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Erotic Pulp Fiction free porn video
Erotic Pulp Fiction
Copyright 2009 by Cal Y. Pygia
Pulp fiction, as the term applies to mass market paperback books, was
published from the 1930's through the 1960's on cheap wood pulp.
Initially, many such books were anthologies of stories that had been
published earlier, in pulp magazines. Eventually, original fiction, in
the form of both short stories and novels, was published instead of
reprinted fiction, and one of the genres in which original novels was
published as pulp paperbacks is erotica, which appeared in such
varieties as abduction and rape, adultery and wife swapping, anal sex,
sex with babysitters, BDSM and spanking, bestiality, bisexual sex,
sexual blackmail, sex with college coeds, crime and sex, enemas, sex and
espionage, sex and fantasy or science fiction, gay sex, group sex, sex
in historical times, sex with housewives and housekeepers, incest,
interracial sex, lesbian sex, sex with members of various occupations,
oral sex, pedophilia, prostitution, schoolgirl sex, sex in suburbia, sex
with cock teasers, teen sex, sex with transvestites, the deflowering of
virgins, and sex with "white trash."
Especially popular were such categories as abduction and rape, adultery
and wife swapping, BDSM and spanking, bestiality, incest, lesbianism,
sex with members of various occupations, and pedophilia. Many of these
same categories appear on today's Internet sites. The more some things
change, the more they seem to stay the same.
As categories such as abduction and rape, adultery and wife swapping,
BDSM and spanking, sex with housewives and housekeepers, incest,
pedophilia, prostitution, schoolgirl sex, sex with cock teasers, teen
sex, and the deflowering of virgins indicate, much erotic pulp fiction
is both sexist and misogynistic, although such concepts were not widely
discussed or even accepted in the time period of the 1930's through the
1960's. Women, such novels suggest (and sometimes state directly), are
highly sexed, promiscuous, and perverse, willing to try anything with
anyone or anything. Outwardly beautiful and refined, women, such fiction
implies, are, at heart, when it comes to sex, at any rate, animalistic
creatures who are hot to trot and have a need to breed. Men, for the
most part, are shown to be opportunists, or "players," as willing to
swap their wives as they are to kidnap and abuse captive women, to
initiate their babysitters into new sexual experiences, or to subject
their own daughters (or sons) to sexual abuse.
Interracial sex in erotic pulp fiction tends to be racist, portraying
black men as the masters of white female slaves, as sadists who delight
in torturing captive white women, or as BDSM enthusiasts who enjoy
spanking white women. African-American men are almost always well hung
and sexually experienced. When such fiction includes black women with
white men, the African-American women are the victims. White men take
advantage of black "ghetto" girls or are masters of black slaves. In
only a few instances do black women dominate white characters; when they
do so, the submissive victims tend to be young, rather than mature,
adults.
Although there had been cases of sex-reassignment surgery prior to that
which Christine Jorgensen, whose case was publicized in 1952, underwent,
Jorgensen's surgery brought the subject of transsexuals to world
attention. Nevertheless, such erotic pulp fiction as there is about
transgender topics limits itself largely to novels concerning
transvestites, rather than featuring transsexuals per se. There are
comparatively few titles, even of this type, among the many novels that
were published during the heyday of erotic pulp fiction.
Like other genres of pulp fiction, erotic novels were illustrated by
such artists as Tom Adams, Rudolph Belarski, Earle Bergey, Robert
Bonfils, Samuel Cherry, Rafael De Soto, Frank Frazetta, George Gross,
Reginald Heade, Ray Johnson, Jeff Jones, Robert Maguire, Lou Marchetti,
Robert McGinnis, Rudy Nappi, Paul Rader, Norman Saunders, Robert
Stanley, and Jim Steranko (many of whose works can be viewed on various
Internet sites even today).
These novels were written by the likes of Ann Bannon, Marijane Meaker,
Tereska Torres, Patricia Highsmith, Valerie Taylor, Marion Zimmer
Bradley, Chris Davidson, Richard Amory, Carl Corley, Victor J. Banis,
Lawrence Block, Don Holliday, Peggy Swenson, and many others. (Many
novels appear under not one, but several, pseudonyms of the same author;
some, like Meaker also wrote mainstream novels, under such pen names as
M. E. Kerr and Mary James; bestselling science fiction and horror author
Dean Koontz is rumored to have written the erotic novel Hung, under the
pen name Leonard Chris.)
