I had just read your new story and much enjoyed it, so I checked to see what else you had written. I was disappointed that you had only written one previous story, but I much enjoyed this first time / incest story. You wrote the sex scenes very well, but I was disappointed that the boy is still a virgin as far as not yet fucking her pussy. That is the main reason I would love a sequel about their weekend together - lets get some heavy hot fucking scenes included!!
Outlander never fails readers when it comes to mature content. It was never meant to be watched or read by the faint of heart. Outlander tackles sexual assault, incest, gore, violence, and pedophilia to name a few. It is humanly accurate as much as it is historically. Its rape scenes were considered the most disturbing and graphic in the history of television, which beat the rape scene of Sansa Stark in Games of Thrones.
Walter Benn Michaels opens his recent book, OurAmerica: Nativism, Modernism, and Pluralism, with an analysisof the incest theme in William Faulkner's The Sound and theFury, cueing the reader right away that the collective"our" of the title is purchased with some heavy irony.Michaels' provocative opening gambit is that the ReverendShegog's Eucharist sermon, in Faulkner's last chapter, can beread as "repeating and interlacing the twinnedfantasies" (OA, 1) of the novel. The first suchfantasy is social and corresponds to the word nativism inMichaels' subtitle: the Compsons, in different ways, wish theycould sustain their family endogamously, that is, withoutreliance on the legal conventions of kinship that must inevitablyintroduce outsiders to the clan. According to Michaels, thestatements "I have committed incest I said" (Faulkner,95) and "because like I say blood is blood and you can't getaround it" (297) are exemplary, indeed are the apotheoses,of nativist logic as manifested by Quentin and Jason,respectively.
The second fantasy, which corresponds to theword modernism in the subtitle and which always occurs in somerelation to the first, is linguistic: it involves the wish that wordscan become things by functioning"onomotopoetically" outside the in some sense arbitrarysystems of syntax and substitution which govern the way meaningis normally engendered. The pertinent textual analogs here areQuentin's qualifying "I said" in "I have committedincest I said" Benjy's habit of substituting wordsabout his sister for his actual, physical sister. Thus can Shegogbe said said to "twin" the fantasies in question when,having interpellating the congregation as "breddren andsistuhn," he insists in his sermon that the word of God becomesChrist's flesh.
Now I realize this is a regrettably cursorytreatment of a carefully nuanced thesis, and I'm confident thatmany readers of all or part of Our America, myselfincluded, could amass various kinds of evidence to show howwoefully misinformed or blockheadedly reductive Michaels is beinghere. But I have to confess that the nativist-modernist nexus heexposes is one I've had a hard time thinking through or gettingaround. Rather than trying to refute the argument, I thought I'duse the short time allotted here to sketch a re-reading of RalphEllison's Invisible Man, a work many associate with amoment of high modernist hegemony, against this fresh backdrop ofMichaels' thesis. Since Ellison falls outside Michaels' explicithistorical purview, I can't fairly hope to use him prove Michaelswrong; and yet Invisible Man strikes me as an apt occasionto test the limits and ramifications of bold assertions like"Maybe we should describe modernism as something like theresearch-and-development division of identitarianism" (Modernism/Modernity3.3, 1996), and "just as I don't think you can understandliterary modernism without understanding its participation in theproduction of identitarianism, I don't think you can understandmodern identitarianism without understanding literarymodernism" (ibid). What happened in the '20's is thatidentity became a project, a thing someone could desire,live up to, or betray. In order for this to happen, it had tobecome detachable from actual behavior; and I take InvisibleMan as a kind of extended meditation on the possibility oreven the necessity of such nativist-modernist"projects." In what follows, I'll limit my comments toEllison's treatment of two of Michaels' three bad -isms--thenativism implicit in Invisible Man's treatment of incestand the modernism implicit in its treatment of the ontology ofthe sign--stressing how Ellison reinscribes or signifies uponthem in ways that must unsettle "our" definition ofAmerica; in short, where Michaels' claims that texts can"parody but also reproduce" (26) nativist-modernism, Iwant to insist upon the crucial differences Ellison's parodiesand caricatures produce even as they re-produce.
