“Make It Real” is a blog-style book promotion, originally inspired by those done with Harmony Corrupted and Romantic Rose for Volume Two; re: “Brace for Impact,” “Searching for Secrets” and “Deal with the Devil” (2024). Those promotions sought to promote and provide Volume Two, part one and two’s individual pieces (two halves, but three modules) for easy public viewing in single-post form; re: for the Poetry Module, Undead Module and Demon Module. “Make It Real” shall do the same, but with Volume One/the manifesto (versus “The Total Codex” promoting Volume Zero/the thesis volume, which I will release first). 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 Volume One’s table of contents (and hyperlinks to each post), followed by the book disclaimer.

Further Reading: As of 3/13/2025, I’ve given every book volume/(sub)module its own promotion series. Access all of them, here.

Note: As with my other older promotions, this series will release one post at a time; unlike those promotions, these books have already been written/are already available online. This means I can release the book samples on a daily basis. The whole process should several weeks. —Perse

Volume One is already written/was released on Valentine’s 2024! 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 found either at the bottom of this page or on its own webpage.

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: Blxxd Bunny)

Contents (for Volume One)

Volume One, unlike Volume Two, lacks separate modules or sub-volumes. Instead, it is entirely self-contained. Even so, its material still divides into different sections, whose main three I’ve outlined ahead of time:

The preface explains how Gothic (gay-anarcho) Communism differs from older Gothic and Marxist academia/praxis that I wish to modify and borrow from (Marxist-Leninism, postmodernism, psychoanalysis) in order to proceed beyond the myopia of Capitalist Realism using a unique synthesis of Gothic theories, Marxist concepts, and various other factors presented with commonplace language as freighted, liminal and already-colonized, but also potentially freeing when used by workers to open up their minds in dated, pulpy ways: the proletarian Gothic imagination.
“Manifesto” simplifies the complex theory of our thesis volume by providing our manifesto in full; the manifesto gives our mission statement, as well as a variety of signposts and core ideas I’ve coined/retooled from older thinkers: the six Gothic-Marxist tenets of Gothic Communism (the Six Rs), four main Gothic academic theories (the Four Gs); its essays/essay groups (“The Nation State,” “An Uphill Battle,” and “Monster Modes“) also explore the topics of the Gothic mode we’ll continue to cover through the rest of the book—its monsters, lairs/parallel space, Hermeneutic Gothic-Communist Quadfecta, and phobias—as well as the Six Doubles of Creative/Oppositional Praxis and their synthetic oppositional groupings through which to synthesize, thus interrogate state abuses using trauma writing and artwork.
“Instruction“ focuses on instructing theory once simplified by using trauma writing and artwork as a synthetic, educational means of Gothic poetic expression. The manifesto postscript tackles generational trauma and police abuse by seeing it in others through their pedagogy of the oppressed; the sample essay uses every key idea in my book to analyze a primary text at full speed; “Paid Labor“ stresses the value of paying workers when synthesizing praxis; and the synthesis symposium covers how to use the synthetic oppositional groupings to synthesize our general terms and academic ideas, processing them (and our trauma) into idiosyncratic, emotionally and Gothically intelligent social-sexual habits within our own lives; it covers more at length what we illustrated during the camp map finale in Volume Zero, focusing on Cartesian trauma and how its profit motive unironically treats nature as food: (rape and war that harvest nature through monstrous-feminine dialogs).

These sections essentially function as a module would for Volume Two, save that they operate deliberately inside one book volume rather than dividing it up into separate modules (a tenable goal, given my thesis volume is quite a bit shorter than Volume Twos various modules); i.e., Volume One takes Sex Positivity‘s entire thesis argument from Volume Zero and simplifies it into what I call “the Basics” (of opposition synthesis), while also introducing the tools of the state and ways we can subvert said tools through our own daily synthesis cultivating good social-sexual habits. “Manifesto” and “Instruction” contain multiple chapters, subchapters, and so on (though nowhere near as many as Volume Two’s various sub-volumes do). Even so, it is my shortest and most accessible volume.

