‘Claws,’ an Erotic Horror Novel, Chapter Four

Callie left Dr. Visner’s office in a whirlwind of emotions. The psychotherapist gave her continuing jolts of attraction and repulsion. It wasn’t so much his physical resemblance to Mort as it was the seeming similarity in their personalities.

Visner seems so kind and empathetic, just as my stepfather used to be, she thought. Is this just going to be another charm offensive, as it had been with Mort–whom I can barely still call my stepfather–he who charmed his way into bed with me? The disappearance of Daddy, my real daddy, from my life, after his and Mom’s divorce, had been a throbbing pain in my heart, which got worse when he died a year later in that car accident. Mort then came along and filled in the void…among other voids.

Callie could also feel Kluh’s lust for Visner, a lust that was being incorporated with Callie’s feelings, and confusing her. She and the demoness felt like spiritual Siamese twins, as it were, with the conjoining growing more and more absolute all the time. It was getting more and more difficult to know where Callie ended and Kluh began.

I want Dr. Visner, Callie thought and she walked down the sidewalk in the direction of The Gold Star, but will he betray me as Mort did?

****************

Detectives Surian and Thurston were on the streets of downtown Toronto, questioning people who’d seen or heard anything connected with Wayne’s murder. They were following up questioning from the local police, looking for further links with the killing of Mort Brahms in Hamilton.

Sometimes, they spoke with people whom the Toronto police had already questioned. At other times, as they walked down the streets and talked about the case with those they were questioning in the neighbourhoods, other people oddly began presenting themselves to the pair, as if eavesdroppers to the conversation.

A homeless man told them he saw a “hairy humanoid” racing by the alley where he was sitting and drinking at about 2:00 in the morning. He said ‘she’ had a curvaceous female figure, “with big tits,” but all covered in dark hair. She let out a growl that startled him, then he saw her run by.

Other people spoke of “grunts and growls” several blocks down the road from the alley at about 2:05 to 2:10, suggesting the direction the beast was going in. At about 2:30, someone was looking out of her third floor window and thought she saw a hairy figure flying in an arc across the street in a huge jump, then landing on the sidewalk at a corner; it then turned left. The woman’s apartment was on a road intersecting with the previous road with the alley, suggesting that the beast was moving in a zig-zagging, diagonal direction.

Surian and Thurston went with that hunch, finding others who’d “heard a few growls” around 2:40 to 3:00, in areas of the neighbourhood still suggesting a diagonal direction. The last person to have heard growls or grunts was around 3:10, still in the same general direction.

“I can’t believe the luck we’re getting in finding people who know of the beast,” Thurston said.

The detectives continued following the direction of their hunch, and though there were no more sightings or any hearing of the beast, they started noticing long, brown hairs lying on sidewalks, some wrapped around trees–that is, after the wind blew them there–and some on lawns; and with more and more hairs found clumped together in tufts, until finally they reached the alley with the boxes and garbage bag piles where Callie had woken up nude.

“The end of the line, damn it,” Surian said, studying the largest of the cluster of hairs.

“Where could it–she, I guess–have gone?” Thurston asked.

“She?” a man behind them said, startling them.

“Who are you?” Surian asked.

“Oh, uh, I cook in a café just a block down the road,” the man said. “Sorry if I startled you. I don’t normally walk up to strangers and chat with ’em, but I couldn’t help noticing you asking where ‘she’ went. Just around 11:00 or so this morning, I saw a ‘she’ right here where you’re standing–dirty and smelly, but also naked and beautiful.”

“We’re looking for a hairy female animal,” Thurston said.

“But with a curvy body, sharp claws, and big tits,” Surian said. “Remember what the drunk said, Andy?”

“This naked woman was curvy, with big tits,” the man said. “I got lucky with her during my lunch break–oh, sorry, ma’am, for the locker-room talk.”

“That’s OK,” Surian said. “Actually, this is helpful.” She took out a photo of Sandra Brahms. “Did she look at all like this girl?” The photo was a full body shot of a chubby, seventeen-year-old brunette.

“Um, no, she didn’t look anything like that,” he said.

“Not even her face?” Thurston asked.

“No, not at all. Sorry.”

“I guess them both being here was a coincidence,” Surian said with a frown.

“The woman said she worked at a strip joint, The Gold Star,” the man said. “It’s just a few blocks from here.”

“Wait a minute,” Thurston said. “Wayne was last seen leaving The Gold Star with a stripper, a curvaceous one with big tits, according to a witness who spoke to one of the Toronto cops.”

“What colour was her hair, this woman you were with?” Surian asked.

“Blonde,” he said. “Dirty and messy when I found ‘er, but blonde.”

“The witness who saw Wayne leave with the stripper said she had bright red hair,” Thurston said.

“Sure, but I think we should go over to this ‘Gold Star’ peeler joint,” Surian said.

“What are we supposed to make of this?” Thurston asked. “Am I supposed to believe there’s a stripper werewolf, or something, killing men she fucks?”

Killing men?” the man asked with a shudder.

“No, of course not,” she said. “But both men died with their dicks hanging out their unzipped pants, the gossip around the Brahms family’s neighbourhood involved suspicions about Mort’s relationship with his daughter, who’s still nowhere to be found, and this here is the best lead we’ve got. What’s your name, sir?”

“Stan,” he said.

“Take us to The Gold Star, Stan,” she said with a smile. The three of them started off on their way there.

Thurston said to Surian, “As hot as the girls are in this strip joint, I promise I’ll always like you better, Agnes, my cutie.”

“Oh, shut up, Andy,” she said with a smirk.

I don’t know what possessed me to come out here to this alley again, Stan thought.

I do, Kluh thought, her spirit monitoring all the action.

Validation

[NOTE: please read the second and third paragraphs from this post before continuing. Important–don’t skip reading them!]

Of all the aspects of emotional abuse that I suffered from the family–the autism lie, the bullying, the scapegoating, the explosive anger, the triangulation, the smear campaigns–in many ways, the most hurtful of all was the constant invalidation of my feelings and perspective.

This invalidation is especially cruel when one receives it as a child. Crucial psychological development is going on during those years, and telling a kid he’s ‘wrong,’ or he’s ‘making too big a thing’ out of the problems his abusers are causing, subjecting him to victim-blaming, saying his opinion ‘doesn’t count,’ etc. (all of these examples being lines I’ve heard come out of the mouths of my family, by the way), is damaging to his ability to grow self-confidence. Such invalidating, minimizing, and trivializing of one’s feelings and experiences are all forms of gaslighting.

Granted, we all have to deal with the reality of being wrong sometimes, and conflict occurs in even the best of families; but I’m talking about a consistent, systemic negation of the victim’s point of view. The victim is made to feel as though being right about anything is generally beyond his or her reach.

My late mother’s lie, about my supposedly having an autism spectrum disorder, provided the foundation for the apparent incorrectness of my perception of everything. The bullying I endured from my elder siblings, R., F., and J., only reinforced my inability to have a voice; if I tried to stand up for my rights, or challenge any of my siblings, they’d double down on the verbal abuse and physical threats, turning up the volume of their shouting at me–because allowing me to fight back would be a threat to their power over me…and emotional abuse is all about power and control.

If I tried to assert myself to my brother R., he’d say such things as, “You’re full of shit!” or “You misunderstand [Mom], just as you misunderstand everyone…” etc. If I tried the same with my sister J., she’d say, “Don’t get lippy with me!”, “I don’t wanna hear it!”, or “I don’t need to hear your attitude!”; then, she’d hypocritically judge me for not “voicing” my issues with her. If I challenged my brother F., he’d shout, “Who the fuck are you?! Oh, I oughta smack you for saying that!” They never take it as well as they dish it out.

Our mother, of course, defended them almost every time, especially J., her golden child. All of this, of course, reinforced my invalidation. Things had gotten so bad that I found myself with no choice, about three to four years ago, but to go No Contact with them. I’m sure they still blame me, and solely me, for our falling out. These people have no sense of introspection. If they had it, they’d have acknowledged the role they’ve played in this problem years ago…decades ago.

I’m sure, Dear Reader, you’ve dealt with this problem in one form or another, either with family, or in a former relationship; otherwise, you wouldn’t be reading this. Let’s face it: you’re not going to get any validation from people like that. You’ll have to rely on yourself to get it.

I’ve written other blog posts on how to ‘exorcise,’ if you will, the inner critic we sufferers of C-PTSD have. I also recommend auto-hypnosis, for the deep state of relaxation you get from hypnosis will make your mind more suggestible. And that’s where the validation of affirmations comes in.

