Tenía los senos más bellos del mundo. Había ido a un tasador a que se los tasase y el tasador le había dicho que valían veinte millones. Las mujeres, que son las más entendidas se recreaban con sus senos, y la célebre baronesa —por algo era baronesa en vez de «feminesa»— los había querido para ella.
Ella con gran miedo de que se los robasen los guardaba en un cofre-fort y a veces los llegó a guardar en las cajas subterráneas del Banco.
Sólo en las grandes solemnidades, en las grandes fiestas del gran mundo, rescataba sus senos y se los ponía.
—Irá la de Rosalda —se decían en voz baja los invitados— y llevará sus dos senos, únicos en el mundo...
El salón que elegía para ir se llenaba de gente, desde muy temprano, pues se podía dar una fortuna sólo por verla subir las escalinatas, todos los invitados en la plataforma de museo del alto y ancho balcón del descansillo que daba a las escaleras de mármol.
Lima, (EFE).- El escritor peruano Mario Vargas Llosa defiende el misterio del erotismo frente a la exposición a la que se le somete con la "supuesta liberación del sexo", un tema que desarrolla en su ensayo "La civilización del espectáculo", que se publicará en 2012.
"Hacer el amor en nuestros días, en el mundo occidental, está más cerca de la pornografía que del erotismo y paradójicamente ello ha resultado como una deriva degradada y perversa de la libertad", señaló Vargas Llosa al leer hoy el capítulo "La desaparición del erotismo".
El Nobel de Literatura de 2010 ofreció un adelanto de su nueva obra tras recibir el Doctorado Honoris Causa de la Universidad Peruana Cayetano Heredia, el primer reconocimiento que esta casa de estudio limeña especializada en medicina otorga a un personaje que no pertenece al área de la salud.
En el capítulo, que confesó es el más corto de su ensayo, Vargas Llosa remarca que la divulgación de los misterios del erotismo significa un "retroceso" que puede degradar el sexo a "lo puramente instintivo y animal".
"Si queremos que el amor físico contribuya a enriquecer la vida de las gentes liberémoslo de los prejuicios, pero no de las formas ni de los ritos que lo embellecen y civilizan", apunta.
El escritor puso de ejemplo de lo público que se está volviendo la sexualidad a la campaña dirigida a los jóvenes españoles, denominada "El placer está en tus manos", que promueve talleres de masturbación.
Para el escritor, el objetivo de esa campaña es válido si logra combatir prejuicios, pero no si empobrece el acto sexual y lo vuelve un ejercicio puramente físico, "desprovisto de sensibilidad y emoción".
"Con sexo público, sano y normal la vida se volvería mas aburrida, mediocre y violenta de lo que es", manifiesta.
El autor de "La guerra del fin del mundo" también estima que las futuras generaciones pueden desilusionarse del sexo al banalizarlo y llegar a perder su misterio, pasión, fantasía y creatividad.
"No es abusivo decir que el erotismo representa un momento elevado de la civilización y que es uno de sus componentes determinantes", enfatiza.
Vargas Llosa también revisa en su próximo ensayo la forma en que la cultura ha ido "afectando, impregnando y modelando determinadas actividades como el quehacer artístico, literario, la vida política y también la vida erótica".
Etiquetas: Vargas Llosa
manual chino recamara
karl von vereiterel princesito
La vida sexual en el mundo comunista
¿qué le pasa a mi cuerpo?
mi vida secreta
papiro de turin 5 al 12
loto dorado de dibujitos
cuadernos don rigoberto
el sofa de crebillon
cuentos, historietas y fábulas
La Iniciacion De Vivant Lanon
La Maquina De Follar
Erecciones Eyaculaciones Exhibiciones
Historia de O de Pauline Réage
Retorno a Roissy de Pauline Réage
Historia de R de Gaia Servadio
La venus de las pieles de Leopold von Sacher-Masoch
Elogio de la azotaina de Jacques Serguine
Al arte del azote enard
22 Mater Amantissima de José Jara (Finalista 1979)
46 Sor Monika de Ernst Theodor Amadeus Hoffmann
65 Mademoiselle de Mustelle y sus amigas de Pierre Mac Orlan
77 La alfombrilla de los goces y los rezos de Li Yu
130 Diario poco decente de una jovencita de Jacques Cellard
TENGO Y NO HE LEIDO
14 Diario de burdel de Josep Lluis Segui (Finalista 1978)
26 Anacaona de Vicente Muñoz Puelles (Premio 1981)
30 Nueve semanas y media de Elizabeth McNeil
38 Opus Pistorum de Henry Miller
42 Emmanuelle de Emmanuell Arsan
61 Las edades de Lulú de Almudena Grandes (Premio 1989)
62 Las amistades peligrosas de Pierre Choderlos de Laclos
64 La novela de la lujuria de Anónimo
73 Historia de R de Gaia Servadio
86 La venus de las pieles de Leopold von Sacher-Masoch
119 Cuentos eróticos de verano de Juan Abreu
NO HE HECHO RESUMEN PERO....................................