Pulp novels, which were sold on newsstands, had to stand out against
their competitors--newspapers, magazines, paperback books, and other
genres of pulp fiction such as Westerns, science fiction novels, fantasy
novels, horror stories, romances, and similar fare. For this reason,
many covers are printed in bright primary colors--yellow, red, blue,
green, orange--with the obligatory naked or half-dressed woman (or, in
gay novels, man) prominently and suggestively displayed. Their covers'
art, titles, and (in most cases) taglines also appeal to readers.
In the abduction and rape genre, the woman on the cover is often shown
in shackles or in chains, caged, hung from rafters or from pipes,
whipped or about to be whipped, being manhandled by two or more men (or,
occasionally, by a woman), being stripped, and, in a few cases, actually
as having been penetrated by one of her tormentors. Often, the
antagonists in these stories are representatives of America's political
or military adversaries of the time or members of a culture other than
that of the Western world, reflecting, perhaps, American ethnocentrism
and xenophobia. Few covers show bruises or lacerations, leaving such
imagery to the readers' imaginations.
The titles appear in large font and usually get right to the point,
telling readers, in no uncertain terms, what they might expect:
Abducted, Ann's Gang Rape, Captive Nurses of [the] Viet Cong, Cuban
Captive, Girl Slaves of the Rising Sun, Kidnapped and Raped Nuns, Rape
Horror in Iran, Rape Torture of the Orient, Raped Runaway, Raped Virgin,
Ravaged by the Hun, Roped and Raped, The Sultan's Unwilling Wife. Not
all the covers of the novels in this genre bear taglines, but those that
do tend to reinforce the title and the picture on the cover: "She was
the plaything in their games of sadism and sex" (Little Captive Sex
Slave); "The poignant story of Ellen--a girl used--bruised--abused. They
carried her into the hidden valley--and held her prisoner of their
fanatic desires" (The Other Stranger); "Going door to door became a
journey to hell!" (The Saleslady Enslaved). The fact that these novels
also sometimes include "swinger ads & pictures" or several pages of
"personal ads" is also a selling point deemed worthy to mention on a
corner of the cover.
Adultery and wife swapping (or swinging, as it was also known) were
popular during the so-called sexual revolution of the 1960's, especially
in suburbia, where there was a sense, among some residents, that,
removed from the excitement and the glamour of the big city, they were
missing out on the sensational and titillating lifestyle of their urban
counterparts, which was thought to involve promiscuous sex, among other
pastimes. Wife swapping was a way for suburbanites to experience some of
the thrill they thought they were missing, but in a relatively safe way;
married couples weren't having sex with complete strangers, but with
other married couples, who were often their friends and neighbors.
Some of the titles in the adultery and wife swapping category suggest
the motivation for the swinger's lifestyle (Another Lonely Navy Wife,
Forced to Swap, Swapping for Profit, The Minister's Wife--apparently,
the shepherd wasn't feeding this particular member of his flock--The
Senator's Mistress--power is an aphrodisiac, as Henry Kissinger
observes)
In other cases, the tagline supplies a more generalized reason for the
swinger's adulterous behavior: "Finding his wife in bed with her lover
starts him on a wild sex, booze, and 'pot' slide from wall street [sic]
to skid row [sic]" (The Drifter); "their card games changed from Hoyle
to Swap" (Neighborly Love); "their club was a melting-pot of marital
mixing" (Swap '69); "they worshiped the devil and adored the flesh"
(Swap Coven); "he wanted to share his wife with other men. . . to make
her lead a life of unholy lusts" (The Hot Ones); "a novel of the newest
American problem. . . teenagers led into sin by the example of parents
who daily commute between secret love affairs at home and reckless
living in the city" (The Infidelity Game); "a shocking tale of today's
brazen 'modern' suburban husbands and wives--hopping from bed to bed in
a desperate search for new thrills" (The Wife Traders).