Sit or lie down in a relaxing position, close your eyes, take long, slow, deep breaths, and become aware of every inch of your body, starting with your toes and feet, and work your way up, inch by inch, to your head. Feel your body vibrating all over, or–as I like to describe it–feel as if your body is part of an ocean, an infinite ocean of Brahman, with your body and surroundings as all gently flowing waves. No distinction between the outside and your inner Atman: it’s all soothing, peaceful water, everywhere.

Once you’re fully relaxed, begin to imagine good people who love you, an inner guidance system, new internalized good objects, saying these kind words of validation:

“You’re completely normal.”

“You have the same right to be heard as everyone else.”

“You’re a good, decent, caring person.”

“You deserve much better treatment than you’ve been given.”

“You’re smart, capable, and talented.”

“Your feelings matter.”

“You are beautiful, inside and out.”

Feel free to make a list of your own affirmations, if you can think of ones more suitable to your situation. To get the best effect, do this meditation again and again, every night over several weeks. If you don’t like the way I have set it up, try some YouTube videos, self-hypnosis videos with positive affirmations. I like the ones incorporating ASMR.

Whatever you do, I urge you to invalidate your invalidators. Consider the source. Ask yourself, “What the hell do they know, anyway? What makes them think they’re an authority on me, or on anyone?” You don’t have to say these words to your abusers’ faces (indeed, I’d advise against that, actually): leave them to blunder about in their narcissistic delusions. It’s not your job to fix what’s wrong with them.

Instead, invalidate your abusers in your mind. You’re the only one who has to know that they’re the problem, not you.

‘Claws,’ an Erotic Horror Novel, Chapter Three

“Oh, no–I did it again,” Callie whispered as she stared at the dried blood on her hands.

She lay naked in an alleyway, behind a pile of garbage bags, crates, and boxes. It was late in the morning; she looked about furtively, trying to see if she could recognize the area.

She crept towards the end of the alley with one hand over her breasts and the other over her crotch. To her knowledge, she had the same sexy body she’d had in the swimming pool. Sexy, but smelling of sweat and garbage.

She noted a street sign on the corner: it was white with black bordering, like many seen in Toronto. In fact, the street itself looked familiar. She breathed a sigh of relief.

Well, Kluh? she asked. How do I get home?

Trust our instincts, the spirit told her. Do what we did last time. Sense if there’s a man walking by who’ll be suitable.

Callie backed up and hid behind some boxes. Then she closed her eyes and concentrated. She could feel the psychic energy connecting her with her surroundings, including all those passing by the alley. Kluh’s connection to her mind made it easy for her to master this meditating. Many men and women walked by: she focused her scanning on each person’s thoughts, wishes, and desires.

The women, as well as one gay man, would have been safe for her to present her nakedness to; but she sensed that they were all either too busy or apathetic to be willing to help her. The vast majority of the men would have been so voracious in their sexual appetites that she’d have risked another sexual assault, and therefore another transformation into the beast.

Then, one rather timid man was approaching. She sensed that he’d desire her, but be gentle enough with her to exchange a pleasant sexual favour for borrowed clothes, a shower, and a ride to her apartment. She chose him, flashing with a grin he mirrored.

*****************

As the beast had been racing and jumping about the night before, Kluh had used her powers to put Wayne’s landlady in a trance to go into his apartment and retrieve her purse and clothes, all before the cops arrived. The entranced woman arrived at Callie’s apartment just in time, around noon that day, when Callie also got there, so she could unlock her door and get in.

That afternoon, she lay on her bed thinking about her situation. That merging of her mind with Kluh’s was progressing. Now what scared Callie wasn’t being raped, nor was it even killing potential rapists: she now not only liked the sex, getting a thrill from the danger of being assaulted, but she was also beginning to like the killing.

“I need to find a shrink,” she said.

Good idea, Kluh told her, knowing exactly which one to direct Callie to.

******************

Detective Agnes Surian had been sulking at her desk that morning until the newspaper was dropped on her lap.

“Prepare to brighten up, Agnes,” Detective Andrew Thurston said. “The dawn of a new day for the Mort Brahms case.”

“Oh?” She looked at the headline on page two of the Toronto Star: “Toronto Man Clawed to Death by Mysterious Hairy Beast.”

“Did that flash of insight put the fire back into your heart, cutie-pie?”

“Yes, it did, Andy,” she said with a smile. “Like a bolt of lightning. Looks like I’m heading off to T.O.”

******************

Callie found arranging an appointment with Dr. Visner easy and prompt, for he had a free afternoon that very day…thanks to Kluh’s influence. She went up to the fifth floor of a building in downtown Toronto, then walked into the reception area.

“Ms. Seaver?” the receptionist asked.

“Yes,” Callie said. “Is Dr. Visner in?”

“Yes, he’s waiting for you. You can go right in.”

“Thank you,” Callie said, then went over to the door of his office. The sign on the window said Dr. Chris N. A. Visner, Psy.D. She put her hand on the doorknob and paused. He’ll never believe me when I tell him about you. He’ll think I’m crazy, which I probably really am. She turned the doorknob.

That’s OK, Kluh mentally replied. Getting all your pain off your chest will be good for you. That he’ll never believe in the clawed beast means we’ll be safe from the law.

She opened the door and saw Dr. Visner sitting at his desk.

Her eyes widened at the sight of the handsome middle-aged man. “Holy shit.”

“Is something wrong, Ms. Seaver?” the therapist asked.

“Oh, no…it’s just…you look a lot like my late stepfather.”

“Oh?” he said, gesturing to her to sit on the couch across from him. The transference is already in effect, he thought. I still don’t know what possessed me to cancel all my other appointments today.

Indeed, Visner was a lot like Mort, in many ways. His wavy, grey hair, the soothing sound of his voice, and his agreeable manner were all practical replicas of her stepfather; but especially there was Visner’s choice of clothes that day–a grey suit and vest, with a red dress shirt–the outfit looked eerily similar to one Mort often wore.

Good, Kluh thought. He dressed in the exact way I influenced him to this morning, all without Callie knowing. My power is growing, with every lover.

Callie sat on the couch, still feeling awkward and at a loss as to what to do. “What should I say?”

“Anything you like, Callie,” he said. “Is it OK if I call you by your first name?”

“Of course,” she said with a nervous giggle. “But I don’t know how to tell you…what’s bothering me. It’s going to sound so crazy.”

“Don’t worry about what I think,” he said, his Bob Ross-like voice sending ASMR-like tingles all through her. “I can’t help you if you don’t tell me what’s troubling you. Just say whatever’s on your mind, and don’t censor yourself. That’s crucial.”

“O…K…,” she began. “It all started, I guess, when my mom and dad got divorced, she got custody of me, then he basically showed no more interest in my life. I was about ten.” There was a lump in her throat. “Then, she met a man–Mortimer Brahms. He was so smooth with the charm, with me as well as with her. I actually liked him at the time he was dating her.” A tear ran down her cheek.

“Did she marry him?”

“Yes.” She fought to keep from sobbing. “And that’s when my real troubles began. He–” She paused, letting out a sob.

“Seduced you?”

She sobbed again. “Yes. He told me never to tell Mom, that it was me he was in love with.” She sobbed some more. “He…had me…for the first time…when I was…twelve.”

“Oh, my God,” Visner gasped, then handed her a Kleenex.

******************

At the coroner’s in Toronto, Detective Surian was looking at the claw wounds on Wayne’s body.

“The wounds have the same contours, the same look to the slashes, the same cutting style, as on Mort Brahms’s body,” she said. “It must have been the same animal…if only I could identify what kind of animal.”

“I don’t know if this will help your investigation,” the coroner said. “But the cops found Wayne’s body, fully clothed, with his fly open and his penis hanging out. You don’t suppose he tried to commit bestiality with the animal, and that’s why it killed him?”

“If he did, it must have been one hell of a sexy animal,” she said, “because Brahms’s body was also found fully clothed, with his fly open, and his dick showing.”

‘Claws,’ an Erotic Horror Novel, Chapter Two

[some sexual content]

As Sandra, or Callie Seaver, as she was now calling herself, was lap-dancing a man in his forties in the VIP Room of The Gold Star, the strip joint she was working in, she contemplated her situation of the past few weeks. She was getting used to her new body, her new life as a stripper, and even her relationship with Kluh, who–it seemed–didn’t need to take control of her body so often.

As the man’s hands were sliding along her skin and caressing her breasts, she thought about how she no longer found it so distasteful being viewed as a sex object; the huge amount of money she was making each night gave her a feeling of power, over the men who lusted after her, that made her objectification seem a trifling disadvantage in comparison.

