one is willing to come near. And so they live, by letting her just walk by.
She’s a doll, some might think: a porcelain figure, an ivory representation. Beneath the silks and satins would be a body as perfect as only a master artisan could create. Breasts both delicate and womanly, nipples as delicate as rosebuds, a belly with an ideal swell, hands with the grace of ten Noh performers, calves a perfect taper, thighs an entrancing form, back a clean surface of alabaster, neck a musical curve, feet delicate and precious, a behind highlighted with sacral dimples, and a female cleft that was a pale oyster and a tiny pink pearl.
Like a doll, she would belong to whoever buys her. Cash, credit, merchandise – the right amount and the woman would instead walk behind, following her owner towards palace or hovel, both with the same unmoving mask of her face.
Palace or hovel, she would walk in the door, standing still and quiet with an item’s posture. Maybe she’d look better in the living room window, where the afternoon would bathe her in golden light? Or perhaps she’d be better exhibited in the bedroom, where her kimono could be removed like one from a real woman.
Yes, the bedroom. That was where she would be best displayed. Moving past, it was clear in their eyes, the allure of her perfect submission. A thing. An object. A piece of feminine sculpture. Unable to disagree, unable to refuse, bendable in all kinds of imaginative ways. From behind, cock sliding between her cool ivory cheeks. Face to face, marble breasts for unimpeded kiss, licks, and sucks. On top, her tight thighs spread apart and welcoming upward thrusts. Anything you wanted, anytime you wanted.
Desire was a rippling wave behind her, a heat distortion in the warm city air. It was obvious in their eyes that there, in her, was a world without ‘no,’ a land without complaint, a woman without a soul.
Then they stopped, that wave of erections and licked dry lips chilled with a slap of frigid revelation. Stepping back with the rest of the crowd, these men retreated from the precise rhythm of her steps, with whimpering fear in their wide eyes, their shaking heads.
Ivory arms, marble legs, alabaster body: inflexible, unfeeling, stiff, unbending, unyielding, and -- worst of all -- cold. With her you’d never hear ‘no,’ never be refused, never be denied, but you’d also never hear the beat of her heart, the music of her voice, the chimes of her laughter, the moans and screams of her pleasure. You’d perform with her your deepest, darkest, most subterranean – and all she would do would be to look at you with inscrutably glass eyes.
She’s a tiger, some might think: a beast with the stripes of a traditional Japanese dress. Hidden beneath her Asian camouflage was a woman’s body, exercised into an extension of her erotic drive. Where other women had euphemisms and poetic alliterations, she had simple, direct, and powerful words to describe herself. Where other women had bosoms, she had tits of ideal jiggle and sway, covered in thrilling smooth skin. Where other women had nipples, she had a pair of dark brown direct connections to her clit. Where other women had posteriors, she had two plush muscular globes that clenched and released with the beating heat of her clit. Where other women had sexes, she had a demanding, insistent cunt.
To see and handle these differences would be more fortune than seduction. You did not take the tiger to dinner and slip hot words between dessert and coffee. You did not lay flowers at the feet of this hot blooded woman within the cool disguise of a geisha. You did not whisper poetry into the shell-like ear of this elegantly robed bitch.
There was no way to make her do anything, no way to slyly allure or simply trick her into a private room, no way to seduce her. The only thing anyone could do was to stand within the range of that sweeping predatory glance and hope that her eyes would positively estimate your worth as a device for her pleasure. Then, and only then, would her red-painted lips open ever-so, more than a whisper but less than full voice, and speak the one word you’d prayed to hear: “Come.”
Behind her, pulled along by her insatiable need, you would follow. It wouldn’t be a long journey, for her cunt has a very short attention span. Cheap hotel on the next street, expensive one even closer by, or just the nearest fetid and slimy alley – whatever was within range.
Patience was for ladies. Hesitation was for women. Tigers – even ones hidden within silks and satins – had no need for foreplay, patience, or hesitation. They wanted, so they took.
And if you were lucky, she would take you. Hands down to your cock, a squeezing judgment for size and firmness. Lips to yours, a tongue penetrating your mouth, am attacking kiss wanting nothing of you but to be kindling to her roaring heat.
On her knees, she would take you. But only because that was what she wanted. Your come was not expected or important. A flesh device to penetrate an orifice, you would be used until she was bored and ready to move onto other penetrations of other orifices.