Cover model: Blxxd Bunny

Volume Summary

Volume One contains my Gothic-Communist manifesto and outlines a teaching method for synthesizing praxis; i.e., through an introduction to simplified Gothic-Communist theory. Written before my thesis but updated in light of its construction, the manifesto takes a more conversational approach to my thesis argument; i.e., presenting said argument through my original preface, manifesto, sample essay and synthesis roadmap as a potent means of teaching others how to develop Communism through the Gothic mode. To this, Volume One merely begins exploring the application of my theories when trying to achieve development through praxial synthesis and catharsis; i.e., power and trauma as things to interrogate (and negotiate/play with) by writing about and illustrating them through Gothic poetics in the shared dialogs of contested spaces: ludo-Gothic BDSM serving as a flexible, campy and productive means of teaching empathy and class/culture consciousness through anecdotal evidence merged with dialectical-material scrutiny and analysis—where survival and healing from state abuse (and generational trauma) must be expressed through what we create ourselves as stemming from said abuse and its complicated spheres. While the reduction of pure theory to more comprehensible forms remains vital to achieving emotional/Gothic intelligence and class/cultural awareness, their instruction is nonetheless informed by workers living with trauma who inherently distrust the state: the oppressed. Heeding their pedagogy remains essential when synthesizing praxis in our own daily lives; i.e., through our personalized learned approaches to Gothic instruction being assisted by those with less privilege merging their poetics (and theatre) with ours.

approximate volume length (“): ~187,000 words/497 pages and ~326 unique images

Foreplay to Revolution (opening, outline and preface)

Opening Summary

The opening, outline and preface before the manifesto proper.

Posts

-1. “Volume One: Manifesto and Instruction” (volume opening): The opening for the entire volume. Opening Length: ~1 page.
0. “Manifesto/Instruction Volume Outline” (included with volume opening): A short outline for the entire book (already included, above; re: Contents). Length: ~3 pages.
1. “Preface: Gothic (gay-anarcho) Communism; or, Synthesizing Emotional/Gothic Intelligence through a Sex-Positive Gothic Mode” (included with volume opening): The preface to Volume One explains, by and large, what separates Gothic (gay-anarcho) Communism from Marxist Leninism; but also, it stresses the importance of killing our darlings/past heroes in favor of a better worker mindset towards universal liberation. Length: ~15 pages.

Manifesto

Opening Summary

Volume One’s second main section, after the preface, takes the complex theory from Volume Zero and simplifies it into a manifesto-like format; i.e., from complex theory to simple.

