The View From Here: Suicide

(the following is part of an ongoing 'column' I did for Suspect Thoughts, and, no, it's not supposed to make sense)

He’s going to be through that door any minute. I thought about the snail-whip I’d bought last SumSpring in the Underneath Market. You know, the one with the carved face of a weathered old Lunar nomad - the one that looked like my mother? But my place is small, and - well - have you ever tried to use a snail-whip in a room where your head hits the ceiling if you stand on tip-toes?

I could have used the reaction pistol a Hitchcock synthetic sold me, but I quickly threw out that idea - reactions are still really illegal and a sharp-eyed Priest would naturally have spotted the head-sized hole in the corpse, scratched his pink-dyed skull and drawn the obvious conclusion that a promotion was in his future.

The only knives in my kitchen were the degradables they give away with Tinkonese Take-away, and they were all green-spotted and way too soft to slice through a brick of jelly-water, let alone a throat.

Whip too long, gun too illegal, knife too soft ... the question of the morning remained: how to kill myself?

I finally decided on the collected works of Bart Bransom, the thief poet. It was one of my favorite books, but it also weighed a nice, hefty 60 decimars - more than enough to crush a skull. So I pulled up a friable wood chair next to the front door, climbed up and gripping the book tightly - with one finger lodged somewhere in middle of The Tale of the Gold Job - I prepared to bash my skull in as I walked through the front door.

Killing yourself is something I’d had to think about quite a lot - as everyone does, and that doesn’t include suicide. The problem with trying to kill yourself - no, wait, ‘murder’ is more like it - is you have to try and out-think yourself. The way I figured it, he’d walk home, as usual, down Fire Lane, stopping here and there to check out the changes in the shop windows or even indulge in a little purgative at one of the express blow-out booths - so I’d say twelve to twenty dulwhich minutes, maybe eleven mid-range minutes, tops.

He’d also be a little disoriented - okay, a bit more disoriented - than I usually am. Being decanted from a Noh Bureau tank will do that to you. I was counting on him being a bit fuzzy around the edges (and in the cases of some of the older tanks that’s quit literal). Come home, I thought at him as my arms quivered under the weight of the book; come him like you usually do - it won’t hurt. Well, I hope it didn’t hurt much - he might be an official copy, but he was still me. The last time this happened I was a bit more prepared, and had borrowed a spring-gun from my downstairs neighbor, the one with the bathing-in-fresh blood fetish, and had managed to ambush myself on the front stairs.

This time, to be honest, I wasn’t nearly as prepared as I should have been - thus my mad scramble to find something fatal. I’d been way too into my new micro-dome. It was a treat to myself for finally finishing the last draft of my new book, A Fall From A Moderate Height, and I was way too involved in giving the little half-life critters religion, guilt, paranoia, and half a dozen other ugly, unnecessary things to make their lives (and thus my viewing of their little world) interesting - so interesting that I completely missed the notice of my impending imitation.

I was a little cocky, I admit it. I mean, I hadn’t lost a duplication for over twenty nuyears - since ... well, since the last me lost and I took over. While I thought the Noh Bureau was a bit over zealous in the execution of their duty, I sort of agreed with the idea of facing yourself in a life or death struggle every five dolamars. There was something savagely poetic about having to look at your life and decide that it was worth killing to defend, and if it wasn’t then all you had to do was wait till the next you showed up to give it a better shot - suicide by not living a meaningful, happy existence. It also satiated natural human bloodlust, turning it away from some innocent stranger and instead directing it inwards, towards self-examination ... and self-execution.

Yeah, it can be rough to have relationships change overnight when your loved one looses to a copy, or when an artist’s work-in-progress is interrupted by a less-inspired duplicate - but by and large the system worked rather well. Of course, I think that after winning every battle since the third Mumbar SumSpring.

And I wasn’t about to loose this one. Standing there, legs quaking from the weight of Bart Bransom’s rhymes, I rehearsed my motions, running them through my mind, trying to cover every contingency: door opens, down comes the book, door opens, book comes down, door opens, book comes down - crushed skull and five more nuyears of comfort at the end.