1 La insólita y gloriosa hazaña del cipote de Archidona de Camilo José Cela
10 Historia del ojo de Georges Bataille
16 Irene de Albert de Routsie
19 Mi madre de Georges Bataille
35 Historia de O de Pauline Réage
44 El azul del cielo de Georges Bataille
51 Retorno a Roissy de Pauline Réage
60 El coño de Irene; El instante
129 Mi vida secreta de Anónimo
139 Elogio de la azotania de Jacques Serguine
96 Silencio de Blanca de José Carlos Somoza (Premio 1996)
Tripas de Chuck Palahniuk
1.- por trasgresión
2.- por picardía o comicidad
3.- pornografía/para excitar $$$
7.- para llamar la atencion
While another couple is accompanied with "Going all out/ to copy shunga/ they get muscle cramps." There is also, as in contemporary manga, vocal ejaculations ("Yes, yes! More, more!") along with onomatopoeia such as "Tsupa, tsupa," the sound of two mouths kissing and "nicha, nicha," an unclassifiable but wet and sticky sound.
16 Katsushika Hokusai, "The Adonis Plant (Fukujusô)"
Woodblock, set of 12, ôban
25.8 x 39.8 cm
This shunga series follows the format of the majority of shunga series in including a foreword at the beginning and a short story (fubun) at the end. However, the illustrative style is visually overwhelming, depicting the men and women as large, intertwined masses of moving flesh; furthermore, the series introduces greater variety in its characters than preceding works. The lengthy dialogues between the characters, reminiscent of Utamaro's shunga, are characterized by their plain and straightforward quality as well as the many and varied expressions of passionate ecstasy. (In the dialogues of this work, the characters' exclamations are transliterated rather than translated -- trans.)
[fig. 1] Setting: A living room in a commoner house in Shitamachi district. Characters: A mother and her infant son. Situation: While doing needlework, the wife begins talking to herself as she recalls last night's activities with her husband.
Dialogue: Mother: "There are ten kinds of penises, they say: one, the dark-colored penis; two, the tall and narrow-headed; three, the light-colored; four, the slanted; five, the doughy; six, the fat; seven, the long; eight, the thin; nine, the bent and ten, the uncircumcised, sake bottle-shaped -- no wonder my husband's is nice. It's dark, with a tall and narrow head but wide at the base, and no matter how many times we do it he never weakens. It truly has all the thirty-two attributes (the thirty-two attributes of greatness set forth by the Buddha). It's thanks to my belief in the deities and the Buddhas since my youth that I've been blessed with this wonderful penis of his. I really don't know how many times I climaxed last night. Thinking about it is getting me excited. Tonight we'll go until we're completely satisfied."
Boy: "Mother, when I grow up I want to make love endlessly just like you and Father last night. Won't you teach me how?"
Mother (embarrassed): "Now, now, saying silly things like that! Ho, ho, ho, ho."
Of course, a child would never actually say such a thing; here we find another instance of Hokusai-esque humor, appropriate for shunga.
[fig. 2] Setting: A private spot outdoors. Characters: Two lovers. Situation: The pair, who have been seeing each other for some time, have no money to meet at a deai-chaya, so they find a private outdoor spot for a secret rendezvous.
Dialogue: Woman: "Although we've become intimate like this, when will we be able to get married? I never grow tired of making love to you, but doing it so hurriedly outdoors like this isn't easy."
Man: "That's true, this is the third year of our relationship. I enjoy being with you in whatever circumstance, but if I had my wish we would be together night and day. Since we do it three or four times even in such a rush like this, imagine how often we would be able to have sex if we were husband and wife? Now, let’s raise your leg like this... "
While the pair has no scruples about pre-marital sex, it is interesting that deep in their hearts they still have a strong desire to be married. Their reason -- that they could have sex to their heart's content -- is heartwarming in a way.
[fig. 3] Setting: A room in a deai-chaya. Characters: Two young lovers. Situation: The two young lovers are finally able to make love the way they wished.
Dialogue: Man: "This is the first time we've been able to really spend time together. My feelings have been building up for so long, I can barely contain myself."
Woman: "I've thought about being with you a lot as well, and since I couldn't bear it any longer I’ve finally managed to arrange it. Promise you'll never abandon me. Hâ hâ, sû sû, fû fû."
The young woman's heartfelt plea, "Promise you'll never abandon me," is sweet.
[fig. 4] A room in a commoner house. Characters: A wife and her secret lover. Situation: A scene of the woman's infidelity.
Dialogue: Wife: "Once I've felt your touch, no other can satisfy me. Yes, yes, strongly, all the way to the back."
Two mouths kissing: "Chû chû, ’pa ’pa, uun uun"
Lover: "Push downwards and use this hand to bring our hips together."
Wife: "Hâ hâ, right there, right there, yes, I'm coming!"
There are many unfaithful wives in shunga depictions of Edo's Shitamachi, indicating the strength and enthusiasm of Edo's commoner women.
[fig. 5] Setting: A bedroom in a commoner house. Characters: A husband and wife. Situation: The well-acquainted pair makes love uninhibitedly.
Dialogue: Husband: "This position isn't the regular cha-usu. Since you're riding on top of my stomach (hara), should we call it hara-usu for now? How does this feel for you?"
Wife: "Wonderful. Go stronger, put your finger in occasionally and fondle that little bump."