She rubbed her buttocks on the man’s pointy lap, noting how close the tip was to her anal cleft; but it didn’t frighten her as it had before. She’d already slept with a few clients during her first few days as a stripper, in order to have a place to spend the night until she’d find a suitable apartment; and in the process, the trauma she’d associated with sex was fading away, and she was even beginning to enjoy sex now.

She got up and turned around to face him, then brushed her large breasts against his face; as perfectly round as they were, they weren’t silicone, to his delight. She had the body of a goddess, and he was worshipping her. She could psychically sense his worship of her in his mind, just as Kluh could sense it, and Callie was beginning to like being worshipped, just as Kluh, that self-proclaimed goddess inhabiting Callie’s body, had always liked it.

She sat on his lap and felt his hands on her buttocks as she touched her nose against his. His fingers were creeping like a spider’s legs toward her anal cleft. Being touched in that secret area was bothering Callie less and less, since the memory of her stepfather sodomizing her was drifting further and further away from her. What’s more, Kluh as a goddess of lust and death liked being lusted after and touched lewdly, for the spirit considered the body she was inhabiting to be a temple to be adored at.

Now here arrived an important development: between Callie getting used to these recent big changes in her life, with Kluh inhabiting her body and influencing her decisions, and she and Kluh increasingly enjoying the same pleasures, what was emerging was a growing fusion of their wills, of their very identities. Callie and Kluh were slowly becoming one being.

With this fusion of wills, Callie could sense more and more what Kluh’s intentions were: a wish to have more power, which came as a result of merging contraries. She sensed Kluh’s intentions, and felt herself irresistibly more and more sympathetic to them, though some intentions were still mysterious to her…and still frightening.

Two weeks had gone by without any transformation into that clawed beast, though Callie could vaguely sense an urge in Kluh to let the beast out again, to provoke another transformation. That urge seemed to be set aside for the moment, so Callie didn’t fear having more blood on her hands for now.

Indeed, she was relieved to know, from having read in the newspaper that the detective investigating the case, an Agnes Surian, had all but given up on the case. All Surian had brought to light was that some clawed beast attacked Mort Brahms and jumped out his second-story bedroom window. How the animal got in the man’s house was a mystery.

Another mystery was what had become of Mort’s stepdaughter, Sandra. The shy, chubby eighteen-year-old seemed to have vanished. Callie liked the sound of that. No more Sandra, no more Mort. No more bad past. No tracing of the killing to Callie in Toronto.

The man had one set of fingers between her legs, and the other set between her buttocks. He was arousing Kluh’s lust, making sympathetic Callie feel it, too. It titillated both of them to have their secret places known. Callie was just glad Surian didn’t know anything about the secret identity of the beast.

The closest anyone could trace it to Callie was in a few people having sighted a hairy, anthropomorphic beast running and jumping high in the air through the streets of Hamilton, then heading towards an exit of the city. But where it had gone after that wasn’t at all known. No one had sighted it since.

So as long as no one provoked the monster by trying to rape her, Callie would be safe. All these men lusting after her nakedness, and being lap-danced by her, and fondling her in the VIP Room, seemed less and less of a danger to her; thus, she wouldn’t be a danger to them…if only such assurances could last.

She was licking the man’s ear, then he whispered in her ear, “I’d…love to draw you, Chloe.”

“You’re an artist, Wayne?” she asked, rubbing harder on his erection, and as delighted to hear herself addressed by her mother’s name (now also her stage name) as she was to be so worshipped.

“Yes,” he grunted from the feeling of those rubbing buttocks. “You have…the body…of a goddess.”

She was so surprised to know that a man’s lust didn’t terrify her anymore. Her curvy body no longer seemed to be a risk of rapes, but was now a source of pride. She’d made herself fat as a teen in the hopes that Mort would stop being sexually attracted to her; actually, he’d rape and sodomize her no less than before. But now, sex no longer meant powerlessness to Callie; making hundreds, thousands of dollars every night from sex-addicted customers meant sex was power for her, something Kluh had always understood.

I told you I’d be good for you…Chloe, Kluh told her mentally.

Yes, Callie answered in her mind. You may not be my mother Chloe, but thanks to your help, I am now Chloe, the sex goddess of The Gold Star.

WE are the sex goddess, Kluh corrected. We grow to be more and more one with every passing day, with every sexual contact. Remember what I told you before: the merging of contraries, male and female, sex and death, pleasure and pain, delight and terror, make me more powerful. And as I get powerful, you get powerful. For we are one.

Fuck this man, and we get stronger? Callie asked.

Yes, Callie. Even his attempted rape of us, if that happens, means we kill him with the claws. Sex merged with death makes us stronger, too.

Oh, I hope we won’t have to kill again.

That’s up to Wayne, isn’t it?

*********************

An hour later, they were in his studio apartment, her nude on his bed lying on her back, and him at the foot of the bed with a pencil in one hand, drawing her breasts on a sketchpad.

“Usually strippers look less attractive in the bright light,” Wayne said, his erection poking a visible bulge in his pants that made flattered Callie smirk. “Not you. You’re even more beautiful than I’d imagined possible.”

She giggled. “Thank you.”

“I thought you were blonde in The Gold Star,” he said, detailing her erect nipples. “I see you have bleached white hair.”

“Oh, I change my hair colour a lot, actually,” she said. Kluh made my hair blonde, white, light green, yellow, even pink, all tonight over several hours when I danced in the dimmed lights, didn’t you?

Yes, I did, Kluh answered in her mind. My constant changing of your appearance is how I make it difficult to trace where you are, in case we need to let out the beast again.

Callie shuddered at that thought, but her fear soon changed back to titillation. I can psychically feel Wayne’s lust, she thought. It’s so exciting!

It’s good to be worshipped, isn’t it? Kluh asked her.

Yes, Callie thought. Everyone in high school bullied me for being fat. Mort made me his sex slave; I won’t even call him my stepdad anymore. But now, men are my sex slaves, enthralled by me, they must please me!

That’s the spirit, Kluh told her. The union of his phallus with your yoni, or even your anus, will make us even more powerful, the merging of male and female, of penetrator and penetrated. United opposites make us strong.

Oh, let it not be anal again, she thought. Your lubricating me stops the hurt, but I still feel the fear, the trauma. The painful memories.

Don’t be afraid, Callie. I’m making you stronger and stronger with every lover, not weaker.

“OK,” Wayne sighed. “That sketch is finished. I’d like to do one now of you on all fours, with your ass pointed at me. Will that be OK?”

“Better than OK,” Kluh said. She got into position, with both her anus and vulva showing for him.

“OK,” he grunted, that bulge in his pants straining against his zipper as he began drawing. “No, don’t look at me, Chloe. Face the head of the bed.”

Callie’s heart was pounding. She couldn’t stand being so exposed, so vulnerable to this stranger, yet Kluh kept her body in this position. For the demoness was aroused by Callie’s fears combined with the energy of Wayne’s lust, which she welcomed. She would take his phallic energy and make it hers.

This man was far from being Kluh’s ideal to mate with Callie’s femininity, but he’d give her some power that night, anyway. As for the ideal male, he would arrive soon enough…quite soon, indeed, actually.

Kluh felt Wayne’s desire as he sketched her ass, his urge to penetrate her. The demoness felt his eyes staring at the holes he wanted to enter, just as she visualized entering him in another way. The penetrator would become the penetrated, a fusion of opposites, giving her more power.

Kluh knew he was planning to sneak up behind her, thinking her not seeing him coming meant she wouldn’t know what he was about to do. Callie sensed his desire to come at her from behind, too, and she was terrified–terrified of reliving Mort’s sodomizing of her, and terrified from knowing she’d kill again. But she couldn’t stop Kluh from letting this all happen.

Wayne’s pencil touched the paper softer and quieter with each stroke, sketching the wrinkles on her anus, where he was itching to enter.

Without making a sound, he put the pencil and pad to the side, got up from his chair, and crept over to her ass. He had no idea that both Kluh and Callie could sense his exact movements psychically, every second of them.

He put his hands on her buttocks and opened them, widening the orifices.

Callie yelped and looked back at him with agape eyes and her jaw dropped.

“Am I sexy?” Kluh had her sigh.

“Yes,” he sighed back.

“Am I beautiful?”

“Yes.”

“Do you want me?” (Callie dreamed of an answer of no.)

“Yes.” He unzipped his pants and took it out. “Oh?” He noticed her anus was moistening with lubrication. “How convenient.”

