Taken and Used (Monster Erotica)

Dinosaur erotica: excerpts and pictures

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Drin taunts the beast, giving her tribes mates time to flee. As she runs, leading it through a gauntlet of traps, the thrill of the hunt soars through her blood, leaving her wet with desire. When the angry T-Rex corners the huntress in a box canyon, it seems more interested in her wet womanhood than in her flesh. The T-Rex seemed to appreciate the gesture […] it seemed as if time stood still. There was nothing in the entire world apart from this grunting, grinding, growling lizard and Drin, wrapped around its cock.

She managed to bring her legs up, locking her ankles around its wet dick as well, the entire length of her body becoming a cunt for this animal to fuck. Before she can complete her rites of womanhood and take her place in the tribe, she must provide a kill for her tribe. Beliria chooses to hunt the most dangerous herbivore on the plains, the Tri-Horn. No single hunter has ever successfully taken a Triceratops, but Beliria is determined to be the first.

Naked, with no food, water, or provisions beyond her weapons, Beliria sets out. Her attack caused the big bull Triceratops to lose his mate. Now he intends to replace her- with Beliria! Horrified and aroused by the horned giant, Beliria must find a way to control the situation, or she may find that this Tri-Horn is really too much for her to handle. Dianne is a shepherd, watching over flock of sheep. She is sworn to protect them against any predators— no matter the size. But when a flock of pterodactyls attack, Dianne has no choice but to use herself as bait to draw their attention away from her precious flock.

One pterodactyl swoops in and picks her up, taking her to his nest. She fully expects to be eaten by the massive beast, but when it starts to peck her clothes away, leaving her naked, she begins to understand that the pterodactyl might have carnal pleasures in mind.

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Dianne finds herself excited by the prospect and acquiesces. But can Dianne accommodate such a massive creature? Azog is an underappreciated cavewoman in her tribe. The cavemen treat her like a piece a meat. They disrespect her at every turn and never listen to anything she says. Azog cannot change this unless she proves herself as a hunter. When she goes out in search of fresh meat, she discovers a clutch of baby velociraptors and decides to kill them and triumphantly bring them back to her tribe.

Azog must use all of her womanly wiles to get out of the cave, which includes doing things she had never dreamed of. But this vertebrate trend is starting to change. Eva Hayward, a scholar who works at the intersection of science studies, visual studies, and transgender studies, has opened a line of inquiry into the aesthetics, ethics, and embodiment of marine invertebrates in a series of essays.

Yet why imagine invertebrates?

Why and how are humans imagining invertebrates in scholarship and cultural production with renewed energy, and what does that mean for the invertebrates, and for the humans? In her brushes with the invertebrate world, her argument sometimes pauses poetically in this way to allow readers to muse on the intimate connections between hermaphroditic invertebrate animals and queer or trans human bodies. She invests in the complex, entangled, and reflexive space of real-world or filmic interspecies meetings, and her work therefore offers important insights into the ecological, economic, and ethical interplays between human and nonhuman animals.

Hayward alludes to the implications of invertebrate genders, sexualities, and sensoria for human queer and trans people, but leaves it as an allusion, moving on quickly to the important work of understanding jellyfish, octopuses, and corals as agential, experiencing, living, material beings in the world along with, but distinct from, human cultures.

At the risk of being accused of anthropomorphization, I want to go there: In other words, I want to draw attention to the cultural politics of human-animal imaginations in literary texts, with particular attention to nonbinary genders. Which is to say, in my terms, humans are related to tentacled creatures, and those relations are always entangled in speculation and political imagination. The ways in which we speculate about invertebrates matter and have deep ethical stakes precisely because they are always imaginative in some way.

I do not see this as more important than the project of studying the life conditions of real-world animals and preserving an ethics of their alterity; however, criticizing and immediately dismissing anthropomorphization is not enough. What of the structuring paradigms of imagination that mediate my relationship with animals, especially invertebrates? What shapes do they take, how have they been used, and how can they be remade or redeployed for new ends? These structuring paradigms of animal imaginations historically have been used not only against nonhuman animals, but also against certain groups of humans.

