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Spinoza, without the use of computer imaging and modern day social experiments, wrote: The human body stands in need for its preservation of a number of other bodies, by which it is continually …regenerated. Harcourt, , p. Hidden cruelty in child-rearing and the roots of violence, trans. Hildegarde and Hunter Hannum New York: Farrar, Straus, and Giroux, , p. Catherine Porter New York: Harvard University Press, p. This work and its conclusions seem crucial in the struggle against something as ignored as child abuse and its larger social-political and socio-emotional consequences.
Two such articles are The Compulsion to Repeat the Trauma: Re-enactment, Revictimization, and Masochism, Bessel A. Scaer, Applied Psychophysiology and Biofeedback, Volume 26 1 , Joy, Sorrow, and the Feeling Brain. Harcourt, New York, Intervention and Treatment Issues. We Have Never Been Modern, trans. Harvard University Press, New York, For Your Own Good: Hildegarde and Hunter Hannum. Farrar, Straus, and Giroux, New York, Hackett Publishing Company, Indianapolis, Christina Rawls is currently a doctoral student of philosophy at Duquesne University in Pittsburgh, Pennsylvania, USA working in early modern philosophy and philosophy of psychology.
She is also a practicing mental health therapist. Each culture and each era creates its own monsters that embody and express the fears and anxieties specific to the environment of that particular generation. These programmes employ signifiers that have accumulated meaning from the horror genre, in order to construct monsters within the domestic sphere. In a transformation process reminiscent of Dr Jekyll and Mr Hyde in reverse, transgressive bodies are sculpted into culturally acceptable clones. This process is long and arduous, resembling a rites of passage journey into the hierarchy of the glamorous and the beautiful, and it is utilised in various ways to construct various meanings.
Drawing on a rich and ancient history of myth and fairy tales the 20th century spewed forth a multitude of visual representations of monsters and creatures from various cultures that previously could only be imagined or presented in a static form. With the advent of Film and then TV these monsters moved, breathed, and proceeded to terrify their audiences to a new and unknown level. We as viewers, or even voyeurs, are invited on this journey of almost magical or supernatural transformation, and are rapidly absorbed into the text through an intricate procedure that weaves together the conventions of the Horror and Melodrama filmic genres, and the characteristics of the Reality TV sub- genre, Trauma TV.
Film and TV Genres: Intertextuality, Hybridity and Spectacle. A quote from this account, states of the contestants, Their condition is the condition of all women, born to be defined by their physical attributes, born to give birth, or if born pretty, born lucky: How The Swan employs this spectacle through its structure and psychological manipulation as a Reality TV programme is important and therefore some historical and cultural context is required.
These programmes worked with the concept that televisual space was no longer necessarily narrativised. This can be seen in programmes like ER. The knock on effect of this new genre of drama programming on Reality TV is what we now see in The Swan. This can be easily traced throughout each episode of The Swan, as not only TV generic conventions are employed, but, as is suitable for an audience demographic consisting largely of women, also the filmic genre of melodrama but, most relevantly to this paper, a suppressed and sanitised horror genre.
To demonstrate the visceral pleasures of the voyeurism involved in viewing these transformations, I want to analyse the close visual link between the monsters in the horror films and the women who are prepared to take part in their own horrific scenario as they undergo extreme plastic surgery. In the body horror genre the spectacle employed is one of the hidden and forbidden being allowed to surface with terrifying consequences and a loss of bodily cohesion.
In this way the body becomes the narrative as various depictions of its boundaries being invaded, wounded, injured and bleeding reveal its fragility and instability as well as being the reward of spectacle for the voyeur for managing to survive the terrifying experience of viewing its dissolution. The difference between the generic transformations is in their eventual expression of the body. The split or lack of cohesion between the two, the beautiful mind trapped in the monstrous body, occurs at the start of the programme and the body narrative moves us forward to a apparently stable identity.