Posts

2. “Manifesto: Simplifying Theory (section opening)”: The opening to and signpost element of the volume’s manifesto section. Opening Length: ~3 pages.
3. “The Gist: Our Gothic-Communist Mission Statement and List of Oppositional Praxial Coordinates, Including Our Tenets and Main Gothic Theories” (included with section opening): Gives our mission statement, then outlines the entire manifesto (the manifesto tree of oppositional praxis) list by list. Length: ~1 page.
4. “The Nation-State: Remediating Modern-day “Rome,” Gargoyles, and the Bourgeois Trifectas; also, critiquing Amazons as Liminal Expression” (feat. gargoyles and Autumn Ivy—included with section opening): Unpacks gargoyles in the canonical sense, then introduces and explores the trifectas themselves for the remainder of the chapter. This chapter also discusses how subterfuge encourages tokenized coercion under manufactured conditions during liminal expression inside weird-nerd culture; i.e., Amazons, and the praxial synthesis of that particular monster type as “gargoyle-esque” when personified by weird nerds. The example we’ll explore occurred between me and called Autumn Ivy, a non-binary sex worker who abused me during our own labor exchanges: as weird nerds working in praxial opposition. Length: ~11 pages.
5. “An Uphill Battle (with the Sun in Your Eyes): Operational Difficulties” (sub-section opening): Outlines the many pressures and forces existing during the struggle to synthesize praxis and unify workers using monstrous poetics; the three monsters (and their trauma style) we focus on are gargoyles, Amazons and vampires. Opening Length: ~1 page.
- 5a. ” part one: “Introducing Revolutionary Cryptonymy and the State’s Medieval Monopolies on Violence and Terror through Animalized Morphological Expression” (sub-sub-section opening—included with sub-section opening): Introduces the problem of state monopolies through violence, terror and morphological expression, and how to fight back as a state victim through revolutionary cryptonymy by using animalized Gothic poetics. Opening Length: ~14 pages.
  - 5a1. “Predators and Prey (part one): Predators as Amazons, Knights, and Other Forms of Domesticated, Animalized Monster Violence” (feat. James Cameron—included with sub-section opening): Considers the state’s monopoly of violence (and terror) as told through its animalized soldiers, but also their bodies as things if not depicted in heteronormative ways, then policed as such; i.e., by the Amazon and similar monstrous-feminine entities as relayed in ways that generally “corrupt” and triangulate against/prey on other minorities. Length: ~31 pages.
  - 5a2. ” (part two): “Prey as Liberators by Camping Prey-like BDSM; Its Bodily Psychosexual Expression and Campy Gothic Origins Stemming from Horace Walpole onwards”: Considers those who hide like, and manifest as, animals in the shadow of unironic Gothic castles (whose initial formation and campy subversion we will also examine, vis-à-vis Horace Walpole and Matthew Lewis). Length: ~48 pages.
- 5b. ” part two: “Concerning Rings, BDSM and Vampires; or the State’s False Gifts, Power Exchange, and Crumbling Homesteads Told through Tolkien’s Nature-Themed Stories”: Concerns arrangements of power that are shared and worn: namely rings and collars of the Tolkien-esque sort, and in various roleplay settings but especially the Gothic castle and vampirism as something to summon and evoke. Length: ~44 pages.
- 5c. ” part three: “Challenging the State’s Manufactured Consent and Stupidity (with Vampires)”: Takes part two’s praxial factors and considers them in relation to the state’s authored stupidities; i.e., as things to challenge through our own Gothic poetics’ creative successes when interrogating trauma ourselves. Length: ~40 pages.

6. “Monster Modes, Totalitarianism (menticide) and Opposing Forces: Oppositional Praxis”: Revisits oppositional praxis, lists all the monsters, lairs and phobias we will explore in Volume Two and Three, and outlines menticide, a form of brainwashing that the synthesis roadmap explores more thoroughly. Length: ~30 pages.

Instruction

Summary

My thesis proper as a statement to introduce, then argue against canon with. Said introduction includes various foundational elements, upon which my core thesis argument rests, and whose body extends into two segues before the “camp map” (which focuses on camping canon): the roots of camp and praxial inertia (obstacles to heed, mid-praxis).