“I’m gonna surprise you in more ways than one tonight, you stud,” Kluh moaned.

“I’m sure you will.” He was surprised to find himself lubricated, too. “What is this, black magic?”

You could call it that, Kluh thought.

He pushed inside, and as he moved back and forth, Callie was having vivid flashbacks of Mort: she could feel, once again, her stepfather’s sweat dripping on her bare back, his bad breath blowing on her right ear, the pain of his pushing and pulling, even though Wayne wasn’t hurting her at all.

Swelling with lust, the man reached around with both arms and grabbed her breasts, squeezing them hard and pinching her nipples. Mort had done that on one occasion, making Sandra scream in between sobs. This was too much for Callie. She shook, her head spinning.

When her eyes refocused, she saw hairs slithering out of the follicles on her arms. Her fingernails were stretching out into claws, each at least six or seven centimetres long.

The last image that flashed in her mind, before giving her consciousness away to the beast, was Bill Bixby’s irises turning white on TV. Before she had time to wonder if the same thing had happened to her eyes–it did, actually–she blacked out.

“What the hell?” Wayne grunted, pulling his dick out. “How’d you get so hairy?” Her hair was no longer the ‘bleach-white’ colour: it was brown, as it was all over her body. Now she was grunting, and her bestial head twisted back to look at him. “Jesus fucking Christ!”

Her claws slashed his face, one of them gouging his eyes and blinding him. The other claws sliced lines of red into his forehead, nose, and lips. He fell off the bed on his back, clutching his bloody face and whining on the floor.

The beast jumped on him. She dug her claws into his guts, tearing his intestines to pieces. His body shook on the floor as a river of blood flowed out both sides from his waist. He was coughing blood.

She stabbed her claws into his chest, and his body lay still.

There was a knock on the front door of the apartment. “I heard a scream,” a male neighbour said. “What’s going on in there?”

She ran at a nearby window and jumped out, splashing shards of glass in all directions.

‘Claws,’ an Erotic Horror Novel, Chapter One

[some sexual content]

Sandra Brahms woke up surrounded in bushes.

“What the–?” she whispered, then looked down at her body.

She was naked.

“Oh, my God!” she gasped, then put her hands over her breasts and crotch. “Hey, why don’t I have any pubic hair anymore?”

She got up and looked up at a cloudless, blue summer sky in the early afternoon. On the other side, opposite the bushes, was a tall chain-link wire fence separating her from a large backyard swimming pool. Since only dirt, mysterious spots of blood, and a few blades of grass were sticking to her skin and covering it, she figured she needed a swim to clean off; but would she get caught?

Don’t worry, a female voice said in her mind. I’ll protect you.

“Mama?’ she whispered, remembering the voice from the night before. “Is that you?”

Yes, the voice said. Your Mama Kluh. You summoned my spirit last night, remember?

You mean, my Mama Chloe? Sandra thought, sensing correctly that the spirit could detect her thoughts. Where am I? What happened to my step-dad?

You’re in Toronto, Kluh mentally told her. You’re safe from that bastard.

“Toronto?” Sandra said out loud, then cupped her mouth, hoping no one (especially no boys or men) heard her.

Yes, Kluh told her. I had to get you as far away from Hamilton as I could, and fast, after what we did to rescue you from him.

What did we do? Sandra mentally asked the spirit. I don’t remember.

Images flashed before her eyes, each one flashing in split seconds: Her stepdad, Mort Brahms, on top of her nude body in bed. A stabbing, phallic pain inside her. Long, sharp, bony claws grow from her fingers. Hair grows all over her body. She growls. Mort gasps at the sight.

“My God!” Sandra gasped, her eyes agape. “Did I–?”

Yes, the spirit answered. It will all make sense to you in time. For now, just get over this fence, go in the swimming pool, and clean yourself up. Don’t worry. I’ve taken care of everything. You’ll be fine.

“But, what if–?”

Impatient with Sandra’s doubts, Kluh took control of her body and made her climb over the fence with ease, then had her run to the swimming pool and jump in the deep end. She swam and swam, getting nice and clean.

As she continued swimming, more flashes of moments from the night before, in her house in Hamilton, went before her eyes: those claws, stabbing into Mort’s chest. His blood splashing everywhere. Him gasping and grunting, then coughing out blood. She shook her head at the images, then went down deeper in the water.

The owner of the house came into the backyard from the back door. He went closer to the swimming pool and saw a curvaceous young woman swimming underwater. He couldn’t make out a swimsuit on her: only the delicious peach colour of her skin. He smiled from ear to ear.

“The Missus will be at work all day,” he whispered to himself.

She poked her head out of the water, and saw him ogling her.

Before Sandra could gasp in fear, Kluh took over her body again. She swam over to the side of the pool and put her feet on the steps. No, no, Mama! she told Kluh in her thoughts, knowing what the spirit was thinking. He won’t like my fat, ugly, hairy body (Oh, wait! My pubic hair’s gone.). If he does like my body, though, will that clawed monster kill him if he tries to rape me?

With a lewd smirk on Sandra’s face, Kluh went up the steps to reveal her frontal nudity to the man. Sandra saw her nakedness in the reflection of the large back window of the house: no fat, no flab. Instead, she saw a flawless body, like that of a porn star. A totally unrecognizable image to awkward, eighteen-year-old Sandra.

That…isn’t me, Sandra thought. Mama, you transformed my body?

Yes, Kluh answered, now completely out of the pool and blithely allowing the man to enjoy seeing her large breasts and hairless crotch. Kluh had Sandra continue smirking at the lecher. “Hi,” she said to him.

“Hi,” he gasped, his smile never leaving his face.

Mama? You’re going to let that man have his way with me?

Don’t worry, Sandra. It’s all part of the plan.

What plan? What if he hurts me the way Step-Daddy used to?

He won’t. I have this all planned out. He’s useful to us.

What if you’re wrong, Mama?

I’m not. We in the spirit world have access to forms of knowledge you mortals never could. I took you here because we need him. He’ll help us set you up for a new life in Toronto. Trust me.

What if he forces me…what if he sticks it in my…?

Then I’ll kill him with the claws.

“What’s your name, honey?” the man asked.

“Callie Seaver,” Kluh had Sandra say, using her middle name and mother’s maiden name.

I don’t think this is my real mother, Sandra thought, even though she knows so many intimate details of my life. My tampering with the spirit world was a mistake. I should never have tried to summon my mother’s ghost to save me from the man she married after Daddy died. Oh, why did both my real parents have to die on me so early in life?

The man took Sandra by the hand and led her into his house.

She saw more flashes from the night before: her claws slicing and scratching deep cuts into Mort’s chest and guts. He falls to her right on the bed. She jumps off it, then jumps through the window, shattering glass everywhere. She lands on the ground outside, then leaves her neighbourhood by running and jumping in huge, high leaps.

Sandra shook and almost fell in the man’s living room.

“Hey, watch your step, honey,” he said, grabbing her left arm to stop her from falling.

“Oh, thank you,” Kluh had Sandra say. She put her arms around his neck and kissed him, her tongue deep in his mouth. He had his hands on her ass, squeezing the cheeks.

Between pecks on the lips, he asked, “Wanna…come upstairs?”

“Sure,” Kluh sighed, though Sandra, without any control over her body, wanted to shake her head.

“Lemme dry you off with a towel first,” he said. “Don’t want the Missus to see water dripping everywhere.” He got a big, fluffy towel from the upstairs bathroom and dried her off, then led her into the bedroom. She got on the bed on all fours, with her ass pushed out and her legs spread so everything was showing. “Damn, those have to be the two most perfect entrances ever.”

Sandra shuddered when she heard the man’s words, his unzipping of his fly, and getting on the bed on his knees behind her, making her even more nervous. Are you sure this is necessary, Mama?

Yes, Kluh told her in her thoughts. Don’t worry. This is how I’ll get him to do stuff for us. We do him a favour, he does us one.

Are you my mother’s ghost, or are you a devil?

I’m a Polynesian goddess of sex and death, Sandra. And I’m making your life a whole new, much better thing. Trust me. I know what I’m doing.

Sandra felt the man begin entering her vagina. A memory of her stepfather raping her several years back caused her to yelp, but she was surprised to feel lubricated–obviously Kluh’s doing. As the man slid in and out of her, Sandra remembered those many times throughout her teens when Mort had been in the same position with her. It hurt every time with Mort, but he’d managed to convince her that she ‘liked it,’ even when he, so to speak, used the back door.