It had been a good time, a rich, full time - many loves, many successes, a few failures. Standing there on my chair, the heavy book in my hands, I flashed a few of them through my mind - a mental background to my plans for self-murder: the Coronation of the Black King, getting my fingers lengthened, the Festival of Lust, writing ... lots and lots of writing. Salari, Miss Postilla from down the hall, Valencia, Domache - and all the other good friends and lovers. Yes, it had been a good nuyear.

Maybe that was it - I was so lost in memories, in rewinding the past, that I forgot why, exactly I was there. Whatever the reason, I didn’t think - and then it was too late.

Even as he came at me, from the kitchen door I had completely forgotten about, a knife in his hand he’d managed to find somewhere, I refused to admit that maybe it was time to be replaced, that my mind was so clogged with experience I could no longer think straight.

Just dumb luck - that’s what it was. At least, I admitted to myself as his knife arced towards my heart, I’d finished my book. But as his knife met my chest, sinking deep within, I couldn’t suppress a flash of anger that he’d be the one to get the good reviews.

Confessions of a Literary Streetwalker: First Impressions

(the following is part of an ongoing series of columns I did for The Erotica Readers & Writers Association on the ins and outs and ins and outs and ins and outs of writing good smut)

There's been some debate going on about how aspiring writers should conduct themselves. As someone on the receiving end of 'clumsy virgin syndrome' as well having been a novice myself oh-so-many moons ago, I think I'm qualified to wax a bit on this and so, without further ado, here's a quickie guide for those who want to make some good first impressions.

Right off the bat it's important for a newbie writer to understand some basic rules about editors. I've said it again, but it bears repeating: editors have absolutely no legal responsibility to respond quickly, fairly, or compassionately. It sucks, but that's the way it is. They do not have to answer your emails, they do not have to give criticism or praise, they do not have to even let you know if your story's been rejected. This is why when you come across a good, kind, generous, supportive, editor (like myself - ahem) you should treat that person as the gift from above that they are. The only thing - again 'legally' - an editor has to do is contact you if your story's going to be published (and even that's a bit hazy) and pay you if you have money coming.

If you understand these harsh-but-true rules it makes dealing with the world of professional writing that much easier. Unless you have a real good relationship with an editor, simply don't expect anything beyond the least amount of contact. In defense of editors, I do have to say that editing is a very tough gig: YOU try going through hundreds of manuscripts, copyediting, sending out contracts and rejection notices, dealing with distribution and publicity headaches, and then have time for any kind of a social life. I try to do the best job I can but even I have been known to be slow answering emails or answering questions. Editors also have one of the worst jobs on the planet -- being someone who has to break hearts and shatter dreams all the damned time. It is not easy having to send out rejection slips but it's part of the job.

On the writers side, there's a lot that can be done to help the editor out . Why should you help an editor? Because in many cases, you make a friend rather than someone who dreads getting one of your submissions.

The first step is: exercise patience. When you send something out, one of the first things you should do is start working on something else. This tactic makes it easier for you to deal with the sometimes VERY long wait between submission and hearing the good (rare) or bad (often) news about your story.

Step two is: practice compassion. Editors have lives (at least some of the time). Things happen to derail even the most professional and compassionate editor. The fact that you haven't heard back from someone for a few months does not mean they are sitting on the beach drinking Mai Tais without a care about your story. The same goes for questions you might ask an editor. If you were an editor, you, too, might get testy and annoyed having to answer the same question over and over again. That doesn't mean an editor has the right to be rude, but if an answer does come and it's a bit short or abrupt, it's understandable. Don't take it personally.

Make the editor's job as easy as possible, is step three. I cannot emphasize this enough. Read and obey the guidelines. If the book (or magazines or website) says 'NO' that means 'NO.' Exceptions do happen, but never count on them. If they say no email submissions, do not send one. If they say no horror, no S/M, no straight sex, no gay sex, no whatever then that means what it says. Though some rules are fairly flexible (word length by a few hundred words and so forth), always observe the Calls for Submission as Absolute Law.