Husband: "Sure, sure, like this?"
Wife: "Yes, yes, just like that, if you keep touching me there I'll climax. This is the critical point, so work hard for me. Uun, uun, this is already the third time, hâ, hâ, how can I be orgasming this much?"
Husband: "Uun, uun, I'm climaxing as well. I can't hold on any longer. Sû, sû."
A senryû of the time that reads, "injuring oneself imitating shunga," perfectly describes the unnatural sexual position depicted here.
[fig. 6] Setting: A corner of a public bath (sentô). Characters: A bath attendant (sansuke) and a young lady who frequents the establishment. Situation: The attendant, who harbors an unrequited affection for the young lady, takes advantage of an unsupervised moment to force himself on her.
Monologue: Sansuke: "Be a good girl, and please do as I tell you. Since I'm a sansuke, and I've watched your young, thinly-haired omusu (a young girl's vagina) develop for a long time, I'm not a complete stranger. I'm still a young man but look at my equipment -- the foreskin is coming off and it's a perfect match for your omusu. There, I've pinned you down. The head's halfway in. There, it's in just past the head. Yes, yes, it's in all the way. Hâ, hâ, that's it, that's it."
In shunga, a convention developed of depicting uncouth men that forced themselves on women with ugly faces, uncircumcised penises and hairy bodies.
[fig. 7] Setting: A bedroom in a commoner house. Characters: A husband and wife. Situation: On a summer night, the harmoniously married husband and wife make love within a mosquito net, but the husband is not himself due to the heat.
Dialogue: Husband: "Aah, it's a hot evening. After three times, I'm exhausted."
Wife: "What's wrong with you tonight? Why are you mumbling about being tired and not wanting to do it anymore? We're not finished. Let's do it at least five more times."
Husband: "Well, then . . . sâ, sâ, that's it, that's it."
Wife: "Uun, uun, that feels good."
An exhausted man hard-pressed by a lively woman pestering him for more is one of the comical subjects in shunga.
[fig. 8] Setting: An inner parlor of a prosperous mercantile house. Characters: A widow and her kept companion (otoko-mekake). Situation: The widow has called in her young otoko-mekake for some amusements. A package of Chômeigan is laid out on the side.
Dialogue: Otoko-mekake: "If you exert yourself too much all the time, it's bad for the body. Please rest a while."
Widow: "Why do you say that? You don't need to worry about me exerting myself too much. I'll bite you if you dislike me so. Stop saying such things and come here."
Two mouths kissing: "Tsupa, tsupa"; Sound effect: "Nicha, nicha (wet sticky sound)"
Widow: "Oh, oh, that's good, that's good. Don't be impatient, do it right. Hâ hâ, fû fû. That's really wonderful. That's it, I'm coming, I'm coming. Good, that was the third time. Let's wipe it clean. Oh, you’re so cute."
Well-off older women in the Edo period often kept young male companions.
[fig. 9] Setting: A bedroom in a commoner house. Characters: A married woman and her mabu. Situation: While her husband is out of the house, the wife brings her lover over and makes love to him to her heart's content.
Dialogue: Wife: "I’m so happy that my husband is away tonight! Since it’s rare to have such a leisurely evening, please don't stop until I'm completely fulfilled. Yes, yes, go strongly there, and hold me tighter. Uun, uun, hâ hâ. I'm coming, I'm coming, yes, yes!"
Lover: "Tonight your yadoroku (a derogatory name for a husband) is out, so we'll be sure to go until we're spent. Uun, uun, if you're enjoying it that much I'll also . . ."
Shunga often features unfaithful wives, and makes the cuckolded husband the object of ridicule.
[fig. 10] Setting: A shelter on the beach. Characters: A woman abalone diver and her fisherman lover. Situation: The man is jealous, having heard rumors of his lover's infidelity, while the woman is determined to dodge his suspicious inquiries and draw him into sex.
Dialogue: Fisherman: "Someone said he saw you with another guy on the opposite shore last night."
Woman diver: "Why are you talking such nonsense? I'm completely in love with you, and I’ve sworn before Funadama (the god of sailing vessels) that I’ll have no other man. If you can't understand that, I pity you."
Fisherman: "All the same, someone saw you. They said you were clinging on to him like an abalone, crying 'uun uun, sû sû,' and that you boiled over like a pot of soup."
Woman diver: "My, you're persistent. Stop saying such things, and let's make love."
Fisherman: "Well, I suppose we could start over."
Sound effect: "gusu gusu (wet rubbing sound)"
Woman diver: "There, put it in."
Sound effect: "nururî (slow, wet slipping sound)"
Woman diver: "Hâ hâ, uun uun uun"
In shunga, the sexual interaction between ordinary men and women is depicted as big-hearted and enthusiastic, but feelings of jealousy and desires for marriage appear from time to time, bringing with them a sense of reality.
[fig. 11] Setting: A bedroom in a commoner house. Characters: A wife and her lover. Situation: Here as well, the wife brings her lover over, ecstatic that her husband is away.
Dialogue: Wife: "There aren’t many evenings that work out like tonight. And it feels even better the more we do it. Yes, yes, come inside me. Oh, don't do that, it's not clean down there."