Or perhaps she’d require something else. Falling back, satin fabric pulled roughly aside, she might bare an insistent slickness, the gleaming lips and fast-beating clit, and demand your service. Failure to accept or in performance too terrible to contemplate.
At the end, your cock would be needed: hard, strong, and fast -- nothing else important to her. Burning hot, insanely wet, you’d enter and execute the task she’d ordered, working until her screams tore at your ears and her nails scratched along your back.
Then that would be it. Humiliating? Being reduced to only a device for someone’s pleasure usually is. But the blistering heat of her, the ferocious need of her cunt would put – and keep – a smile on your sweaty face.
But – and again men standing step back, retreat in shivering dread when she walks back – one does not ever tame a tiger, even after it is fed. Who knows what she might hunger for after? Meat, blood, flesh, dignity, any number of horrible violations – any of them within her grasp, and you too exhausted to resist.
Tigers are wild things, after all: enjoyable to watch in zoos, penned behind restraining bars, but far too bloodthirsty in bed.
She’s a machine, some might think: isn’t it wonderful what they’re doing with shape memory alloys, mnemetic plastics, optical fibers, and conductive polymers? Absolutely wonderful things coming out of Japan, India, the Wilding, and the young turks of the École Polytechnique, these days. Look up and there are dragonfliers pausing for location fixes before darting off at near-invisible speeds, packages clutched under their iridescent fuselages. Look down and there are myriad scurrying mechanisms trailing polished tracks of perfumed cleanliness through the city’s persistent grime. Look around and there are cinematics lazily scrolling across a lady’s fluttering fan, posters for the newest Malasian blockbuster cycling through tantalizing glimpses of furious martial arts and stiffly chaste duets, the hushed commuting fuel-cell and ethanol traffic, and the softly creaking carbon fibers of a prosthetic hand on a crumble-faced veteran of the Chinese genocide as he lays down a mah-jongg tile.
Look at her and you might see a device as carefully machined as a German car, a Swiss watch, a Japanese entertainment center, Indian software, or an African running shoe: breasts as ideal and resilient as silicone, skin of perfectly cured plastic, muscles as precise and strong as actuators, a genital-pleasuring interface between her thighs, a mouth with the same technology.
It was a safe bet that without her protective kimono covering, the pseudo-body of hers was as superlative as a supermodel, as sensuous as a Playmate of whatever month, as adept as an amalgamation of every courtesan who’d ever lived, as refined and machined as her manufacturers could make her.
Movement like the architecture in fine software, presence as authoritative as graceful as a jet fighter, skin as smooth as the polish on a fresh-from-the-factory-floor Ferrari, she passed by – and with her passing the tracking of lust and greed in the eyes of the male crowd, and sour envy on the faces of everyone else.
Here was the best of both of a man’s world: the twin allures of a clever device together with a well-articulated woman – or, to be more specific, as those men revealed so obviously, ‘coupled’ together, a mating between flesh and sex and advanced technology and power. Purchasing this – or simply leasing with an option to do the same – and putting it in the garage or the bedroom, would mean not just a product but also a woman of every dream, not just a sex partner but also a sophisticated piece of fine engineering.
But that wasn’t all. Look at them watching her move by. Lust was there, both for machine as well as woman, but there was also the dawning realization that there could be even more there: things that squeezed, buzzed, vibrated, hummed, heated, cooled, swirled, oscillated, tingled, and more, more, more so much more.
But then they pulled away, out of her way, out of her traffic, their fantasies dropping behind to be passed by the rushing acceleration of a nightmare, the barreling truck of a terrifying understanding.
Engineering, went their minds as they retreated, is fine and good, stimulating and thrilling. Sex, they thought as they ran away from her, is fantastic and wonderful. But to fuck a machine, to be intimate with gears and cogs, synthetics and electricity, hydraulics and radiators, could be good, but also could be like thrusting into a meshing, tearing, burning, shocking, scalding, blistering industrial accident.
Beautiful? Oh, yes: without doubt, without a question. The splendor of a rose, the loveliness of an orchid. The kimono is flawless, as is the china white of her immaculately applied artificial complexion. As she walks, hearts stop then race. As she walks, heads twist, eyes widen. As she walks, breaths are hissed in, sighed out.