When you do send stories in, always put your name, address and email on the manuscript - that goes for paper as well as email submissions. A story without any of this is rejected - period. And for heaven's sake, if you submit something by email, sign the damned email -- it's simple courtesy and allows the editor to easily respond to your submission without having to look at your submission to figure out who the heck you are. Please do not ask for anyone to write or send a postcard (even if it's provided) to acknowledge receipt of the manuscript. Most editors won't comply or, like me, they don't even open the envelopes or start to read stories for months after the call for submission is sent out. On the manuscript itself, you don't need a social security number or even a phone number, but you do need information on how to contact you by mail and/or email. Put it on your cover letter, put it on your manuscript, put it on your Self Addressed Stamped Envelope (SASE), tattoo it on your butt - just make sure it's there for the editor to find.

Step four would have to be arguing, or bargaining, with an editor. Unless you get a personal note asking for a rewrite, or suggesting some changes, a rejection note is just that. Sometimes an editor will be flexible if you want to send along something else for consideration but, once again, that's the exception and not the rule. From my own experience as an editor, rejections are the last thing I send out - so even if you have something perfect waiting in the wings, it's useless once the book's already been put together. If it's a paper rejection, simply take your bumps and get on with life. If it's email, it's nice to send a little note, if anything because that way the editor knows the message actually got to you. All you need to say is something like "Thanks for letting me know. Best of luck with the project!" is fine. I do have to say that understanding on the part of a writer can score MAJOR points with an editor. I've personally invited folks I've rejected from one project to submit to another because I appreciated their courtesy and professionalism. As always, you catch more flies with honey than with vinegar - not to compare editors like myself to flies, you understand.

Lastly, try and learn as much as possible about the business so you don't make silly, dumb mistakes like arguing with the editor about rights, payment, scheduling, covers, and so forth. There are lots of places to learn about the biz - including right here on ERA. Nothing sours an editor towards a new writer faster than having to give him or her the basic run-down on what can or cannot be done. Keep in mind there are a lot of writers out there, and all an editor needs is any excuse to consider you or your stuff as 'too much trouble to deal with' before he or she is out looking for someone else -- just as good -- to take for their project.

So there you go, the quick and simple ground rules for the newbie writer. If I had to sum all of this up in a simple sentiment, it would have to be that it's important for beginning writers to understand that submitting should be a smooth and seamless process for both the editor, as well as the writer. The editor gets a trouble-free story to read, and you - because you know the score - don't have to worry about making silly mistakes.

Snowball's Chance In Hell

If you like weird history (and who doesn't?) check out my article on iceberg aircraft carriers at the fantastic Dark Roasted Blend.

Gaydar Nation Likes The Very Bloody Marys!

From Gaydar Nation:

Valentino is having a very bad time of it. A police officer by trade in San Francisco, his boss and mentor has disappeared, he’s hunting a trio of twinks wandering the city terrorising it, and his lover has been killed. Oh, and did I mention Valentino is also a 200-year-old gay vampire who drinks blood with vodka?!

Yes, you don’t have to be Stephen Hawking to work out this is no realist novel, but a synthetically surreal universe of faeries (the cmythical creatures not the camp caricatures), ghouls and all kinds of things that go bump in the undead of the night. It’s a world of Buffy The Vampire Gayer, if you will.

Despite being set in the steep-stepped hills of San Fran, this isn’t the familiar sunny, picture postcard place of the travel brochures, but rather a dark and murky netherworld where all is not what it seems.

The novel opens with Valentino searching desperately for his guv’ner, Pogue. With no clues in sight, the case seems cold and then tragedy strikes. Returning home one evening, Valentino watches in horror and disbelief as his lover, Julian, crumbles to dust before his eyes. Sick with grief, anger and revenge, Valentino goes full-throttle to find Julian’s killer and make them pay.

In The Very Bloody Marys, M. Christian has created a wildly weird world of vampiric pains and pleasures yet still manages to somehow root it in reality, largely because he never loses sight of the fact the characters need to have genuinely authentic emotional lives no matter which fantastical environment you plonk them in. He makes them fully-drawn, involving, standalone characters pulsed by the thump of the human heart, which is ironic considering we’re technically dealing with the undead here.

