Joannas Training - Volume 2 (Trans Erotica)

Xavier introduces this alien kraken in gender-neutral and alien terms when the narrator gets her first view of the beast: Behind the ogre and the wolf-man lurked something worse, something huge. The tentacle-faced swamp beast was nice and tame compared to this. It was some sort of deep sea nightmare beast, with a long, serpentine body ridged with fins and covered in glistening green skin, and a horrifying jawless maw.

It reared up before me, and I was staring into the many glowing eyes of a kraken. Long, slick tentacles whipped about and wicked-looking spines bristled. It is not my intent to suggest that all monster erotica that uses masculine and feminine pronouns is faulty or insufficient. This differential personalization in the figures of monsters and aliens depends on specific ways of gendering, sexualizing, and racializing the nonhuman animal world, in which simpler invertebrate animals with single-gender or gender-switching populations are imagined as distantly-related to human beings, in part because of those gender and sexual differences.

From this point of view, it makes sense for Hayward to imagine trans and nonbinary-gendered people having more in common with jellyfish, coral, or octopuses than with cisgender, heterosexual, vertebrate mammals. The alien kraken is not just a scary, gender-nonbinary monster, but a deeply, overpoweringly desirable one within the text. Unlike in other genres of monster literature, the protagonist actually has sex with this creature and its tentacles in detailed, close-up focus. Her imagination of the alien kraken deeply eroticizes both invertebrate animality and nonbinary genres, enormously important in a genre like pornography or mainstream American culture more generally where gender nonconformity is most frequently represented as a barrier to desire.

Reading this as phallic imagery would be an impoverished interpretation that cannot account for how nonhuman animal imagery shapes human racial, gender, and sexual formations. To put it bluntly, a tentacle is not a penis, and to see it as such is to cover over the perverse trans-species mapping of bodies going on in Alien Seed. Within the text of the story, this registers in the way that Xavier describes penises and tentacles as mutually exclusive: No other monster in the story is described as having tentacles instead of a penis.

In this speculative feminist erotica genre, tentacle monsters offer a fantasy of pleasure unanchored to the constraints of human bodies or heteronormative realistic porn, and they do so by turning to invertebrate animality rather than vertebrate vocabularies. Tentacles in Alien Seed transform what might appear to be a heterosexual erotica story into a deeply queer fantasy of human sex with nonhuman, nonbinary, extraterrestrial beings.

While the mammalian, vertebrate-based, masculine monsters of the story all are dark-colored and at least in part evoke racialized masculinities, the kraken functions differently. While it is a dominant sexual figure, it is not a masculine figure, because of the different pronouns, body morphology, and species differences Xavier uses to present it.

Because of these differences, the racialization of other monsters in the genre does not function in the same way, or as well, because there is no masculinity, femininity, or vertebrate mammalia to graft them onto. I am not arguing that vertebrate mammals are always heteronormative and racist where they are used as literary tropes for human sexuality or desire, nor that invertebrates are always queer. The genderqueerness, alienness, and evolutionary distance between Homo sapiens and invertebrates makes the imaginative logics of animality function much differently than with closer related species.

And the gender and sexual strangeness of simple marine invertebrates with respect to human western white norms makes representations of invertebrate animality very different kinds of sexual and gendered logics. This invertebrate imagination does not only function as the object of desire in the story, such that the text projects human desires onto invertebrate animals in anthropomorphized form. This invertebrate, nonbinary animality also cycles back to the human protagonist in a kind of circular animal imaginary that cycles across bodies and species.

Suddenly, I was in the wrong body. I was confined to a shell that was too small and unable to move in the graceful, fluid way I now knew was right. Here, invertebrate imagination involves a mutual cycle of desire, touch, embodiment, and pleasure between the human woman trans-ing into alien kraken, and the alien kraken who has trans-ed from small gray avian-insectoid alien. Conversely, what feminist and antiracist scholars criticized for a long time was the differential animalization of the human, in which certain groups of human beings are imagined as more animallike than others, such that animal traits become signs that confirm the naturalness of usually heterosexual desires, patriarchal genders, or almost always nonwhite races.

I want to propose that anthropomorphization and animalization are twin halves of the same process of a circular animal imagination that cycles unevenly through human and nonhuman beings for wildly differing purposes. Understood this way, the vertebrate-centric and racially- and gender-hierarchical animal imaginary American culture has been living with in the wake of 19th century colonial anthropology and biology is one form of the circular animal imagination that confirms stratified associations between human beings of color and large land-dwelling vertebrate animals; but it is not the only kind of animal imagination nor an inevitable one.