However the darker nature of the horror genre creates critical discourses of the cultural environment that spawns it, whilst the melodrama genre tends to be viewed as a positive, suturing text that leaves its audience soothed and satisfied with the world. The Swan as the hybrid sub-genre of Transformation TV is a fusion of melodrama, horror and Trauma TV that plays with the conventions of each genre and ultimately disturbs our perceptions of the body, and therefore identity, as ever being capable of stability.
The political investment of the body is bound up,…with its economic use. We see them shaving their faces, exposing drooping flesh, crooked noses and rotting teeth. Their bodies possess no cultural capital and therefore possess no power. They believe plastic surgery will transform them and empower them simultaneously. The structure of the programme engages with filmic genres in order to access the desired audience response.
For example, to elicit an emotional and tearful release, the mise-en-scene and the narrative arrangement are recognizably those of the movie melodrama. Engaging with this concept of the generic hybridity of Transformation TV it is necessary to look at how The Swan uses the conventions of the horror movie. Preoccupations with the darker side of looking are most apparent in horror movies, which tend to move the audience through a range of emotional responses, from anticipation, to fear through to outright terror.
For the majority of people the Dental Surgery is a site of terror, with its many tools capable of inflicting intense pain, and it has been featured as a place of torture and horror in films like Marathon Man The parallel between their appearance at this stage and the depiction of a classic horror movie monster is undeniable and the contestant in the clip even identifies herself as a monster. Rotten teeth are a signifier of a rotten nature; bodily decay is equated with moral decay. Identification at this point is important, as the audience needs to directly experience the horror of looking this way.
Instead of the body remaining the focus throughout, Spectacle shifts between the body and agents of transformation. When we first see the women before surgery, they are in the unflattering blue hospital gowns. These guidelines have many connotations but are particularly reminiscent of the scene in Silence of The Lambs where Clarice discovers that Buffalo Bill is constructing his feminine identity from the skins of his victims. We now have the power to narrate our own corporeal presence. This impression is sustained by the filming of the actual surgery.
The Spectacle is shifted away from the body to the site of surgery. The operating room, the instruments, the medical technology, the gowned and masked surgeons and nurses become the focus of Spectacle. Here we return to the conventions of the Melodrama. Unlike Extreme Makeover, where surgery is displayed in detail, The Swan contracts time and the operations disappear in a blur of accelerated time.
One of the reasons for this formal device is the close identification between the viewer and the viewed sought for by the programme creators. The surgery therefore must be perceived as quick and non-invasive, in order to maintain the fiction of the body as plastic. Identification of the audience with the protagonist is therefore enforced, enabling a deeper absorption into the fiction. The pleasures experienced by the contestant as her own voyeur, whilst contemplating a body that is known but unknown, familiar but unfamiliar, are complex and many.
The body has become a successful project completed; the body now conforms to the ideal image; the body has been contained and disciplined; the body is power; the body is plastic. For the other voyeurs — the experts and the TV audience, what pleasures are received? The spectacle has taken its audience through a journey of vicarious and heightened emotional narratives contained in and expressed by transgressive bodies. The monster is overcome and banished; but is the beast-flesh vanquished or merely suppressed? Has the monstrous woman simply been turned inside out, so that her transgressive nature now dwells inside instead of out?
The Real Monsters These questions lead to the conclusion that all is not as perfect and ideal as it seems. After experiencing the entire series and reaching the final Beauty Pageant it becomes apparent that the ideal body and face reproduced twelve times creates an unnerving sense of repetition and cloning. Are they the transgressive and imperfect bodies we observe at the beginning of the programmes, or are they the cloned and terrifyingly perfect Beauty Queens revealed at the end.
The New Hospital Dramas. The Culture Of Cosmetic Surgery. The Birth of the Prison. Regents of the University of California, Later, in the early modern period, it was possible to explain anomalous beings in terms of variations of normal development. On the other, it links critically the representations of hermaphrodites with the clinical gaze of the medical establishment. Thus, the hermaphrodite body with its simultaneous lack small penis and excess big clitoris overspills the boundaries and becomes monstrous.