While Lundblad acknowledges that animality studies might be interpreted as a speciesist line of inquiry, it is an urgent project, partly because ideas about animals have been central to Western projects of dehumanization of humans through vectors of race and gender. Recent research in black feminist and queer studies has begun to unpack the deep ramifications of the racialized human-animal threshold for representations and theorizations of the nonhuman.

Dinosaur erotica: excerpts and pictures | nothingintherulebook

Many invertebrate sea creatures reproduce asexually e. I, instead, turn to invertebrate animals, which are prominent in the canon of monsters and aliens in American science fiction and provide particularly fruitful ground for reconceptualizing nonbinary genders. When transformed by speculative queer cultural production, invertebrate sea animals offer a rich set of vocabularies and fleshly imaginaries for genders other than men and women, masculinities and femininities.

If Hayward is interested in real-world seagoing invertebrates, in this essay I explore fantasies about aquatic invertebrates in speculative erotic fictions with particular emphasis on nonbinary genders rather than femininities or masculinities. In particular, I examine monster erotica, an archive of erotica stories sold in ebook, often self-published forms on kindle, nook, smashwords, and other for-pay sites. In these works, the narrative tropes of erotic fanfiction and romance narratives are used to envision explicit plots in which humans have sex with creatures from classic horror and science fiction films: Bigfoot, dinosaurs, centaurs, kraken, and so on.

In other words, monsters and aliens are imaginary beings, but their textual bodies are composed of specific animals — bears, lizards, birds, crabs, squid, etc. In particular, vertebrate- and especially mammal-based monsters make it easier to confirm heterosexual, racialized fantasies about bestial dominant masculinities and fragile white femininities, whereas invertebrate-based creatures open up a whole different realm of embodied animal relations, fantasies, and desires.

It is invertebrate, nonbinary genders that my inquiry tracks: To my knowledge ebook monster erotica has not yet been mentioned in academic print at all, partly because of its newness, and partly because of its multiple distances from respectable literatures as self-published, electronic-only, mass market, for-profit, fanfiction-derived, science fictional smut. It would not make sense to call this work marginal to the literary canon, in fact, because as a subgenre of pornography it so clearly stages itself as guilty-pleasure reading and does not make any appeal to literary respectability.

It therefore offers a remarkable look at what kind of fantasies are flourishing under the radar in feminist porn in a time when mainstream video porn continues to so spectacularly fail at adequately representing the erotic lives of gender-nonconforming people. The Kindle market for this material is a wild, weird, and contested place, and for a time these stories sold well. Between and , the Kindle self-published erotica market Kindle Direct Publishing briefly offered a space in which a few dedicated, prolific authors could make a living from monster porn.

While most of the works that received negative attention are still available on the Kindle store in altered form, some authors stopped writing new stories, while others are earning less for what they do write. While this archive of stories has been dismissed in media attention as bad writing or self-evidently ridiculous e.

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Sexy vampires are not entirely new, of course: But the eroticism of the nonhuman animal has now become more explicit or intense. Paranormal romance often involves either humanoid monsters like vampires or spirits, or shapeshifting beings who are animal half of the time, but become human during scenes of sexual tension — for example, the morphing Quileute werewolves in Twilight. Monster erotica and related genres in the wild world of speculative erotica, however, offer a step beyond this paranormal romance: In the words of one monster erotica author, E.

Beastly, the payoff for this is an expansion of what is possible in human erotic imaginations through the genre tools of speculative fiction. In the preface to Monstrous Lust: If it has a human level of intelligence or better. If it is sexually mature for its species. Then you should be able to fuck it. Not that something like that exists in our known reality.

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But that is what fiction is for, right? After the unnamed protagonist has been taken onto the spaceship, she discovers that she is being held captive for sexual experiments, and her captors are rather unintimidating-looking androgynous gray beings loc. A hyperbolic series of sex scenes follows in which each monster in succession has sex with the helpless narrator while she is wired into medical machines that measure her vital signs and her arousal. As he performs oral sex on her, she notices that his animal attributes make him capable of more than a human partner: Not only does his animality make him a superhuman lover — she begins to take on animal qualities, in turn.