The first memory of the night before flashed in front of her eyes again: Mort’s painful entry, her getting angry–like Bruce Banner turning into the Hulk–and her turning into that hairy beast with the claws.

Sandra didn’t want this man on her back, but she didn’t want to kill him, either. Strangely, as much as she didn’t want the sex, she was getting aroused. Kluh was making it pleasurable for her.

She hadn’t misheard the spirit’s name: it was Kluh, not Chloe, her mother’s name. This wasn’t her mother’s ghost–it couldn’t be. It was some devil possessing her. Summoning a spirit to save her from Mort was a dreadful mistake, Sandra was realizing more and more with every thrust from that man behind her. Kluh wasn’t helping Sandra. This “Polynesian goddess” had an agenda of her own. But how could Sandra get rid of her?

Kluh made Sandra orgasm, a pleasure that made her feel like a prostitute. The man, however, wasn’t finished with her.

He pulled out. Looking down at her ass, he grunted, “What a pretty brown eye.”

Oh, no! Sandra thought. He’s looking at my…he wants to…

Don’t worry, Kluh said. You’ll be fine.

She felt him begin to enter her the back way. But Kluh, my step-daddy used to do that! It really hurt. My trauma will make me go wild. I don’t wanna kill this man.

You won’t turn into the clawed beast, Kluh said. It won’t hurt.

Indeed, as the man went further inside, Sandra felt herself lubricated again, by Kluh’s mysterious abilities. It didn’t hurt at all…not physically. Still, it made her remember…

Another memory of the night before flashed before her eyes: Her running and jumping along the side of a highway leaving Hamilton. Her jumping on the top of a bus headed for Toronto. Her claws digging deep into the roof of the bus. Nobody on the bus noticing the impact of her body when it landed on the bus, for Kluh made the driver and passengers oblivious to it. Her hair flowing in the cool night breeze; the hair on her body keeping her warm.

This doesn’t hurt, Sandra thought as she felt the man still going in and out of her, but it’s really making me tense. I’m scared. Will I turn into that beast again, and claw him to death? He’s a creep, cheating on his wife and reminding me of my traumas, so I’d kind of like to kill him (as I’m kind of glad I killed Step-Daddy); but I don’t want any more blood on my hands.

“You’re…so…tight! Unh!” the man grunted.

Sandra felt his disgusting sweat dripping on her back, reminding her of Mort’s sweat; but Kluh was enjoying the anal. Sandra was terrified, but had no control over her body. Was Kluh secretly planning on killing this man at the end of the sex? She told Sandra everything would be OK, but the spirit had lied before about being her long-dead mother.

Another memory of the night before reappeared before her eyes: the phallic pain in her vagina; her hairy transformation; her claws, stabbing into Mort’s chest; his blood, her growling…

“Oh!” the man groaned, then pulled out and sprayed on the sheets. “Shit! I’m gonna…have to…clean that up. I’ll have to…tell the Missus…I’d been beating off.”

He zipped up his pants. It was over. Thank God, Sandra thought.

Kluh had Sandra look back at him. “I need to borrow…some of your wife’s clothes. Drive me downtown…and buy me some clothes…for myself. Then drive me…to the most popular…strip joint in Toronto. I’ll take it from there.”

“And if I don’t?” he asked.

“Your wife will know what we did.” Her eyes pierced into his with a killer look that showed she meant business.

“O-OK, on all counts.”

They left in his car, her in a blue dress of his wife’s, about thirty minutes later.

Analysis of ‘Midnight Cowboy’

Midnight Cowboy is a 1969 buddy drama film starring Jon Voight and Dustin Hoffman. Directed by John Schlesinger and written by Waldo Salt, the film is based on the 1965 novel by James Leo Herlihy. It won Oscars for Best Picture, Best Director, and Best Adapted Screenplay.

It was rated R originally, then rated X for its treatment of adult subject matter (gender-bending gay men and other people deemed ‘degenerates’ of the seedier side of New York City) considered discomfiting to moviegoers at the time.

Ultimately, the film is relatable for its exploration of themes of loneliness, fantasy (including dissociation and drug use, as escapes from the ugliness of the real world), melancholia, poverty, and alienation. There’s a recurring manic defence against depression, guilt, and sadness in the film.

Here are some famous quotes:

“Lotta rich women back there, Ralph, begging for it, paying for it, too…and the men – they’re mostly tutti fruttis. So I’m gonna cash in on some of that, right?…Hell, what do I got to stay around here for? I got places to go, right?” –Joe Buck (Voight), to Ralph

“You look real nice, lover boy, real nice. Make your old grandma proud. You’re gonna be the best-looking cowboy in the whole parade.” –Sally Buck, to little Joe

“Well, sir, I ain’t a for-real cowboy. But I am one helluva stud.” –Joe, to Mr. O’Daniel

“I’m lonesome, so I’m a drunk. I’m lonesome, so I’m a dope fiend. I’m lonesome, so I’m a thief! I’m lonesome, so I’m a fornicator! A whoremonger!” –Mr. O’Daniel

[To taxi driver]HEY! I’m walkin’ here! I’m walkin’ here! [bangs hand on car] Up yours you son-of-a-bitch! You don’t talk to me that way! Get outta here! [to Joe] Don’t worry about that. Actually, that ain’t a bad way to pick up insurance, you know.” –Enrico Salvatore “Ratso” Rizzo (Hoffman)

“The X on the windows means the landlord can’t collect rent, which is a convenience, on account of it’s condemned.” –Ratso

“Got my own private entrance here. You’re the only one who knows about it. Watch the plank. Watch the plank. Break your god-damn skull. No way to collect insurance.” –Ratso

“The two basic items necessary to sustain life are sunshine and coconut milk. Did you know that? That’s a fact. In Florida, they got a terrific amount of coconut trees there. In fact, I think they even got ’em in the, uh, gas stations over there. And ladies? You know that in Miami, you got, uh, you listenin’ to me? You got more ladies in Miami than in any resort area in the country there. I think per capita on a given day, there’s probably, uh, three hundred of ’em on the beach. In fact, you can’t even, uh, scratch yourself without gettin’ a belly-button, uh, up the old kazoo there.” –Ratso

“Not bad, not bad for a cowboy. You’re OK. You’re OK.” Ratso, to Joe

[to Joe] I’m gonna use ya. I’m gonna run you ragged…You and me can have fun together. It doesn’t have to be joyless.” –Mr. O’Daniel (John McGiver)

“I’ve prayed on the streets. I’ve prayed in the saloons. I’ve prayed in the toilets. It don’t matter where, so long as He gets that prayer.” –O’Daniel

“Do you love me, Joe? Do you love me? Love me? You’re the only one, Joe. You’re the only one. You’re better, Joe. You’re better than the rest of ’em. You’re better than any of them, Joe. You love me, Joe. You’re better than all of ’em. You’re the best, Joe.” –Annie […]

Cass: I hate to ask you, but you’re such a doll.

Joe: You know, Cass, that’s a funny thing you mentioning money. ‘Cause I was just about to ask you for some.

Cass: You were gonna ask me for money? Huh?

Joe: Hell, why do you think I come all the way up here from Texas for?

Cass: You were gonna ask me for money? Who the hell do you think you’re dealing with? Some old slut on 42nd Street? In case you didn’t happen to notice it, ya big Texas longhorn bull, I’m one helluva gorgeous chick.

Joe: Now, Cass, take it easy.

Cass: You heard it. At twenty-eight years old. You think you can come up here, and pull this kind of crap up here! Well, you’re out of your mind! […]

The film begins with a shot of a blank movie screen at a drive-in. As the shot backs away, we hear the sounds of gunfire in a ‘cowboys and Indians’ shoot-out in an old Western movie. The sound, but lack of cowboy movie visuals, reinforces the sense of fantasy, the fantasy Joe Buck (Voight) has of being a cowboy. But real life is no movie, and he is no real cowboy.

We see him showering and singing about the joys of leaving for New York, where he imagines he’ll prosper as a prostitute servicing rich but lonely older women. As he fantasizes, he’s already aware of the reality of his annoyed coworkers at a restaurant where he’s expected to be to wash the pile-up of dishes. He’s just quitting all of a sudden, and taking a bus to New York, in all irresponsibility.

It’s a beautiful sunny day in Texas as Joe is walking down the streets to catch the bus. This pleasant day symbolizes his enjoyment of his fantasizing about his glamorous life as a “hustler” in New York, ignoring the traffic as he crosses the road. A truck driver honks at the absent-minded dreamer.