It will therefore show how differences of the bodily kind are dealt with within both personal and scientific discourse. Herculine Barbin and Middlesex are both books about pseudo-hermaphrodites that had female childhoods and male adulthood. Thus, my paper also plans to answer the following question: As Foucault puts it, To liberate difference we need a thought without contradiction, without dialectic, without negation: Monsters are human beings who are born with congenital malformations of their bodily organism.
They also represent the in between, the mixed, the ambivalent as implied in the ancient Greek root of the word monsters, teras, which means both horrible and wonderful, object of aberration and adoration. Since the nineteenth century, following the classification system of monstrosity by Geoffroy Saint- Hilaire, bodily malformations have been defined in terms of excess, lack, or displacement of organs The monster is the bodily incarnation of difference from the basic human norm; it is a deviant, an a-nomaly; it is abnormal.
Hybrids of nature and technology, as well as of culture and social reality, they transgress and put into question normal measurements and classifications, as well as issues of gender and reproduction. The concept of monster involves a certain engagement with borders and boundaries. They might be perceived as creatures who dominate and threaten.
According to Herdt, the hermaphrodite, for instance, may become a symbol of boundary blurring: Yet, by locating monstrosity primarily within monstrous gender and monstrous sexuality, Judith Halberstam writes that the monster always represents the disruption of categories, the destruction of boundaries, and the presence of impurities and so we need monsters and we need to recognize and celebrate our own monstrosities. How can the hermaphrodite speak?
Raised as a girl she became a female teacher in her early twenties. Her medical discovery as truly male actually only happened after her suicide, but medical attention was devoted earlier. This medical attention was caused by her search for support concerning her desire for her virginal girl friend Sara. In his introduction to the autobiography of the nineteenth-century hermaphrodite, Michel Foucault addresses the question of the truth of sexuality, especially the truth as sought and defined by the legal and medical-psychiatric authorities of the period.
Foucault goes on to say, But later on the threshold of adulthood, when the time came for them to marry, hermaphrodites were free to decide for themselves if they wished to go on being of the sex which had been assigned to them, or if they preferred the other. The only imperative was that they should not change it again but keep the sex they had then declared until the end of their lives, under pain of being labelled sodomites.
The scientific establishment insisted that every human subject must be biologically grounded in one and only one sex. Everybody was to have his or her primary, profound, determined and determining sexual identity; as for the elements of the other sex that might appear, they could only be accidental, superficial, or even quite simply elusive. From the legal point of view, this obviously implied the disappearance of free choice. It was no longer up to the individual to decide which sex he wished to belong to, juridically or socially.
Rather, it was up to the expert to say which sex nature had chosen for him and to which society must consequently ask him to adhere. It was not the size of an organ but the use of it that was the problem. But did she truly feel like a man? Her narrative goes like this: I, who had been raised until the age of twenty-one in religious houses, among shy female companions, was going to leave that whole delightful past far behind me, like Achilles, and enter the lists, armed with my weakness alone and my deep inexperience of men and things.
At the very least, it appears that Alexina felt herself radically unprepared to live in the world of men, as a man. And indeed, within a few years of having her civil status changed, Alexina did kill herself, though not without first leaving a record of her life behind. From this point on, Alexina can be perceived as a tragic and pitiful creature who suffered terribly, precisely because she could not have an identity of choice, an option for her true identity, which finally led her to suicide.
What really makes Alexina look monstrous is her own misery induced by her fear of a morbid sexuality, a sexuality defined by others as being wrong. The monster that she consequently became is the very creation of the Western culture. Weiss emphasizes, for instance, the intensification of the term monster through the passions of fascination and horror. By intensification she means some form of other-ing, the thing we call monster and the desire for it. This intensification is not of visibility or equality but precisely of discourse.
