There is a right-wing ideology and a left-wing ideology. The right-wing ideology claims that the division of mother and whore is phenomenologically real. The virgin is the potential mother. The left-wing ideology claims that sexual freedom is in the unrestrained use of women, the use of women as a collective natural resource, not privatized, not owned by one man but instead used by many. The metaphysics is the same on the Left and on the Right: the sexuality of the woman actualized is the sexuality of the whore; desire on her part is the slut’s lust; once sexually available, it does not matter how she is used, why, by whom, by how many, or how often. Her sexual will can exist only as a will to be used. Whatever happens to her, it is all the same. If she loathes it, it is not wrong, she is.
Within this system, the only choice for the woman has been to embrace herself as whore, as sexual wanton or sexual commodity within phallic boundaries, or to disavow desire, disavow her body. The most cynical use of women has been on the Left—cynical because the word freedom is used to capture the loyalties of women who want, more than anything, to be free and who are then valued and used as left-wing whores: collectivized cunts. The most cynical use of women has been on the Right—cynical because the word good is used to capture the loyalties of women who want, more than anything, to be good and who are then valued and used as rightwing whores: wives, the whores who breed. As Kate Millett writes: “… the great mass of women throughout history have been confined to the cultural level of animal life in providing the male with sexual outlet and exercising the animal functions of reproduction and care of the young.”14
Men of the Right and men of the Left have an undying allegiance to prostitution as such, regardless of their theoretical relationship to marriage. The Left sees the prostitute as the free, public woman of sex, exciting because she flaunts it, because of her brazen availability. The Right sees in the prostitute the power of the bad woman of sex, the male’s use of her being his dirty little secret. The old pornography industry was a right-wing industry: secret money, secret sin, secret sex, secret promiscuity, secret buying and selling of women, secret profit, secret pleasure not only from sex but also from the buying and selling. The new pornography industry is a left-wing industry: promoted especially by the boys of the sixties as simple pleasure, lusty fun, public sex, the whore brought out of the bourgeois (sic) home into the streets for the democratic consumption of all men; her freedom, her free sexuality, is as his whore—and she likes it. It is her political will as well as her sexual will; it is liberation. The dirty little secret of the left-wing pornography industry is not sex but commerce.
The new pornography industry is held, by leftist males, to be inherently radical. Sex is claimed by the Left as a leftist phenomenon; the trade in women is most of sex. The politics of liberation are claimed as indigenous to the Left by the Left; central to the politics of liberation is the mass-marketing of material that depicts women being used as whores. The pimps of pornography are hailed by leftists as saviors and savants. Larry Flynt has been proclaimed a savior of the counterculture, a working-class hero, and even, in a full-page advertisement in The New York Times signed by distinguished leftist literati, an “American Dissident” persecuted as Soviet dissidents are. Hugh Hefner is viewed as a pioneer of sexual freedom who showed, in the words of columnist Max Lerner, “how the legislating of sexuality could be fought, how the absurd antiplay and anti-pleasure ethic could be turned into a stylish hedonism and a lifeway which includes play and playfulness along with work.”15 Lerner also credits Hefner with being a precursor of the women’s movement.
On the Left, the sexually liberated woman is the woman of pornography. Free male sexuality wants, has a right to, produces, and consumes pornography because pornography is pleasure. Leftist sensibility promotes and protects pornography because pornography is freedom. The pornography glut is bread and roses for the masses. Freedom is the mass-marketing of woman as whore. Free sexuality for the woman is in being massively consumed, denied an individual nature, denied any sexual sensibility other than that which serves the male. Capitalism is not wicked or cruel when the commodity is the whore; profit is not wicked or cruel when the alienated worker is a female piece of meat; corporate bloodsucking is not wicked or cruel when the corporations in question, organized crime syndicates, sell cunt; racism is not wicked or cruel when the black cunt or yellow cunt or red cunt or Hispanic cunt or Jewish cunt has her legs splayed for any man’s pleasure; poverty is not wicked or cruel when it is the poverty of dispossessed women who have only themselves to sell; violence by the powerful against the powerless is not wicked or cruel when it is called sex; slavery is not wicked or cruel when it is sexual slavery; torture is not wicked or cruel when the tormented are women, whores, cunts. The new pornography is left-wing; and the new pornography is a vast graveyard where the Left has gone to die. The Left cannot have its whores and its politics too.
