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I would never claim this is a great (or even good) image: the off-kilter composition and offset flash suggest equal parts luck and artsy pretension.

And from a standpoint of image politics, it’s problematic for all the usual reasons: frame edges ‘cutting up’ and ‘immobilizing’ the three young women along with implicit kowtowing to the porn manicured male gaze that expects a smooth, depilated pubis.

I am not willing to give this a pass. However, I do appreciate the focus on a FFF threesome–something I wouldn’t mind seeing more often. Especially, if like this image, unfeigned desire (closed eyes, flushed faces and chests) and intimacy (holding hands, reaching caresses, giving and receiving of pleasure) feature in the proceedings.

It’s not without some profound reservations that I am posting this image. There are a host of things that are problematic about it: the indeterminate age of the young woman who could be older than she appears but given the doll and her bracelet probably isn’t. Add the random detritus strewn about the background along with the lurid reflected flash and there’s no denying the unsettling vibe– like some sick fuck uncle is directing his niece for a camera in Grandma Gardenia’s basement.

All that is an enormous put off for me–I know and care deeply about too many friends who have weathered such abuse. But I keep coming back to this image. Beyond everything fucked with it, something about it resonates with me.

A Google Image search returns a single hit for this: a 2009 blog post by a young Swedish woman who gravitates toward the macabre.

This does not exactly set my mind at ease regarding questions of exploitation but the text accompanying the image in the aforementioned post amplifies the resonance I feel towards this image:

Sen lekte vi med dockor.

För det var det som väntades av oss.

(Then we played with dolls.

For that was what was expected of us.)

There are two sides to expectation: what is expected of one and what one expects of oneself–I am expected to play with dolls but I don’t want to play with them or play with them in the way that is customary.

The starker the dichotomy, the greater the feeling of bodily frustration–a deep navel throbbing for physicality, no matter how self-destructive, anything to achieve even a moment’s peace.

A body with only anger to hold it– knows to trust the ruptures; wherever lies the greatest weakness, there also is the greatest need. In such moments the tang of plastic melting into the curled tip of a tongue is so empty and wrong that something has to rush in to fill the space–something no less hopeful because it is broken beyond repair.

Clips from the first part of this scene can be seen on XVideo.

***

My first instructor in film school was a regal woman of Indian sub-continental extraction. On the first day while I second guessed all the decisions that had brought me there, she went around the room, greeting everyone by name with a Namaste + a bow; she explained it meant the spark in me acknowledges the spark in you.

***

About a month ago, an acquaintance/friend was chatting with me. We had been talking about a number of superficial things when the topic suddenly shifted to childhood trauma. I had to figure out ways to deal with [the] darkness, and they were definitely not healthy, she said.

***

When I was eight I was preoccupied with black holes. They intrigued me because light could not escape them.

I wondered if one could focus darkness in the same manner as a flashlight focused light + and the respective beams were pointed directly into each other which would win out?

***

Why isn’t there a word for the darkness in me will not turn away from the darkness in you?

There is but it is not a word. I speak it with lips, with tongues + touch. And while I speak everything is dew wet—new and true.

***

This darkness in me stares into the darkness in you.

letmedothis:

spoil me

Still from A Surprise Guest featuring

Straight-up (pun maybe intended), this is some Grade A #skinnyframebullshit.

Yes, it’s nice to see Cindy presented head-to-toe sans frame line amputation/decapitation. But the result is all wawkerjawed.

I am going to overlook the original image being both in color and bordering on overexposed– I fail to understand how shooting to the right is preferable to just exposing correctly in the first fucking place. But, why did some idiot feel compelled to de-saturate? Was the goal to produce a flat, low contrast image? If so: bravo– mission accomplished.

Technical concerns aside, the image’s awkwardness also works in its favor. It is, after all, an image belonging to a larger more-or-less sequential, implicitly narrative images. For example: before I researched this image, I was fairly sure that this young woman walked in on the young man in the tub, things escalated and she began to undress. (As far as I can tell, that is in fact, what happens.)

There is also the ripe implication of what will happen next: the scenario will proceed to intercourse. Thus, this single image contains all the information for the viewer to discern the entire narrative arc without seeing any other image.