Many other imaginaries are possible. In this essay I have begun the work of tracing out what a queer, trans, and invertebrate animal imaginary would look like through the wild and weird archive of monster erotica stories that focus on invertebrates. This invertebrate imaginary makes a different interspecies constellation of gender, sexuality, and body morphology than does the hierarchical vertebrate imaginary that has been a crucial element in consolidating human racial and species hierarchies.

Crucially, it creates cultural room for genders other than masculinities and femininities, men and women, and opens up a different conception of animality as a figure for human desires.

Invertebrate imaginaries are not immune to racialization, but their gender, sexual, and species logics are so different that they may provide alternate routes of connection and entanglement between species and bodies. Where does tentacle erotica leave us, then? These highly eroticized, nonrealist, and genderqueer fantasies offer important bridges between trans or gender-nonconforming bodies and the nonbinary universe of invertebrate animal genders and sexualities.

Monster erotica capitalizes on these alternate associations to envision a different world of gender, sexuality, and embodiment than is available in human, mainstream, realistic porn. In light of how trans people are alternately hypersexualized or de-eroticized with sometimes deadly consequences, proliferating the vocabularies available for trans and nonbinary erotic life is urgent and needed. It makes a difference that this is not realistic erotica: This speculative function transforms real-world cephalopods and their nonhuman sexualities into important registers of nonbinary-gendered imagination in human cultural texts.

I hope this will lead to more attention to the function of animality in erotica, pornography, romance, and other explicit genres. What alternate conceptions of desire, beauty, pleasure, and sexuality do animals like anemones, octopuses, and starfish offer? What might an aesthetics of snails look like? What models of desire, attraction, beauty, and pleasure emerge from the sexualities and genders of nonbinary invertebrate animals that do not depend on the human gender binary or heteronormative animal narratives?

What might sex and gender become when they are no longer human? Starfish, jellyfishes, squid, and other animals that do not bear much apparent bodily similarity to human beings frustrate the logics of animality that are central to Western racialized gender logics. Once sex and gender are no longer entirely human, they no longer necessarily involve men, women, masculinities, femininities, or even vertebrates, and sometimes they lead to alternatives to the racialized gender and sexual paradigms of the human that continue to haunt American culture.

Alien Seed and other invertebrate-based monster erotica stories make more room for nonbinary genders by rerouting human eroticism through the nonhuman animal and plant world in different ways than the all-too-familiar deployment of Western racialized genders and sexualities through fantasies, fears, and colonial kinships with land-dwelling vertebrates, especially mammals. These stories suggest some of the possibilities of invertebrate aquatic animality and its nonbinary gender multiplicity as they are imagined through the bodies and behaviors of monsters.

The sheer campy strangeness of these erotica stories, of humans getting fucked by a kraken, offers a different, underwater world of erotic imagination in contrast to the mundane constraints of realistic genres, straight porn, and supposedly gender-binary vertebrates. I want to conclude with some thoughts on monstrosity, animality, desire, and trans bodies as further suggestions about the potential of speculative erotica as a genre.

I have been in conversation with some monster erotica authors over email, asking about their writing and the conditions under which they work, and a few of them shared with me their reasons for creating this kind of material. One of them, Clea Kinderton who is the author of Mounted and Bred by the Centaurs, among other titles , shared some beautiful insights into the power of monstrous animallike representations for the erotics of trans imaginations. Not all monster erotica authors or readers are trans. If the gender binary often legislates dominant beauty standards, and certain monsters are illegible to this binary, then monster erotica might be a place to rework the politics of desirability that leaves many human and nonhuman bodies behind.

For Kinderton, it is difficult to identify with realistic erotica because of the difficulty projecting herelf into them long enough to suspend disbelief. Kinderton suggests that trans people and others who struggle to see our bodies as desirable are already unlikely to identify with realistic mainstream porn, and may be particularly well situated for nonhuman or speculative genres instead. Trans and Genderqueer Erotica a paper collection published by Cleis Press: This is a different kind of response to the problems of mainstream porn than the burgeoning world of queer, trans, and feminist porn in realistic genres being produced by queer organizations like The Crash Pad Taormino et al.

I am not a sociologist, and I make no quantitative claims about readership here. But I think Kinderton has a point — that feeling monstrous and fantasizing about monsters have much in common, and this might be the starting point for a new politics of the erotic, a new politics of monstrous desirability and erotic animality based in the language of invertebrate animals and their nonbinary genders.

