Book Sample: “Deal with the Devil” Module Contents and Disclaimer

Posted on by Persephone van der Waard

“Deal with the Devil” is a blog-style book promotion, originally inspired by the first and second ones I did with Harmony Corrupted: “Brace for Impact” and “Searching for Secrets” (2024). The first promotion was meant to promote and provide Volume Two, part one’s individual pieces for easy public viewing (it has since become a full, published book module: the Poetry Module). “Deal with the Devil” shall do the same, but with Volume Two, part two’s opening/thesis section and one of its two Monster Modules, Demons (the “Searching for Secrets” promotion covered the Undead Module, which is now live). As usual, this promotion was written, illustrated and invigilated by me as part of my larger Sex Positivity (2023) book series. This specific promo post includes the Demon Module’s table of contents (and hyperlinks to each post), followed by the book disclaimer.

Volume Two, part two (the Demon Module) is out (2/14/2025)! Go to my book’s 1-page promo to download the latest version of the PDF (which will contain additions/corrections the original blog posts will not have)!

Permissions: Any publicly available images are exhibited for purposes of education, transformation and critique, thus fall under Fair Use; private nude material and collabs with models are specifically shared with permission from the original model(s). For more details about artist permissions, refer to the book disclaimer at the bottom of the page.

Concerning Buggy Images: Sometimes the images on my site don’t always load and you get a little white-and-green placeholder symbol, instead. Sometimes I use a plugin for loading multiple images in one spot, called Envira Gallery, and not all of the images will load (resulting in blank white squares you can still right-click on). I‘ve optimized most of the images on my site, so I think it’s a server issue? Not sure. You should still be able to access the unloaded image by clicking on the placeholder/right-clicking on the white square (sometimes you have to delete the “?ssl=1” bit at the end of the url). Barring that, completed volumes will always contain all of the images, whose PDFs you can always download on my 1-page promo.

(artist: Romantic Rose)

Contents (for Volume Two, part two) 

Volume Two, part two divides into two Monster Modules, which will release as separate sub-volumes (due to length issues). Both halves contain the opening thesis statement, “A Cruel Angel’s Thesis” (which discusses the overlap between trauma/feeding and transformation/power and knowledge exchange); the first half, “Searching for Secrets,” holds the Undead Module, whereas the second half, “Deal with the Devil,” contains the Demon Module and volume conclusion.

All in all, these individual posts are the primary sections/chapters of each module for Volume Two, part two. Modules are sections that concern multiple chapters, subchapters, and so on. While the Poetry Module focused on Gothic poetics as a historical-material process whose history we contribute towards, the Monster Modules shall focus on the history of Gothic poetics as something to learn from when poetically articulating our own pedagogy of the oppressed.

Playing with Dead Things (opening and thesis chapter)

Summary

The opening to Volume Two, part two, as well as the thesis chapter for the Monster Modules. Each module will have its own promo series, and each promo series will only contain its respective module/sub-volume.

Update, 8/7/2024: Originally “Playing with Dead Things” contained two additional chapters: “In Search of the Secret Spell” and “Back to the Necropolis.” However, to keep Volume Two, part two from getting too big, I’ve decided to transplant those into Volume Two, part one (as of v1.2 onwards, which you can access on my book’s 1-page promo). I’ve updated this content page and the content page for “Brace for Impact” to reflect those changes. —Perse

Posts

Demons: From Composites and the Occult to Totems and the Natural World (module)

Cover model: Romantic Rose

Summary

This module explores the poetic history of demons; i.e., as actively cunning-yet-alien shapeshifters. Canonized as treacherous within transactional dialogs of forbidden, unequal exchange (of power, knowledge and darkness) and permanent transformation, demons frequently yield a repressed desire for radical change haunted by systemic abuse; i.e., of rape and revenge as things to canonize or camp through the Gothic mode: as untrustworthy beings made deceitful and torturous through the ghost of the counterfeit’s process of abjection. As such, we’ll consider the subversive, cryptonymic potential of demons; i.e., to reverse abjection through revolutionary cryptonymy’s double operation (to conceal and reveal taboo subjects), all while dealing with state doubles (re: DARVO and obscurantism, including tokenized variants). Be those people, places or something in between (the chronotope and its castle narrative/mise-en-abyme), we’ll do so through their classical function—as seductive, mendacious granters of dark wishes, including fulfilling the whore’s revenge: of nature policed, thus pimped, as monstrous-feminine by the state for profit, which the demon (as a vengeful, monstrous-feminine whore) challenges said motive (and its raping of nature) in favor of something better.