This erotic relation, not just ethical relation, is new to the field of animal studies. Little work in queer animal or animality studies has taken up pornography or erotica, nor has porn studies had much to say about animals, perhaps with good reason. As a field, porn studies tends to gravitate toward non-digitally-enhanced film, video, and other media where interspecies sex would clearly constitute animal cruelty. These analyses are not informed by more contemporary feminist engagements with queer pornography as an instrument of, not just an obstacle to, feminist imaginations Taormino et al.

I do want to credit Dominic Pettman with grappling with the gnarly topic of interspecies sex in realistic genres like the documentary, in Human Error: But representations of actual interspecies sex acts are remarkably hard to find in animal studies, porn studies, or queer studies. While Katherine Hayles was not speaking to the erotic when she asked this question, I am inspired by her provocation in How We Became Posthuman: This is a particularly important question to ask because, as Lundblad argues, animality has historically functioned as a trope of human sexuality in the wake of Freud and Darwin in American culture The Birth of a Jungle 4.

Monster erotica stories in this genre more broadly use the animality of the monsters and aliens within their narratives as a fantasy for sexual extremes not possible with only human bodies, but many are readable as masculine. In a story featuring a cisgender female protagonist, this seems to make the trope of animality in Alien Seed a fantasy about bigger, badder, more dominant heterosexual cisgender men: Other stories follow this script: Yet some of the erotica published during this period was very queer.

A significant subsection of the genre much like fanfiction offers male-male romance rather than yet another heterosexual love story: While monster erotica authors get a lot of bad press for writing perverted or bestialized erotica — and I want to defend them from that type of criticism — some of the more popular stories traffic in sensationalized stereotypes of bestialized men of color, using racialized tropes of animality that tend to come from particular ways of imagining vertebrate, land-dwelling, usually mammal species — especially apes.

Many stories in the genre seem to be woven out of not just heterosexual fantasies, but also racialized gender and sexual tropes all too familiar from the history of colonial fantasies and fears about nonwhite peoples. As I critique these racialized gender and sexual stereotypes, I want to be clear that I am not pathologizing the genre as bad because it is pornography or because it is self-published or because it is nonhuman, the charges usually leveled against monster erotica authors.

The large, dark, masculine, sexually-threatening ape has been a well-worn trope in this colonial science fiction tradition at least since King Kong and Tarzan The Birth of a Jungle Monster erotica stories that feature pale-skinned human women having sex with large, dark-skinned apes cannot avoid this representational history. In one scene where the white female protagonists have fallen into the hands of a Bigfoot tribe, the sex scene takes place against a signifying backdrop of conventional Hollywood primitivity: The Bigfoots drag one of the voluptuous white women onto a rug by the fire while she lodges her protests: Chen argues in Animacies that apes in particular bear a particularly heavy representational weight in the West, in the wake of anthropological and biological sciences that construed peoples of color as evolutionarily closer to large apes than white people.

Representations of animals having sex with humans are not neutral or apolitical with respect to the colonial politics of gender and sexuality, and this racialized history is partly what is at stake in a turn to invertebrate animals that might provide ways to imagine and map cross-species relations differently.

When Chen argues that animals have been used as figures for Western colonial representations of peoples of color, it is vertebrate land mammals the argument refers to: On the other hand, monsters that resemble octopuses, sea serpents, or aquatic invertebrates do not graft so easily, or in the same way, onto the racialized gender and sexual categories that are the legacy of 19th century Western science and empire.

In the text of Alien Seed , the final monster of the story offers some provocative alternatives to the limitations of vertebrate land mammality and its racialized heteronormative animal imaginary. Xavier introduces this alien kraken in gender-neutral and alien terms when the narrator gets her first view of the beast: Behind the ogre and the wolf-man lurked something worse, something huge. The tentacle-faced swamp beast was nice and tame compared to this.

It was some sort of deep sea nightmare beast, with a long, serpentine body ridged with fins and covered in glistening green skin, and a horrifying jawless maw. It reared up before me, and I was staring into the many glowing eyes of a kraken. We have no responsibility to maintain the privacy or security of any such information that you may choose to post to the Services. Your selection will not affect other uses or sharing of your information as described in this this Privacy Policy.

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Taken by The Monsters an Erotic Monster Tale K J Burkhardt

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