The imaginative capacities of nonbinary invertebrate animals offer an expanded and much more livable take on the erotic life of gender nonconforming bodies than the violent framework we still labor under in the long shadow of the 19th century. Reimagining cephalopod sexualities through nonbinary aliens might help imagine trans bodies differently. Race, the Inhuman, and the Plasticity of Life. Darwin observed this in The Descent of Man: As Elizabeth Wilson, Elizabeth Grosz, and other feminist science and technology studies scholars have proposed, feminist and queer criticism might be enriched by not just critiquing the misuses of biology in service of gender and sexual hierarchies, but also by drawing on scientific knowledge about animals for new, queer ends.

Helmreich 7; Hird ; Alaimo Nonbinary trans genders have been discussed hardly at all in gender and sexuality studies, compared to binary L, G, B, and T identities. It is my goal in this essay to show that speculative erotica texts about invertebrate animals demonstrate that nonbinary genders do exist in American cultural production in a different way than in realistic transgender, queer, and gender-nonconforming literatures.

Many of them have lost income and access to sales platforms because they write forms of erotica particularly vulnerable to public scandal. Vanilla, human-only, heterosexual erotica stories are not subjected to the same levels of scrutiny. The Politics of Producing Pleasure. In monster erotica, I have only self-reported information about who authors are. Because this is pornography, authors publish their work under pseudonyms and do not provide public biographical or demographic information.

It is true that there is plenty of bad monster erotica out there. But I do not invest as heavily in the concept of literary quality. Alien Seed is couched within a framing narrative of alien breeding: While queer theory has spent much of its disciplinary history critiquing the limitation of sex to reproduction, recent queer feminist scholars have reexamined reproduction as a queer and feminist phenomena, in part because earlier queer theories tended towards gay male-centric cultural production, and in part because the history of race and sexuality in the U.

My stance with regard to reproduction in these stories is simply agnostic. I treat it as a plot device, as a fantasy that appeals to wide numbers of readers in this genre, and a device that as Joanna Russ argues of dubious consent serves as narrative legitimation for deviant desires Russ In The Birth of a Jungle , Lundblad defines animality as a Darwinian-Freudian discourse of the animal in the early 20th century that gets used to naturalize a range of constructions of human gender, sexuality, and race 2. This is a genre built on a tradition of reluctant consent emerging from women-authored romance novels and fanfiction, in which dubious consent serves as a thin layer of legitimization for illicit desires and fantasies Russ This is reflected, for example, in nature documentaries, where birds and mammals become personified through binary gender-specific language, while invertebrates, insects, and monocellular organisms become distanced through gender-neutral pronouns.

The stakes of the politics of desirability are quite high, especially for trans and gender-nonconforming people without the protection of whiteness or class privilege. Every year in the U. As of the moment of writing, three black trans women in Louisiana alone were killed in February Ciara McElveen, Chyna Gibson, and Jaquarrius Holland , and at least seven trans women of color have been killed in the U.

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I will say this as bluntly as I know how: Works Cited Ahuja, Neel. Disease Interventions, Empire, and the Government of Species. Sex, Nature, Politics, Desire. Mating with the Jungle Tentacle Plant 2: Self-published Kindle ebook, Noreen Giffney and Myra Hird, eds. In the Forest of Lust Collection. A Journal of Lesbian and Gay Studies Taken by the Monsters.

Self-Published ebook , Biopolitics, Racial Mattering, and Queer Affect.

James Moore and Adrian Desmond. Claimings, Tails, and Other Alien Artifacts. Farrar, Straus, and Giroux, U of Illinois P, The Companion Species Manifesto: Dogs, People, and Significant Otherness. Prickly Paradigm Press, Staying with the Trouble: Making Kin in the Cthulucene. How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics.

The U of Chicago P, Refracting The Love Life of the Octopus. A Visual Studies Journal 1 Impressions of Cup Corals. Prefixial Flesh and Transspeciated Selves. Aquarium Affects and the Matter of Immersion. A Journal of Feminist Cultural Studies Hayward, Eva and Weinstein, Jami. Retrieved February 8, ACLU foundation of Texas.