Lover: "What do you mean? That's where I was born from. Oh, but it does taste a little salty."
Wife: "Now, now, let's do it for real. Fû, fû, I'm climaxing again. There, that's it, go stronger and deeper, hâ hâ"
With unfaithful wives appearing so frequently in shunga, the husbands of Edo must have been loath to spend the night away from home.
[fig. 12] Setting: A bedroom in a commoner house. Characters: A pregnant wife and her husband. Situation: The white sash tied around her abdomen indicates that the woman is pregnant. The husband, worried about the child in her womb, makes love to her from behind.
Dialogue: Wife: "It tickles, stop it! Why are you just suckling my breasts?"
Husband: "I thought it might be good to get you used to it before the baby starts."
Woman: "Just make love to me, quickly."
Husband: "Well, then, how's this?"
Wife: "Uun uun, that's it. Hâ hâ, this is much better than last night. Squeeze up to the hairline with all your might. And go deeply . . . There, there, all the way to the womb, yes, uun uun, I'm coming."
The couple make love backwards in order not to place pressure on the abdomen, although their enthusiasm gives the viewer some cause to worry about the child after all. There was no time where sex was forbidden in the world of shunga.
17 Katsushika Hokusai, "Plovers Above Waves (Nami chidori)"Woodblock, set of 12 prints, tesaishiki
24.5 x 37.6 cm
Although this series is recognized as Hokusai's representative shunga work, its composition almost exactly mirrors his earlier "The Adonis Plant." That is because this work is essentially a reprint of the former, using a new woodblock carved from an impression (a technique called kabuse-bori) of the "The Adonis Plant," omitting some of the in-frame text as well as some of the background elements, and with color added by hand. The background mica’s metallic glitter coupled with the intense coloration of the figures and clothing produce an even more powerful sensuality than "The Adonis Plant." This Hokusai work, together with Utamaro's "Poem of the Pillow (Utamakura)" and Kiyonaga's "Scroll in a Sleeve (Sode no maki)," is considered to be one of the three great works of shunga; of the three this work features the most exaggerated and vividly drawn genitalia, communicating a truly overwhelming feeling of raw existence. By removing all pretension, Hokusai hints at the unspoken shadows of human existence hidden within our sexual organs.
[fig. 1] Setting: A living room in a commoner house. Characters: A mother and her infant boy. Situation: A mother who enjoys a rich and fulfilling sex life with her husband.
[fig. 2] Setting: A private outdoor spot. Characters: Two lovers. Situation: Lacking the money to meet at a deai-chaya, the two lovers have a rendezvous in a private outdoor spot.
[fig. 3] Setting: A room in a deai-chaya. Characters: Two young lovers. Situation: The two young lovers are finally able to fulfill their hearts' desire.
[fig. 4] Setting: A room in a commoner house. Characters: A wife and her lover. Situation: The wife has an adulterous encounter with her young lover.
[fig. 5] Setting: A bedroom in a commoner house. Characters: A husband and wife. Situation: The husband and wife, fond and familiar with each other, make love uninhibitedly.
[fig. 6] Setting: A corner of a public bath. Characters: A sansuke and a young woman who frequents the establishment. In a corner of the bathhouse, the sansuke forces himself upon the young woman, who does not return his affection.
[fig. 7] Setting: A bedroom in a commoner house. Characters: A husband and wife. Situation: On a summer night, the husband and wife make love affectionately inside a mosquito net.
[fig. 8] Setting: An inner parlor of a prosperous commoner house. Characters: A widow and her otoko-mekake. Situation: The widow has called in a favorite young male employee to do some side labor.
[fig. 9] Setting: A bedroom in a commoner house. Characters: A married woman and her lover. Situation: Taking advantage of her husband's absence, the married woman has invited her lover over for some amusements.
[fig. 10] Setting: A shelter on a beach. Characters: A female abalone diver and her fisherman lover. Situation: The woman attempts to dodge her lover's questions, inspired by rumors of her infidelity.
[fig. 11] Setting: A bedroom in a commoner house. Characters: A wife and her lover. Situation: Here as well a wife, joyous at her husband's absence from home, calls in her lover for an infidelitous encounter.
[fig. 12] Setting: A bedroom in a commoner house. Characters: A pregnant wife and her husband. Situation: The husband makes love to his pregnant wife, indicated as such by the white sash tied around her abdomen.
18 Harukawa Goshichi, "Picture Book: The Artifices of Love (Ehon tagoto no hana)"
Woodblock, ôban, orijô (folding album)
26.1 x 36.4 cm
Most ukiyo-e prints were produced in Edo; this shunga series is a rare example of one produced in Kyoto. One of its distinct characteristics is the coloration, which relative to Edo prints is rich and matte -- an effect of gofun, powdered white clamshell, which was mixed into pigments used in multicolored prints in Osaka and Kyoto. Also notable is that in this particular series each print is given a title on the theme "Edo Men and Kyoto Women,"
making explicit Goshichi's intent to respond to the sensational figures of Edo beauties as drawn by Kitagawa Utamaro with elegant figures of Kyoto women. The inspiration for this almost certainly came from the fact that Goshichi was born and raised in Edo and in his later years lived and produced prints in Kyoto. (However, the Edo-esque long facial features remain apparent here.) Finally, in contrast to Edo-produced series, which rarely had a connecting thread between the prints, it was relatively common for the prints in Kyoto series to have a common theme; in this example, a different sexual act is depicted in each print.