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But the example of Bluebeard should give us pause. For years he has been, for one reason or another, killing off his wives. Now, finding his life disgusting, devoid of sense, he searches his experience for pattern, sees that he has regularly murdered his wives, and asserts that next time he will do it on purpose. Voila!
—John Gardner, On Moral Fiction
In the introduction to Black Fashion Model, a book, the reader is warned that this story “was tempered by the fire of experience, molded in the cauldron of intense, adult desire…” Those who are shy or those who want to see the world through rose-colored glasses are advised not to read the book. Watergate has shaken public confidence in the president and elected officials. Black Fashion Model will scrutinize “the possibilities for tragedy when public power becomes a tool for private use.” Another major theme in the story is “the simple unalterable fact of [the main character’s] color—she is a Negress, a young, beautiful black woman.” The abuse of power and the fact of prejudice are in the center of her life. Her name is Kelly Morris. She moves like a bird or snake. When she was five, she won a dance contest in the ghetto. She started studying dance when she was eight. Kelly’s mother wanted her to be a professional dancer but she had ideas of her own since she was “one of the most physically charming black women ever to leave the streets of the ghetto.” Her body is long, her breasts are big. Her features show “a perfect, savage beauty.” She has dark, thick lips, a wide and slightly squashed nose. She is beautiful and innocent. Her skin is “dark mellow cocoa” and deep brown. Kelly walks down the street in high heels and her tightest skirt. Men talk about how they want a piece of her, but how she will be famous one day. Kelly tires of dance. When she was seventeen, she allowed someone to take photographs of her. The savage beauty of her face became important in front of the camera. Men respected her for her innocence but the camera made Kelly “into a wanton, lusty woman!” Kelly became one of the most famous models in the country and the most famous black model. She remained innocent, a savage beauty, a black diamond. Robert Grey watches Kelly posing. Robert Grey imagines her on her knees between his white thighs. Robert Grey imagines her touching his cock. Robert Grey imagines her pink tongue sucking his cock. Robert Grey imagines her two hot red nipples. Robert Grey imagines her two black naked breasts and his pink hardening cock. Robert Grey imagines her saying: “I like a big stiff cock like that, Mr. Robert Grey. I really do … Kelly stops posing. Kelly has a weakness for men like Robert Grey who look so helpless. Kelly thinks of her love, Doug, who is white. Robert Grey tells Kelly that Doug has been arrested on a morals charge. Robert Grey watches her breasts shimmer. Doug did something to a little girl. Robert Grey wonders what it would be like to be a photographer and take pictures of naked girls all day long. Robert Grey asks the photographer if he ever got the chance to—ah, ah—Eric, the photographer, blushes. Kelly returns wearing a fur coat and a bikini. Kelly thinks Robert Grey is a policeman. She follows him to his car to go to Doug in jail. Robert Grey abducts Kelly. Robert Grey pushes Kelly into a run-down house. A white woman is in the room. She is holding wet
, glossy photographs in her hands. She calls Kelly a bitch. Kelly demands an explanation. The white girl winks at Robert Grey. The white girl tells Kelly she will explain. She shows Kelly pictures of Doug with a child, then another child, then another child. Kelly is sick. Robert Grey closes the blinds and double-locks the door. Robert Grey calls Kelly “little black girl.” Her black breasts shimmer. The white woman is going to take photographs of Kelly. Kelly’s breasts are exposed. The white female fingers are on her big black breasts. She gets upset. She struggles free. Robert Grey hits her. He hits her again. She cries and feels “pain and humiliating submissiveness.” She falls into a heap of “half-naked black flesh,” her thighs undulate. Robert Grey undoes his pants. Robert Grey says: we know you want it. Angela, the white girl, is naked too. Angela mimics black slang. Kelly says that she always tried to be nice to white people. Angela tells her that this has nothing to do with race. Angela wants to