The pictures support the promises implied by the titles and taglines,
showing naked, half-dressed, or undressing women in bed with men, at
motels with men, stripping at card tables with men and women, having sex
in cars, or bathing nude. Several covers feature two couples occupying
adjacent beds in the same bedroom or motel room, and some display
bisexual groups of two men and a woman or two men and a woman. Wife
swapping is an opportunity, such covers suggests, for a man or a woman
to enjoy sex with both a member of the same and of the opposite sex.
BDSM and spanking was also a popular category of erotic pulp fiction.
Covers often showcase bondage, spanking, paddling, whipping, tit
torture, the use of torture devices and machines, the employment of
leashes and collars, the wearing of costumes, role playing, Nazi
torture, mock crucifixions, forced lesbianism, slavery, leather
fetishes, enemas, golden showers, piercing, various acts of physical
violence, emotional intimidation, and, of course, dominance and
submission.
In some cases, the BDSM activities are motivated, titles suggest, by a
concern on the part of the tormentor to educate (Chained Trained Nurses,
Painful Education, The Teaching of Felicia) or to "tame" or "discipline"
wayward women (Tame a Tiger, Wayward Daughter's Submission, Whipped
Submission: Angels with Stinging Buns, Wild Men I Have Known and How to
Tame Them). Other times, these activities are intended to "discipline"
(Please Give Me Discipline), to "punish" (Punishing), to exact
"retribution" (Retribution), or to service the need of a masochist to be
abused (Chain Me Again, Please Give Me Discipline, Spanking Sex:
Discipline Delights, Submissive Women, Terri's Agony of Pleasure, The
Schoolgirl Loves Spanking, Torture Lovers, Women Who Need to be
Dominated).
The taglines for these novels sometimes focus on the forced nature of
the practice, but they also occasionally provide a motive for the
behavior or suggest that the novel is an attempt to explore the mystery
of the lifestyle ("Was it cruelty for its own sake that intrigued these
warped women? Or did each have a reason to hunger for this forbidden
practice?" [The Lash of Lust]). Some taglines suggest that there is no
reason, other than an indulgence of cruelty, for tormenting a victim; in
such stories, competence or kindness is repaid with brutality,
suggesting that no good deed shall go unpunished in the irrational and
unjust world of the capricious sadist: "She paid a pound of flesh for
giving good service (Barmaid in Bondage); "They did unto her what she
wouldn't do unto others" (Handcuffed Housewife).
Much of the torture that occurs in such novels takes place overseas or
in far-flung reaches of the world (Germany, unspecified Arabian
countries, Japan, the former U. S. S. R., Spain, Mexico, unspecified
islands, Turkey, Vietnam, China), and, when it is forced, rather than
agreed upon by mutually consenting adults (and when it is business, as
it were, rather than play), writers often attribute the sadism to
political and military enemies of the United States (Nazi soldiers, the
Gestapo, Arab sheiks, the Japanese of World War II, Cold War Soviets,
Communists, the Viet Cong), as is the case in abduction and rape
stories.
Some books are directed at specific types of women: a barmaid, a bride,
a cheerleader, a nurse, a schoolgirl, a nun, a fraulein, a housewife, a
librarian, a prom queen, a niece, a slave, a secretary, a sister, a
babysitter, a daughter (and, more specifically, a minister's daughter),
a "teaser," a virgin, a teen, twins, a wife. As this variety of female
victims suggests, virtually any woman could be a victim of torture,
which, in effect, makes every woman a potential victim.
Much more rarely are men victims of a female dominatrix (Hell Island
Sadists, Sadistic Call-Girl) or a homosexual sadist (Slave Brother).
When they are, it is by choice, not by force, so it's debatable whether
such men can be called "victims" at all in any real sense. However, in
fewer novels still, a man truly is a victim, either of a female or a
male and female couple; when this is the case, the victim is usually
young and the circumstances themselves are unusual. For example, a youth
is shown being tortured by a woman wearing an armband emblazoned with
the Nazi swastika while her victim is being held down on a desktop or a
tabletop by her male accomplice (Hitler's Sadistic Youth). Since this
volume is directed at Adolph Hitler, it is perhaps intentionally depicts
the torture of a young man by a woman to suggest the depths of the
Nazis' unnatural depravity.
