I read about this woman in Greece who filled her vagina with various poisons: her aim was to kill her husband when he next went down on her – hubby being a total cunnilingus addict, he loved to suck her pussy nightly.

As an attempt at murder it was a complete failure.

The following night she took a loaded revolver to bed with her. This proved to be more efficacious when, as hubby came up for air, she blew his left ear off.

The woman was arrested, of course, and charged with attempted murder.

Strangely, it appears that the husband has now moved in with the woman’s widowed sister. Let’s hope, for his sake, she’s into regularly having her pussy licked – ?

primed to destroy

July 19, 2019

The significance of Green(party/Lobby) critiques is that they suggest that, far from being the only viable political-economic system, capitalism is in fact primed to destroy the entire human environment. The relationship between capitalism and eco-disaster is neither coincidental nor accidental: capital’s ‘need of a constantly expanding market’,  its ‘growth fetish’,  mean that capitalism is by its very nature opposed to any notion of sustainability…

Mark Fisher
Capitalist Realism

Sunday mornings in church I feel-up my neighbour during the sermon. He has his coat draped over his lap and I slip my hand beneath it, gently stroke his stiffening cock, tease it awhile, then unzip his trousers. Fumbling in his boxers, before feeling flesh on flesh. His cock is big – really big! Much longer and fatter than my husband’s, who never attends church and has no idea what I get up to with my neighbour, who has to hold his coat over it when we stand to sing a hymn. It looks a little funny. When we sit down again, I put his stiff cock away and zip him back up. He’s so frustrated he slips his own hand beneath the coat and jerks himself off. I don’t do this every Sunday. Maybe only one in four. But he always comes and sits beside me with his coat over his lap. It makes me feel kind of powerful.

SOURCE

ejaculating pure energy

June 29, 2019

Now, in this split second of time, in the infinite depths of space, Black Holes are tearing stars apart, neutron stars are spinning hundreds of times a second, other stars are ejaculating pure energy and helping to form new solar systems, and I’m here, at the back end of beyond, on a spit ball little world engaging in an act that will supply me a few moments of solitary pleasure – bizarre isn’t it? But OMG I do love it…!

cuts you

June 29, 2019

She’s dark and heavy browed and has a mouth like unswept glass – when you least expect it she cuts you

Junot Diaz
This is how you lose her

You are trapped in my web, an unsuspecting victim. Doomed now, are you, to melancholic servitude for life: I will force you to lick my most secret places; you will exist on the borderless threnodies of my darkest desires, feeding on my intimate secretions, more juicier than any papaya – and you will be like an animal skinning itself in reverse: you will swallow my juices – all my juices – your sex throbbing with its own crazy pulse, never to be satisfied. Lost in the carnal and divine of my pale body – my fleshy witch body.

As to writing. What I have to say, I must say: simply to get it out. After 4 hours trying, whether it’s failed or not, one is physically and mentally exhausted. I mean it. All I want to do is creep into bed, notably after failure. Also one cannot think coherently of anything else. It eats away in the brain, a ceaseless conversation with oneself. The smallest chore is horrendous to get through. People do not stimulate; they exhaust.

Martha Gellhorn,
letter to Betsy Drake featured in Martha Gellhorn Selected Letters

expression of sexuality

June 16, 2019

In Dracula, blood is of utmost importance. The novel opens with Jonathan Harker’s experience in Dracula’s castle, the first proof of the supernatural power and unnatural pull of vampires, and the first few examples of their overwhelming appetite for blood. The act of taking blood and allowing blood to be taken is eroticized in the novel, and the absolute necessity of blood for vampires in order to survive connects the creatures and their blood lust to exaggerated, violent sexual images. Built on many aspects of Gothic horror with these tropes of Dracula’s castle shifted to and set against Victorian-era London later in the novel, Dracula emphasizes the corrupting foreign influence of the Transylvanian vampire and his hunt for blood as he invades the patriarchal society at the center of the story. The lead characters are modern and chaste, as per the era’s societal expectations, directly in opposition to Dracula, an inhuman demon, a creature on a constant hunt for young blood, a predator whose influence tests Victorian conceptions of gender roles and the expression of sexuality. Dracula directly attacks women, so the men seek to protect the women and their innocent forms from the sexual outsider, Dracula, but in turn, the men are tempted greatly by the corrupted females with their inviting, vampiric tendencies. These warped women appear first in the form of Dracula’s brides, three vampiric beings exerting a tempting force on Jonathan Harker, and later Lucy Westenra becomes a threat as well in her vampire form. Mina Harker’s possible transformation into a vampire leads up to the climax in the novel, as the male characters race to prevent her change into a monstrous and hypersexualized form.

Sean Bernhard
The Blood is the Life

unusual events

June 15, 2019

High-Rise has a brilliant opening sentence, which is quintessentially Ballardian: ‘Later, as he sat on his balcony eating the dog, Dr Robert Laing reflected on the unusual events that had taken place within this huge apartment building during the previous three months’. The savagery is displaced to a subordinate clause, yet because it precedes the subject of the sentence it disturbs everything in the bland details that follow. High-Rise is about a slick, ultra-modern 40-storey tower of a thousand living units designed for a middle-class technocracy of surgeons, TV producers and ad executives. It is the modernist dream of the house as ‘a machine for living in’. It is presided over by the enigmatic architect, Anthony Royal, in the penthouse at the top of the building.

Almost as soon as the building reaches capacity, however, the social fabric of the high rise begins to disintegrate. Communal areas become flashpoints as clans from different floors begin to emerge and fight over territory. Social stratification strictly matches floor level. The metaphor of social climbing is rendered literal. The novel is focalised through three main characters, each an emblem of these emerging ‘clans’. Threats and intimidation escalate into violence, theft and raids on rival territories by warring parties. When a body falls from the roof, no one reports the incident, because the residents have now fully entered into a kind of tribal ‘primitivism’, where a murderous logic must be pursued to its end. Residents stop going to work or leaving the building, regressing into hunter-gatherer behaviours, living on the last tins of dog food and water scooped from toilet pans. The book ends once the main narrator, Robert Laing, has pursued his embrace of this perverse trajectory to its illogical conclusion. He comes to rest, ready to return to the outside world, as if his journey up the high rise has finally released all of his neurotic, middle-class repressions. The last paragraph shows the first signs of the same violence beginning to overtake the adjacent tower. The cycle is starting again.

Roger Luckhurst
An introduction to High-Rise

Shit happens

June 9, 2019