To it, we’ll explore the dark, hauntological creativity and endless morphological variety of demons, but especially how they manifest and behave; i.e., as a vengeful, nebulous, psychosexual matter of exchange, transformation and desire, onstage and off, during ludo-Gothic BDSM and liminal, half-real expression: composite bodies like cyborgs, golems and robots that are built with mad science (the Promethean Quest), occult beings that are summoned and dealt with (the Faustian Bargain), or overtly natural totems that are hunted down within nature-as-alien.

Module Posts

  • 2. “Demons: From Composites and the Occult to Totems and the Natural World” (module opening): Outlines the historical, poetic, praxial focus on the Demons Modules, and outlines its chapters on transformation and knowledge/power exchange. Opening Length: ~5 pages.
    • “Of Darkness and the Forbidden” (module “demon symposium,” included with opening): Discusses various poetic ideas and paradoxes (contradictions) known to darkness and demons, which will come up throughout the entire module. Length: ~69 pages (nice).
  • 3. “Forbidden Sight, Faust and the Promethean Quest: Knowledge and Power Exchange” (chapter opening): Considers forbidden power as something to see; i.e., forbidden sight. As such, it does so through the history of making/summoning demons—initially according to Gothic, Renaissance approaches and prostitution (whores) as a Faustian bargain, but then unto the Promethean Quest; i.e., Cartesian dualism meant to punish demons, or otherwise summon/pimp them through the ghost of the counterfeit to further the abjection process in service to capital raping nature-as-vengeful (and whose inheritance anxiety occurs inside the Imperial Core, continuing Capitalist Realism as a fear of the outside, of the dark, of the Earth, creativity and nature). Opening Length: ~3 pages.
    • 3a. ” part zero: “A Rape Reprise; or, the Whore’s Paradox Having Its Revenge During Ludo-Gothic BDSM” (included with chapter opening): Considers how the state rapes nature for profit, a process of abjection that can be subverted during the whore’s paradox and its revenge vis-à-vis ludo-Gothic BDSM. Length: ~35 pages.
    • 3a. ” part one: “Forbidden Sight, part one: Idle Hands Are the Devil’s Workshop; or, Weapons in Clay and Even More Playtime: the Monster Prostitution of Blood Libel and Its Violent, Demonic Revenge” (subchapter opening): “Hell hath no fury like a woman scorned!” Explores the morphology of whores inside the violent, vengeful domain of blood libel, persecution/revenge and sex demons’ dark desires; i.e., psychosexual camp with traumatic baggage, examining Amazons/Medusa (demon mommies), followed by Takena’s short-but-gnarly claymation skit, “Midnight Vampire” (2024), then goblins as demon lovers exchanging poetic violence of all different kinds! Opening Length: ~3 pages.
      • 3a0. Idle Hands, part zero: “Cheat Sheet; or, Some Larger Thesis Arguments/How We’ll Apply Them to Blood Libel and Demons at Large” (included with subchapter opening): My original notes for “Idle Hands,” left for your convenience. Lays out the very basics of the blood libel argument, its connection to sodomy and witches in terms of their shared dualistic usage when furthering or reversing abjection (thus persecution and alien), and some germane points, exhibits and quotes to keep in mind as we go. Length: ~11 pages.
      • 3a1. Idle Hands, part one: “Amazons and Demon Mommies” (sub-subchapter opening—included with subchapter opening): Considers the demonic aspects of blood libel per the Amazon as witch-like prostitute, extending to demon mommies such as Lady Hellbender as Amazonian in their own right. Opening Length: ~1 page.
        • 3a1a. “On Amazons, Good and Bad” (sub-sub-subchapter—included with subchapter opening): Parts one and two explores Amazons and Medusa—their history of tokenization and resistance, and how they manifest currently under state influence; i.e., as something to offer different unequal power fantasies, during the cryptonymy process; e.g., Gal Gadot’s Wonder Woman and James Cameron’s Aliens.
          • 3a1a0. “Prefacing Medusa: to Bay” (included with subchapter opening): Prefaces my Medusa section with a thank you to Bay, my partner and co-writer, who helped with the final proofread. Length: ~1 page.
          • 3a1a1. “On Amazons, Good and Bad, part one: Always a Victim (feat. Medusa, Aliens—included with subchapter opening)“: Explores Medusa and her mistreatment by Amazons abusing her as monstrous-feminine during the abjection and cryptonymy processes. Length: ~69 pages (nice).
          • 3a1a1. “On Amazons, Good and Bad, part two: Reclaiming Amazons; or, Cops and Victims” (sub-sub-sub-subchapter opening): Explores how we can reclaim Amazons (e.g., postcolonial anal sex) from their historically misogynistic usage, but also their tokenization by TERFs to commit various abuses for capital. Opening Length: ~3 pages.
            • 3a1a1a. “Cops and Victims, part one: the Riddle of Steel; or, Confronting Past Wrongs (feat. Amanda Nicole—included with sub-sub-sub-subchapter opening)” : Examines the past of the Amazon myth having become increasingly hostile to state enemies; i.e., through tokenized feminism vis-à-vis subjugated Amazons acting traditionally like men. Length: ~38 pages.
            • 3a1a1b. ” part two: “Our Sweet Revenge; or, Being Ourselves While Reclaiming Anal Rape, mid-Amazonomachia (feat. Nyx and Amy Ginger Hart)“: Considers the whore’s revenge as ultimately the subversion of Amazon’s prior subjugation, doing so through the language of warriors and rape during the whore’s paradox: to camp rape while suffering from its historical effects. Length: ~48 pages.