[fig. 1] Title: Edo Men, Kyoto Women: Honde (normal or missionary position). Characters: A young man and a naive girl. Setting: A bedroom in a commoner house.
Dialogue: Girl: "For some reason that feels incredibly good. Aaahhhh."
Young man: "That means you’re climaxing."
Girl: "Is that so? Uh, uh, uh, uh."
[fig. 2] Title: Edo Men, Kyoto Women: Namari no Tenjin-dori (reverse seated position). Characters: A prostitute from the Shimabara (a licensed district in Kyoto) and a customer from Edo. Setting: A room in a Shimabara house of pleasure.
Monologue: Prostitute: "Stop playing around. This position makes me uneasy."
[fig. 3] Title: Edo Men, Kyoto Women: Cha-usu (“tea-grinder,” woman on top). Characters: An older woman and a male acquaintance visiting from Edo. Setting: A parlor in a commoner house.
Monologue: Woman: "It's your misfortune to have told me that you'd come; I'm not going to let you go until the morning, so you'd better prepare yourself. Oh, you're so cute. (kissing him) Ahh, oh, oh, oh. Your parents sinned when they created you, you bewitch me so."
[fig. 4] Title: Edo Men, Kyoto Women: Komainu (“guardian dog,” woman on back, man in sitting dog position). Characters: An ugly Edo man and an older Kyoto woman. Setting: A second floor room in a commoner house.
Dialogue: Woman: "Wait a moment. I've gone all loose, so I’ll wipe it off."
Man: "I'd rather you didn't -- I like the sounds it makes when I draw myself back, 'zuppo (sucking sound),' and when I thrust, 'piccha (splashy sound).'"
Woman: "I hate that. Uh, uh, ah, ah, uh, uh."
[fig. 5] Title: Edo Men, Kyoto Women: Tachi-dori (standing position, woman with legs apart). Characters: An oku-jochû from a samurai house on a long-anticipated daisan errand, and the attendant accompanying her. Setting: A deserted spot on the night road home.
Dialogue: Oku-jochû: "Just as you say, I have never made love to my heart's content. So I want you to make love to me many times, but I’m sure you rather not do it with someone like me."
Attendant: "What are you saying? Since we both usually have to rely upon ourselves for gratification, you're not asking me to do anything I don't want to do myself. No matter what might happen, I want to continue like this until the dawn. Eh? What happened? You seem to be overcome already."
[fig. 6] Title: Edo Men, Kyoto Women: Sankyoku (attacking from three directions at once). Characters: A widow reciting sutras and her lover. Setting: The widow's room.
Monologue: Widow: "Oh, what shall I do. When you do that to me there's no way I can resist. Yes, ah, ah, Chûshichi-san, does it feel this good because I haven’t done it in fifty days? Uh, uh, yes, yes, that feels so good. Ahh, ahh, uh, uh, that's it, Chûshichi-san, you're a
master! Suck on my mouth, too. (kiss, kiss) Uh, uh, uh, uh. I'm dying, I'm dying. Ooh, ah, ah, I'm climaxing, please go faster. Ahh, Chûshichi-san, don't be cruel, go faster. Yes, I'm really climaxing. Aahh, ah, ah, ah, here I go, here I go . . ."
Sound effects: Fluid: "Zubo, zubo (sloshing sound)" Around vagina: "Nuru, nuru (slippery sound)" Penis: "Tokki, tokki (standing erect sound)"
Monologue: Widow: "Go faster, go faster, oh, why won’t you go faster? Ahhh, ah, ah."
Sound effects: "Bicha, bicha (wet slapping sound)" Vagina (rubbed quickly with the finger): "Biko, biko (muscles twitching sound)"
[fig. 7] Title: Edo Men, Kyoto Women: Wari-komi (“cutting in,” sideways position). Characters: A mistress and her lover. Setting: A room in the mistress's house.
Dialogue: Lover: "Today your patron isn't coming around?"
Mistress: "He came by yesterday, but he's already gone home, so we don't have to worry about him coming around today. Take your time and fulfill me. Here, put it in all the way and keep it there. Doesn’t that feel good? That's the right spot."
Lover: "Yes, I know that's how you like it."
Mistress: "Hey, you moved it again. It'll get loose, I hate that. Ah, ah, oh, what shall I do! Uh, uh."
[fig. 8] Title: Edo Men, Kyoto Women: Yoko-dori (“stealing from the side,” frontal position, lying on side). Characters: A blind masseuse (zatô) and an older woman who has requested a house call. Setting: A room in a commoner house.
Monologue: Older woman: "What’s the matter, have you finished already? I need a bit more time. I’m the one who should be climaxing, you useless man. Well, leave it in and keep going anyway. If you do that, it's alright that you've finished early. Ah, ah, that's it, that's it, I'm coming. Yes, oh, oh that feels so good. Aaa, that's it, here I go, here I go!"