In fact, the whole narrative has flesh and blood as it races along at amphetamine pace. Scene after scene rolls by with such breathtaking speed you feel like you’re on one of those fairground death rides called something hideous like Decapitation or Rigor Mortis. Despite the breakneck paciness, Christian doesn’t lose control of his characters or story; he’s always in command of the reins so the read has a consistent rhythm that nicely carries the action along.

It’s not all bish-bash-bosh, either. Christian can be incredibly lyrical, especially when describing Valentino’s love for Julian. Just look at this description: “Oh oh oh Julian Julian Julian ? beloved, adored, venerated companion, compadre, mate, playmate, partner, betrothed, idol, best friend, love, lover ? oh oh oh Julian Julian Julian.” Don’t you read that and wish someone had written those words about you?

Christian’s métier, though, is conjuring up powerful visuals that give this noir mystery a definite cinematic flavour that’s one part 1940s movie thriller and two parts po-mo sci-fier, which makes the novel ripe for the film adaptation treatment. And, let’s face it, that should bring a gratifying thud of kerching to the ears of any author.

Atmospherically potent and stylishly polished, Christian marries suspense, terror, black humour and romance intelligently and wittily making The Very Bloody Marys a smart and fun addition to the bloodsuckingly camp vampire genre.

Absolutely!

Jack Handey on Criticism

Before you criticize someone, you should walk a mile in their shoes. That way when you criticize them, you are a mile away from them and you have their shoes.

- Jack Handey, comedian (1949 - )

Bunny Ears

If you're a Sirius radio listener tune into Playboy Radio and hear three of my stories - "Water of Life," "Everest," and "Blow Up" - being read. I'm trying to round up mp3 files of them all, and if I do I'll be posting them here as well.

My Gun is Prodigious

Here's a bit of fun: the start of a short novel I may or may not finish. Hope you like!

My Gun is Prodigious
By Zagreel Weegeen, Third Hatchmate of the Lydra Hegemony (translated by M. Christian)

"Are you a non-public dick?" the female spoke, walking into my professional space on her aesthetically appealing locomotive appendages.

Even though it towards the end of my human mating cycle, I still found her be fertile and more than suitable for procreation, what with her well-developed milk glands, crimson-painted oral display, and blue-toned visual organs.

"That's what the portal mentioned," I uttered, not wanting to let her achieve sexual superiority this early in a potential courtship display. "What can I accomplish with you?"

She continued her courting ritual by coating her eating and breathing orifice with saliva, and bending her locomotive appendages to 'sit' her padded anal orifice down on my sitting device, folding her lower appendages to show me a generalized view of her sexual apparatus. "I need your assistance," she spoke, exhaling powerful chemical attractants.

"What kind of assistance do you require?" I uttered, skeptical of her choice of me as a mating partner. I was not a unsuitable candidate for mating, for I had shared my sperm sacks with many suitable female members of my species, but I have also through many human years of direct experience have educated myself that such a brazen presentation of sexual characteristics is typically deceptive. Still, I did find simply physical pleasure in the female's direct exhibition of her secondary sexual characteristics.

"A person unknown to me is going to attempt to end my physical existence," the female spoke with tones of no alarm, her attack or defend pheromones not present. "I require you to prevent this from occurring."

I was a male of no great lineage, but with ample direct experience with many human interactions, but had never audibly received any like pronouncement from any human during my many orbits of the local solar body in occupation of a non-public investigator. I expressed my confusion by lowering my hairy eye-protecting lids and moving my upper body-structure closer towards the female, and speaking: "I am confused by this. Why would anyone seek to cause you bodily injury?"

This female person then exposed her white incisors, demonstrating to my vision that she found my confusion enjoyable. "Mister Weapon, you do not think that someone would not want to terminate my physical existence?"

Despite the female's obvious attempts to confuse my human thought processes through perceiving her sexual characteristics I was still compelled to complete the mating ritual, and deposit my sperm in her egg receptacles: "Female, you do not appear an individual who would have anyone on this small planet pursuing the end of your life processes."

The female produced a 'cigarrette' and ignited it with a mechanical device. The tube of plant fibers filled my moderately-sized professional space with the reek of carcinogenic long-chain molecules. "Mister Weapon, I am a female of pleasant company, a staunch pursuer of only high-class breeding material. Nonetheless, someone proximately very soon will try to terminate me."