Nilsson‘s “Everybody’s Talkin’” is heard as Joe is walking merrily along in his cowboy outfit, carrying his suitcase and radio. Even if he’d been given warnings about what problems he might have in New York, a city he’s never been to, and one he’ll be totally out of his element in, Joe wouldn’t have listened to them.

His fellow dishwasher, Ralph, asks what he’s “gonna do back East,” as if anticipating Joe’s future problems; but it doesn’t occur to Joe at all that there might actually be problems there. “I betcha it’s a mess back there,” Ralph warns in all prescience, though oblivious Joe just thinks he’ll “cash in on some of that.”

Nilsson sings, as if in Joe’s voice, “Everybody’s talking at me; I don’t hear a word they’re saying, only the echoes of my mind.” Joe won’t heed any warnings, because he “won’t let you leave [his] love behind,” his love being his dream of being famous in New York as “one helluva stud.”

“People stopping, staring, I can’t see their faces, only the shadows of their eyes.” Joe won’t heed people’s warnings, nor will he behold their disapproving facial expressions. He can barely make out the disapproving shadows of their eyes. He won’t face the reality of the disastrous future he’s walking into; he barely notices taxis or trucks about to hit him on the road. All he cares about is his fantasy, and his hopes of fulfilling it.

His fantasy is an escape from his painful past, one that included his mother giving him up as a child to his grandmother, the late Sally Buck. His relationship with her was a strange one, only superficially loving. She’d often leave him alone in the house, blowing him a kiss and dropping off a few dollars for him, to be with “a new beau,” the drunk Woodsy Niles. Sometimes she’d lie in bed with little Joe and kiss him: did she sexually abuse him? Is that why he wants to prostitute himself to older women?

Whatever was going on between little Joe and Sally, it’s certain that his family relationships were a failure. Her unexpected death on his return from the military has only increased his feelings of isolation. His sexual relationship with Annie, a girl with a reputation for being promiscuous (boys lined up to have sex with her), was also a failure that has contributed to his loneliness; for those boys who’d lined up to have her grew jealous of her preference for Joe, and so they got revenge on both lovers by surprising the two in a car when they were making love, and gang-raping her, forcing Joe to watch.

Her trauma resulted in her being institutionalized, and Joe was alone again. Throughout his life, he’s been taught that sex is a commodity, an exchange value rather than part of the value of a relationship with a mate. For these reasons, Joe can find only pain and loneliness in the Texas he’s grown up in; so he must leave to escape that pain, his dream of being a desirable “hustler” as his manic defence against the crushing depression he’d feel from facing that pain.

Psychoanalyst Melanie Klein first wrote about the manic defence as part of an infant’s dealing with the pain of transitioning from the paranoid-schizoid position (hostility towards the “bad mother” half of the split mother object in the baby’s mind) to the depressive position (involving guilt over that hostility, fear of the hated object being taken away and/or killed, and a wish for reparation when the infant realizes Mother is a mix of good and bad aspects). The manic defence, however, can be felt at any point in one’s whole life, and D.W. Winnicott expanded on Klein’s idea in a 1935 paper. We can see, in his description of the characteristics of the manic defence, how Joe Buck deals with his pain through an escape in sex.

Winnicott describes one aspect of this manic defence, which we can see as applying to Joe, in the following way: “Denial of the sensations of depression–namely the heaviness, the sadness–by specifically opposite sensations, lightness, humorousness, etc. The employment of almost any opposites in the reassurance against death, chaos, mystery, etc., ideas that belong to the fantasy content of the depressive position.” (Winnicott, page 132, his emphasis)

So, in order to protect himself from the pain of his childhood and failed relationship with Annie, Joe must assume the opposite feelings: hope, enthusiasm, excitement, and joy. To evade feelings of loneliness, he must seek the opposite, to be close to as many other people as possible, so close as to be intimately close, his naked body rubbing up against others in sex. To avoid the pain of reality, he must be constantly daydreaming, in a fantasy world, living inside his mind, ignoring the sobering outside world.

His loneliness is accentuated through his experiences with the others on the bus: he tries to chat with the driver, who ignores him; young women titter when he walks by in his cowboy outfit, his radio in his hands; and the only person who shows any real interest in communicating with him is a little girl who plays some coquettish peek-a-boo…not an appropriate client for his services, to put it mildly.

Elsewhere on the bus, a group of army men are singing “The Caisson Song,” with the enthusiasm of the brainwashed, but at least they have each other’s company. Women on the radio speak of how they want a stud in bed, and Joe is thrilled, but it doesn’t occur to him that these women don’t want a prostitute.

Wherever he sees himself in a mirror, he’s pleased to see a handsome cowboy…but even he knows he isn’t “a for real cowboy.” That mirror is Lacan‘s mirror, in which he sees only his idealized self, his ideal-ego, all together, unified, and cohesive; but this ideal-I is only an illusion, for his real self looking into the mirror is an awkward, fragmented, and unhappy man.

This real man is suited for the most menial of labour, like dishwashing, a job so lacking in glamour that he’s run away from it so quickly, no notice is even given to his boss. He quit because of the alienating nature of the job: it alienates him from any sense of pride in his work; it alienates him from his coworkers and boss; and it alienates him from his species-essence, or his sense of meaning in life. He hopes the cowboy image will restore all that he’s been alienated from, but he’ll soon be even more alienated in New York.

Indeed, as he wanders the streets with his money having run out, and his having been kicked out of his hotel, he walks by a restaurant and sees a dishwasher through the window, a frowning young blond who could be his twin. His reflection in the glass is seen beside the dishwasher, accentuating both their identity with each other and the Lacanian illusion of his reflection. His False Self and True Self are tragically juxtaposed.

Upon his arrival in New York City, he’s been going around trying to connect with his would-be female clientele, but of course with no success. In fact, his only success has been with a call girl who expects him to pay her! The big question ringing in the head of every viewer of this movie is, Where did Joe get the idea that scores of New York women want to pay a man for sex?

Finally, he meets Rico “Ratso” Rizzo (Hoffman) in a bar; this is the one time we see the con man/cripple dressed well, for this first impression Joe gets of him is as Rico’s False Self; for most of the rest of the film, he has his more typical scruffy “Ratso” look, getting sicker and sicker. Thus, Rico is Joe’s double; we have the posturing duo of a “cowboy” and a ‘streetwise man with connections,’ both trying to escape their wretched condition.

As Joe is chatting with Rico in the bar about the disastrous hook-up with the call girl, and Rico is pretending to help Joe get the “management” he needs, we can hear the song “A Famous Myth,” by The Groop, playing faintly in the background. Indeed, it is a famous myth that anyone beyond the 1% will ever “fly so high.” This goes double for Joe’s fantasy of being a glamorous “hustler” or Rico’s fantasy of living the good life in Florida. Note the song’s juxtaposition, of the hopeful aspiration in the lyrics, with the sadness of that unfulfillable longing in the music. The manic defence fails again.

As Joe and Rico are talking and walking down the street on their way to Mr. O’Daniel’s place, we see Rico’s limp. In the famous scene of them crossing the road and a taxi almost hitting Rico, his shouting “I’m walkin’ here! I’m walkin’ here!” (as opposed to him limping) is a wish fulfillment we later see in his Florida fantasy, when we see him actually running with Joe on the beach.

Mr. O’Daniel (played by the character actor, John McGiver) is Joe’s would-be connection with that coveted elder female clientele; but wearing that bathrobe and smiling that maniacal grin, O’Daniel comes across as some kind of sex pervert. When he says Joe will need his “strong back,” we wonder what for.

As it turns out, O’Daniel–who correctly notes that being “lonesome” is what leads to alcoholism, crime, drugs, and sex addiction–has his own manic defence against loneliness and depression: religion. Prayer, even in the toilet stalls, will cure sadness!

(Recall, in this connection, what Marx said about religion: “Religious suffering is, at one and the same time, the expression of real suffering and a protest against real suffering. Religion is the sigh of the oppressed creature, the heart of a heartless world, and the soul of soulless conditions. It is the opium of the people.” [Marx, Introduction to Critique of Hegel’s Philosophy of Right])

Joe, whose childhood traumas remind him of the excesses of religious fanaticism, runs out of the apartment, another attempt to escape from pain. In his mad search for that cheat Rizzo, Joe dissociates in his thoughts, and what ensues is a melange of images of Rizzo found in the subway, Joe’s wish-fulfillment that he’s found the snake, with memories of Annie’s gang rape mixed in. Reveries, dreams, religion, and drug-induced hallucinations all represent the failure of fantasy as a manic defence cure for sadness.