The possibility of distilling a story to a single narrative image seed is an idea with which I am pathologically obsessed. And for all its faults, I actually prefer this to the arbitrary, narrative pretense of photographers like Gregory Crewdson, Sébastien Tixier and Reverend Bobby Anger. (If you disagree with this premise: attempt to envision what happened immediately prior and what will happen next. (Pro-tip: you can’t; despite all the gum flapping about narrative, when the work has more in common with the so-called ‘tone poem capturing the something of the weight in moments heavy with emotion.)

But, I would have posted this for nothing more than the way Cindy is standing over the boy in the tub, her expression which might actually be an unfeigned premonition of pleasure. Plus, I think it is so, so hot that she still has her top on.

kalkibodhi:

Tops

KalkiBodhi Archives

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This is exactly and uncannily what I want when I am feeling horny distilled to some #skinnyframebullshit that had decent color before some fucker futzed with it.

Still though: unf and total sploosh.

I love everything here, including things I typically hate, i.e. hipster-y fashion, canned lighting and Toilet Paper Magazine–from whence this emerges.

Yes, cunnilingus being one of my favorite things has a lot to do with it and the balance consists in the way she’s looking down, watching what her partner is doing to her.

Add this to the list of things I would love to do ASAP with a(ny) willing partner. It’s been entirely too long for me.

I wish I knew something about the origins of this drawing. The minimal line work is suggests far more detail than is actually present—a style reminiscent of Japanese manga; the rough sketch look harkening back to Schiele.

What attracts me even more is the way the scale suggest a Lolita-esque subtext.

Now—full disclosure—I am not into the whole Lolita thing. I’ve tried to read the book on several occasions and I just cannot summon a single shred of empathy for Humbert or Dolores. (Perhaps that is in fact the point.)

There is a part of me that gets the whole Lolita thing. Although it has less to do with what the idea started as and more of what it has become; namely, despite the polar differences in their intentions, a strong overlap exists between those who are attracted to pubescence (i.e. hebephiles) and those who are attracted to female bodied androgyny.

While a good many things distinguish these two types of individuals what warrants my inclusion in the latter category is primarily my deeply held conviction that explicit individual consent forms the fundamental basis for all relationships. That and the fact I am enormously preoccupied with female bodied-ness in general and female bodied androgyny in particular.

I began to regularly masturbate around the time I was eight. I had no idea what I was doing but rubbing against a pillow made me feel warm and fuzzy inside.

At the time, my home life was a mire of abuse and neglect and these pillow sessions became one of the ways I tried to fill the hole where parental and community nurturing should have been.

The worse things got the more time I would spend chasing that warm and fuzzy feeling.

I guess I realized what I was doing was called masturbating when I was eleven or so. It wasn’t until I was fourteen that it established any sort of relationship to anything more than pure sensory stimulation.

All my female friends had male friends. Boys weren’t interested in me and I wasn’t especially interested in them. But at the same time, I felt weird. I saw the ways boys looked at the girls. And I knew that it was how I looked at them too. The difference was my relationship with them was fundamentally different. My female friends shared with me things they never would staring boys. It was a privilege that I was determined not to abuse. And I refused to indulge in any sort of masturbatory fantasy involving my friends out of respect for their privacy.

When I masturbated, I closed my eyes but never imagined what it would be like to share my body with another and have them share their body with me in return; instead, I focused on generalized aspects of female bodied-ness: breasts (always flat/smallish, the exponential D’s of porn stars cup sizes have always grossed me out), clitoris’, labia and vaginas. Yet, it wasn’t the visualizations themselves that edged me closer and closer to orgasm, it was about trying to see the thing so clearly in my mind that I could feel for the briefest moment something inside myself projected outwards as if it were real. The closer I managed to come, the more exquisite my climax.

I have no idea when I first became aware of cunnilingus as a thing—perhaps in my late teens. By that point, I knew way more about the variations and varieties of sexual congress than anyone in an Xtian school should have.

I became fixated on the idea of going down on a girl. Looking back I find this strange given that even the thought of tasting my own secretions—let alone anyone else’s—was enough to induce retching. (Oh, let me number as the stars the multifarious joys and wonder of sexually repressive indoctrination.)