We are only monsters in reference to those who call us monsters. The political nature of monsters seems to come directly from the acts of naming and defining, not the nature of the object named. There is no essential non-contingent thing named monster. All acts of naming, metaphoric or not, have the capacity to compel the corporeal performance of the name given, so even metaphor is not incapable of material effect.
Was Alexina trapped in a name? I was born twice: This tall, broad- shouldered and non-menstruating girl knows she is not quite normal. The narrative goes like this, Callie is a girl who has a little too much male hormone. The hormone treatments will initiate breast development and enhance her female secondary characteristics. In fact, she will be that girl. Her outside and inside will conform. She will look like a normal girl. Nobody will be able to tell a thing. And then Callie can go on and enjoy her life. One having the sex organs and many of the secondary sex characteristics of both male and female.
Anything comprised of a combination of diverse or contradictory elements.
See synonyms at Monster… The synonym was official, authoritative; it was the verdict that the culture gave on a person like her. That was what she was. Cal decides to live as both and neither as a man and a woman.
I never felt out of place being a girl. Compromised, indefinite, sketchy, but not entirely obliterated: Biology gives you a brain. Life turns it into a mind. Cal does not believe that genetics, which he calls the scientific version of the ancient Greek notion of fate, can explain his life.
By choosing to be an unstable and metamorphic subject, Cal has the ability to move between the genders, to see not with the monovision of one sex but in the stereoscope of both. She writes in her note to her parents that I am not a girl.
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I will be all right. What we learn from Cal is that all subjects are open to the potential of perverting themselves and each other through act, the force of relation, and affect, but none are pervert or monstrous in an ontologically static sense. The monster feeling was fading. Yet, the latter seems to define his being far more accurately and wholly than the former. Gilbert Herdt, Zone, New York, , p.
Harvard University Press, , p. Columbia University Press, New York, Edinburgh University Press, Edinburgh, Cambridge et al, Harvard University Press, Routledge, New York, Feminism and the Subversion of Identity. Myths and Images of the Secret Self. Anchor Books, New York, Cross-Dressing and Cultural Anxiety. Cultural Spectacles of the Extraordinary Body.
Gothic Horror and the Technology of Monsters. Duke UP, Durham, Beyond Sexual Dimorphism in Culture and History. Zone, New York, Routledge, New York and London, One of the most fascinating aspects of contemporary American television drama is the popularity garnered by various series that have taken latter-day moral absolutism to task. Many have raised crucial ethical questions by exploring moral dilemmas, and even posited them as insoluble. Eg The Sopranos, The Shield, Oz, the Law and Order franchise, and Deadwood have utilised the arena of crime and punishment to explore moral issues with candour and sophistication.
Within these works, evil is not manifest in external agencies but solely in the human psyche; it cannot be vanquished readily, and moral absolutism offers only a panacea. The skewed democracy of the world of television is not quite so bizarre and repressive once we admit that it is the realm in which we allow our monsters to come out and play, our dreams to be wrought into pictures, our fantasies transformed into plot structures.
Cowboys, detectives, bionic men and great green hulks; fatherly physicians, glamorous female detectives; all these become part of the dramatic logic of public thought. In a few cases we might see strong perspectives that argue for the absolute correctness of one point of view or another. But for the most part the rhetoric of television drama is a rhetoric of discussion. It is in a similarly celebratory attitude this paper turns to Deadwood. At first glance, Deadwood abounds with malevolence and atrocity - it spews a constant stream of aggression, gore, filth and invective.
But at its core lies a profound empathy and respect for humanity in all its nobility and reprehensibility. The result, at least initially, is laissez-faire society in gut-wrenching high relief. And because there is no official authority to maintain propriety or order, slights, betrayals and disappointments are avenged however the affected see fit. The strong prey on the weak with relish and abandon - extreme violence is a given - they also prosper heartily.
