TITLE    : Visions of Sodomy
STORYID  : visions-of-sodomy
SUMMARY  : The implications of anal intercourse.
AUTHOR   : Cal Y. Pygia@lit
DATE     : 2011-12-15
CATEGORY : reviews-and-essays
FLAGS    : 
TAGS     : |sodomy|anal|buttocks|anus|rectum|intercourse|art|drawings|illustrations|sex|


Art that features anal intercourse always catches my eye; usually, it hardens my cock, too, for reasons that I have made clear in a number of essays concerning the topic, all of which are available, for interested readers, hereon Literotica. One thing about art--especially line drawings in pen and ink--that makes it appealing is the clear and distinct way in which it depicts its images: whether facial features, breasts and nipples, vaginas, penises, testicles, scrota, or buttocks and anuses, the anatomical parts are shown unambiguously. Even pubic hair is often indicated with a realism that borders upon the photographic. One can see, plainly, precisely where an erection enters a vagina or an anus, and all details are usually given equally clear depiction, so that foreground and background objects and even objects within the same plane but of different sizes are portrayed with equal clarity. The effect of such unambiguous representation is a heightening of the parts thus depicted and of the aesthetic and erotic appeal that is associated with the depiction of such sexual parts.



A still picture freezes time, so that the moment that such an image depicts becomes itself timeless: a woman, lying upon her stomach, one hand thrust between her parted thighs so that her fingers might fiddle with her labia, while she suffers her lover, who is arched over her, straddling her hips, to impale her anally, is sodomized eternally, for example, as is the look of intensity, of anguish (or, perhaps, arousal), upon her lovely, but grimacing face. And, again, all is depicted with a clarity and definiteness that elevates the art's aesthetic and erotic qualities.



It is not women only, of course, who are sodomized in erotic art. Men, too, are anally impaled, sometimes by other men, sometimes by women who have donned strap-on dildos for the occasion. This art has a charm unique to itself, for the sexual organs, when both the impaled and the impaling parties' genitals are shown, are not different, but the same--or very similar, in any case. The art of Gil Javier sometimes features demonic lovers. One such picture, depicting an erection as it rears forth, the testicles small in the gathered, risen scrotum beneath it, is a thing of joy and beauty, indeed: behind the risen penis, another, equally thick and rigid organ, its end vanished inside the man whose own penis juts into empty space, free to bob about and jostle about, performs the delightful task of sodomizing the anus it has penetrated! The erotic effect is enhanced by the presence both of a lean dog that licks the impaled man's standing erection and by the look of true alarm upon the face of the impaled man, who, perhaps, imagines that, in being penetrated, he might be rent asunder by the massive penis that impales him. The same picture also depicts another nude man carrying a nude woman whose calves and ankles are folded back firmly upon the backs of her thighs and her upper body sprawls forward and downward, allowing her face to be licked y another lean canine, this one rearing upon his hind legs to gain access the woman's face, thereby exhibiting his own erection, a thin, but robust ember half-sheathed in fur. Because of the angle of her profile, in which her jaw is at a right angle to her chin, lips, nose, and brow, her head appears, at first glance, to be a breast, which adds to the drawing's grotesquery and to its erotic and aesthetic appeal.



In another painting, also by Gil, a small-breasted woman of androgynous appearance, despite her vagina, the labia of which she spreads while she rests upon her hips, her back against a strange horned figure with an oversize head that licks at the side of her face with an unusually long, thin tongue, French kisses the horned demon with pointed ears and a long tail that ends in an arrowhead shape who has fully penetrated her anus so that his member is "balls deep" inside her rectum. His tail is coiled around her left ankle, and a winged lion, its right paw draped over her foot, licks her toes with its scoop-shaped tongue. The art is well executed, and grotesquery of the imagery heightens its erotic appeal, as perversity frequently does.