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Retrieved May 27, Retrieved June 6, Retrieved October 18, Will of the Empress and Ammonite ". Lesbian, gay, bisexual, transgender fiction. Bara Pulp fiction Slash fiction Teen fiction Yaoi. Modern written fiction Animation Graphic art Webcomics Video games. Asexual Transgender and transsexual Non-binary Pansexual Intersex. Media portrayals of bisexuality list Media portrayal of lesbianism. Retrieved from " https: All articles with dead external links Articles with dead external links from September Dynamic lists Articles with hCards All articles with unsourced statements Articles with unsourced statements from December Articles with unsourced statements from July Articles with unsourced statements from December Articles with unsourced statements from August Articles with unsourced statements from January Articles with unsourced statements from August Views Read Edit View history.

This page was last edited on 10 December , at By using this site, you agree to the Terms of Use and Privacy Policy. Carmilla is considered the first lesbian vampire story. A Marriage Below Zero. A Marriage Below Zero is considered to be the first English-language gay-themed novel. Joseph and His Friend: A Story of Pennsylvania. Joseph and His Friend is considered to be the first gay-themed novel written by an American author. The Picture of Dorian Gray. The Sins of the Cities of the Plain. Jack is a male prostitute for other men, and also crossdresses; Sins is one of the earliest pieces of English-language pornography to explicitly and near-exclusively concern homosexuality.

Teleny, or The Reverse of the Medal. Married US senator Anderson is blackmailed over a secret wartime homosexual affair for which he is unapologetic.

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• List of LGBT characters in modern written fiction - Wikipedia.
• Alices Adventures in Wonderland. Through the Looking-Glass (Giunti classics).

The Beauty of Men. The Beebo Brinker Chronicles. Blood of the Fold Temple of the Winds. X narrator 's pseudonym has sexual and romantic relationships with Andrew, Joe and other men. Braden is an Irish trans woman. Jack Twist Ennis del Mar. Jack and Ennis have a long term sexual and romantic relationship despite both being married to women and fathering children. Jack also has sexual relationships with other men and a woman, while Ennis does not. Critics have described both men as gay or variably Jack as bisexual and Ennis as heterosexual.

Courtney develops a crush on her female boarding school teacher, and later has a sexual relationship with Barry Cabot, her mother's bisexual friend who is in a relationship with a man. The City and the Pillar. A Novel of the Borgias. Nicholas has "a penchant for other men", including the gruff but handsome Stefano Baglione, a heterosexual man who has sex with Nicholas for money.

The Confessions of Danny Slocum. Dancer from the Dance. Harkonnen's sexual preference for men is implied in Dune and Children of Dune , and presented more explicitly in the Prelude to Dune prequel trilogy — by Brian Herbert and Kevin J. Obstetrician Ethan is from a future society on the planet Ethos where male homosexuality is the norm and most inhabitants have never even seen a woman in person.

A Fairly Honourable Defeat. Fire from Heaven The Persian Boy. Alexander is involved in a romantic sexual relationship with Hephaistion , and then the Persian slave Bagoas , but is also married three times and fathers a son. Both men are involved in romantic sexual relationships with Alexander the Great.

Has a long-term romantic relationship with another woman, and sexual encounters with one other woman. Married to a man and bears his child but subsequently has long-term romantic relationship with another woman. Ancient Egyptian Pharaoh Akhenaten is married to Nefertiti , but his romance with his brother Smenkhkara contributes to his downfall. Alice has romantic and sexual relationships with both Stella and Stella's husband Jove. Though not stated explicitly in the novels series, author Rowling said in interviews that the character is gay.

The Hotel New Hampshire. Mellon and Hagarty are openly gay lovers. Mellon was the first of the killings that indicate the return of It. Phil and Tony Tracker are two brothers who are presumed to be gay by Eddie Kaspbrak's mother. Kasprak and Tozier are described as questioning their sexualities as children.

A British POW plays the role of a female in a play, and ultimately starts living as female full-time. As he confronts his homosexuality, in a time when this was not overly accepted, he descends into promiscuity and prostitution with constant flashbacks of the abuse he suffered at the hands of the priests. This part of the novel is so beautifully written but so hard to endure.

The Last Herald Mage trilogy. Less Than Zero Imperial Bedrooms. Lord John has sexual and romantic relationships with various men, though he has had sex with and married women to appease societal expectations of him. Kate Bornstein and Caitlin Sullivan. Seregil and Alec are committed lovers but both have had experiences with women in the past; Ilar is one of Seregil's former lovers.