use the photographs she is going to take of Kelly to make a career for herself, but she gets pleasure too from having Kelly there naked. Robert Grey’s prick is getting even harder. Robert Grey takes off Kelly’s bikini bottom. He sees the young black girl’s black hips. He wants to get his mouth around her black nipples. His hand touches her black breast. She squirms like a black snake. She is like an animal in a zoo. Angela takes photographs. Robert Grey’s fingers are on her black ankles and his soft white lips are on her thick black mouth. His cock rubs against her black thigh. Angela tells him to get Kelly in the cunt. Robert Grey fingerfucks her between her black loins. She screams. Robert Grey lets her go and watches her anus, which is in the middle of her black buttocks. He calls her “my little brown butterfly.” He grabs her and pulls her humiliatingly downward. Kelly tells them that what they are doing is not right. The white girl says: “you’d think this was a convention for the promotion of black-white relations the way she talks.” The white girl wants Kelly tied up. The white man ties up “the young pretty Negress.” She is tied spread-eagle. “Her naked black flesh shimmered …” Angela kisses her and touches her all over. Robert Grey takes photographs. A chill goes up Kelly’s “small, black spine.” Angela kisses the black girl’s dark flesh. She arrives at “the Negress’s black nipple.” Angela sucks the black girl’s vagina. Kelly moans: do it, do it. Angela’s hand slides down the black girl’s belly and her dark hip. Angela’s hand holds her black breast. Angela takes her tongue away from “Kelly’s black cuntal lips” and calls Kelly her little black princess. Robert Grey gets excited. Kelly is “beginning to go out of her mind with the powerful affects [sic] of cunt-licking lust!” Angela continues to kiss the environs of Kelly’s cunt as Kelly wonders how she could have been a fashion model for a national magazine only a few hours ago and now she is in the middle of a nightmare with an ambitious lesbian photographer. Robert Grey now wants his. Angela tells him to give our little black friend a rest. Robert Grey demands that Angela suck him. Kelly looks on, despite herself. Angela sucks his cock. Angela wonders if our little black bitch can suck cock as well as she can. Angela keeps sucking. Kelly is disgusted to have to watch a white couple performing oral sex while she is tied like an animal. But an inner voice with masochistic urges is telling her that she loves being forced. Angela keeps sucking. Robert Grey begins to play with her vagina with his fingers. Robert Grey can see the black girl with her black thighs. Angela keeps sucking. Angela keeps sucking. Robert Grey looks at Angela’s vicious face. Angela sucks “with wanton frenzy.” Kelly is disgusted. Kelly feels an erotic thrill. Kelly keeps watching. Angela keeps sucking. Angela’s cheeks bloat. Angela has become a wild animal in heat, a bitch. Angela keeps sucking. Robert Grey jams his fingers into her cunt. Angela sucks harder. The cum pours out of Robert Grey’s prick. Kelly tries to turn away but it is too late. Angela keeps sucking. Robert Grey rams his cock deep into her throat. Robert Grey says that he should have saved all that for our little black girl. Kelly tries not to think. Robert Grey decides to fuck the black girl. He licks her black breasts and her black lips. Robert Grey gloats that she is the wealthiest, most famous black fashion girl in the world. She struggles as he violates her black flesh. He climbs between her legs. He has never really looked at the vagina of a black girl before. It is just like his wife’s cunt except that his wife is an old hag. He sucks her. She has chills in her black loins. His penis touches her young black leg. She prays. His lips clamp down on her clitoris. She experiences erotic excitement and moral frustration. She prays. Robert Grey sucks. He looks at her cunt. Her skin and hair are deeply black. Her pubic hair is black fleece. He likes the deep crimson of “the inner cuntal area.” He sucks. Robert Grey extracts his tongue to say that “times like this I wish I was a black man.” He chomps on his lips. His lips and tongue are wanton and lewd. He sucks. She begs him to stop. She is hot. Robert Grey tells her to “grin and bear it like a good little nigger girl.” Kelly is hurt. She is being defiled physically and her self-respect is also being defiled. She is being made