The manifestation of evil in Deadwood begins with its backstory and narrative backdrop - white appropriation of native lands on grounds of cultural superiority, and concomitant slaughter of Native Americans, is a terrible, resonating given. The Civil War has recently ended, and the traumas it too has wrought are amply evident. For individual antagonists, Milch first gives us Al Swearengen, proprietor of the Gem saloon. Yet this is but a trivial outburst for Swearengen. He kills without hesitation or remorse if he deems it beneficial to his interests, which means he kills frequently; to add to his savage pragmatism, the dead are fed to the pigs belonging to Wu, his Chinese associate.
Tolliver is a mix of hubris, seemingly invincible will and stealthy but extreme malevolence. We also see him express vehement racism and misogyny as a matter of course: Along with other lesser antagonists, these men evoke a mood of constant fear and menace. As suggested by these descriptions, violence is frequent and graphic, occasionally proffered in comedic or casual boys-will-be-boys mode but more often rendered as brutal and often downright horrific. For example, reluctant sheriff Seth Bullock wrestles with his propensity if not penchant for violence.
As much as he tries to suppress it or at least confine it to the application of justice, there are points at which he loses control, such as when he beats Swearengen nearly to death, not over any actual crime but over a personal affront. This lawlessness is surrounded by a dominant culture that purveys a highly disingenuous moral absolutism in the form of late 19th-century social mores and platitudes.
Milch emphasises several times over that these have more to do with superficial notions of respectability than any deeply-felt concern for human welfare. A magistrate from nearby Yankton blackmails Swearengen into supporting him foolishly, he does this twice and winds up pig fodder. Natural light is noticeably limited in interiors, exteriors are few, and panorama almost absent. This version of the West is not a place where Nature provides any significant compensation via for isolation and risk. Blood- red curtains seal the interiors from external view but also prevent any sense of an exterior life, and encase the inhabitants in ghastly chiaroscuro rather than the lush eroticism Joanie ostensibly intended.
Generally, however, the hinterland and the landscape beyond remain unseen, and most other exteriors are characterised by crowding, chaos and filth. Music, too, contributes to an overall tone of suspense and sinister undercurrents. In both the score and the mainly traditional blues and folk songs played over the final credits, minor keys and mournful or bittersweet melodies dominate, punctuated only occasionally by more upbeat material - often underscoring impending violence. Within this aesthetic, Milch refers to and shifts various cinematic and televisual genre conventions.
They also urge audiences to consider multiple facets of any given conflict, despite whatever truths may appear to be self-evident. That these programs have attracted passionate audiences and widespread acclaim suggests an eagerness within American society to engage with these dilemmas. The act of readership is another issue in itself, but the acclaim does imply favourable responses to sophisticated dramatic works focused on moral issues, and acknowledgement of a more challenging socio- political and moral landscape than the Bush administration would admit.
It is well known that Milch was not originally interested in writing a western; he pitched a show to HBO about lawlessness and morality set in ancient Rome, but HBO had another program about the Roman empire in development. Again, he is in accord here with Newcomb and Hirsch. Writing about the program Masterpiece Theater, they state: History is used here both to insulate the audience from the immediate impact of these unresolved issues and to demonstrate, at the same time, that the issues are universal, unbounded by history and defined by the fact that we are all human.
And what is this if not malevolent? What is Abu Ghraib if not abominable? In Deadwood we see a nation in the process of being founded on profoundly corrupt power- mongering, and on the literal extermination of the Other; and here and now we see the reverberations for American culture. As Lance Morrow writes: The horrors of My Lai and Abu Ghraib, along with other revelations of US- perpetrated atrocities, have presented undeniable moral transgressions and hypocrisies that are by any standard the equal of the evils against which the US and its allies are allegedly fighting.
This is not to brand the US as intrinsically or wholly immoral, but to acknowledge the profoundly harmful contradictions between rhetoric and deed. Combine this with the minor immoralities of other characters and it is impossible to ignore the mechanisms, or the web of evil affecting individual and community decision-making and being. But what does Milch offer in terms of counterpoint and resolution? To begin with, by way of counterpoint Milch offers no end of ribald if bleak and often grotesque humour; he also offers what is arguably some of the most richly layered and lyrical dialogue ever written for television.