Later, Joe’s money runs out, and he’s kicked out of his hotel room, an obvious example of private property. Homelessness is one of the abused children of private property and capitalism, and Joe has joined Rico as one of those children. Desperate, Joe resorts to gay prostitution (something, in the novel, that he is indifferent to because of having been a victim of homosexual gang rape).

He allows a young man (Bob Balaban) to perform fellatio on him in a movie theatre for $25, which the boy, it turns out, doesn’t even have. Joe tries fantasizing about sex with Annie to get excited during the blow job. His feelings of degradation are mirrored by the science fiction movie playing: in it, an astronaut is cut off from his spaceship, depriving him of his oxygen supply as he drifts off, lost in space. Joe feels similarly lost, his dream of being a lady-pleasing stud also losing oxygen.

The phallic spaceship comes apart into halves, symbolizing castration, as does the severing of the connection of the ill-fated astronaut to his ship. Since engaging in gay male sexual activity is traditionally associated with a loss of manhood, and cowboy-stud Joe believes in such traditional societal narratives, he feels himself to be symbolically emasculated.

The irony of Joe’s belief in the macho cowboy, John Wayne stereotype, his ideal-ego that he sees in the mirror, is that Rico disillusions him by telling him that only gay male prostitutes dress like cowboys. Joe’s manic defence has never protected him from his self-loathing.

Rico has his own manic defences, apart from his con man/thief persona. Just as Joe dreamt of leaving Texas to find his would-be haven in New York City, so does Rico dream of leaving the hell of New York for the would-be paradise of Florida.

And just as Joe has had painful relationships with his neglectful mother and his grandmother, who suddenly died on his return home from the military, so does Rico suffer the memories of his disappointing late father, a shoe-shiner who “was even dumber than [Joe],” and whose headstone should say “one big, lousy X,” just like the building he and Joe are squatting in. They’ve been “condemned by order of City Hall,” part of the bourgeois state that protects private property and throws people like Joe and Rico out onto the street for not having made more of themselves.

The loss of, or traumatic disappointment in, parental objects results in a splitting of the personality into ego-segments that WRD Fairbairn called the Libidinal Ego (connected to the Exciting Object) and an Anti-libidinal Ego (connected to a Rejecting Object). Joe’s pursuit of older women as clients represents the former ego/object configuration, while Rico’s misanthropic rebuffs (e.g., “Take your hands off of me!” at the party) represents the latter ego/object configuration.

This libidinal or anti-libidinal retreat into a world of exciting or rejecting objects is another escape into fantasy, a refusal to face the real world, where Fairbairn‘s concept of the Central Ego is linked to an Ideal Object (“ideal” because it is best to be in relationships with real people [“objects” in relation to oneself, the subject] in the external world, as opposed to the fantasy life of the internal, mental world). At least Joe and Rico have each other as Ideal Objects…that is, until the end of the movie.

One comical scene shows Joe and Rico in their non-heated home, the condemned building, shivering in the winter and dancing to a commercial jingle on Joe’s radio about “Florida orange juice…on ice.” An icicle is hanging from a tap, and Rico’s fantasy of the warmth of Florida makes the jingle into a cruel musical joke on his manic defence.

Another escape attempt from their melancholy comes in the form of a party held by artsy siblings “Hansel and Gretel McAlbertson.” At this party, we can see the difference in the manic defence’s degree of success or failure in Joe vs. Rico. Joe (Libidinal Ego) bogarts a joint that he naïvely thinks is just a regular cigarette, then he’s given a pill to augment his high (Exciting Object). Rico (Anti-libidinal Ego), on the other hand, remains misanthropic, stealing food and picking pockets, and scowling at all the other guests (Rejecting Object). Elephant’s Memory‘s psychedelic “Old Man Willow” is heard in the background.

A woman Hansel is filming grins and says, “I love everything in the theatre. I would like to die on the stage.” Of course: the theatre is a staged illusion, an escape from the pains of the real world; hence, “to die on the stage,” the final, sad acquiescence to reality, would at least be a happy death.

Joe’s brief escape into the euphoria of drugs ends with him scoring with a woman guest (Brenda Vaccaro, another Exciting Object for his Libidinal Ego) at the party, but also with his worries over Rico’s declining health. This worry, along with perhaps the effect of the marijuana and the pill, affects his ability to get an erection for the woman in her bed; hence, the look of abject terror on his face.

Winnicott wrote of the “ascensive” quality of the manic defence (Winnicott, pages 134-135), which can be symbolically associated with an erection. Joe’s failure to get it up thus represents his failed escape from melancholy through sex. Rico never succeeds in escaping his own sadness, especially on that bus ride to Florida; and Joe is so psychically conjoined to Rico, that Rico’s failed escape becomes Joe’s, too.

Rico refuses to accept the reality of his worsening illness; he’d rather be sick and risk dying in sunny Florida than get well in a New York hospital, which could lead to cops and to his incarceration. Desperate to get money for the bus ride, Joe assaults (and possibly kills) a client (Barnard Hughes) to steal all of his money.

The beautiful sight of bright, warm, sunny Florida–Rico’s manic defence against his melancholy, and ironically similar to the sunny Texas that Joe escaped from at the film’s beginning–is tragically contrasted with the continuing decline of Rico’s health. His body’s in pain, he wets his pants, and he’s sweating all over; this symbolizes his psychological disintegration–his body is trying to project his self-hate, just as he was projecting it onto all the people he was robbing, cheating, and rejecting at the party.

Freud, in Mourning and Melancholia, wrote of the similarity between the two, but with the one crucial difference being that, with normal mourning, one fully loves the deceased, mourned love object, whereas with melancholia, the unconscious source of one’s sadness comes from a mix of love and hate for the deceased. One internalizes the deceased–that is, identifies with the object through introjection; so the hated aspects of the object become the hated self, hence the mysterious source of one’s sadness. (Freud, pages 254, 256-260)

Both Joe and Rico have this melancholy after having lost and mourned family members who were far from ideal. Unconscious hostility to Sally Buck and to Rico’s father are thus introjected, and Joe and Rico hate themselves.

Nonetheless, even Freud acknowledged the presence of mania as having a dialectical relationship with melancholia: “The impression which several psychoanalytic investigators have already put into words is that the content of mania is no different from that of melancholia, that both disorders are wrestling with the same ‘complex’, but that probably in melancholia the ego has succumbed to the complex whereas in mania it has mastered it or pushed it aside. Our second pointer is afforded by the observation that all states such as joy, exultation, or triumph, which give us the normal model for mania, depend on the same economic conditions.” (Freud, page 263)

Some, like Joe, are more successful with the manic defence, while others, like Rico, fail at it, and also fail at projecting their self-hate onto others (e.g., Rico‘s homophobia and misanthropy in general). For these reasons, Rico dies while Joe lives, but now Joe has a new loved one to mourn, and to be melancholy about.

The Midnight Cowboy theme, the lead melody of which is played on Toots Thielemans‘s chromatic harmonica, symbolizes this ‘happy sadness’ of the manic defence perfectly. Though a profoundly sad piece of music, the theme is melodically based on paralleled major 7th chords (save the G dominant, so C maj. 7, A-sharp maj. 7, G-sharp maj. 7, C-sharp maj. 7, G7). Major scales and chords seem to sound ‘happy,’ or ‘bright’ (like the sunny skies in Texas and Florida) as opposed to the ‘sad,’ or ‘dark’ (like the darkness inside Joe’s and Rico’s hearts, or the shadows in wintry New York) minor scales and chords. Here, the major melodies are sadder than Nigel Tufnel‘s D minor.

In sum, the movie’s whole message is that, no matter how hard we try to escape our sadness and loneliness with pleasure-seeking or fantasy, we can’t. Our melancholia can be cured only by confronting it.

D.W. Winnicott, Through Paediatrics to Psycho-Analysis: Collected Papers, Brunner-Routledge, London, 1992

Sigmund Freud, 11. On Metapsychology, the Theory of Psychoanalysis: Beyond the Pleasure Principle, The Ego and the Id and Other Works, Pelican Books, Middlesex, England, 1984

The Ouroboros of the Workers’ State

If the ouroboros of the workers’ state were to be compared to a clock, 12:00-3:00 would be a state of ‘NEP,’ as it were (see below); 3:00-6:00 would be the beginning of a real building of socialism, as Stalin did in the 1930s; 6:00-9:00 would be remarkable progress in that building; and 9:00-12:00 would result in the withering away of the socialist state, and the attainment of communist society.