(artist: Nyx)

        • 3a1b. “A Paucity of Time: Addressing the Rest of the Demon Module’s Relative Brevity“: Explains why the rest of the Demon Module will have more of a conversational, symposium style; also covers some points of holistic study and mutual informed labor exchange (collaboration) the rest of the module will continue focusing on. Length: ~19 pages.
        • 3a1c. “‘I’ll See You in Hell’: Dark Faeries and Demon Mommies” (sub-sub-subchapter opening): Goes beyond the earthly realms of classic Amazons, giving these warrior-whore sex demons more of an openly hellish character (that still yields the same ludo-Gothic BDSM devices): dark faeries and demon (muscle) mommies. Opening Length: ~16 pages.
          • 3a1c1. “Darkness Visible: Dark Faeries (feat. Annabel Morningstar, Harmony Corrupted, Romantic Rose, The Witch, and more—included with sub-sub-subchapter opening)”: A collaboration between whores. Considers the labor proponents of Gothic-Communist revolution—working together and with Gothic materials, in a staged, meta sense—to demonically give rise (thus shape/voice) to dark places and people; i.e., as dark faerie rulers/regal fairylands where one can explore off-limit feelings and desires conducive to post-scarcity development; e.g., Satan from Robert Eggers’ The Witch, Lavos from Chrono Trigger, and more! Length: ~53 pages.
          • 3a1c2. “Trial by Fire: Swole’ Demon Mommies (feat. Lady Hellbender and Karlach, The Shape of Water)“: A symposium. Considers the fiery, militant aspect to demon muscle mommies, specifically through the postcolonial urge of forbidden love. Length: ~37 pages.
      • 3a2. ” part two: “Vampires and Claymation (feat. ‘Midnight Vampire’)“: Lays out the basic idea of demonic, whorish revenge with vampires, whose blood libel it explores in Takena’s “Midnight Vampire” (and reconsiders some ideas of tokenization per some of our thesis arguments that apply to all demon types). Length: ~21 pages.
      • 3a3. “Prefacing Tolkien: to Harmony/Concerning Big Black Dicks and ‘Anti-Semitism’ vs ‘antisemitism’” (preface to “Goblins, Anti-Semitism and Monster-Fucking”—included with “Goblins, Anti-Semitism and Monster-Fucking,” below): Dedicates “Idle Hands,” part three to Harmony and discusses “black” a little more as a poetic device; i.e., why Tolkien loves big black dick in his racist, sexist, and otherwise bigoted blood libel stories: murdering orcs and goblins, en masse, while disguising 19th-century ethnocentrism as post-WWII British High Fantasy escapism. We’ll also discuss the difference between “anti-Semitism” and “antisemitism,” and why I favor the former over the latter in my own work. Length: ~20 pages.