Beautiful? Oh, yes: without doubt, without a question. But she is a knife-edged rose, a razor sharp orchid. Her stride is mechanically perfect, as is her perfectly vertical posture. Their hearts might race, their heads may twist, their eyes certainly widen, their breaths absolutely hiss in and hiss out, but as she steps nearer they instead step back. As she walks, they avert their eyes. As she walks, they pull themselves in.
The woman walking down the High Street feels them watching her, their glances furtive tickles, their quick stares barely felt hooks out of the corners of her always forward facing eyes. Passing a bookseller – tight fans of rough tan paper with lurid Cantonese chops on their glistening plastic covers hung in sagging arcs of cord – a reflection was revealed to her, a caught sight of what they were seeing.
But not what they were thinking. But she knew, nevertheless: each of them lost in illusions and fantasies as carefully crafted as her rouge, as flawlessly presented as the mae migoro and ushiro migoro of her kimono, as immaculately assembled as her performance:
She’s a dragon, some might think: the cruelty of a reptile, the flawlessness of a myth. You may approach her, with bravery beyond that of any battlefield, speaking with a stammer and a twitch, and if you were fortunate beyond your worth she’d slow, pause, turn with prudently measured grace, deeming your presence not completely disgusting. With that look, at that glance, would be a flickering forked tongue of cruel invitation, a scintillating promise of peaked breasts topped with fist-tight nipples, a belly steel plate flat and firm, a behind curving out in twin clenches of muscular intensity, thighs sculpted by rigid posture, and between them a scented valley of ruby silk.
But first, a miniscule task. But first, an all but insignificant request: to firmly stand guard for her honor and dignity; to fetch a inestimable gem, an incalculable jewel, or just a unexceptional sticky-sweet pastry; to perform for her a melody of praise, or a stammering litany of desperate worth; or a quick athletic demonstration of physical merit; or become for her an avenging knight, a battle to defend her honor against some heinous offense.
A minuscule task. An insignificant request. Accepted without doubt or hesitation, the reward a slow curl at the corner of her cold stone face, a bow of gratitude, and a bright flash of serpentine green eyes. Totally entranced by her, completely captured by her, the dragon would then reveal the metaphorical points of venomous teeth, sinking the illusion of her love deep into the shaft of your encouraged penis by showing you the true face of her cruelty.
The prize was yours but the tasks were actually anything but miniscule, not at all insignificant: firmly stand guard for her honor and dignity – for a year; fetch a inestimable gem, an incalculable jewel, or just a unexceptional sticky-sweet pastry – from a thousand miles away; perform for her a melody of praise, or a stammering litany of desperate worth – perfectly, without the tiniest flaw; a quick athletic demonstration of physical merit – unattainable by even the greatest athlete; or become for her an avenging knight, a battle to defend her honor against some heinous offense – in combat against a killing machine.
And so the dragon passes by, a smile on her cold-blooded face. No one approaches her, no one is willing to come near. And so they live, by letting her just walk by.
She’s a doll, some might think: a porcelain figure, an ivory representation. Beneath the silks and satins would be a body as perfect as only a master artisan could create. Breasts both delicate and womanly, nipples as delicate as rosebuds, a belly with an ideal swell, hands with the grace of ten Noh performers, calves a perfect taper, thighs an entrancing form, back a clean surface of alabaster, neck a musical curve, feet delicate and precious, a behind highlighted with sacral dimples, and a female cleft that was a pale oyster and a tiny pink pearl.
Like a doll, she would belong to whoever buys her. Cash, credit, merchandise – the right amount and the woman would instead walk behind, following her owner towards palace or hovel, both with the same unmoving mask of her face.
Palace or hovel, she would walk in the door, standing still and quiet with an item’s posture. Maybe she’d look better in the living room window, where the afternoon would bathe her in golden light? Or perhaps she’d be better exhibited in the bedroom, where her kimono could be removed like one from a real woman.
Yes, the bedroom. That was where she would be best displayed. Moving past, it was clear in their eyes, the allure of her perfect submission. A thing. An object. A piece of feminine sculpture. Unable to disagree, unable to refuse, bendable in all kinds of imaginative ways. From behind, cock sliding between her cool ivory cheeks. Face to face, marble breasts for unimpeded kiss, licks, and sucks. On top, her tight thighs spread apart and welcoming upward thrusts. Anything you wanted, anytime you wanted.
Desire was a rippling wave behind her, a heat distortion in the warm city air. It was obvious in their eyes that there, in her, was a world without ‘no,’ a land without complaint, a woman without a soul.