In incest stories, it is Mom who, more often than not, is the instigator
of the sexual relationships with her children. Daddy, stepfathers,
stepmothers, grandpas, aunts, uncles, cousins, nieces, nephews, sisters-
in-law, stepdaughters, brothers, and sisters all get in on the act, too,
however; incest is, in this sense, as in others, truly a family affair.
Most often, Mom pairs off with her son, while Daddy teams up with his
daughter, although Mom sometimes prefers to have sex with both sexes of
her offspring. Following Dad's lead, a son might make his bed with both
his mother and his sister. When Daddy has sex with more than one member
of the immediate family, it's usually his wife and his daughter. It is
only in gay erotica with an incestuous twist that Dad has sex with
junior. (Incest also crosses over with bestiality and BDSM themes on
occasion.) When it is an aunt who seduces a nephew, he often stays with
her for a period of time or she visits his family.
The taglines for these novels sometimes summarize the storyline ("They
loved their aunt in strange ways and with strange devices," Auntie's Our
Slave); represent the novels as "true case histories" ("Incapable of
keeping her hands off her son's body, a mother in desperation, seeks
professional help. Her own story and others are explored in this
collection of true case histories," A Lust For Incest), suggest that
secrets will be exposed ("Five inside views of incest," In-Family Sex;
"how the 'other half' lives," Jet-Set Incest); suggest the benefits (and
limitations) of incestuous sex ("I was a fifteen year old [sic] stud
with no time for outside dates--I had all the sex I could handle from. .
. My Lovers: My Mother, My Sister"); imply that incest is depraved ("The
seduction of the innocents," Nephews, Aunts, & Sex; "The parents never
punished the kids for making out--they crawled into bed with them!," Sex
in the Family); cast mothers and daughters as sexual rivals for the same
man ("Her mistake was her mother's new husband! The scorching novel of a
mother-daughter rivalry," Sex Off Limits); effect a play on words ("Sex
is a family affair," Portraits of Incest; "They were more than just
'kissing' cousins!," Sex in the Family Way); pit the innocent olden days
against those of the degenerate younger generation ("Kids' parties are
not what they used to be. The sweets they now want are served in bed,"
The Brother-Sister Swingers); or emphasize the need for secrecy that
exists among incestuous families ("Certainly not something to tell the
neighbors, but not many families can keep secrets. . . especially when
the secret is INCEST," The Family Secret: INCEST); other times, the text
that accompanies the title is not a tagline, but rather an advisory that
the book is illustrated.
According to the cover art, incest takes place in bedrooms, in barns, in
living rooms, in basements, aboard houseboats, in the woods, on the
farm, in recreation rooms, in bathrooms, in automobiles, in dens or
studies, in backyards, and even at beauty pageants. The primary
locations, however, are bedrooms and living rooms. In most pictures, the
age of the children is not easily determined; they could be of legal age
or under; in only a few illustrations do they seem clearly underage. To
underscore the familial nature of incest, the cover art often includes
props that highlight the setting as residential, showing such homey
details as not only bedspreads, but also nightstands, lamps, tools,
framed mirrors, windows, curtains, tiled walls, billiard tables, dart
boards, banisters, dressers, baseball bats and balls, couches, pillows,
potted houseplants, bookshelves, armchairs, footstools, paintings,
charcoal grills, picnic tables, chaise lounge chairs, fences, storage
sheds, benches, sidewalks, televisions sets, tables, shelves, clocks,
neighbors' houses, showers stalls, bathtubs, toilets, windows, vases of
flowers, and doors.
Although the cover art often depicts incest as a fun, positive, and
desirable way to find pleasure in the arms of someone to whom one is
naturally close and loving, with all parties smiling or grinning and
looking enthusiastic and pleased, other covers show someone looking
shocked as he or she walks in on a couple or threesome engaged in
incestuous behavior or show that incest can result from force or
intimidation, rather than from seduction: Auntie's Our Slave, Cousin in
Bondage, Degraded in Momma's Bed, Girls & Incest: Violation of Virgin
Daughters, He Forced Mom & Daughter, He Raped His Virgin Sister,
Stepmother in Bondage, The Dominated Mother, The Lecherous Stepfather,
Throw Mama on the Bed, Twisted ["He drove his daughter into a life of
shame"], Two Cousins to Torture, Two Raped Mothers.