(artist: Harmony Corrupted)

      • 3a4. ” part three: “Goblins, Anti-Semitism and Monster-Fucking (feat. Tolkien’s orcs and goblins, acid Communism, and SpongeBob SquarePants)“: Examines the vengeful, monstrous-feminine qualities of blood libel per goblins; i.e., their being “of nature” in ways that can be policed or avenged by theatrical agents waxing demonic poetic while playing with darkness visible. Explores these dualities first in Tolkien canonizing evil labor policed by good (orcs and goblins [vengeful-Jewish-coded slaves and whores] vs humans), followed by our own work and others camping him: through such “monster-fucking” play as highly chaotic/acid-Communist (e.g., Ween and SpongeBob), before weighing in on some transitional arguments that segue into “Forbidden Sight,” part two (which discusses the making of demons, vis-à-vis Shelley’s Frankenstein). Length: ~69 pages (nice).
        • 3a4. “From New to Old: Concerning the Rest of the Module” (preface to “Making Demons”—Included with “Goblins, Anti-Semitism and Monster-Fucking,” above): Explains the history of the “Demons” manuscript, before and after September 2024; i.e., the first half of the manuscript—the module and chapter opening, as well as all of “Idle Hands”—being written during and after September, and everything else (“Forbidden Sight,” parts two and three; “Exploring the Derelict Past,” “Call of the Wild,” “The Future Is a Dead Mall,” and the conclusion) being written before September. Length: ~2 pages.
    • 3b. ” part two: “Making Demons (re: Prometheus, subchapter opening)“: Our Prometheus section, which explores the act of making golems/composite manmade demons from Mary Shelley’s 1818 novel onwards!  Opening Length: ~1 page.
      • 3b2. “Foreword: To Mary Shelley” (included with subchapter opening): A short preface to Mary Shelley and her inspiration on me. Length: ~7 pages.
      • 3b3. “‘Fire of Unknown Origin’: Composite Bodies, Golems and Mad Science; or the Roots of Enlightenment Persecution (feat. Mary Shelley, Frankenstein, and Ridley Scott—included with subchapter opening)”: Lays out Mary Shelley’s life, but also her lasting impact on science fiction; i.e., as the genre she single-handedly birthed, combining Gothic fantasies and early modern ideas of the scientific method to critique capital with, which others imitated (and not always in good faith); e.g., through Ridley Scott as a director whose body of work we’ve previously examined, and whose problematic elements we shall dissect here, with Prometheus and Alien: Covenant (no Metroidvania, this time). Length: ~69 pages (nice).
      • 3b4. “Afterword: A Further Note on Angry Gods (and Playing with Them; feat. Cuwu—included with subchapter opening)”: Wraps up my thoughts on Mary Shelley and her importance, but also the value in making and playing with monstrous gods (demons or otherwise) before segueing into “Summoning Demons.” Length ~21 pages.
    • 3c. ” part three: “Summoning Demons (re: Faust and Radcliffe, subchapter opening)“: Our Faust section, which divides in two basic parts, both of which feature Ann Radcliffe and Matthew Lewis, as well as Evil Dead, H.R. Giger and others (note: this is where the Demons Module really starts to abbreviate; i.e., “Summoning Demons” is less about close-reads, and more about introducing ludo-Gothic concepts you can apply through demon BDSM, yourselves—strict or gentle). Opening Length. ~1 page.
      • 3c1. “Raw Deals, Imposters, the Occult and Death Curses; the Demonic BDSM of Canonical Torture vs Exquisite ‘Torture'” (sub-subchapter opening—included with subchapter opening): Per Faustus, Smile, Evil Dead and other Gothic stories, lays out the idea of summoning occult demons, including acts of interrogating them through Radcliffe’s refrain/the classic Neo-Gothic model: the demonic (damsels, detectives and demons) trifecta vis-à-vis canonical torture vs Radcliffe’s exquisite “torture.” Length ~5 pages.
        • 3c1a. “Whores and Faust: Summoning the Whore/Black Penitent” (included with subchapter opening): Introduces Faust and the idea of summoning whores (and by extension sex demons of a Lewis or Radcliffe style); i.e., in strictly magical, Faustian language. Introduces Ann Radcliffe and Matthew Lewis, but discusses them vis-à-vis Faust through modern versions of each; e.g., not just Marlowe’s early modern Doctor Faustus (1590), but Greg Beeman’s Mom and Dad Save the World (1992), Alan Rickman in Die Hard (1988), John Landis’ Animal House (1978), Roger Ebert’s weird white moderate voyeurism, and Kevin Smith’s Dogma (1999). Length ~57 pages.
        • 3c1b. “The Road to Hell; or, Summoning the Whore through Newer Black Magic Based on Older Examples (and Other Considerations of the Faustian Bargain vis-à-vis the Participants)” (sub-sub-subchapter opening): Considers poetically summoning demons/the whore (through magic), doing so while “pulling a Faust”; i.e., according to a brief history of demons and their torturous summoning rituals and effects dating back to Marlowe’s science wizard. We’ll start by demasking a “strict” double of old harmful forms—Jadis, in my case, being someone to clone and demask, as Radcliffe’s future stand-in Velma Dinkley would, but expanding the interrogation to benefit all oppressed groups—then explore how to do so while engaging with the Gothic past as it continuously evolved out of itself. This includes onstage and off; i.e., from the chaos of the Middle Ages and various famous works (from Hammer of Witches to Doctor Faustus) into the Enlightenment and beyond towards 20th and 21st century variants; e.g., Smile and Evil Dead, but also my ex Jadis’ abuse of me: as collectively built on top of an earlier history whose demonic tradition endlessly haunts us, and which we must respond to by camping it, ourselves! Opening Length ~2 pages.
          • 3c1b1. “Going Mask Off: Showing Jadis’ Face while Doubling Them” (included with sub-sub-subchapter opening): Gives food for thought about demons as much being real people as fictional ones, during Gothic poetics. The example I give—and doing so in the Radcliffean spirit of demasking bad guys—is my ex and former abuser, Jadis. We discuss my act of doing so not to marshal violence against them, but to learn from the abuse they caused to camp and subvert, hence prevent future harm, on a systemic level; i.e., while making our own media as haunted by said abuse, doing so as a demonic act of thinking critically (through art and performance) about other people that speaks to abuse affecting oppressed groups unevenly (to summon demons is to make them; to make them is to think critically when the resulting parody and pastiche become perceptive). Length ~10 pages.