Posts

7. “Instruction: Trauma Writing/Artwork, or Surviving and Expressing Our Trauma through Gothic Poetics” (section opening): The opening/signpost section to the instruction half of Volume One. Opening Length: ~5 pages.
8. “Manifesto Postscript: ‘Healing from Rape’—Addressing ‘Corruption,’ DARVO and Police Abuse with the Pedagogy of the Oppressed in Ninja Scroll and The Terminator” (feat. Cuwu—included with section opening): Discusses learning about the trauma of others to help someone process their own in lieu of state abuses (through the police and their deputized terror tactics in stochastic forms): with heroes and monsters. Length: ~39 pages.
9. “Gothic Communism, a sample essay: ‘Cornholing the Corn Lady—Ghostbusters: Afterlife and Empire'”: Offers a small reprieve while we examine Ghostbusters: Afterlife through a postcolonial lens, vis-à-vis Edward Said. Length: ~15 pages.
10. “Paid Labor: Summarizing Praxis as Something to Synthesize by Paying Workers”: Briefly discusses an important refrain to solidarized labor under sex positivity: sex work is work, which needs to be paid. Furthermore, it explores how many different kinds of work constitute sex work, insofar as Capitalism dimorphically sexualizes all workers, and that intersections of art, porn, prostitution, and writing must collectively negotiate and express worker rights and boundaries through intersectional solidarity. Length: ~8 pages.
11. “Synthesis Symposium: Nature Is Food; a Roadmap for Forging Social-Sexual Habits, or Cultivating Gothic-Communist Praxis in Our Own Daily Lives/Instruction” (sub-section opening)”: A symposium that considers trauma as a Cartesian enterprise, treating nature as food. As such, it discusses a means of synthesizing praxis, thus interrogating and processing Cartesian trauma (war and rape) in our own daily lives in opposition to state forces harvesting us. It provides a lengthier sample of synthesis than Volume Zero’s camp map finale, but still constitutes a taste of what we will discuss and propose even more thoroughly in Volume Three; i.e., when we explore proletarian praxis at length. The roadmap comes in four parts, which we’ll unpack and signpost more when we arrive. Monster-wise, though, it explores generational trauma during Gothic poetics in relation to nature-as-monstrous-feminine; i.e., exploited by Cartesian thought to canonize, thus facilitate, unironic war and rape: Medusa, but also forbidden expressions of the Medusa through Georgia O’Keefe, H.R. Giger and more recent, less infamous auteurs. It also examines Cartesian arrangements of state violence and resistance according to Heinlein’s competent man and Kurosawa’s Western. Keeping with the Medusa, though, the roadmap will also explore Amazons, phallic women/traumatic penetration, and various abject morphologies policed under Cartesian binaries during pornographic expression; e.g., racialized tropes, but also fat people at large. Opening Length: ~3 pages.
- 11a. “Synthesis Roadmap, or Nature Is Food, part zero: Pre-Symposium; or, Synthesis, Equations and Cartesian Trauma (war and rape)” (including with sub-section opening): Explains what synthesis is, as well as providing equations and trauma to prime the reader with before pressing into the symposium itself. Length: ~20 pages.
- 11b. ” part one: The Basics of Oppositional Synthesis; or Outlining Girl Talk, Menticide, the Liminal Expression of Subversive Revolution and ‘Perceptive’ Pastiche in the Face of Cartesian Trauma” (feat. Medusa, Stigma Animals and Georgia O’Keefe): An examination of the basics, or pure reductions, of our synthetic oppositional groupings; i.e., how our pedagogic emphasis involves oppositional praxis as something to synthesize according oppositional synthesis with a proletarian agenda: to prevent war and the rape of workers/the natural world by raising emotional/Gothic intelligence and, by extension, a class/cultural awareness that leads to systemic catharsis; i.e., through trauma writing and artwork as things to express and teach through a basic educational approach. Features Medusa and stigma animals, but also Georgia O’Keefe, H.R. Giger and more recent auteurs. Length: ~46 pages.
- 11c. ” part two: “A Deeper Look at Cartesian Trauma in War Culture” (feat. Robert Heinlein and Akira Kurosawa): An iconoclastic consideration of war culture and how it can be interrogated and synthesized in our own creative responses to canonical forms; i.e., how to recognize said canon and express our trauma in relation to it during class/culture war as a means of challenging Cartesian arrangements of power and outcomes. Features Robert Heinlein and Akira Kurosawa. Length: ~24 pages.
- 11d. ” part three: A Deeper Look at Cartesian Trauma in Rape Culture” (feat. phallic women/traumatic penetration and sports abuse): An iconoclastic consideration of rape culture and how it can be interrogated and synthesized in our own creative responses to canonical forms; i.e., how to recognize said canon and express our trauma in relation to it during class/culture war as a means of challenging Cartesian arrangements of power and outcomes; features Amazons, phallic women/traumatic penetration, and violence in sports. Length: ~35 pages.
- 11e. ” the finale: “A Problem of ‘Knife Dicks,’ or Humanizing the Harvest; Hammering Swords into Ploughshares” (feat. racist porn and fat bodies): Versus part three, the finale examines morphologies policed under such binaries during pornographic expression; e.g., racialized tropes, but also fat people at large and human (often female) bodies targeted for having “fat, immodest” qualities, which are then alienated by capital, before being fetishized and harvested like crops. We have to humanize the harvest. Length: ~26 pages.
12. “End of the Road: Concluding the Roadmap and Volume One”: Quickly (over ten pages) reiterates some key things Volume One has covered that you should keep in mind moving forward. Length: ~12 pages.

(artist: Blxxd Bunny)

Disclaimer

(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!)

“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.