to enjoy it. She cries. He keeps calling her “little nigger girl.” He starts putting his fingers in her cunt. He calls her a dumb bitch. She is feeling the hot passions of arousal. Robert Grey is hurting her with his fingers. Kelly prays. Kelly thinks she will be torn. Kelly thinks she will faint. Robert Grey is sadistic and blushing. He makes her smell his fingers. She licks his fingers. She begs him to stop. He asks her what she would rather he do. He asks if he should ram her pussy with his fist or use a big rhino dildo or get the Great Dane that fucks women to come fuck her. She asks where Doug is. Robert Grey has a plan. Kelly looks up. She sees her smooth black belly. Robert Grey fingerfucks her. He keeps withdrawing. He spreads the fluid from her cunt on his cock with his fingers. He tells her it excites her. His monstrous white shaft is between her black thighs. His fingers pinch her clitoris. He puts his finger in her. Robert Grey’s “blood-filled cock would soon be ramming into her body.” Robert Grey does not want to hurt her by forcing his cock in too fast. He wants her to like it too. But Kelly is so excited she can’t wait. When his cock is buried in her belly she feels as though she is being stretched apart. She loves it. Robert Grey keeps fucking her. Kelly tries to resist wanting it but she can’t. Robert Grey is twice as excited because she is black and he is white! Robert Grey thrusts harder. She is hopelessly impaled. Angela comes from the darkroom with new photos. She laughs as she sees Kelly’s “writhing body welcoming the forceful thrusts of Robert Grey’s driving cock. The young black girl’s hot little gash seemed to gape in greedy desire.” Angela gets excited. Kelly feels ashamed and excited. Kelly starts screaming: Fuck me, fuck me, fuck me. Robert Grey sadistically stops. Robert Grey sadistically begins again. He keeps fucking her until she finally goes limp. “Her body was beaten and bruised and satiated from the ravishment, but she slowly but surely remembered who she was and who the man was she was with.” The camera is clicking. Angela shows her the photographs of her being fucked by Robert Grey. Kelly asks for Doug. They call Bart, Kelly’s former boyfriend. Bart is going to be the third person. Bart Kurtis stands above her. He undresses. He is a policeman with a detective’s 38. He has had Doug arrested. He wants revenge on Kelly. They untie her. Her breasts hang like wild black fruits. Angela sucks Bart. He wants Kelly to suck him. She is lustwracked. He makes her suck. Her black lips suck. His prick is too big for any natural orifice. His cock keeps sticking at the bottom of her throat. She feels lust. She considers herself “the worst little nigger girl in the entire city.” Bart lunges viciously in her throat but she is sucking with a wild abandon. Her pain is horrible but her lust is overwhelming. She pulls away and manages to stop Bart from coming in her mouth. The white lavalike cum erupts. He tries to get it on her black cheek. She wonders how it is that a black man’s cum and a white man’s cum are the same color. Robert Grey gets her on top of him. Bart’s long, thick cock is getting ripe again. It is too big to fit in her cunt. Angela puts Robert Grey’s cock in Kelly’s cunt. Bart says: “Okay now, you little black whore, what about some brown-eye… just to let you feel how good it is to be home aga
in, eh? I bet you’d really like to have my cock up your tail, hey?” She screams. Bart has a huge, meaty erection. Bart pushes and pushes and pushes in. She realizes with terror that Bart’s cock is not even nearly in her yet. He keeps going in farther and farther. It is like a crucifixion, “the nail pounding into her… defiling her asshole.” Then she starts to get excited and like it. She screams, fuck me, fuck me, fuck me, hurt me, fuck my ass my lover. Robert Grey fucks harder. Angela makes Kelly eat her cunt while the two men are fucking Kelly. Bart cums. Kelly cums and cums and cums. Her cumming makes the two men hard again. The four continue their lusty, wild abandonment. Kelly returns to work the next day. She tries to keep the secret of her “molestation and the horrible agony of her ultimate defilement and humiliation.” A national newspaper prints one of the lascivious photos and Kelly is ruined forever. The once most famous black fashion model retires to anonymity with Doug, the white lover she tried to protect.
Last Days at Hot Slit Page 13