The Bisexualizing Effect of EroticabyCal Y. Pygia©
Our enjoyment of erotic or pornographic images may start with the simple desire to see naked people. However, before long, poses of even the most beautiful woman or the handsomest men becomes relatively boring. Where singles may be sufficient, as it were, to whet our appetites, we soon want to see couples, whether heterosexual, homosexual, or transsexual, coupling.
In a similar vein, regardless of our own sex, gender, and orientation, sooner or later, we want to see couples--or even groups--of the opposite (and of the third) sex coupling with one another. The viewing of erotica and of pornography, sooner or later, makes bisexuals of us all. Therefore, show me a habitué of an adult bookstore, and I will show you either a bisexual or a bisexual in the making. Those who deny this simply haven't viewed enough of such materials.
Why is this? For me, it is a simple enough matter. Viewing heterosexual couples, coupling or otherwise together, is the starting point for almost everyone, regardless of his or her own eventual and ultimate sexual preference and orientation. Most men and women do not know that they are homosexual or transgender until they are adolescents or older. Therefore, they often assume, until they learn to the contrary, that, "like everyone else," they are straight, not gay, and their earliest exposure to erotica or pornography is apt to be an exposure to the heterosexual variety, which, by definition, features two sexes and two genders: male and female, masculine and feminine.
This twofold display allows viewers--or voyeurs--to identify now as the male-masculine participant and now as the female-feminine participant. This ability to identify with first one and then the other partner establishes the basis for a dual, or bisexual, appreciation of the sexual acts that the couple is portrayed as performing. Therefore, by nature, all erotic or pornographic art, and perhaps especially the visual kind, is of a bisexual nature.
For example, in watching a kneeling blonde suck a man's cock, the viewer can identify either with the cock sucking woman or with the man whose cock is being sucked, and this identification with either party is possible whether the viewer is him- or herself male or female. A man can identify with the male participant in the act or he can imaginatively trade places, so to speak, with the blonde woman; he can be sucked as a man or he can suck as a woman. Likewise, the female viewer can assume, in her imagination, the role of either sex, sucking (as the blonde) or being sucked (as the male figure).
Rather like the optical illusion in which it is possible to see, in the same figure, either a rabbit's head or that of a duck or the optical illusion in which one can see either the silhouettes of two heads facing one another in profile or a vase, one can experience sex, whether is of the anal, the oral, the vaginal, or the manual type, as either the male or the female participant in the act. In short, erotica and pornography make both men and women of us all.
While watching the blonde suck the man's cock, I (or you, for that matter) may feel her lips circle the shaft of my (your) cock, just under the glans; feel the soft-warm-wetness of her mouth enveloping my (your) penis; luxuriate in the sensations of her soft, liquid tongue against the underside of my (your) cock; feel her slender fingers wrapped around my (your) stiff, swollen member; sense her cheek against my (your) thigh; be tickled by the strokes of her tongue and the soft chewing motions of her lips against the taut flesh of my (your) risen scrotum; feel her rounded lips slide back and forth upon, and up and down, my (your) rigid shaft.
Alternatively, I (or you) can assume the feminine role, feeing the stiff column of flesh between my (your) rounded lips; feel the firmness of the jutting erection within the grip of my (your) fist; press my (your) sleek cheek against his manly thigh; lap wetly at his tight, risen scrotum with the tip of my (your) moist tongue; slide my (your) rounded lips back and forth upon, and up and down, the rigid shaft of his penis.
When ejaculation occurs, if I am (you are) the man, I (you) can feel my (your) seed spurt from my (your) distended, straining cock and see it bubbling between the woman's lips and hanging from her chin in long, thick strands or, if I am (you are) the woman, I (you) can feel the semen splatter against my (your) face, taste its salty, smooth thickness as it bubbles between my (your) lips, and feel it, slightly tickling, perhaps, as it runs slowly down my (your) chin.
The same is true, as I've said, of other forms of sex. In watching a couple enjoy anal, vaginal, or manual (that is, masturbatory) sex, we can also enjoy the action from either the male or the female perspective or, indeed, first from one and then from the other point of view, perhaps alternating back and forth so that, this moment, we are the man and, the next moment, the woman, both penetrating and being penetrated or clutching (or massaging) and being clutched (or massaged). We can thicken and harden one moment and get wet and slippery the next, as we fill or are filled, thrust or counterthrust, give or receive.
Thus, I contend, viewing erotic or pornographic images, whether still or moving, makes bisexuals of us all. Drawings, paintings, films, and videos that involve two or more members of the opposite sex double the viewer's perspective and his or her sex and gender. Eventually, I believe, long-term exposure to such fare promotes actual as well as imaginative bisexuality, and devotees of erotica or pornography become, in fact, what they are in their imaginations--bisexuals. It seems likely that the bisexualizing effect, as it were, of erotica and pornography involving the coupling of heterosexual couples may be diminished by repeated exposure visual depictions of sex that involves exclusively gay male or lesbian lovemaking, although it may be that both members of such couples internalize these points of view and experiences so that they are also always present. If Carl Jung's concept of the anima and the animus is true, the internalization of male and female sexuality in each and all of us seems a distinct possibility, and Sigmund Freud himself believed that everyone is psychologically bisexual.