Her profession of only desiring a high-quality mate for reproduction made me display my own 'teeth' as the content of her words stimulated my organ of humor. "Female, I presume not on your standing within our human culture. But I cannot comprehend why a person would cause you to die."

She placed the tube of carcinogenic materials back in her oral cavity, drawing in the poisons with a long, slow intake of atmosphere. "I possess great funds, or as I should better state in English, my male parent possesses immense quantities of property and currency. I suspect that this might be the reasons for the attempts to cause my physical self to stop functioning. My parental is William Cash."

I attempted to control the muscles surrounding my air and food intake as well as the ones around my optical organs but I suspect that I was unsuccessful in the attempt against the connotations of the name of her male parental. I doubted that any human in the Metropolis of Los Angeles didn't know the identity label of Cash. His personal signet was on many of the Angeles structures of notoriety, as well as being prominently featured on many of the documentations of control in the big city. I knew little of the structure of this creche, but I had become informed through various information sources available to me, such as the ink of pulp media of 'newspapers' and primitive radio reception technology that the parental of the female member of my species roosting before my optical receivers was nearing the end of an average human lifespan. If her physical essence should cease to function effectively due to a natural progression of deterioration, then this female progeny would be the recipient of that impressive accumulation of human monetary units.

Even though it disturbed my emotional equilibrium to have such a mortification for the ending of another entity's physical existence, especially one that appeared to my human senses as desirable to pass on my genetic legacy, it remained a viable possibility. "Do you, female of the Cash legacy, have any suspicions as to an individual or group of individuals who would be willing to cease your self for reasons of your parental's immense property and currency reserves?"

TO BE CONTINUED?

Confessions of a Literary Streetwalker: The Best of the Best of the Best

(the following is part of an ongoing series of columns I did for The Erotica Readers & Writers Association on the ins and outs and ins and outs and ins and outs of writing good smut)

Here's a quote that's very near and dear to my heart:

"From the age of six I had a mania for drawing the shapes of things. When I was fifty I had published a universe of designs, but all I have done before the age of seventy is not worth bothering with. At seventy five I'll have learned something of the pattern of nature, of animals, of plants, of trees, birds, fish and insects. When I am eighty you will see real progress. At ninety I shall have cut my way deeply into the mystery of life itself. At a hundred I shall be a marvelous artist. At a hundred and ten everything I create; a dot, a line, will jump to life as never before. To all of you who are going to live as long as I do, I promise to keep my word. I am writing this in my old age. I used to call myself Hokosai, but today I sign my self 'The Old Man Mad About Drawing.'"

That was from Katsushika Hokusai, a Japanese painter of the Ukiyo-e school (1760-1849). Don't worry about not knowing him, because you do. He created the famous "Great Wave Off Kanagawa," published in his Thirty-six Views of Mount Fuji - a print you've probably seen a thousand times.

Hokusai says it all: the work is what's really important, that he will always continue to grow and progress as an artist, and that who he is will always remain less than what he creates.

Writing is like art. We struggle to put our thoughts and intimate fantasies down just-so, then we send them out into an often harsh and uncaring world, hoping that someone out there will pat us on the head, give us a few coins, and tell us we did a good job.

What with this emotionally chaotic environment a little success can push just about anyone into feeling overly superior. Being kicked and punched by the trials and tribulations of the writing life making just about anyone desperate to feel good about themselves - even if it means losing perspective, looking down on other writers. Arrogance becomes an emotional survival tool, a way of convincing themselves they deserve to be patted on the noggin a few more times than anyone else, paid more coins, and told they are beyond brilliant, extremely special.

It's very easy to spot someone afflicted with this. Since their superiority constantly needs to be buttressed, they measure and wage the accomplishments and merits of other writers putting to decide if they are better (and so should be humbled) or worse (and so should be the source of worship or admiration). In writers, this can come off as someone who thinks they deserve better ... everything than anyone else: pay, attention, consideration, etc. In editors, this appears as rudeness, terseness, or an unwillingness to treat contributors as anything but a resource to be exploited.