In another picture, by a different artist, a woman rests upon the outside of her right thigh, her knee bent and her calf and foot lying before her upper leg; her other thigh stretches above its twin, parallel to it, and its knee is also bent so that the sole of her left foot rests upon the bed. Her right clutches her right thigh, perhaps for support and balance, and her left arm stretches out behind her, vanishing behind her right thigh, just above the knee. Her left breast--or the summit and erect nipple of it--show between her right calf and left arm. She wears only a pair of socks and a necklace made of pearls that are strung in two loops. Between her thighs, facing toward the viewer, her pubic hair, labia, clitoris, and mons veneris are displayed, as is the rigid penis that impales her wide-stretched anus, the front of the rim of which one can see clearly, as the point of entry. Nothing more of the man is seen except the very tops of his thighs, his lower abdomen, and his right hand, which reaches forth to touch the woman's right hip. All of these details are faithfully and lovingly executed, as is the tormented face of the young woman, down whose cheeks tears course, whether of pain, or shame, or fear, to further delight the viewer of this scene, suggesting, as it does, one of the chief sources of enjoyment in the contemplation of art that depicts anal intercourse: the sadomasochistic nature of the act itself.



Another picture, by yet another artist, a man crouches above a woman, straddling her hips as, bent low, he thrusts his erection through her buttocks, burying half its thick, rigid length inside her bottom. Below her impaled ass cheeks, her hand straddles her vagina as her fingers play at her clitoris. She is on her knees, with her legs parted wide to make her lover's target as accessible as possible, and she rests her upper body upon her right forearm and her head upon a pillow. Her eyes are closed, her features reposed, as if she is enjoying her ravishment--or, perhaps, she has only resigned herself to her fate. The man's eyes are closed as well, although his face shows a certain intensity of concentration. His crouching position makes it seem almost as if he and the woman are one, and the mirror effect of his buttocks arched above hers is pleasant to behold, especially since their rough similarity is offset nicely by the utter differences in their respective genitals. It is an altogether delightful, well-conceived and well-executed drawing that makes the act of anal intercourse an almost sacred ritual that, eternally captured in fine lines, is worthy of reverent contemplation. The words "Encore," "Encore," Encore," repeated, one above the other in diagonal parallel rows, helps one to recall--and to appreciate--that such this sexual act is not consummated in penetration; rather, each additional thrust of the penis between the buttocks, through the anus, and into the rectum is an "encore" of the initial impalement, just as each momentary retreat, in preparation for the next thrust forward (and inward) is an "encore." This emphasis upon the repetition that intercourse--and, in this instance, anal intercourse in particular--involves aids the viewer's appreciation of and meditation upon the wonderfully depicted act of what might be termed ritualized sodomy.



In yet another drawing by another artist, contrast is the organizing principle. A Black man, his T-shirt pushed above his belly, lies upon his right side, his hand holding his erection, a massive, thick organ, which he is in the process of shoving through the anus of the white woman who lies, half upon her tummy and half upon her side, her legs spread wide to exhibit her vacant vagina and to facilitate her impalement upon her partner's penis. She wears nothing but a pair of stockings. Her left breast shows above her right hip and her right thigh, and, upon her face, she wears an expression of discomfort: the Black stud who impales her has, after all, a penis of unusually large dimensions.



In part, this drawing is erotic because of its subject matter and the way in which the characters are depicted, but it is also erotic because it portrays a still somewhat taboo situation: the sodomizing of a white woman by a Black man. The interracial union intensifies the sexual drawing's element because, in a racist society such as that of the United States, where skin color remains, even now, despite the nation's election of its first African-American president, a matter of controversy, debate, and strong emotions, a divisive issue, the depiction of a Black man, equipped with a member that would put many of his white counterparts to shame, having sexual intercourse--and anal intercourse, at that--with a white woman is a potentially volatile--and, therefore, erotically incendiary--issue for many Blacks and whites alike.



In another picture, by a different artist, a woman is shown from the front as, wearing only glasses, a torn shirt, and tightly laced boots that rise to the middles of her calves, she spreads her legs wide, straddling the thighs of the man who lies beneath her. (Only his genitals, his lower buttocks, and his upper thighs appear in the picture, making her, rather than him, the drawing's focal point.)