If my theory concerning the bisexualizing effect of erotica and pornography is true, as I believe it to be, it has one or two implications for literary art of this kind, from which both writers and readers may benefit.
First, writers should, in fact, alternate between the points of view of both the male and the female participants in any sex act, offering the sensations, perceptions, emotions of first one and then the other partner. This way, readers may imaginatively experience the same act from both perspectives. Whether him- or herself male or female, the reader will be afforded the privilege of experiencing the same sexual act from the perspective of each sex.
In composition classes, students are taught that there are two ways by which to compare or contrast persons, places, or things: either describe all of one and then all of the other or describe first one point concerning one topic and then the same point concerning the other topic, alternating back and forth among the remaining points which are to be made between the two topics.
This same principle applies to the description of sexual acts and the physical and emotional responses between a male and a female character which attend such acts. A writer can first describe anal, oral, vaginal, or manual sex from the male perspective and then from the female perspective or may opt to describe one part of the act and its associated feelings and emotions from the male's point of view before describing the same part of the act and its associated feelings and emotions from the female's point of view, alternating back and forth as each additional part of the experience is then described. (Alternatively, the female's perspective can be represented first, followed by the male's point of view.)
Here is an example, involving anal intercourse, in which one part of the act is described first from the man's viewpoint and then the same part of the act is described from the woman's point of view:
Jack stared down at Monica, who, lying on her back, naked, offered him a view of her firm breasts; her flat, slightly concave tummy; and her sleek, firm, widespread thighs. His gaze traveled down her abdomen, pausing to admire the circle of her gaping anus, which he'd already stretched wide enough to permit effortless access to her rectum. Pointing his erection toward its target, he easily drove his rigid prick through the ring of her sphincter, feeling the length of its shaft plunge smoothly through the round muscle and into the warm, tender depths of her lower bowel. She opened to him--or he opened her--and the sliding of his cock deep into her ass was proof, he thought, of his mastery of his passive, submissive lover.
Monica, looking up, watched Jack's concentrated stare, seeing his gaze travel down her body, and she felt a thrill of delight, knowing that the sight of her bare breasts, tummy, and thighs aroused him. Gripping the backs of her upper thighs, just above her buttocks, to support herself, she waited for him to thrust into her again. She felt the rim of her asshole indent as his rigid member entered her, sliding deeply into her rectum in an instant, the hard, smooth column of flesh stuffing her; it felt wonderful to have her ass crammed with her lover's cock, because it signified her power to command his lust, if not his love, and she smiled as she felt her firm, small breasts jiggle from the jarring impact of his thrust.
This approach allows a writer to enrich his or her characters through the use of ironic juxtapositions and other literary devices. For example, by getting first into the mind of Jack, I allow the reader to see that he thinks of himself as the active, dominant partner whose cock opens Monica's asshole, thereby signifying "his mastery of his passive, submissive lover." Almost at the same moment, however, as I make the reader privy to Monica's thoughts, the reader understands that, from her perspective, it is she who exercises power over Jack: "It felt wonderful to have her ass crammed with her lover's cock, because it signified her power to command his lust, if not his love." Such techniques enhance a story, adding humor and depth to what, otherwise, is, too often, merely mechanical action.
Second, the bisexualizing effect of erotica and pornography upon its viewers suggests that the perfect character for such fiction may be neither a man nor a woman, but a male-to-female transsexual who has opted to retain her male genitals rather than to undergo sex-reassignment surgery, for such an individual is, as it were, by all appearances, at least, paradoxically both a man and a woman and, yet, at the same time, neither sex. As such, she--or, rather, he-she--incorporates some physical (and, perhaps, mental) components of both sexes. In describing anal, oral, or manual sex between a man and a "shemale" or between a woman and a shemale, a writer can bisexualize his or her fiction in one fell swoop, as it were, offering the reader the best of both worlds embodied in the heart, mind, and body of one character. The only loss, in the case of male-shemale sex, is the possibility of depicting vaginal sex. Because of this limitation, then, by the criteria suggested herein, the best of all possible combinations by which to bisexualize one's fiction (and one's reader) is to depict anal, oral, vaginal, and manual sex between a female and a shemale couple.
Of course, exclusive sex scenes involving only these two characters would soon become tiresome, so there's always room for heterosexual and homosexual erotica and pornography involving men and women, men and other men, women and other women, men and shemales, and shemales and other shemales as well. It's only from a consideration of the natural bisexualizing tendency of erotica and pornography that alternating perspectives involving a female and a shemale couple's couplings is the best and truest of all possible combinations of participants, and, of course, many other standards exist for evaluating the aesthetic and rhetorical effectiveness of erotica and pornography.