Now my house has more than a few windows, and I have more than enough stones, so I say all this with a bowed head: I am not exactly without this sin. But I do think that trying to treat those around you as equals should be the goal of every human on this planet, let alone folks with literary aspirations. Sometimes we might fail, but even trying as best we can -- or at least owning the emotion when it gets to be too much - is better than embracing an illusion of superiority.

What this has to do with erotica writing has a lot to do with marketing. It is an illusion - and a pervasive one - that good work will always win out. This is true to a certain extent, but there are a lot of factors that can step in the way of reading a great story and actually buying it. Part of that is the relationship that exists between writers and publishers or editors. A writer who honestly believes they are God's gift to mankind might be able to convince a few people, but after a point their stories will be more received with a wince than a smile: no matter how good a writer they are their demands are just not worth it.

For editors and publishers, arrogance shows when more and more authors simply don't want to deal with them. After a point they might find themselves with a shallower and shallower pool of talent from which to pick their stories - and as more authors get burned by their attitude and the word spreads they might also find themselves being spoken ill of to more influential folks, like publishers.

Not to take away from the spiritual goodness of being kind to others, acting superior is also simply a bad career move. This is a very tiny community, with a lot of people moving around. Playing God might be fun for a few years but all it takes is stepping on a few too many toes - especially toes that belong on the feet of someone who might suddenly be able to help you in a big way some day - making arrogance a foolish role to play.

I am not a Christian (despite my pseudonym) but they have a great way of saying it, one that should be tacked in front of everyone's forehead: "Do onto others as you would have then do unto you." It might not be as elegant and passionate as my Hokusai quote, but it's still a maxim we should all strive to live by - professionally as well as personally.

The View From Here: It's the End of the World As We Know It ...

(the following is part of an ongoing 'column' I did for Suspect Thoughts, and, no, it's not supposed to make sense)

"... this is an announcement from Apocalypse Management - your last word in the end of the world reporting. Next Blurmsday, the usage of superfast bacterial computers in the design of advertising jingles will result in the creation of a meme, or memory virus, so potent as to destroy all cognitive abilities in the listener, resulting in an irresistible compulsion to purchase the product indicated and spread more copies of the meme through careless humming and even outright singing. Spreading around the world as fast as it takes to sing "Oh, I wish I were an Oscar Meyer Weiner -" the information lifeform will eventually supplant all rational thought, wiping out our species as sufferers become unable to even feed themselves ...."

I started to reach for the dial but hesitated when a rhyme for "encrusted" suddenly came to mind, so I jumped back into my poem - pausing only when getting stuck on "delirium."

"On Trasday, the Unisecurian Cult of Transubstantiated Bliss will mark the 102nd ascension of their martyr, Long Lone Love, by embarking on a divine war against all unbelievers. In a global bloodbath, they will kill over 90% of the world's population in a single week, mostly through the slow, painful process of "fractionating" where the victim is methodically sliced away, starting with the feet. The carnage will only stop when the Cult realizes that only either a cruel and evil god would allow such butchery - even of unbelievers and heretics - or that there is no divine presence at all, and that man himself is the sole moral authority in existence. Facing this existential crisis, the cult will commit a hasty and often extraordinarily messing mass suicide - leaving the few survivors of both the Cult and non-believers to die of starvation and disease."

Stanza finished, I rested a bit - sipping my quickly cooling mug of Buggery Brew, absently mulling over my work ... did "incidentally" really work in line two? "Prurient" definitely needed work, as did "iron monger" in the fifth line ....

"Purseday will see the complete destruction of reality itself, when the Think Big Project - an unique cooperative effort between world-renown philosophers, religious leaders, particle physicists, mathematicians, French Chefs, and garage mechanics will result in the realization that the substance of our existence is nothing but a complex symbolic hallucination of a specific ant colony in Brazil. Before this colony can be protected against outside interference, a housewife in Sao Paulo will dose the nest with several cans of extra-strong Riddo brand insecticide. As the individual ants perish, increasingly fundamental components of our world will fade, replaced by conspicuously blank sections of geography, vocabulary, anatomy, and societal structure. The few survivors, unable to stand because of missing limbs, speak because of missing limbs, or breathe because of missing lungs, will cling together until the last of the ants dies."