(artist: Blxxd Bunny)

      • 3c2. “Exploring the Derelict Past: The Demonic Trifecta of Detectives, Damsels and Sex Demons; or Enjoying Yesterday’s Exquisite Torture on the Edge of the Civilized World” (sub-subchapter chapter opening): Considers the left-behind, derelict flavor of demons, and unpacks various poetic qualities to damsels, detectives and demons separately and together! Opening Length: ~2 pages.
        • 3d1. “Radcliffe’s Refrain” (reprise—included with sub-subchapter opening): A quick rehash of the demonic trifecta vis-à-vis Ann Radcliffe’s pioneering of it. Also talks about her history as “mother to the Gothic novel” and problematic legacy following her disappearance. Length: ~14 pages.
        • 3d1. “Damsels, Detectives and Sex Demons, part zero: Derelicts, Medusa and H.R. Giger’s Xenomorph; i.e., the Puzzle of ‘Antiquity’“: Outlines the idea of “derelicts”—be they damsels, detectives or sex demons—through Medusa/Giger’s xenomorph as involving all three. Length: ~69 pages (nice).
        • 3d2. ” part one: “Non-Magical Damsels and Detectives” (feat. Out of Sight, Nina Hartley, Velma, and Zeuhl): Further explores damsels and detectives as classic Neo-Gothic devices, the oppositional praxis of which has survived well into the present; i.e., in pornographic language, like Nina Hartley, but also tamer/non-magical murder mysteries and echoes of Radcliffe (who conflated extramarital sex with rape and death) through Velma from Scooby Doo. We’ll examine the original character as a cis detective, but also my ex, Zeuhl; i.e., as someone I’m exposing: a good trans Velma demasking an evil one after surviving their abuse for years! Length: ~44 pages.
        • 3d3. ” part two: “Demons and Dealing with Them; or Abandonment, Dark Worship and Vengeful Sacrifice When Dissecting Radcliffe” (feat. Ridley Scott’s The Terror and Alien: Covenant, Ninja Scroll, The Dark Crystal, and Harmony Corrupted): Further explores demons in a similar fashion, but touches on additional ways these complicated beings needn’t be feared (through the process of abjection) but celebrated as Satanic liberators freeing our minds from Cartesian thought, heteronormativity and the settle-colonial status quo. Among his other work (namely The Terror), discusses Ridley Scott’s vengeful dissection of Radcliffe’s “spectre” in Alien: Covenant; i.e., as a dark matter of postcolonial revenge against James Cameron’s Aliens, then camps Scott by dissecting him and resurrecting Radcliffe as a dark whore of her former self (through several close-reads; e.g., with Harmony Corrupted, and about Ninja Scroll and The Dark Crystal: Age of Resistance)! Length: ~69 pages (nice).
        • 3d4. “In Measured Praise of the Great Enchantress” (feat. Ann Radcliffe, Sailor Moon, The Ronin Warriors, and Harmony Corrupted): “Egon, you’ve earned it.” An afterword that gives Ann Radcliffe some long-awaited praise, and talks about the important of camping demonic sex work vis-à-vis her worthwhile contributions; i.e., with Japanese anime, cosplay, fan art, and more (e.g., Sailor Moon) during sex work as a revolutionary hermeneutic and applied synthesis. Length: ~24 pages.