He also emphasises how self-defeat as well as pain for others may be wrought by misguided emotion and self-interest. Moreover, Milch offers us credible examples of uncommon selflessness, even in oppressive circumstances. One of the most affecting examples of this comes when Tolliver is in bed with Lila, one of his whores. He talks about the stupidity of religion and clearly assumes she feels the same; but Lila tells him, sincerely, she prays for his soul nightly.
It is interesting to note this unsettles Tolliver more than anything we have yet seen: You shut your fucking mouth, now, and turn over and close your eyes. And surely this reveals fear of some ultimate judgement - a spark of faith or superstition that signals even Tolliver regrets some of his actions or at least fears the consequences, because he acknowledges the actions were indeed immoral. A potent scene in this regard is one in which Swearengen euthenases Reverend Smith, whose brain lesion has caused extreme incapacitation.
This is a mercy killing that moves Swearengen to surreptitious tears. Here, and later when Swearengen divulges his childhood to one of his whores in the course of a blow-job, it becomes evident that like the women he exploits, his background is one of fear and misery. He was deposited at an orphanage by an uncaring mother and pimped and abused for years on end. He also implies we would do well to foster the conditions that might heal such wounds. It is in Reverend Smith, however, that Milch offers his most affecting advocacy for tolerance and humanism. Like Doc Cochran, Smith has a rare and objective overview of Deadwood.
Doc is plagued by memories of what experienced in the Civil War - the deaths he could have prevented, the carnage he witnessed, so his presence in Deadwood is something of a penance. He shows himself willing to minister to all, and impervious to the abuse and degradation he frequently faces. In this alone, he is an exemplar of virtue. It is telling, too, that Deadwood has no house of worship. For the body is not one member but many. And whether one member suffer all the members suffer with it.
He hears only riddles in the sermon. Or perhaps he grasps its meaning perfectly, but finds it sentimental, utopian - doubts it possible to enact the principles of this epistle in the face of actual evil. But in his implicit sympathy with Smith, Milch suggests the effort, at least, is imperative. In revealing the highly conflicted inner lives of his antagonists, he makes an affecting plea for empathy - if human beings understood others and the extent to which they are connected as social and spiritual entities, they would be less likely to remain locked into cyclical hostility and aggression.
And in his uncompromising depictions of human malevolence, Milch fully acknowledges the immense difficulty of truly selfless action on an ongoing basis, which gives Deadwood a rare maturity and depth. Someone who is perennially surprised that depravity exists, who continues to feel disillusioned even incredulous when confronted with evidence of what humans are capable of inflicting on the way of gruesome, hands-on cruelties upon other humans, has not reached moral or psychological adulthood.
Human nature being what it is - historically if not essentially - the exercise of absolutism precludes any real understanding of the machinations of evil, and thus perpetuates it. But the experiment that remains untried with any diligence is moral pluralism based on applied compassion.
Compassion, arguably, could break the cycle. He is not bent on identifying a single root cause so much as emphasising that in most if not all cases evil is the outcome of oppression and abuse, and that no matter what the cause, a primary concern should be the ways in which human individuals and societies might foster connectedness. In the light of this, it is probably most appropriate here to finish by quoting Milch on the perceived bleakness of his work: You know, people say that my writing is dark. The essential thing is that the seeing itself is joyful.
The Critical View, New York: The Complete Second Series. A good example comes from Tolliver addressing disgruntled prospectors about the encroachment of government: For further discussion, see: Kitses, Jim and Rickman, Gregg, eds. The Complete First Series. Audi, Robert, General Editor. The Cambridge Dictionary of Philosophy. Cambridge University Press, Cambridge, America's Crisis of Values: From Silents to the Seventies. Milch, David and Bochco, Stephen.