Her eyes are half shut and her mouth is wide, her facial muscles relaxed, indicating that she is in an orgasmic state as, balancing upon her toes and, presumably upon her fingertips--her arms are stretched behind her, apparently in support of her weight and equilibrium, her hands thus lost to the viewer's sight--she raises and lowers her buttocks upon the massive male organ that impales her anus. Above her penetrated buttocks, the slit of her closed, bald vagina--there is but a feathery tuft of pubic hair, neatly trimmed into a vertical strip above her labia--seemingly but a decoration. Unused and unneeded by the sexual act that she performs upon the male genitals beneath her, her vagina is redundant, if not obsolete, a throwaway thing, rather than the very essence of her femaleness and her femininity. She can choose to use it or not; therefore, she, not her sex, determines who she is and what she shall do sexually and, presumably, otherwise. 



The picture's message seems clear: anal sex liberates women from the destiny that their reproductive capacity, as represented--and, indeed, permitted--by their vaginas otherwise tends to impose upon them. Her sex need not be a woman's destiny if her buttocks, anus, and rectum, rather than her labia, clitoris, and vagina are the means that she chooses to use to express herself sexually. Anal sex--the only avenue available for homosexual men as the medium for sexual intercourse--puts a woman upon an equal sexual footing with men, allowing pleasure, not reproduction, to be the essence of lovemaking.



An illustration by Bernard Montogueil shows that anal intercourse, especially when it is forced upon a male recipient, can be an equalizer in the battle of the sexes, making a woman, equipped with a strap-on dildo, the dominant sexual party and her male victim the submissive party. In one drawing expressive of this theme, a woman, fully dressed, holds the wrists of the nude man whose arms are raised well above his head, which she clamps firmly between her thighs, looking on as her fellow female accomplice, wearing a fishnet body suit fitted with both a hood and a leather bra, black leather high heels, and a harness equipped with a rigid dildo, penetrates the man who stands, penis erect, upon a raised platform that brings his backside level with the penetrating party's hips.



The penetrating woman has placed the palms of her hands upon the male's lower back and uses them, and her body weight, to press his back and his hips lower, both to subjugate him and to facilitate her entry into his anus. His upper head is lost to the viewer's sight, between the other woman's thighs, but, form the tip of his nose down, his features are visible in profile, and the observer can see that his mouth is agape. He seems to be struggling, possibly to breathe and possibly, at the same time, with the emotions of fear and shame that the women's treatment of him have aroused within him, along with the lust that is evident in his erect state.



The women's expressions, on the other hand, are matter-of-fact. It is obvious, by their neutral, even expressionless, expressions, that their treatment of the man whom they assault is as ordinary to them as it is horrific to him. The role reversal, showing a male as the victim of women, rather than women as the victims of men, suggests that, for women who are so casually assaulted by men, their fate is as appalling to them as this male victim's is to him--and the horror of the women's fate is made all the more horrific by the casual indifference to them that many men exhibit, just as the female victimizers here exhibit such indifference toward their male victim. Such turnabout may be fair, but, this drawing suggests, it is not always pleasant, even when instructive.



A close-up of anal intercourse, objectively rendered, in clear, fine lines, is a beautiful sight, despite its showing of an act that is, for some, an outrage to the recipient's integrity and a manifestation of the penetrating party's animal nature. For some, sodomy remains a sinful or unnatural act, despite its recent decriminalization in America by the ruling of the Supreme Court. Depicted impartially, even dispassionately, as simply the introduction of an erect penis into an orbicular muscle that happens to be located between a pair of spread buttocks makes the sight factual rather than emotional, eliminating hysteria in favor of objective representation: organs are organs, muscles are muscles, the act is merely an act. There is no frantic renunciation of the deed; it is represented for what it is, with the implication that it is not sinful or unnatural, but that it is simply what it is in itself, apart from social, psychological, and theological interpretations: a sexual act that is neither more nor less desirable or offensive than penile-vaginal intercourse or any other form of sexual congress. 