In one brief moment, what I saw as my best work to date died in a rolling wave of self-criticism: what the hell was I thinking? None of it worked. It was crap - no, worse than crap, it was pure Reader's Digest. Not even worthy of lining a beefly cage. I picked the sheet up, intending to dramatically tear it into shreds when ....

"The moon will hit the earth next Scarnsday. Surprisingly, however, there will be survivors. Unfortunately, they will kill each other off in a series of wars over who was to blame for the moon falling in the first place. On a side note, man will be succeeded by cockroaches, which will settle the issue by simply claiming that 'man' - nonspecific race, nation, etc. - was to blame, leaving it at that."

Ummm ... you know, I though, this isn't THAT bad. If I tweaked the second stanza a bit, tied in the imagery of the graveyard from the 13th line, fourth stanza, and then switched the eighth and the second ...

"Those who believe that men have only a certain numbers of orgasms will have their theories validated next Vernsday when a cosmic alignment will cause men to experience all of their unspent orgasms over a period of 12 minutes. The subsequent erectile ruptures will totally decimate the male population of the planet, causing only a small number of women to become despondent but will completely revitalize the flagging sex device industry. Women will manage to survive and create a near utopia - until befalling to an ancient disease that had been kept in check for through male urination on toilet seats."

Momentarily frustrated, I again reached out to turn the damned thing off - but bumping my wrist against my still partially full mug and almost spilling the orange drink all over my desk shocked me silly. Not wanting another near disaster, I took a break from the page to carefully walk the cup to the sink and throw the rest of the cold brew away.

"... in quite a shock to believers of Molloth, the ancient starman will not come from his Cold Home on Sirius 4, but will rather send his brother, Vellum. Vellum, who is not as well known or popular as Molloth - who, it is said, helped the Egyptians with the pyramids and copy-edited the 10 Commandments - will borrow money, lay around watching TV all day, and criticize everything we've done. When humanity will have had enough, and will ask him to leave, he will become argumentative and claim that humanity is a bunch of jerks who never liked him, always preferring Molloth, that "goody-goody jerk." Vellum will then drink too much and pick a fight with humanity - which will loose. Vellum, feeling superior, will then return to Sirius 4, telling Molloth that humanity started it all - and, besides, had it coming."

I stood at the sink for a long time, having long finished washing my mug, just letting the cool water splash over my hands. I knew I should be getting back to work, but didn't - after all, it would all be over soon anyway.

Still more ebay fun!

Here's your chance to pick up some great anthologies (many of which being out of print and/or rare) that just happen to have stories in them by yours truly. Check them out here. Keep coming back, by the way, as I'll be posting even more in the next few weeks.

Pornotopia: My Date with Anne Coulter

The following is just one of a bunch of pieces I’ve been working on for a project tentatively titled Pornotopia: The Ins and Outs and Ins and Outs of Sex and Erotica. Enjoy!

My Date with Anne Coulter

Despite apparent semiotic similarities, the female is, in fact, from a genus not at all related to its common mating partner, which in no way prevents it from various futile reproductive attempts.

This pseudo-positive assortative mating – the preference of one gender to seek out mates with similar or superior characteristics – has been likened to the behavior of a unique subspecies of baylisascaris that frequently attempts to reproduce with more developed species in an attempt to mimic their successful behaviors. Unlike these fecal parasites, the female is far more aggressive in its mating behaviors.

So aggressive, in fact, that few species can survive the attempt. For many years hypotheses regarding these common coitus fatalities were few and far between, more than likely because of the high incidents of injury and death among researchers who put themselves at high risk to study the sexual activities of this unusually destructive female. Fortunately recent experimental developments have paved the way for researchers to safely observe for the first time the actual behavior of the species from initial excitement phase to the inevitable conclusion of its unique sexual response cycle.

Again paralleling positive assortative mating, the female is apparently attracted to males exhibiting dominant behavior such as ritualistic combat, excessive fat storage, and territorial aggression. However, the female is again exceptional in that she normally prefers sexual partners who only manifest dominant behavior traits. In a well-documented experiment conducted in 2002, when faced with a choice between an extremely healthy male specimen of a similar species with only a miniscule colorization differentiation versus a male with obvious physiological deficits who was only apparently suitable for reproduction, the female consistently preferred to attempt to mate with the similarly colored male. It is interesting to note, however, that this behavior is only common if the female is out in the open. When isolated, the female will reverse this behavior and become extremely sexually aggressive toward the colored male.