Occasionally, it is the child who seduces the parent (Daddy Go Down,
Daddy's Tempting Twins, Daughter on Top, Mama's Willing Little Girl);
other times, the elder relative is the seducer (A Lesson from Uncle, Her
Uncle Taught Her).
Lesbian novels are directed primarily at male readers, although lesbian
women were also among their buyers, and some covers appeal to bisexuals
as well. For example, as its title suggests, AC-DC Stud appeals to
"studs" who swing both ways, features a picture of a bare-breasted woman
seated between two men attired in only their underpants, and bears the
tagline, "A lover and his lady. . . and his laddie!" as if "lady" is
merely a feminized version of "laddie."
Sometimes, the bisexual appeal of such novels is subtler, as is the case
with All Kinds of Loving, the cover art of which shows two semi-nude
women, one of whom dances at the feet of her female lover while a
clothed male drummer beats a pair of bongos. The picture speaks for
itself, the tagline adding only that the novel offers "a shocking peek
at the way the beat generation lives and loves in Greenwich Village."
Likewise, The All-Girl Crew" of a sailboat is captained by a man, Burke,
who is under the mistaken belief that "having three women instead of one
aboard would triple his pleasure," not knowing that "one of them was a
secret enemy!"
Many other lesbian novels appeal directly to women's same-sex desires,
without the presence of, or an allusion to, a man who would filter the
cover girls' Sapphic desires through at least the possibility of
heterosexual as well as homosexual passion. Allison's Little Girl Lover
is an example. A brunette, armed with a strap-on dildo, looks intently
at a younger blonde who kneels on a couch; the tagline suggests the
lovemaking that is to ensue this scene: "Little Tricia wrapped her legs
around Allison's neck and begged the woman not to stop." Lesbians, in
such novels, could, like bachelors, "confirm" their nature, as the
tagline for Amateur Night, which shows a short-haired, bare-breasted,
champagne-sipping brunette eyeing a long-haired, bare-breasted, but
tassel-wearing, cigarette-smoking blonde, indicates: "The love story of
a confirmed lesbian and a blonde nympho."
The Sapphic world is a twilight world, not completely illusory but not
quite real, inhabited, these novels suggest, by troubled women who are
not quite right, just as they themselves are not altogether "real." I Am
a Lesbian's tagline talks about a "different" kind of "love" that may be
"wrong": "Her kind of love was different--but was it wrong?" Amanda's
cover caption asks, "Her name was Amanda and she was a woman of
unbridled passion, but was she a real woman?" Another line of text
informs the reader that this book tells the story of "a shocking,
unforgettable" and "twisted love." 69 Barrow Street, which shows the
giant head of a long-haired (read, feminine) blonde, hovering, as it
were, in the thoughts of a supine, short-haired (read, butch) brunette,
who, eyes closed, is obviously dreaming of, or mooning over, her absent
lover, alludes to the twilight, or "shadow world," of "the third sex," a
euphemism for lesbians, and assures (or reassures) the reader that
"their love was right! But their sex was wrong."
Similarly, the caption for another lesbian saga reads, "An explosive
novel that probes the soul of good and evil" and "exposes the magnetic
pull that depravity can have over a young and beautiful girl," the
tagline, leading up to the title, making it clear that the blonde shown
in bra, panties, and high heels, her unbuttoned blouse hanging from her
arms, has been "driven over the brink of decency" to "become" one of The
Outcasts of decent society. The auburn-haired protagonist of Chris is
said to live "life in the limbo of lesbianism" in the novel's "intimate
story of the third sex." Hilda, the main character of Forbidden "walked
strange paths of love" and her "twisted desires led her to the brink of
degradation." Likewise, I Prefer Girls bills itself as "a strange story
of twilight love, jealousy, and hatred," and Lesbian Hell tells of "the
twilight world of lesbians--furtive lovers ensnared in a web of lust,
degradation, and debauchery."