Then they stopped, that wave of erections and licked dry lips chilled with a slap of frigid revelation. Stepping back with the rest of the crowd, these men retreated from the precise rhythm of her steps, with whimpering fear in their wide eyes, their shaking heads.
Ivory arms, marble legs, alabaster body: inflexible, unfeeling, stiff, unbending, unyielding, and -- worst of all -- cold. With her you’d never hear ‘no,’ never be refused, never be denied, but you’d also never hear the beat of her heart, the music of her voice, the chimes of her laughter, the moans and screams of her pleasure. You’d perform with her your deepest, darkest, most subterranean – and all she would do would be to look at you with inscrutably glass eyes.
She’s a tiger, some might think: a beast with the stripes of a traditional Japanese dress. Hidden beneath her Asian camouflage was a woman’s body, exercised into an extension of her erotic drive. Where other women had euphemisms and poetic alliterations, she had simple, direct, and powerful words to describe herself. Where other women had bosoms, she had tits of ideal jiggle and sway, covered in thrilling smooth skin. Where other women had nipples, she had a pair of dark brown direct connections to her clit. Where other women had posteriors, she had two plush muscular globes that clenched and released with the beating heat of her clit. Where other women had sexes, she had a demanding, insistent cunt.
To see and handle these differences would be more fortune than seduction. You did not take the tiger to dinner and slip hot words between dessert and coffee. You did not lay flowers at the feet of this hot blooded woman within the cool disguise of a geisha. You did not whisper poetry into the shell-like ear of this elegantly robed bitch.
There was no way to make her do anything, no way to slyly allure or simply trick her into a private room, no way to seduce her. The only thing anyone could do was to stand within the range of that sweeping predatory glance and hope that her eyes would positively estimate your worth as a device for her pleasure. Then, and only then, would her red-painted lips open ever-so, more than a whisper but less than full voice, and speak the one word you’d prayed to hear: “Come.”
Behind her, pulled along by her insatiable need, you would follow. It wouldn’t be a long journey, for her cunt has a very short attention span. Cheap hotel on the next street, expensive one even closer by, or just the nearest fetid and slimy alley – whatever was within range.
Patience was for ladies. Hesitation was for women. Tigers – even ones hidden within silks and satins – had no need for foreplay, patience, or hesitation. They wanted, so they took.
And if you were lucky, she would take you. Hands down to your cock, a squeezing judgment for size and firmness. Lips to yours, a tongue penetrating your mouth, am attacking kiss wanting nothing of you but to be kindling to her roaring heat.
On her knees, she would take you. But only because that was what she wanted. Your come was not expected or important. A flesh device to penetrate an orifice, you would be used until she was bored and ready to move onto other penetrations of other orifices.
Or perhaps she’d require something else. Falling back, satin fabric pulled roughly aside, she might bare an insistent slickness, the gleaming lips and fast-beating clit, and demand your service. Failure to accept or in performance too terrible to contemplate.
At the end, your cock would be needed: hard, strong, and fast -- nothing else important to her. Burning hot, insanely wet, you’d enter and execute the task she’d ordered, working until her screams tore at your ears and her nails scratched along your back.
Then that would be it. Humiliating? Being reduced to only a device for someone’s pleasure usually is. But the blistering heat of her, the ferocious need of her cunt would put – and keep – a smile on your sweaty face.
But – and again men standing step back, retreat in shivering dread when she walks back – one does not ever tame a tiger, even after it is fed. Who knows what she might hunger for after? Meat, blood, flesh, dignity, any number of horrible violations – any of them within her grasp, and you too exhausted to resist.
Tigers are wild things, after all: enjoyable to watch in zoos, penned behind restraining bars, but far too bloodthirsty in bed.
She’s a machine, some might think: isn’t it wonderful what they’re doing with shape memory alloys, mnemetic plastics, optical fibers, and conductive polymers? Absolutely wonderful things coming out of Japan, India, the Wilding, and the young turks of the École Polytechnique, these days. Look up and there are dragonfliers pausing for location fixes before darting off at near-invisible speeds, packages clutched under their iridescent fuselages. Look down and there are myriad scurrying mechanisms trailing polished tracks of perfumed cleanliness through the city’s persistent grime. Look around and there are cinematics lazily scrolling across a lady’s fluttering fan, posters for the newest Malasian blockbuster cycling through tantalizing glimpses of furious martial arts and stiffly chaste duets, the hushed commuting fuel-cell and ethanol traffic, and the softly creaking carbon fibers of a prosthetic hand on a crumble-faced veteran of the Chinese genocide as he lays down a mah-jongg tile.