The Critical View, Fourth Edition. History of Western Philosophy, Routledge, London, Violence and American Cinema. Imagining America at War: Morality, politics and film, Routledge, London and New York , She also works as a freelance script editor and assessor. During the late s and early s there were a series of murders, disappearances and assaults of presumed gay men in the popular Bondi-Tamarama region in Sydney, Australia. In this paper, I argue that the production of the assailants hinges on a contradiction. Yet, on the other, their violence is covertly viewed as an expression of widely held heteronormative values.
The perpetrators may be demonized as an aberrant criminal minority, then, but this scapegoating process operates only to assuage the public of any social or institutional complicity. Six times - face first, back first, face first again - the 55 kg dummy tossed off the cliff top down onto the rocks below. A small crowd gathers on the walkway whilst police photographers and media crews capture this surreal event. The re-enactment turns out to be part of a fresh investigation into the deaths and disappearances of gay men in the Eastern suburbs of Sydney during the s and early s. With the exception of one murder, these events were not properly investigated until more than a decade passed when an investigating detective noted a number of similarities between the cases.
Following this investigation a coronial inquest was staged and numerous findings and recommendations delivered. Six gay men disappear. Throughout this paper, I argue that the production of the assailants hinges on a contradiction. The perpetrators may be demonized and vilified as an aberrant criminal minority, as gang members, then, but this scape-goating process operates only to assuage the public of any social or institutional complicity. In fact it conforms to what is a normatively unjust value system.
This is achieved through symbolically punishing groups like the Bondi Boys. Readers Benefits of registering Where are my ebooks? Describe your issue Have a question not already answered in the links at left or on our main FAQ page? LuxXe Biography LuxXe HQ's catalog celebrates quality erotica for fantasy enthusiasts and lovers of adult paranormal adventures.
Visit the site to sign up for the LuxxeHQ newsletter, beta reading opportunities, and promotions. Member since September 30, When day to day doldrums finally bore a young accountant to the point of no return, she decides she wants to have the kind of fun she sees the shifters on the dark side of Green Lake having. So Lanie elects to join a shifters' breeding circle, knowing she possesses the rare gift of willful lactation among other things.
When she arrives, she realizes more than one tentacle man will breed her. Nixie's enjoyed the luxuries her breeder's lavished her with, but unlike many girls in the breeding circles, her energy body has accepted the shifter aura from her seeder, despite her failings to produce a child for him. It's time to select her alter forms, and she wants to try a male form despite Tem's resistance. Can she handle the temptation of having a new phallus?
Stealing from the Frost Queen's garden comes with a high price. Follow Wes as he falls to his knees before her in lusty service and Melly who defiantly agrees to be bred while she looks for a way to escape the frost Queendom for good. Tempted 3 - erotic romance by LuxXe Price: The Twine King's gift fires Niki's engines like nothing has before it. She decides she won't wait for him to come to her. She'll go to him. But the stars are aligned strangely. He warns her his seed is especially potent for breeding during those kinds of celestial transits. Will Niki accept the risk, and give herself to him?
And can she overcome the temptation of his Kingdom's forbidden fruit? Intent to escape her punishment, Melly accepts the pleasures of the breeding sessions the Queen subjects her to with a gorgeous seeder, but her monster lover is never far from her mind. Devising a plan to free him from the punishment that has him frozen into a statue, she waits for the right moment to slip into the garden and set him loose, observing as the tentacle shifter claims the Queen.
When Alana is selected by the Elder Shifter to test her breeding viability, she's faced with a choice that may require her to transform into a secondary or part-shifter. But she'll need to be prepared by the touch of an intermediary shifter before the Elder Shifter will fill her with his seed. Kima's known all of her life that a dream shifter would come to claim her innocence, and despite her grandfather's warnings, Kima has awaited it with baited breath, saving herself for it well past the age of When Ella asks a dream shifter for protection from an otherworldly force she foolishly interrupted, she finds herself in the middle of a breeding circle to pay his fee.
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