The text that introduces or describes the contents of lesbian pulp
fiction makes it clear that lesbianism is "different," "wrong,"
"unreal," "shocking," "twisted," "depraved," "indecent," "degrading,"
"strange," "confused," and "debauched"--everything an all-American, red-
blooded reader, male or lesbian, could want! Sometimes, a lesbian might
want to be a "real" woman, but her turncoat flesh would betray her:
Lesbian Captive's cover, which shows a short-haired brunette in a Trench
coat, standing in the bedroom doorway, looking at a pensive blonde
seated on the bed, wearing a short, transparent nightgown, contends,
"She longed for a man, but her body made her a slave to those women who
could satisfy her lust." Apparently the butch in the Trench coat is
woman enough to do so.
Lesbianism is regarded, in pulp fiction, as a sickness, and some books
purport to inform readers of the sordid details of this mental illness,
passing themselves off as case histories. Lesbian Love pretends to be
"the most candid , complete penetrating study ever published of the love
of woman for woman--based on an intensive, clinical survey of hundreds
of real-life love relationships in the half-world of Sapphic sex!" Not
only does the exclamation point as the end punctuation mark belie the
book's presumptuous airs, but so does the bare-breasted redhead
amorously eyeing the almost-naked brunette who adorns the cover.
In addition to being just wrong, lesbianism could also be downright
dangerous, lesbian pulp fiction suggests. "A beautiful singer and a
lovely nurse, who looked normal to the world, but shared a secret so
dark that they were outcasts" have learned just how dangerous their love
can be, for "they were threatened with ruined careers and shattered
lives if their lesbian live became known." (In other types of pulp
fiction, blackmail is an occasional theme, too, as it is, for example,
in Divorce Bait, wherein, "the dissipated Hollywood star used blackmail
to get his top roles.")
According to lesbian pulp fiction, women who live a "Bohemian"
lifestyle, college coeds, exotic dancers, maids, sisters, singers,
nurses, Satanists, pagans, showgirls, actresses, models, and snow
bunnies are apt to become lesbians, and there are generally two types of
such women: dark-haired butches and blonde or redheaded femmes. These
tales of "misbegotten sexuality" (The Lion House) claim to have all the
answers, but, mostly, they are meant merely to titillate their readers
and to make their publishers a quick buck.
From the 1930's through the 1950's, the workaday world, which was at
least as prosaic and tedious as today's offices and factories, was
romanticized as a place of easy virtue in which men and women might find
any number of ready, willing, and able sexual partners, and, as happy
hunting grounds, covers of pulp fiction novels include such settings as
airliner cockpits, doctors' examination rooms, Hollywood casting
couches, business offices, hospital rooms, airport lounges, motion
picture filming locations, artists' studios, movie theaters, nightclubs,
mechanics' garages, libraries, pool rooms, beauty shops, gardeners'
sheds, massage parlors, wrestling rings, and even department stores.
Hot-to-trot characters include doctors, reporters, stewardesses, pilots,
writers, detectives, murder suspects, exotic dancers, Hollywood sex
symbols, union bosses, psychiatrists, patients, nurses, cabbies, outlaw
bikers, maids, gardeners, librarians, masseuses, salesgirls, disk
jockeys, secretaries, wrestlers. Anyone and everyone could get laid,
this category of pulp fiction seems to reassure its readers, because
every occupation offers fringe benefits and perquisites that go beyond
vacation leave, sick leave, and health insurance.
Books that must have seemed shocking in a simpler age are now charming,
and people collect them not so much for their prurient appeal as for
their artwork, because they represent fiction by particular writers, or
as a nostalgic reclaiming of the past. Suggesting, rather than
explicitly stating themes; the coy use of euphemism, allusion, metaphor,
and plays on words; the claims that some types of sex were unnatural,
immoral, criminal, perverted, or simply insane--the very sorts, in fact,
that were illustrated on the books' covers--once might have titillated
readers; now, the approaches of these novels simply captivate and
fascinate. Fortunately, several Internet sites still showcase the covers
of these books, making their art, if not their stories, only a click of
the mouse or a few keystrokes away.
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