Lesbian Incest Storys
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Lesbian Incest Storys
'The Sinner' Shocks With Incestuous Teen Sister Lesbian Sex Scene
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Until this week, The Sinner on USA was a wonderful break from the regular agenda-driven television that overwhelms all other options. With the September 6 episode, Part VI, they broke their streak, when the main character Cora ( Jessica Biel ) demonstrates what her boyfriend does to her sexually on her younger sister Phoebe (Augie Murphy).
The show centers around Cora, an everyday small-town New York wife and mother who snaps one day and murders a man on the beach. In the course of the eight-episode series, we explore her past (including her upbringing by Catholic zealots, which has been a popular theme this summer ) through flashbacks as she and the police try to piece together what happened. While Detective Ambrose (Bill Pullman) is convinced her past is the key to making sense of her crime, crucial pieces of her memory are missing. If only I could wipe this scene from my own memory.
In this flashback scene to their teenage years, Cora complies, first by kissing her sister, then touching her breast over her clothing and, finally, Phoebe putting her sister's hand into her underpants. The scene ends in a close-up of Phoebe panting.
Phoebe: Tell me what he does to you when you're alone.
Cora: Theres- I don't know. Rubbing.
Phoebe: Show me. Show me how he kisses you at least. Cora. Where does he touch you? Please. What does he say?
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The mission of the Media Research Center is to create a media culture in America where
truth and liberty flourish. The MRC is a research and education organization operating
under Section 501(c)(3) of the Internal Revenue Code, and contributions to the MRC are
tax-deductible.
Sign up for our NB Daily newsletter to receive the latest news.
© 2005-2022, Media Research Center. All Rights Reserved.
September 21, 2014 - 3:56 pm
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“We want the world to know we love each other as mother and daughter and romantically.”
This is the confession of a woman, Mary Carter who is in a romantic relationship with her daughter.
According to Mary, they both knew they were physically attracted to each other when her daughter, Vertasha, was just sixteen but they waited until she was eighteen before having sex.
“Vertasha and I knew we were attracted to each other when she was sixteen,” Mary Carter said. “But we decided to wait to have sex until she was eighteen, legally of age. We are now going public with our relationship to help others who might be in gay mother/daughter relationship feel confident and okay about coming out. We want the world to know we love each other as mother and daughter and romantically.”
Incest is a crime in many countries but this is mainly because of birth defects which often come as a result of inbreeding.
“We’re women, so Vertasha and I obviously can’t make children,” Mary Carter said. “It’d be one thing if her daddy (he’s out of the picture) got her pregnant and a baby was born with deformities, but we’re not hurting anyone. We’re a new minority and just want acceptance.”
Vertasha seems to be happy with the daughter/daughter lesbian relationship saying they enjoy sex with each other.
“My mom is still my mom. She does normal mom stuff: buys me clothes, pays for food, tells me to make our bed. We just happen to enjoy sex with each other too,” she said.
Its sure alot safer than her having sex with a different person. At least mom and daughter are having fun with each other and not getting any weird deaseses. I think its a good idea and its hot!
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The Sexually Intrepid World of Lesbian Paperback Novels 1950-1965
CLEIS PRESS; 415 PAGES; $18.95 PAPERBACK
"[R]egular vigilance turned up books I was petrified to take to the cashier. Their ludicrous and blatantly sensational cover copy were both my signals and my shame. Valerie Taylor 's The Girls in Three-B and Randy Salem's Man Among Women: these books I would savor alone, heart pounding from both lust and terror of discovery, poised to plunge the tainted tome into hiding."
Read, often surreptitiously, and valued by lesbians for providing faint comfort that they were not alone, the pulps were later scorned by lesbian feminists and derided for the butch and femme characters they often depicted and their adherence to mainstream mores. What these social critics failed to see was that the heroines of the pulps, with their economic and social independence and ownership of their own sexuality, were the original sexual outlaws, unconsciously feminist, who debauched innocent straight women not only with their prowess in the bedroom but also with their promise of freedom.
In recent years, there has been a revival of interest in the pulps and a return to print of many "classics," thanks to a more diversity-tolerant climate among lesbians. Much has been written about the books' camp appeal, their celebration of "queerness" and their value as artifacts of a repressive era. But in "Lesbian Pulp Fiction: The Sexually Intrepid World of Lesbian Paperback Novels 1950-1965," editor Katherine V. Forrest approaches the pulps as literature and demonstrates that it is the quality of the storytelling that has made them a part of lesbian culture and consciousness for so long.