Look at her and you might see a device as carefully machined as a German car, a Swiss watch, a Japanese entertainment center, Indian software, or an African running shoe: breasts as ideal and resilient as silicone, skin of perfectly cured plastic, muscles as precise and strong as actuators, a genital-pleasuring interface between her thighs, a mouth with the same technology.
It was a safe bet that without her protective kimono covering, the pseudo-body of hers was as superlative as a supermodel, as sensuous as a Playmate of whatever month, as adept as an amalgamation of every courtesan who’d ever lived, as refined and machined as her manufacturers could make her.
Movement like the architecture in fine software, presence as authoritative as graceful as a jet fighter, skin as smooth as the polish on a fresh-from-the-factory-floor Ferrari, she passed by – and with her passing the tracking of lust and greed in the eyes of the male crowd, and sour envy on the faces of everyone else.
Here was the best of both of a man’s world: the twin allures of a clever device together with a well-articulated woman – or, to be more specific, as those men revealed so obviously, ‘coupled’ together, a mating between flesh and sex and advanced technology and power. Purchasing this – or simply leasing with an option to do the same – and putting it in the garage or the bedroom, would mean not just a product but also a woman of every dream, not just a sex partner but also a sophisticated piece of fine engineering.
But that wasn’t all. Look at them watching her move by. Lust was there, both for machine as well as woman, but there was also the dawning realization that there could be even more there: things that squeezed, buzzed, vibrated, hummed, heated, cooled, swirled, oscillated, tingled, and more, more, more so much more.
But then they pulled away, out of her way, out of her traffic, their fantasies dropping behind to be passed by the rushing acceleration of a nightmare, the barreling truck of a terrifying understanding.
Engineering, went their minds as they retreated, is fine and good, stimulating and thrilling. Sex, they thought as they ran away from her, is fantastic and wonderful. But to fuck a machine, to be intimate with gears and cogs, synthetics and electricity, hydraulics and radiators, could be good, but also could be like thrusting into a meshing, tearing, burning, shocking, scalding, blistering industrial accident.
Friday, June 29, 2012
How To Wonderfully WriteSex (18)
Check it out: my new post at the fantastic WriteSex site just went up. Here's a tease (for the rest you'll have to go to the site):
Back in the ‘good old days’ of smut – when pornographers had to haul their steaming piles of sexually explicit materials up four and five flights of stairs – a certain writer with a gleam of sexy potential in his mesmerizing green eyes … okay, I mean me … wrote a column for the fantastic Adrienne at Erotica Readers & Writers called “Confessions Of A Literary Streetwalker.”
Now one of the things I did was part of being a Streetwalker that really took off was a little series I did called “The Four Deadly Sins:” a playful examination of the things that smut writers could do but that could – to put it mildly – make their work a tough sell. The very same “sins” I’ve been posting here on WriteSex.
Fast forward a … decade?! Sigh. Anyway, I had to put aside my Streetwalker days for other things but that little verboten list has always been by my side, especially since I’m now an Associate Publisher for the wonderful Renaissance Books (which includes Sizzler Editions, our erotica line). By the way [COMMERCIAL WARNING] my old columns are now in a dead-tree and ebook collection called How To Write And Sell Erotica [COMMERCIAL ENDS]
The reason why those “sins” stay with me is because one of my Associate Publisher things is to consider books for publication – and still, today, erotica writers don’t seem to understand that while, sure, you can pretty much write whatever you want there are still some things that will more-than-likely keep your work from seeing the light of day. Just for the record, the four are underage (self-explanatory), beastiality (same), incest (ditto) and excessive violence (torture porn or nonconsensual sex). But I’m here to talk about a new one that’s popped up … or ‘pooped out’ to blow the joke.