Having freed the act from the often-negative cultural associations that typically plague it, the drawing of an act of sodomy represents the deed as it appears, in and of itself, for the viewer's consideration as such. Anal intercourse, or sodomy, is depicted per se, unencumbered by opinion and prejudice. The viewer is free, too, therefore, to make of the neutral, decontaminated, refreshed vision of sodomy what he or she will make of it. Indeed, if anything, the objective, impartial, even casual depiction of this act invites a positive regard for it on the viewer's part, for the sleekness of the buttocks; the way that the woman's right hand, cupping her right buttock and thigh, helps to spread the cheeks of her derriere, as does her partner's left hand, which he has placed above her own, to lift the same buttock; and the straightforward depiction of the penis' entry through the anus that the woman's arched buttocks points toward him, in an inviting manner, suggests that both parties want to engage in this act. The act is not a vehicle for dominance and submission, as charges against sodomy often declare anal intercourse to be, but the result of mutual interest and enjoyment on the part of both parties.



Regardless of which figure, male or female, penetrated or penetrating, recipient or donor, the viewer relates to or identifies with, the act itself, as depicted, is what he or she makes of it him- or herself; sodomy can be desirable for either party--and, therefore, for both parties. Stripped of the baggage of theological, social, and cultural censure, sodomy becomes a potentially positive and attractive alternative, once more, to penile-vaginal, or other form, of sex.



Depictions of anal intercourse as viewed from behind, doggy style, are attractive and erotic, but so are drawings in which the couple face each other, making eye contact as they engage in this pleasurable act of giving and receiving. One illustration of a man sodomizing a woman shows the way in which such eye contact can heighten the emotional effects of the act. The woman lies upon her left side, her head resting against her raised left palm, as, legs spread wide, she fingers her clitoris while gazing into the face of the man who, also lying upon his left side and holding the back of her bent left knee, plunges his penis through her anus and into her rectum as he returns her smoky stare, a look of concentration and intensity upon his face. She is receptive; he is driven, and their passionate gazes shows their respective emotional attitudes, their manifest feelings heightening the eroticism of the drawing that shows both their physical and their emotional attitudes toward one another as they participate together in this most intimate expression of their sexual and emotional selves.



A woman is a great many things to a man. Her eyes, her gaze, and her behavior in general make her a wonderful and fascinating individual, a fellow human being who is equipped with emotions and intellect, talent and skill, past and present, possibility and actuality, body and soul--but, at the same time, she is breasts and vagina and buttocks, she is nipples, labia, clitoris, anus, and rectum, hands and legs and mouth. The only way that a man can finally deal with the overwhelming possibilities and actualities of a woman is to fetishize her by fragmenting her, temporarily positing her to exist as but organs and appendages, as muscles and ligaments, as texture and density, as color and shape. The result upon her is dehumanizing and, some would argue, demeaning, although most men do not intend either effect to ensue from their objectification of women; rather, by their reduction of women to their body parts and the functions of these anatomical pieces, men are actually trying to prevent themselves from being overwhelmed by women.



God or nature has been too generous in equipping women with both physical charms and spiritual attributes; women, by virtue of simply being themselves, engulf and overpower mere men. Fetishism is men's desperate attempt to survive the beauty and power of women. By reducing the glory and the wonder of femaleness and of femininity to a pair of buttocks, an anus, and a rectum to be mounted, impaled, and assaulted allows men to function sexually. Otherwise, the loveliness, splendor, and beauty of Woman, in all her surpassing glory, would overcome the weaker male sex, drowning and incapacitating him. Drawings of anal intercourse show this to those viewers, whether male or female, who are able to see beyond the surface and into the depths of sexual matters. In sodomizing a woman, a man may pretend to have gained dominant status, but he knows, deep down, in his heart and soul, that he has done nothing more than invade and occupy her innermost depths for a time that would be too brief even to remember were it not for the delight of orgasm and the violent passion of ejaculation that accompanied and marked this occasion. After the act, as before, woman reigns supreme. 