[fig. 9] Title: Edo Men, Kyoto Women: Hokake (“sail,” with the man seated between the woman's legs). Characters: A middle-aged married couple. Setting: A bedroom in a commoner house.
Dialogue: Wife: "Try using your hand down there. I don't like it when it's that wet. Ah, that's really irritating. Put it in quickly. I think I'm going to finish soon. Look, now, look, what can be happening? Can so much fluid be coming out?"
Husband: "When you get this wet, my manhood gets even stronger -- look at this shine! And see the suzu-guchi (urethral orifice)? Look at the water of love coming out." Fluid: “Byokku, byokku (ejaculation sound)”
[fig. 10] Edo Men, Kyoto Women: Suehiro (“widening towards end,” legs intersected). Characters: A prostitute and customer. Setting: A room in a brothel.
Monologue: Prostitute: "Kume-san, although I want to enjoy sex like this, there is not a single customer in Kyoto that truly moves me. Only Edo men can fulfill my heart after all. Lately, when men visit from Edo and I give them all my enthusiasm, they drive themselves to ruin wooing me. But you've been in Kyoto too long now. All you do is lead women astray, never repaying their affection -- such a spiteful man. No, joking aside, make me your wife."
[fig. 11] Title: Edo Men, Kyoto Women: Shiri kara (“from behind”). Characters: An older married woman and her lover. Setting: A living room in a commoner house. An enpon (erotic book) lies open on the kotatsu.
Dialogue: Older woman: "Kinji, I'm already there. Ah, ah, yes. Why does it feel so good? Ah, ah, Kinji, is it all right to flow like this? Ah, ah, it's flowing, it's flowing, yes, yes. Please forgive me if I get your leg wet. Ah, ah, that feels so good. Oh, yes, I feel like I'm going to come. I'm coming. Yes, ah, no, not there, further in, higher. Ah, that's it, that's it."
Kinji-san: "You sound like one of the ecstatic women in Harukawa's dialogues. Look at that. Aren’t I a marvel?"
[fig. 12] Edo Men, Tokyo Women: Issoku (“one leg,” man on top, woman's legs closed). Characters: Two servants who have come ahead of their group to reserve a spot for hana-mi. Setting: Within the hana-mi curtains.
Monologue: Female servant: "I'll get the mistress's permission to stay on until your service ends so that when it does we can be husband and wife. I'm so happy. You're doing well. Go stronger here. It feels so good when you thrust strongly! That's it. When you push there, it feels so good. Keep going until you kill me -- I don't care if I die. Put it in deeper. No, you're pulling out towards the front. I want you to go in deeply. Ah, yes, uh, uh."
Lasipalatsin Mediakeskus Oy ©2001 8.9.2004
Cuentos historietas y fabulas
Cuentos para el placer
12.- La Insólita y Gloriosa Hazaña del Cipote de Archidona
El Sexo Y El Amor En La Historia
17.- VIDA SEXUAL COMUNISTA
La Iniciacion De Vivant Lanon
13.- Tres Cuentos Eroticos
La Maquina De Follar
14.- Erecciones Eyaculaciones Exhibiciones
Madore Nancy - Doce Ardientes Princesas.ZIP
Tyler Alison - El Arte De Complacer doc.ZIP
Varios - Cuentos Eroticos De Verano 1 Pdf.ZIP
Varios - Cuentos Eroticos De Verano 2 Pdf.ZIP
Wilde, Oscar - Salome.zip
An¢nimo - Anecdotario Erotico.doc
Mi vida secreta
la novela de la lujuria
PERCEAU, LOUIS, bibliofilo de lenfer, rescato muchas obras
POTTER, WILLIAM SIMPSON 1805–1879 English businessman, bibliophile, and writer, la novela de la lujuria
by Harold Robbins (1961)
Plot: A novel based loosely on the life of a Howard Hughes type.
Why it's on the list: Almost quaint today (since medicine sticks have been replaced by Hitachi Magic Wands), but this is one of the bestsellers that lit the fuse on the '60s.
Excerpt: The medicine man began to dance around her, springing high into the air and mumbling incantations over her. He pressed the stick to her breasts, to her stomach, to her back and buttocks, to her cheeks and to her eyes, until now it was covered with the bear grease from her body. Finally, he leaped into the air with a horrible shriek and when his feet touched the earth again, everything was silent, even the drums.
As in a trance, she took the marriage stick from the medicine man. Silently she held it to her face, then her breasts, then her stomach.
The drums began again, beating slowly. In time with their rhythm, she lowered the stick between her legs. Her feet began to move in time to the drums, slowly at first, then faster as the drums picked up tempo....
The circle completed, once more she stood alone in its center, her feet moving in time with the drums. Holding the marriage stick between her legs, she began to crouch slightly, lowering herself onto it.
"Ai-ee," the women sighed as they swayed to the tempo of the drums....
She closed her eyes and made a sudden convulsive movement. The hymen ruptured and she staggered as a wave of pain washed over her. The drums were wilder now. Slowly she straightened and removed the marriage stick. She held it out proudly toward the medicine man.
An American Dream
by Norman Mailer (1965)
Plot: Decorated war veteran, suffering flashbacks, kills wife, fucks maid, takes up with lounge singer, etc.