[MORE]
The Frankenstein Penis
As you may have heard, an anthology I edited was just released by the great folks at Renaissance E Books/Sizzler Editions (called, by the way, The Love That Never Dies: Erotic Encounters With The Undead) featuring some truly remarkable stories of ... well, as the description says:
Thousands of books have been written about love and sex between humans and werewolves, vampires, aliens, shapeshifters, ghosts, and other supernatural creatures. But, what about the real, honest, and alluringly bizarre world of the undead. Not just zombies - though a few are stumbling through this anthology - not just the once-alive - but also the differently-living? In these pages you'll discover things shambling out of tombs, existing on whole new plains of existence, and more. In the hands, and minds, of these deeply talented and wonderful writers nothing will be quite what it appears. Buckle yourself in and get ready for a ride will of unexpected twists and turns, where your libido and desires may go in one direction while your brain - screaming all the time "No no no no no no!" - goes the opposite. Including stories from erotic writing celebrities like Laura Antoniou, Nobilis Reed, Jay Lawrence, Billierosie, PM White, Ralph Greco, Jr. - and science fiction/horror stars such as Jean Marie Stine, Ernest Hogan and Chris Devito!And, speaking of Ernest Hogan - who is a great, great guy as well as a fantastic writer - recently put up a very fun post about his submission, "The Frankenstein Penis" on his blog. Here's a tease:
Just when you thought is was safe to read again, it's baaaaaaaack!
I'm talking about my most infamous story, The Frankenstein Penis, once again available for sale in the anthology Love That Never Dies: Erotic Encounters With the Undeadeditied by M. Christian. It's an ebook, and a paperback is in the works!
This is probably a good time for me explain why I wrote such a bizarre story. Fortunately, I've done it before here at Mondo Ernesto. The saga ofthe story can be found in And the Great Penis Rip-Off Goes On, and I discuss the two student films – and have links to them so you can watch them online – in The Frankenstein Penis: The Movie(s), and More.
[MORE]
Thursday, June 28, 2012
My New Home
(via asylumseaker)
Living off the Grid in BC: Clayoquot Sound. Floating house (yes, owned by one family) in the Freedom Cove, BC. Completely self-sustaining.
YNOT: The Smutty Hoax that Rocked the ’60s
As some of you might know - in addition to being the debonair, man-about-town, that I am - I'm also an Associate Editor for the adult entertainment site YNOT (who are wonderful folks, btw) - and here's a brand new one: a great little piece on the (ahem) infamous book Naked Came The Stranger....
Ah, the 1960s — or, to be more precise, the end of that decade: 1969. Richard Nixon was President of the U.S., the Beatles gave their last public performance, the Stonewall riots provided a rallying cry for gay-rights activists, Sean “P. Diddy” Combs was born and.… Oh, yeah — man landed on the moon.
During this frenzy of great achievement, an odd thing happened in the world of publishing. At the time, erotica was dominated by — to be polite — less-than-literary (or, for that matter, literate) fiction by writers like Jacqueline Susann (Valley of the Dolls) and Harold Robbins (The Betsy, The Carpetbaggers). But in 1969, a new star eclipsed the established firmament.
Naked Came the Stranger by Penelope Ashe had it all: sex, sex, sex and even more sex. Sure it was badly written, but something about the novel caught readers’ imagination — more than likely all that sex, sex and more sex. Naked was the Fifty Shades of Grey of its day, skyrocketing up the sales charts until it spent a week on The New York Times Best-Seller List, the pinnacle of publishing success.
But Naked Came the Stranger had what folks in the fiction-writing game call a backstory: a secret history to which readers were not clued in until late in the game. Penelope Ashe, you see, never existed. Naked was penned by a group of 24 professional journalists led by the redoubtable Mike McGrady of Newsday.
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Wednesday, June 27, 2012
Those Mysterious Mima Mounds
And here, straight from the book, is the original article - a slightly different version than the one that originally appeared on the always-wonderful Dark Roasted Blend. Enjoy!
THE MAJORLY MYSTERIOUS MIMA MOUNDS
Scientists love a mystery. Biologists
used to have the human genome, but now they have the structure of protein. Physics used to have cosmic rays, but now
they have the God particle. Astronomers
used to have black holes, but now they have dark matter.
And then there's the puzzle, the enigma, the joyous mystery that dots the
world over: the riddle of what's commonly called Mima Mounds.
What's an extra added bonus about these cryptic 'whatevertheyares' is that
they aren't as miniscule as a protein sequence, aren't as subatomic as the elusive
God particle, and certainly not as shadowy as dark matter. Found in such exotic locales as Kenya, Mexico,
Canada, Australia, China and in similarly off-the-beaten path locations as California,
Arkansas, Texas, Louisiana, and especially Washington state, the mounds first appear
to be just that: mounds of earth.