I have at least hinted that, for Michaels, thenativist modernist need not be conscious of the racial fantasy ofnationhood. Quentin is here again exemplary, proving as he doesthat "you don't have to be attracted to your sister"(6) to want to participate in the nativism whose logicalimperative is incest. Such an assertion strategically allowsMichaels to generalize from thematic examples to pragmaticmatters "outside" the text, while leaving to one sidethe cognitive and rhetorical questions of agency and intentionwhich we can think of as framing a literary speech act.Meanwhile, Ellison remains profoundly interested in thesematters; for him, a novel is a symbolic action which forms"an argument about the nature of reality." The Freudianaxis of conscious and unconscious cognition is, indeed, crucialto the incest theme as troped by Ellison in chapter 2 of thenovel--familiar to many of us, I hope, as the Trueblood episode.To see this, we need only recall how Mr. Norton's failure toremain conscious after being "spoken for" by a blacksharecropper named Jim Trueblood, prevents him from hearing someunquieting about race in America during the "GoldenDay" episode in chapter 3. In short, Ellison teaches thatwhat is needed for full consciousness, or what comes as itsreward, is a decisive degree of control over one's story: theautonomy of telling which will turn out, as well, to be thenarrative payoff of the novel as a whole.
What follows is nothing if not a riff onnativism. Trueblood's name is already an ironic commentary on theincest fantasy, and the juxtaposition of and dialogue betweensuch symbols of white wealth and black poverty, relatively rarein American literature, is a uniquely Ellisonian touch of theburlesque: in one scene he is thus able to signify upon (amongother things) 1) the irrepressible, if marginalized, presence ofblacks in the American canon, something Toni Morrison will laterunderscore; 2) the minstrelization of black oral culture byfigures such as Joel Chandler Harris and Erskine Caldwell; and 3)Freudianism, which it should by now be obvious is doing more herethan lend a comic excess of meaning to Mr. Norton's cigars, andturn trees into totem poles.
Drawing, then, on sources as diverse as theBible, Freud, folklore, and Greek tragedy, the scene takes on thedramatic structure of a revealed secret, Aristotelian anagnorisiswith an ironic twist. And IM's apparent na•vetŽ as atour-guide is a mere foreshadow: Ellison is setting up a muchmore grandiose return of the repressed, a grotesque spectacle ofpre-literate, "pre-civilized" culture that threatens topuncture some of "our" most precious illusions. What isthreatening to whites like Norton is, of course, not just theunwelcome knowledge of their complicity in the economicinequalities (sharecropping) that give American ideals an air ofbad faith, but, worse, the secret wishes they harbor to be'uncivilized', freely libidinal creatures themselves. When Nortonproduces, from the back seat, a "tinted miniature" ofhis daughter, who died while travelling with him through Europe,he tells IM that it is her "purity" which sanctifiesthe college and inspires her father's philanthropy. Here thedialogue is a bit over the top, almost as if Ellison has not yetfound his satirical footing: "'She was a being more rare,more beautiful, purer, more perfect and more delicate than thewildest dream of a poet. I could never believe her to be my ownflesh and blood. Her beauty was a well-spring of purestwater-of-life ... I found it difficult to believe her myown'" (42). But the rhetoric is left unsubtle precisely sothat we do not miss the nativist stakes of the scene that willfollow. The reason that Norton "cannot believe" hisdaughter is his own, Ellison intimates, is that he has had sexualrelations with her: presumably on the trip to Europe whosepedagogical mission was to "civilize" her. Nortoncompensates for her death, which he interprets as punishment forhis sin, by placing her on an other-worldly pedestal he seems toassociate with literary sublimation ("wildest dream of apoet"). His philanthropy can then be read as an act ofself-imposed penance, a way of sublimating or working throughhis own shame: through a series of twists Michaels would savor,black education and literature tout court both becomeallegories of nativist white incest.
Later on, back at the college, IM sees an opencopy of Freud's Totem and Taboo in Norton's room, and wecome closer to fully grasping the meta-critical, self-reflexivedimensions of Ellison's "argument about the nature ofAmerican reality." It now becomes clear how a subtitle like"Some Points of Agreement Between the Mental Lives ofSavages and Neurotics" has helped Ellison to script a scenein which an "uncivilized savage" and an ostensibly"civilized neurotic" exchange fantasies which are invarious ways "twinned." By locating the incest fantasyalong a racial axis, Ellison manages to suggest that black andwhite, like conscious and unconscious and like "savage"and "neurotic," are "twinned" concepts whichmust be brought and thought together, but the point all along hasbeen to bring nativism into the writerly consciousness; inletting the Truebloods continue endogamously, Ellison reproducesthe nativist symptom indeed, but only, I would contend, in orderto effect a homeopathic cure for a national-literary neurosisWalter Michaels may not have been the first to diagnose. 041b061a72