(model and artist: Mikki Storm and Persephone van der Waard)

  • 4. “Call of the Wild; or Sex Education: Trans-forming the World through the Trans, Intersex and Non-binary Mode of Being” (chapter opening): Examines the transformative side of GNC demons, predominantly from the natural world as preyed upon by the state. Opening Length: ~6 pages.
    • 4a. “Call of the Wild, part one: Hunter and Hunted; or, Nature vs the State” (included with chapter opening): Outlines the different animal types (separate from undead and demonic) and revisits their broader settler-colonial relationship to the state as something to challenge; provides some examples of medieval sexualized expression/poetic devices (from the Poetry Module) and labor that, while fun, we won’t have time to explore beyond briefly exhibiting them (nature is simply too diverse*). Length: ~35 pages.
    • 4b. ” part two: “Dark Xenophilia; or, ‘Far Out, Dude!’ Monster-fucking and Magic Girls Helping Foster Dark Radical (Communist) Empathy During Healthy Sex Education (for Children and Young Adults into Adulthood)“: A subchapter that divides in two, each half roughly weighing the undead side of the animal monster equation (furries and furry panic) and the demonic side (drugs and acid Communism, but also children’s sex education going from young adults into adulthood; e.g., Sailor Moon, The Last Unicorn and Giger’s xenomorph); i.e., when raising dark empathy tied to the natural world as alien under capital, and reunited through Communism’s good sex education tied to dark xenophilic monsters and drug use: as a poetic, awareness- and intelligence-raising device versus fascism and capital’s polar opposite of that (re: the state is incompatible with life, thus empathy and consent, pimping nature as monstrous-feminine). Opening Length: ~22 pages.
      • 4b1. “Dark Xenophilia,” part one: “Monster-Fucking and Furry Panic, from Ace to Ass” (feat. Lycans, Chimeras, and Sentient Animals; e.g., Cuwu, “Pelts,” Erika Eleniak, Sonic the Hedgehog and Pippi Longstocking): Delves further into undead qualities of natural monsters, expressing “monster-fucking” and dark xenophilia as a potentially ace-yet-pornographic form of sex-positive education through public nudism: featuring lycans, chimeras, and sentient animals to cope with trauma that is often something to live with; e.g., furry panic; e.g., Dario Argento’s “Pelts” (2006), Erika Eleniak from Under Siege (1989), Sonic the Hedgehog (1991) and Pippi Longstocking. Length: ~66 pages.
      • 4b2. ” part two: “‘Follow the White-to-Black Rabbit’; or Magic, Drugs and Acid Communism” (feat. the Monstrous-Feminine of Magic Girls, Unicorns and Xenomorphs): Applies the same dark xenophilic logic to explore sex(-positive) education (from children to adults) through demons and acid Communism; i.e., spells and drugs, featuring the transformative monstrous-feminine of magic girls, unicorns and xenomorphs; e.g., Sailor Moon, The Last Unicorn, Nimona and Alien (among others). A witch is a witch, but which witch will you be? We’ll consider this question, too, vis-à-vis GNC ideologies from an ideological and morphological standpoint; re: “the trans, intersex and non-binary mode of being” as tied to older dead cultures and andro/gynodiversity in Gothic art, before closing things out with an exploration of radical drug use and revolution per Mark Fisher’s acid Communism inside capitalist hauntologies (which then segues into the rebirth of the Communist mind in dead capitalist retro-future spaces, figuratively the shopping mall of the zombie apocalypse). Length: ~69 pages (nice).
    • 4c. “Saying Goodbye: Onto Better Times Ahead (and Harder Ones)” (included with “The Future Is a Dead Mall,” below): A small antechamber/liminal space between “Call of the Wild” and the closing section of the module; i.e., where we say goodbye to the black rabbit and prepare to face what’s ahead without them: heading into the known-unknown cryptonymy of dead capital (malls or otherwise)! Length: ~6 pages.

*I.e., diversity is strength, beating singular perceptions of strength that, through Cartesian domination, try to hold on to power to everyone’s detriment. 