The first thing that's odd about the mounds is the similarity, regardless
of location. With few differences, the mounds in Kenya are like the mounds in Mexico
which are like the mounds in Canada which are like the ... well, you get the point. All the mounds aer heaps of soil from three
to six feet tall, often laid out in what appear to be evenly spaced rows. Not quite geometric but almost. What's especially disturbing is that geologists,
anthropologists, professors, and doctors of all kinds – plus a few well-intentioned
self-appointed "experts" – can't figure out what they are, where they
came from, or what caused them.
One of the leading theories is that they are man-made, probably by indigenous
people. Sounds reasonable, no? Folks in loincloths hauling dirt in woven
baskets, meticulously making mound after mound after ... but wait a minute. For one thing it would have been a huge
amount of work, especially for a culture that was living hand-to-mouth. Then there's the fact that, as far as can
be determined, there's nothing in the mounds themselves. Sure they aren't exactly the same as the
nearby ground, but they certainly don't contain grain, pot shards, relics, mummies,
arrowheads, or anything that really speaks of civilization. They are just dirt. And if they are man-made, how did the people in Kenya,
Mexico, Canada, Australia, China, California, Arkansas, Texas, Louisiana, and especially
Washington state all coordinate their efforts so closely as to produce virtually
identical mounds? That's either one
huge tribe or a lot of little ones who somehow could send smoke signals thousands
of miles.
Not very likely.
Next on the list of explanations is that somehow the mounds were created either
by wind and rain or by geologic ups and downs – that there's some kind of bizarre
earthy effect that has caused them to pop up. Again, it sounds reasonable, right? After all, there are all kinds of weird
natural things out there: rogue waves, singing sand, exploding lakes, rains of fish
and frogs – so why shouldn't mother nature create field after field of neat little
mounds?
The "natural" theory of nature being responsible for the Majorly
Mysterious Mima Mounds starts to crumble upon further investigation. Sure there's plenty of things we don't yet
understand about how our native world behaves scientists do know enough to be able
to say what it can't do – and it's looking pretty certain it can't be as precise,
orderly, or meticulous as the mounds.
But still more theories persist.
For many who believe in ley lines, that crop circles are some form of manifestation
of our collective unconscious, in ghosts being energy impressions left in stone
and brick, the mounds are the same, or at least similar: the result of an interaction
between forces we as yet do not understand, or never will, and our spaceship earth.
Others, those who prefer their granola slightly less crunchy or wear their
tinfoil hats a little less tightly, have suggested what I – in my own ill-educated
opinion – consider to be perhaps the best theory to date. Some, naturally, have dismissed this concept
out-of-hand, suggesting that the whole idea is too ludicrous even to be the subject
of a dinner party, let alone deserving the attention and respect of serious research.
But I think this attitude shows not only lack of respect but a lack of imagination. After all, was it not so long ago that the
idea of shifting continents was considered outrageous? And wasn't it only a few years ago that
people simply accepted the fact that the sun revolved around the earth? I simply ask that this theory be considered
in all fairness and not dismissed without the same serious consideration these now
well-respected theories have received.
After all, giant gophers could very well be responsible for the Majorly Mysterious
Mima Mounds
YNOT: A Shout or a Whisper
As some of you might know - in addition to being the debonair, man-about-town, that I am - I'm also an Associate Editor for the adult entertainment site YNOT (who are wonderful folks, btw) - and here's a brand new one: an interview Sherry Ziegelmeyer and Jay Moyes come in. The owners and operators of Black and Blue Media
YNOT – Let's face it: No business, adult or otherwise, can make a dime if no one knows it exists. This is why it's important to listen to people who know what it takes to take an enterprise from obscurity to popularity, especially in these days when social media distracts and anyone can call himself a marketing guru.
That’s where Sherry Ziegelmeyer and Jay Moyes come in. The owners and operators of Black and Blue Media, Moyes and Ziegelmeyer operate quietly behind the scenes of several well-known companies and individuals — companies and individuals they’ve helped transform from unknowns into household names.
Never heard of Black and Blue? There's a reason for that. The company has been around since 2004, but Ziegelmeyer and Moyes cling to an odd notion that what they do is about their clients, not about them. Consequently, you’ve probably seen more evidence of their work than you realize.
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