Once the female has become attracted to a potential mate, it begins the courtship by displaying a series of provocative displays apparently evolved to stun the male to the point where sexual activity is optimal – for the female, because, as noted, the mating activity of the female in no way could be considered beneficial to the male. One of the early displays involves the unfolding of the lower limbs, extending them from the female’s protective sheath of fibers. These fibers, it should be noted, have been acquired from the desiccated remains of other, previous, matings. Extended outward, the limbs thus act mysteriously. Although they clearly lack any form of healthy musculature or show any signs that the female could act in any way as a successful brood mother, most males are lured at least as long as necessary for the female to continue to the next phase of her sexual courtship. Various research suggests that there are other, as yet unknown, factors at work at this stage in the female’s mating behavior. Semiochemicals have been discussed, as has the concept that the female’s coloring and behavior somehow mirrors the male’s, even though the actions of this false female in no way reflect true actions of a sexually mature female of any species, let alone the male's genotype. One radical theory, as yet untested, even hypothesizes that the female relies on a form of "bribe," consisting of preferred nutrients or items that might make its lair more comfortable.

Now close enough to a potential suitor, the female extends a set of hooked upper limbs evolved to lock around the mate’s thorax, effectively trapping it. Although this maneuver is largely successful in trapping the male, it should be noted that some males have been sighted who, at the onset of this initially aggressive female mating behavior, have resorted to severing their own limbs to escape. These limbless males can often be seen at the periphery of the female’s territory, too entranced by the female’s chemical lure to escape but having become too cautious to proceed closer and risk her predation.

For those unfortunate enough not to escape, the female begins the next stage of her pseudo-mating behavior: the opening of the anterior mandibles, whereby a piercing stylet extends down and outward well below even the laryngeal prominence. Evolved with barbs to resist removal, the stylet is capable of easily puncturing the epicuticle and even cracking through the most hardened of procuticle. Depending on the chosen mate, the stylet will enter the head near or even directly through the vulnerable ocelli or directly into the core of the thorax.

Once this penetration has been achieved, the female injects neurotoxins that act as a sexual catalyst for her aggressive mating behavior by markedly increasing the males susceptibility to pain. Similar in toxicity to scorpion venom, the wild thrashing of the impaled male further stimulates the female causing a dramatic increase in the thrusting of the style. So violent is this activity that occasionally the barb has been observed penetrating completely through a potential mate’s head, though this in no way decreases the female’s aggression.

The next phase of this pseudo-sexual mating begins with the flooding of the male’s head or thorax with a mixture of enzymes that immediately begin to break down all present macromolecules. Normally preceding digestion, this activity does not continue with the removal of the broken-down tissues. Instead the region liquefied acts as a nutritious "nest" for the next stage.

In an action so far too fast to be completely viewed or documented, the stylet is removed and the hole previously punched through the body of the male is roughly widened by the introduction of an ovipositor. Reaching precisely to the previously mentioned digested region, the female then proceeds to go through a gesture of egg-laying, including the positing of a large sterile egg into the body cavity of the still-thrashing male.

This activity is important to note as it adds a new complexity to this puzzling behavior. For not only is the female attracted to, and very often attempts to mate with, members of other species, resulting in the death of the chosen mate, but the attempt is fruitless as the female has yet to be observed procreating in any way. Being a clearly unsuccessful evolutionary development, having no observable biological function aside from preying on males of other species, how the female still manages to carry on its genes is a matter of much curiosity.

The mystery of the female's behavior concludes with the last act of its unusual pseudo-sexual mating ritual. While the order mantodea has long been accused of the same behavior, recent studies have indicated that it is not natural in the wild. In the case of this singular specimen, however, the action has been observed – where it is safe to do so – and thoroughly documented far too often. Whether it is a way of further stimulating its own sexual responses or just as a way of procuring additional nutrients, the eating of the male’s head after sex continues to perplex researchers and remains a fertile area for further study.