The first female bodied individual I went down on was my best friend some years later.

We had been messing around for about a week and I remember standing behind her in the living room of her apartment my left arm around her, up her shirt cradling her right breast in my left hand; my index finger stroking her nipple. She turned back toward me so our passion could communicate itself without words via lips, tongues and teeth.

My right arm stretched down her bare stomach, pulling holding her against my body; my wrist disappears behind the waist of her mauve panties, fingers curving clutching as my slickened fingers shuttled side-to-side over her clitoris. Her lips shook and her head fell away from my mouth making the angle to awkward for me to follow. I kissed her chin and then her throat.

Her breathless voice came in short, sharp gasps: tell me what you want.

Can I go down on you?

She pulled away from me, letting my hands slide off of her and turned away to modestly step out of the black cotton watching as I tasted the wetness coating my fingers. It reminded me of raspberry vinegrette.

With her left hand covering her sex, she lay down on the rug and spread her legs. I knelt and crawled towards her on hands and knees.

As I approached, her hand lifted then fell away to mirror the other already at her side.

A single pea sized droplet of moisture was suspended in her fiery fur. I felt a profound reverence. Not the quiet reverence of a church but the rushing clarity that comes in the crushing noise of a furious storm.

I settled from my hands and knees to my belly.

Her fingers ran through my hair and I could feel her heat on my face.

Wetness drawn by gravity traced a line along the inner edge of her right labia minora. I thought: do what you would want her to do to you, closed my eyes and followed the line all the way up as if it were melting ice cream in a cone.

Shivers shook her thighs as the flat of my tongue crested her clitoral hood. I retraced the same path down again, flicking my tongue tip once right and once left as I descended. I sucked up the drop I had first seen on the way up again.

And then I stopped thinking about what I was doing and just acted. I listened to her the pitch of her moans, the pace of her breath, the tightness of the fingers she knotted into my hair.

Of course, as her panting became more rapid and she began to move her hips in time with lips and tongue, the doorbell rang. (When I tell you that I have the worst luck ever, you won’t believe me but I shit you not after we dressed and opened the door it was, and I shit you not: Jehovah’s Witnesses.)

I am still not enamored with my own taste. Although I will admit when I am feeling alone—which is more often than not lately, I will lick my fingers after pleasuring myself.

It’s weird but it never tastes like anything.

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The sixty nine or if you are French—and when aren’t they beyond on point when it comes to inventing honey-tongued terms for sex acts?—soixante-neuf.

Ahem, I am, uh…a bit of a fan.

I have never actually seen Pretty Woman but a lot of people I knew in high school liked to trot out that line Julia Roberts’ character gives about kissing being the most intimate thing two people can do to justify their own philosophy of abstinence. (Really, I went to an Xtian high school.)

Although I consider it unspeakably stupid to insist one activity is the most intimate to and for everyone, I think there is a fucking compelling argument to be made for having someone’s face between your legs with your genitals in their mouth while your head is between their legs with their genitals in your mouth.

If that weren’t enough the only scenery is some cycloptic asshole staring you down.

Plus with a little bit of pactice balancing both partners can use both hands in the proceedings.

And besides a spoon position can you think of any other arrangement offering such maximal skin-to-skin surface area?

No matter whether you agree or not, there is a decided lack of sexy images featuring soixante-neuf. I think that’s the main reason I dig this image: it admits this isn’t supposed to be photogenic; it’s supposed to be about how it feels. 

If there is anything democratic about image making, it is technical acumen mattering little next to being present and ready at the most perfect moment.

The soft focus and sloppy composition amplify immediacy here—the boy with his belted jeans unfastened but as yet unshed, the young woman’s spine and pale skin spilling out of the zipper-opened dress back, the way her braced toes arch her heel, giving her body a sense of forward momentum. I love it all.

But what gets me most is the young woman blocked from view by her lovers’—the boy’s mouth surrounds her clitoris as if it were a nipple; her pulling the other young woman toward her with her right hand into an implied mess of lips, bone-hard teeth and searching tongue tips.

I would give almost anything in the world to trade places with this unseen girl—to know such rabidly dangerous wanting, to feel its reflection turned against me.