In Closing (final chapters and conclusion)

Summary

The closing chapter and conclusion to Volume Two, part two.

Chapters Posts

(artist: Krispy Tofuuu)

  • 5. “The Future Is a Dead Mall; or Reviving the Zombie Future with Proletarian “Archaeologies”: Revolutionary Cryptonyms that Defy Snobbish Critics of the Gothic to Break Capitalist Realism” (chapter): Monsters are classically devalued outside of canonical forms utilized by state forces, which leads to Capitalist Realism under the current order of things. To critique Capitalism, then, we must critique people’s devaluing of the Gothic or otherwise misusing/scapegoating it for Capitalism’s woes: Radcliffe, but also Coleridge and Jameson’s own complicit cryptonymy. Through a cultivated Wisdom of the Ancients (a cultural understanding of the imaginary past), we can confront Capitalist Realism through the monsters normally pitted against us instead of speaking for us and nature as exploited by the elite. It becomes something to synthesize through our creative successes’ revolutionary cryptonymy—a concept we’ll explore entirely in Volume Three while reflecting on Volume Two’s monstrous histories (and theories from Volume One and Zero). Length: ~31 pages.
  • 6. “The Caterpillar and the Wasp; or, What’s to Come” (module and volume conclusion; included with “The Future Is a Dead Mall”): Concludes Volume Two based on its contents, but highlights through medieval expression and a coda (the caterpillar and the wasp) to encapsulate everything the volume has discussed moving into Volume Three. Length: ~15 pages.

(disclaimer exhibit: Artist: Harmony Corrupted, who provided me with various materials from her Fansly account to use [with her permission] in my book, including cum photos. For those of legal age who enjoy Harmony’s work and want to see more than this website provides, consider subscribing to her Fansly account and then ordering a custom/tipping through her Ko-Fi. You won’t be disappointed!)

Disclaimer

“If it was not good, it was true; if it was not artistic, it was sincere; if it was in bad taste, it was on the side of life.”

—Henry Miller, on criticism and the Supreme-Court-level lawsuit he received for writing The Tropic of Cancer (1934)

Regarding This Book’s Artistic/Pornographic Nudity and Sexual Content: Sex Positivity thoroughly discusses sexuality in popular media, including fetishes, kinks, BDSM, Gothic material, and general sex work; the illustrations it contains have been carefully curated and designed to demonstrate my arguments. It also considers pornography to be art, examining the ways that sex-positive art makes iconoclastic statements against the state. As such, Sex Positivity contains visual examples of sex-positive/sex-coercive artistic nudity borrowed from publicly available sources to make its educational/critical arguments. Said nudity has been left entirely uncensored for those purposes. While explicitly criminal sexual acts, taboos and obscenities are discussed herein, no explicit illustrations thereof are shown, nor anything criminal; i.e., no snuff porn, child porn or revenge porn. It does examine things generally thought of as porn that are unironically violent. Examples of uncensored, erotic artwork and sex work are present, albeit inside exhibits that critique the obscene potential (from a legal standpoint) of their sexual content: “ultimate sexual acts, normal or perverted, actual or simulated, masturbation, excretory functions, lewd exhibition of the genitals, or sado-masochistic sexual abuse” (source: Justice.gov). For instance, there is an illustrated example of uncensored semen—a “breeding kink” exhibit with zombie unicorns and werewolves (exhibit 87a)—that I’ve included to illustrate a particular point, but its purposes are ultimately educational in nature.

The point of this book isn’t to be obscene for its own sake, but to educate the broader public (including teenagers*) about sex-positive artwork and labor historically treated as obscene by the state. For the material herein to be legally considered obscene it would have to simultaneously qualify in three distinct ways (aka the “Miller” test):

  • appeal to prurient interests (i.e., an erotic, lascivious, abnormal, unhealthy, degrading, shameful, or morbid interest in nudity, sex, or excretion)
  • attempt to depict or describe sexual conduct in a patently offensive way (i.e., ultimate sexual acts, normal or perverted, actual or simulated, masturbation, excretory functions, lewd exhibition of the genitals, or sado-masochistic sexual abuse)
  • lack serious literary, artistic, political, or scientific value

Taken as a whole, this book discusses debatably prurient material in an academic manner, depicting and describing sexual conduct in a non-offensive way for the express purpose of education vis-à-vis literary-artistic-political enrichment.