Why it's on the list: First published as serial fiction in a national magazine, Mailer's classic has the tension of a cliffhanger. His sexual language is robust, the lust literary and effusive. There's no room for foreplay (unless you count homicide). The kinds of sex the narrator has seem entirely in keeping with his character: Pure male or malice? Kate Millett read the three-page sex scene (hero having just killed wife, fucks maid) and was inspired to write her 1970 feminist manifesto Sexual Politics, finding it a microcosm of oppression.
Excerpt: I lay back like a king lion and let her romp. She had a gift. I was off on the nicest dream of Berlin nightclubs with their telephones and queer shows, of bal musettes and twisterias, she was giving a short lecture with her tongue on the habits of the Germans, the French, the English (one sorry bite indeed), the Italians, the Spanish, she must have had an Arab or two. All the tars and scents were blending into the one full smell which always makes you begin. I was ready to take the roller coaster, but I didn't want it to end, not this one, not yet, her greed was riding through me, I wanted more and more, and so I slipped free of her mouth and put her on her back.
by Terry Southern and Mason Hoffenberg (1958)
Plot: Young heroine's picaresque travels, a kind of sexual pinball machine that lights up academia, gardeners, the medical profession, mystics and bohemians.
Why it's on the list: First published by Olympia in 1958, the authors hiding behind a pseudonym, this comic classic featured an impossibly innocent heroine willing to give herself to anyone or anything in need, including Buddha. A newspaper poll once asked Americans if they had to choose just one -- an orgasm or a chuckle -- which would they prefer? Ecstasy or comic relief? Why not both? Candy proved that even a satire on sex could be sexy.
Excerpt: It was extremely awkward, for the young girl's shift had been forced well above her waist and her shapely bare limbs now were locked about the holy man's loins. She struggled to free herself, but this only succeeded in agitating her precious and open honeypot against the man's secret parts -- which were now awakening after so many years and slowly breaking through the rotten old loincloth that swaddled them! Good Gosh, thought Candy, when she realized what was happening, and in fact, felt the holy man's taut member ease an inch or two into her tight little lamb-pit. She quickly turned her head to see behind her and to determine what was pinioning them there. And she saw that a part of the huge Buddha had just missed them by inches, and was pressing firmly against her back; it seemed to be balanced in a precarious way and in danger of slipping -- and, even as she thought this, she saw that it was in fact slipping, forward, and against her; it was a section of her beloved Buddha's face -- the nose! And a truly incredible thing was happening -- it was slipping into Candy's marvelous derriere! "Good Grief!" said the girl, half aloud, trying to move forward a little -- which merely had the effect of securely embedding the holy man's member deeply into her ever-sweetening pudding pie.
by Helen Walsh (2004)
Plot: If life mimicked MTV, would it read like this? A young student takes drugs, hangs out with lowlifes and has sex in strange places.
Why it's on the list: Party like its 2004. Millie, a heat-seeking missile, has sex with prostitutes in back alleys, female clubbers in bathroom stalls, male friends in the backseats of cars, proving, if nothing else, that even self-destructive sex can be hot.
Excerpt: Impatient now, I part her legs which are coloured with fresh bruises. I slide a finger inside. She's dry and stiffens at my touch. For an instant, I feel I should stop, I should turn on my heels and run. But as my mouth falls upon her cunt and the smell of rubber smacks me in the face, I resume my role. Guiltlessly. As a punter. With a stiff tongue I press down hard on her clit and with short purposeful strokes, I slowly massage her to life. I feed in another then another finger and her resistance gives way to minimal yet compliant thrusts. My movements become more forceful and her juices gush freely onto my face. The body arcs upwards and outwards and holds up there as she strains against this pleasure.
I slide a hand in my trousers and seek my cunt.
In the Cut
by Susanna Moore (1995)
Plot: A series of murders launches a teacher on a dark sexual odyssey.
Why it's on the list: Reviewers applauded this "beautifully crafted story of obsession, sex, violation," calling it a "ferociously uninhibited erotic thriller," the pinnacle of clit lit. It was NYPD Blue with a degree in English and a minor in the Marquis de Sade. It made us wonder why so few mysteries have believable sex scenes.
Excerpt: "Put your hand there. Cup it, weigh it." He waited. "The pussy that I like, when you slip your middle finger in, it's deep, and the folds of the vagina are floppy and soaking wet. You run your middle finger up. There's no greater feeling in the world than pussy like that. Your clit is right there. It comes down to meet me. It jumps in my hand. When you touch a woman and her clit is right out there, you know that she knows about sex. You know you can get to her."
by Susan Minot (2002)
Plot: Two ex-lovers meet for a final fling before one of them gets married.
Why it's on the list: This 116-page novella recounts a single act of oral sex, from both participants' point of view. You will never again take a blow job for granted.
Excerpt: Her fingers encircled the base of his penis and she ran her parted lips up and down him, introducing her tongue like a third lip. Her other hand traveled over his stomach, exploring. It stopped. It moved over his hips. Her palm rested lightly on his skin, as if she were testing the heat over an electric burner. The palm descended, flat. It was a wonderful feeling: skin. Her brushing back and forth was hypnotic and lulled her.
by Molly Weatherfield (1995)
Plot: A student bike messenger, big fan of the Story of O, explores S&M with well-mannered friend, who yearns to auction her off.