Oranges Are Not the Only Fruit. Other Voices, Other Rooms. The Perks of Being a Wallflower. Although Carol is married, she previously had an affair with her best friend Abby Gerhard. While divorce proceedings are underway, she meets and falls in love with Therese Belivet, which results in her homosexuality being used against her and relinquishing custody of her daughter.

The Rules of Attraction. A Song of Ice and Fire. Renly Baratheon Loras Tyrell.

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The Tale of the Five series. Original character Anna is a transgender woman, and Jake introduced in 's Michael Tolliver Lives is a trans man. The Throne of Saturn. Tinker Tailor Soldier Spy. Has a girlfriend, a male lover, and also seduces Ann, the wife of George Smiley.

Rumoured to be the lover of Jim Prideaux. North is a "tormented homosexual trying to keep his secret, but recklessly in love"; Amos is protagonist Willie Wilson's gay son, and Joel is Amos' lover. Lestat, Armand and most of Rice's male vampires have intense sexual and emotional attractions and relationships with both sexes. While human, Nicolas shares a romantic sexual relationship with Lestat de Lioncourt. Weetzie Bat Baby Be-Bop. What Happened to Mr. The Well of Loneliness. Some reviewers describe the narrator as a lesbian. Bear Bergman and Suzy Malik. Aristotle and Dante Discover the Secrets of the Universe.

Early in the novel Dante reveals he's attracted to boys and as the novel progresses, falls in love with his best friend Aristotle. At the end, Aristotle accepts his own love for Dante and they begin a relationship. The Art of Being Normal. At the Edge of the Universe. The Black Magician trilogy. Dannyl has relationship with his assistant, Tayend of Tremmelin, who is referred to in the novel as a "lad".

The Butterfly and the Flame. Vincent and Michelangelo are gay men; Claude, Maiju and most of the women of New Amazonia are lesbians. Short Fiction from the Transgender Vanguard anthology. The Darkest Part of the Forest. Fever first falls in love with the male Arlo Thursday, and later with the female Cluny Morvish. The Gentleman's Guide to Vice and Virtue.

Henry Montague is bisexual and has romantic feelings towards Percy. His sister Felicity is asexual. Georgia Peaches and Other Forbidden Fruit. Nico di Angelo , Will Solace. Godsgrave The Nevernight Chronicle series. Keeping You a Secret. The Line of Beauty. JB, and Caleb are gay. Brother Luke and Dr. Traylor are involved in sexually abusing Jude. Willem is bisexual and has had relationships with women prior to his relationship with Jude. Jude is implicitly stated to be asexual, given that he does not enjoy engaging in sexual activities and does not understand the appeal of sex, even when he is in a healthy relationship with Willem.

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Magnus Chase and the Hammer of Thor. Alex is Magnus Chase 's love interest who identifies herself as a 'she' most of the time until and unless she tells otherwise. Adam shows a romantic interest in the female protagonist during the first two books, but then develops a relationship with Ronan Lynch. A Safe Girl to Love.

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Rhy is bisexual while Alucard is gay. They had a fling three years prior the events of the books. Victoria Schwab actually stated multiple times that in her eyes none of the characters are straight, but that's not mentioned in the series. Alec is gay and Aline is a lesbian, and are among some of the first openly homosexual Shadowhunters. Magnus is openly bisexual, having several relationships with both men and women, his most notable partners being his current boyfriend Alec Lightwood and his ex-girlfriend Camille Belcourt.

Helen, her younger brother Mark, and Mark's ex-boyfriend Kieran are all bisexual and of faerie lineage; author Cassandra Clare has described faeries as "being, in general, bisexual". Michael is revealed to be a closeted bisexual who develops feelings for his parabatai Robert Lightwood, but later marries Eliza Rosewain. Diana Wrayburn is the first transgender character to appear in the series. Jesper is bisexual, and Wylan is gay; they begin dating each other by the end of the duology. Nina has also been confirmed to be pansexual. Simon is a closeted gay teenager who is in love with his pen pal 'Blue', who is also a closeted gay teenage boy.

Simon later discovers that 'Blue' is his classmate Bram Greenfeld and they begin dating. Cal is Simon's bisexual classmate who shows a romantic interest in Simon and, in the sequel novel, begins dating Simon's younger sister Nora. Peter is a guy who flirts with Simon at a gay bar and Carter is the gay older brother of Simon's classmate Martin Addison. Leah and Abby are two of Simon's closest friends who come out as bisexual and begin dating each other in the sequel novel Leah on the Offbeat.

The Song of Achilles.