*While this book was written for adults—provided to them through my age-gated website—I don’t think it should be denied from curious teenagers through a supervising adult. The primary reason I say this (apart from the trauma-writing sections, which are suitably intense and grave) is that the academic material can only be simplified so far and teenagers probably won’t understand it entirely (which is fine; plenty of books are like that—take years to understand more completely). As for sexually-developing readers younger than 16 (ages 10-15), I honestly think there are far more accessible books that tackle the same basic subject matter more quickly at their reading level. All in all, this book examines erotic art and sex positivity as an alternative to the sex education currently taught (or deliberately not taught) in curricular/extracurricular spheres. It does so in the hopes of improving upon canonical tutelage through artistic, dialectical-material analysis. 

Fair Use: This book is non-profit, and its artwork is meant for education, transformation and critique. For those reasons, the borrowed materials contained herein fall under Fair Use. All sources come from popular media: movies, fantasy artist portfolios, cosplayer shoots, candid photographs, and sex worker catalogs intended for public viewing. Private material has only been used with a collaborating artist’s permission (for this book—e.g., Blxxd Bunny‘s OF material or custom shoots; or as featured in a review of their sex work on my website with their consent already given from having done past work together—e.g., Miss Misery).

Concerning the Exhibit Numbers and Parenthetical Dates: I originally wrote this book as one text, not four volumes. Normally I provide a publication year per primary text once per text—e.g., “Alien (1979)”—but this would mean having to redate various texts in Volumes One, Two and Three after Volume Zero. I have opted out of doing this. Likewise, the exhibit numbers are sequential for the entire book, not per volume; references to a given exhibit code [exhibit 11b2 or 87a] will often refer to exhibits not present in the current volume. I have not addressed this in the first edition of my book, but might assemble a future annotated list in a second edition down the road.

Concerning Hyperlinks: Those that make the source obvious or are preceded by the source author/title will simply be supplied “as is.” This includes artist or book names being links to themselves, but also mere statements of fact, basic events, or word definitions where the hyperlink is the word being defined. Links to sources where the title is not supplied in advance or whose content is otherwise not spelled out will be supplied next to the link in parentheses (excluding Wikipedia, save when directly quoting from the site). One, this will be especially common with YouTube essayists I cite to credit them for their work (though sometimes I will supply just the author’s name; or their name, the title of the essay and its creation year). Two, concerning YouTube links and the odds of videos being taken down, these are ultimately provided for supplementary purposes and do not actually need to be viewed to understand my basic arguments; I generally summarize their own content into a single sentence, but recommend you give any of the videos themselves a watch if you’re curious about the creators’ unique styles and perspectives about a given topic.

Concerning (the PDF) Exhibit Image Quality: This book contains over 1,000 different images, which—combined with the fact that Microsoft Word appears to compress images twice (first, in-document images and second, when converting to PDFs) along with the additional hassle that is WordPress’ limitations on accepting uploaded PDFs (which requires me to compress the PDF again—has resulted in sub-par image quality for the exhibit images themselves. To compensate, all of the hyperlinks link to the original sources where the source images can be found. Sometimes, it links to the individual images, other times to the entire collage, and I try to offer current working links; however, the ephemeral, aliased nature of sex work means that branded images do not always stay online, so some links (especially those to Twitter/X accounts) won’t always lead to a source if the original post is removed.

Concerning Aliases: Sex workers survive through the use of online aliases and the discussion of their trauma requires a degree of anonymity to protect victims from their actual/potential abusers. This book also contains trauma/sexual anecdotes from my own life; it discusses my friends, including sex workers and the alter egos/secret identities they adopt to survive “in the wild.” Keeping with that, all of the names in this book are code names (except for mine, my late Uncle Dave’s and his ex-wife Erica’s—who are only mentioned briefly by their first names). Models/artists desiring a further degree of anonymity (having since quit the business, for example) have been given a codename other than their former branded identity sans hyperlinks (e.g., Jericho).

Extended, Book-Wide Trigger Warning: This entire book thoroughly discusses xenophobia, harmful xenophilia (necrophilia, pedophilia, zoophilia, etc), homophobia, transphobia, enbyphobia, sexism, racism, race-/LGBTQ-related hate crimes/murder and domestic abuse; child abuse, spousal abuse, animal abuse, misogyny and sexual abuse towards all of these groups; power abuse, rape (date, marital, prison, etc), discrimination, war crimes, genocide, religious/secular indoctrination and persecution, conversion therapy, manmade ecological disasters, and fascism.

(artist: Romantic Rose)