Why it's on the list: Published in 1995, this novel, written in response to a Take Back the Night/anti-porn demonstration, is the American twist on Story of O. Weatherfield, a San Franciscan woman, gives her own take on château porn and the seductiveness of submission. Where O was written from the third person (further reducing the heroine to an object), this first-person account of the same process bristles with wit: She describes two men in a double penetration scene as being so coordinated they must have rowed together in college.
Excerpt: The trainer held a small whip, which he mostly used for pointing and gesturing. He pointed to her and said, shortly but calmly, "Elizabeth. Mouth." Slowly, and with wonderful grace, she kneeled in front of him, holding her body so her mouth was perfectly in line to receive his cock.... I don't know how she judged the probable angle of his erection, but she put her open mouth six inches from his crotch, arching in a perfect curve from the small of her back to her neck, so that when he unzipped his fly, there she was, to the naked eye immobile as she received his cock down her throat and began to suck. You could tell, too, that her throat was wide open and relaxed and that she was breathing gently through her nose. Her eyes were wide open and serene. There was scattered applause.
by John Fowles (1965)
Plot: An Englishman takes a job at a private school on a Greek island. Local millionaire stages elaborate, almost hallucinogenic, mind games.
Why it's on the list: Not since Zorba the Greek has an author captured the natural aphrodisiac of the Mediterranean. Everyone who read this wanted to meet someone like Conchis, the mysterious stranger who spared no expense to create sexual scripts -- ravishing twins, gods and goddesses -- for the self-absorbed hero. Way better than Club Med.
Excerpt: She hesitated, then turned, slipped her right arm round my waist, while I put my left one over her shoulder and drew her close against my side. Her left hand felt lower, all round my loins, caressed, lifted and let fall, touched; then silked its way up the shaft, gripped, gently squeezed. The fingers seemed inexperienced, afraid of hurting. I slid my own free hand down and gave hers a little lesson, then left it, and raised her head, found her mouth. I began to lose all sense of everything around us. There was nothing but her tongue, her pressed nakedness, the wet hair, the gentle rhythm of the underwater hand. I would have had it go on all night....
All night; but it was too erotic. She seemed to know by instinct that I no longer wanted her gentle; clung tighter, began to show herself less of a novice; and as I racked quietly beneath the water, she bent her head and bit into the side of my armpit, as if she too had had her orgasm, though only in the mind.
by Philip Roth (1969)
Plot: Troubled Jewish man tries to make sense of his life.
Why it's on the list: The first novel about masturbation, or rather, about unrestrained sexual energy. Portnoy comes in the wrapper of a Mounds bar, an old sock, a cored apple, the liver about to be served as family dinner, beneath a nylon windbreaker while riding a bus. Later he uses sex to satisfy both rage and curiosity ("What I'm saying, Doctor, is that I don't seem to stick my dick up these girls, as much as I stick it up their backgrounds -- as though through fucking I will discover America."). One of his girlfriends lubricates upon hearing a poem by William Butler Yeats, resulting in the memorable line, "Eat my educated cunt."
Excerpt: Then came adolescence -- half my waking life spent locked behind the bathroom door, firing my wad down the toilet bowl, or into the soiled clothes in the laundry hamper, or splat, up against the medicine-chest mirror, before which I stood in my dropped drawers so I could see how it looked coming out. Or else I was doubled over my flying fist, eyes pressed closed but mouth wide open, to take the sticky sauce of buttermilk and Clorox on my own tongue and teeth -- though not infrequently, in my blindness and ecstasy, I got it all in the pompadour, like a blast of Wildroot Cream Oil.
by Scott Spencer (1979)
Plot: Young man obsesses about girlfriend, torches her house, stalks her, gets locked up.
Why it's on the list: Obsession? Spencer can make a sex scene last for pages, each sentence revealing something exquisite, or painful, or funny -- "She grabbed the pillow with her free hand and breathed out with a kind of yogic completeness as if to open herself further to me, but it was useless because her anus was as cryptic as a belly button. I could feel its stunned rejection of my approach." Unanimous erection? Standing ovation, undivided attention, pure targeted lust.
Excerpt: Her back was soaked with sweat and the sheets were like slush. I was panting and sweating myself and sore all over but I didn't want to stop, neither of us did. The friction, our need of it, wasn't really connected to pleasure at that point. It was more of an attempt to erase our bodies and explode out of them into pure matter. It was afternoon, there was soft light in her little room, and when she spread her legs and offered her rump to me I looked at the back half of her vagina, with the dark brown hair sopping wet and pointing out in curly spikes. I'll never understand exactly what the sight of her body did to me, I mean why it worked the way it did, but its effect was so powerful, so unfailingly powerful that I believed then and will always believe that I was born to see it, to look at her face, throat, breasts, genitals, and feel a heat and spaciousness that no word in my vocabulary can even begin to express. I think that after all of that wet, wet fucking I was only three-quarters hard, but the sight of her backside restored me to my unanimous erection and at once I began to move myself into her.