In her passionate introduction, Forrest poses the idea that many of these "sordid" pulps were more lesbian-positive than one would expect for the era. She discusses at length how their sensationalized jacket copy made them look far more deviant than the actual stories inside, and writes of the necessity to see past the publishers' efforts to titillate straight male readers by making lesbianism appear exotic and depraved. For example, the jacket copy of Joan Ellis ' relatively innocent and nurturing "The Third Street" blared, "They walked together into a world of exotic evil ... the lonely and love-starved, the lovely and promiscuous, seeking new thrills ... baring their secret needs and feeding their secret hungers ... needs and hungers condemned by society."
Forrest writes of the authors of the pulps with great respect and knowledge and holds them up as serious contributors to the lesbian literary canon. She points out the achievements many of them enjoyed in other genres and attributes her own successful writing career to the awakening these books stirred within her as a young woman. It's an impressive piece of personal testimony-cum-literary analysis, extremely readable and as moving as it is intellectually stimulating. It's hard to think of many writers who could have so easily and gracefully combined the two forms.
The remainder of the book is selections from nearly 20 lesbian pulps published over a 15-year period. Forrest's selection criteria demanded that the book be written by a female author from 1950 to 1965 (the so-called golden age of pulps) and published in paperback only. Beyond that, some were chosen for their pioneering efforts within the genre, others for their (often surprising) eroticism, and others for their ability to depict lesbianism and attitudes toward it within the period of the book's writing.
Finally, Forrest sought out happy endings, which were not, despite what one might think, all that hard to find. In "Enough of Sorrow" by Jill Emerson , published in the later part of the pulp period, the protagonist's closing narrative demonstrates that a strong, positive and unapologetic lesbian identity is beginning to take root: "I am in love with a girl, she thought. And incredibly enough I am not bothered by it. I do not think it is wrong or evil or awful or dirty. I am not afraid of it. I, square and unworldly Karen Winslow , am in love with a girl. A lesbian."
Through passages such as this one, it becomes apparent that at least some of these pulps, particularly those written by women, were more subversive than perverse, hiding in plain sight and propagating covert messages to the real "Twilight" girls.
The messages obviously hit their mark. Ann Bannon , author of the often reprinted Beebo Brinker series, speaks of the sense of responsibility she grew to feel for the many lesbians who read her books and reached out to her for guidance and advice: "[W]e were vulnerable to the prejudices of the period, just like our readers. I reread my own work and shudder at some of the unexamined assumptions. ... I was too naive, too young and dumb, to give much thought to the effect I was having on my women readers ... until I began to get hundreds of letters from them, begging for reassurance and information."
In sidestepping the sensationalism and perceived rampant homophobia of the pulps and focusing on the covert support they offered then and the cultural wealth they now hold, Forrest has done a great thing. She has reclaimed a treasury of lesbian history in a bold and credible way. She has, like the early pioneers of the pulps, turned the gaze inward. Finally, she has validated the pulps by showing them to be much more than mere entertainment or a quaint portrait of a strange time, but as the necessary survival stories they were, often for both those who read them and those who wrote them.
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Erotica collection, 1940-1969
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Erotica collection, 1940-1969
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, depicting transgressive sex acts including (but not limited to) lesbian and heterosexual sex, incest including (but not limited to) lesbian and heterosexual sex, incest , pedophilia, sadomassochistic behavior
Erotica collection, 1940-1969 ✖ [remove] 1
David M. Rubenstein Rare Book & Manuscript Library 1
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This collection contains an archive of original illustrations, four sketchbooks, and erotic stories, depicting transgressive sex acts including (but not limited to) lesbian and heterosexual sex, incest, pedophilia, sadomassochistic behavior, and copulation with objects as varied as sex toys, produce, and household appliances. The stories and illustrations appear to be the work of a single individual, with nearly all narrative told from a female's point of view. Also includes some amateur pornographic photography and magazine clippings.
The stories included in the collection range in length from one page to 46 pages. Two of the four sketchbooks include drafts of multiple storylines. Most stories are handwritten in the style of a graphic novel; some are typed. All include accompanying hand-drawn illustrations. There are also loose, miscellaneous illustrations in the collection with no correlating story. The collection's photographs and magazine clippings appear to have been used as models for some of the sketches and artwork. The photographs include at least one image of a hermaphroditic woman who appears in some of the accompanying stories.
Current results range from 1940 to 1969
Ametuers Gone Wild
Porn Sex Hd
Teen Family Sex Stories