It goes without saying that one doesn’t go from revolution to full communist society overnight. A process of gradual transformation has to be made, starting with the capitalist structure one has just taken over (recall when Lenin wrote of how “difficult [it would be] to abolish classes”–Lenin/Tucker, pages 668-669), smashing the possibility of it continuing seamlessly from before that takeover, and building socialism step by step, changing every facet of what had existed before, each facet examined one by one.

This process of moving along the continuum from capitalism, through the building of more and more socialism, to full communism can be symbolized by the ouroboros, a circular continuum where the serpent’s biting head represents one extreme, and its bitten tail represents the opposite extreme. The tail is the dialectical thesis of the desired communist society; the head is the capitalist negation of that desired society; and the length of the coiled body is the socialist sublation of the contradiction. In other posts, I’ve discussed this ouroboros symbolism before.

We wish to move in a clockwise direction from the capitalist head (i.e., 12:00-1:00) to the communist tail (11:00-12:00); but a counter-clockwise reactionary movement continually threatens to undo all our progress. Because of this danger, the movement towards more and more socialism must be accelerated, to at least some extent; also, proper protections must be established, and acts of treason must be extirpated with the utmost ruthlessness.

In the early stages of socialism (i.e., 1:00-3:00 along the ouroboros’ body), some concessions to the established order are sadly inevitable, as was the case with the Brest-Litovsk Treaty to get the RSFSR out of World War I, a move Lenin had to make to fulfill part of his “peace, land, and bread” promise, yet also a move that angered the impatient left communists.

Lenin, in “Left-Wing” Communism: An Infantile Disorder, responded to this anger: “It had seemed to them that the Treaty of Brest-Litovsk was a compromise with the imperialists, which was inexcusable on principle and harmful to the party of the revolutionary proletariat. It was indeed a compromise with the imperialists, but it was a compromise which, under the circumstances, had to be made.” […]

“The party which entered into a compromise with the German imperialists by signing the Treaty of Brest-Litovsk had been evolving its internationalism in practice ever since the end of 1914. It was not afraid to call for the defeat of the tsarist monarchy and to condemn “defence of country” in a war between two imperialist robbers. The parliamentary representatives of this party preferred exile in Siberia to taking a road leading to ministerial portfolios in a bourgeois government. The revolution that overthrew tsarism and established a democratic republic put this party to a new and tremendous test–it did not enter into any agreements with its “own” imperialists, but prepared and brought about their overthrow. When it had assumed political power, this party did not leave a vestige of either landed or capitalist ownership. After making public and repudiating the imperialists’ secret treaties, this party proposed peace to all nations, and yielded to the violence of the Brest-Litovsk robbers only after the Anglo-French imperialists had torpedoed the conclusion of a peace, and after the Bolsheviks had done everything humanly possible to hasten the revolution in Germany and other countries. The absolute correctness of this compromise, entered into by such a party in such a situation, is becoming ever clearer and more obvious with every day.” (Lenin/Tucker, pages 563-564, Lenin’s emphasis)

Another concession Lenin made was with the NEP, which he himself called “state capitalism” (Lenin/Tucker, pages 511-531) as a temporary measure to deal with the economic exigencies of the early 1920s. Nonetheless, Stalin had already phased out the NEP by the beginning of the 1930s, as it was by then time to move socialism on forward. Indeed, when the concessions are no longer necessary, it’s time to continue clockwise along the body of the ouroboros (i.e., move from 3:00 to, say, 6:00).

In this connection I must discuss China under Xi Jinping, and do so with necessary candour. Nothing would make me happier to believe that the country is going down a genuine path of Marxism-Leninism, but beyond Xi’s rhetoric, I’m sorry to say that I can only see China as being, at best, in a seemingly almost permanent state of arrested NEP development.

China‘s is a mixed economy, partially state-planned and partially private enterprise. This latter part is the beginning of the cancer of capitalism in any country; the small amount of private enterprise allowed in Cuba is enough to make me fear for her future. That there’s so much more free enterprise in China should be enough to make any communist nervous, yet many respectable Marxist-Leninists out there still rationalize what China is doing. I must respectfully disagree with them.

The defences I’ve heard to support Dengism as legitimate Leninism include such arguments as wages have been rising (itself a debatable notion), hundreds of millions have been lifted out of poverty, and of course, theirs is a state-planned economy. All of these arguments can be applied to capitalist countries, where at certain points in history, wages have risen (as they did in the West from 1945-1973), ‘millions lifted out of poverty’ has been dubiously claimed to have been a capitalist achievement, and state-planning, or state intervention, has existed–to at least some extent–in both fascist and Keynesian forms of capitalist economies.

How have ‘hundreds of millions of Chinese been pulled out of poverty,’ anyway? The poverty line is defined at making US$1.90/day, so any money earned above that, even US$1.91, is considered to be technically ‘above poverty.’ This World Bank definition is comparable to capitalist boasts of raising people out of poverty. Granted, many Chinese today are now doing much, much better than they were back when Deng Xiaoping had just taken over (including today’s hundreds of Chinese billionaires and millionaires!); but in the rural areas–and in some urban ones–many are still very poor.

According to UN projections for 2019, the population of China is estimated to be at 1.43 billion (1,434,661,888, to be exact). Dengists boast that extreme poverty in China has been reduced to less than 1% as of 2018, based on the World Bank’s US$1.90 definition. Less than 1% of 1.43 billion is less than 14,300,000 (or less than 14,346,618, to be more exact). That’s still a lot of extremely impoverished people.

And there are hundreds of Chinese millionaires and billionaires (and these latter, especially, should never even exist!…in any country, ‘socialist’ or non.). Such equality. Wow.

Added to this, how many of these Chinese ‘above the poverty line’ in as recent a year as 2015 were making, say, US$2.00/day, or $2.50, or $3.00, or in any case, under $3.20/day? Up to 7%. How many made under $5.50/day? 27.2%, not a trifling percentage, and not much money. As of the end of 2017, Xinhua acknowledged that 30.46% of rural Chinese were still below the poverty line. I don’t think the average Westerner would be happy to make less than US$3.20/day, or less than $5.50/day, then be congratulated for no longer being impoverished!

Need I remind you, Dear Reader, that the ‘state-planned economy equals socialism’ argument is commonly heard among certain quarters outside the China-defending Marxists?…they’re called right-libertarians and ‘anarcho’-capitalists. It isn’t state-planning per se that makes it socialist: it’s how the planning is used. Does it lift the poor out of squalor in a meaningful way, or does it allow–or even facilitateflagrant wealth inequality?

Recently, the Chinese government has cracked down on corruption; but this can happen in capitalist countries, too, if only with modest success. Socialist government is by far the most moral, but at least some virtue in government can be seen elsewhere. Virtue in government alone doesn’t make it socialist.

It’s not my wish to disparage China, or to speak out of malice; China’s growth since the 1980s has been nothing short of impressive. I certainly have no bourgeois agenda against China; these criticisms I’ve made are not the kind you get from anti-communists; nor are they of the infantile disorder one gets from impatient, utopian socialists who want everything perfect all at once. I don’t wish to see the CPC removed from power. I just want to see China move further clockwise towards the tail of the ouroboros; I want to see the more left-wing factions of the CPC having more of a say in how policy is made. I’m a patient socialist, but my patience has limits.

I would much rather have China (or Russia, for that matter), far less inclined to waging war, as the strongest country in the world than the eternally bellicose US…and I live as a Canadian in Taiwan! But until someone can provide more convincing arguments that China, having joined such capitalist institutions as the IMF, the WTO, and the World Bank, is legitimately socialist, I’ll continue to have my doubts.

Consider the working conditions in China’s (and Vietnam‘s) factories and sweatshops. Consider the legal existence of private property in China, and how Marx and Engels told us, “the theory of the Communists may be summed up in the single sentence: Abolition of private property.” Consider the evidence of imperialistic tendencies, often reduced, by China’s apologists, to investment in the growth of developing foreign countries.

I think I understand the psychological motive for many to regard China as socialist in spite of its obvious capitalist tendencies: it is depressing to see the great majority of socialist nations having succumbed to neoliberal depredations, and so we’d all like to believe that China isn’t one of those casualties. Until I see a genuine Chinese movement away from the revisionist tendencies I outlined above, however, and more muscular efforts to even out the wealth inequality, I’ll find it difficult to support Xi’s government.

But enough of ‘NEP-oriented’ politics. Time to move further clockwise along the serpent’s body, from 3:00-6:00. When the productive forces are sufficiently developed, efforts towards universal housing, education, employment, and healthcare must be immediately undertaken. We’re moving towards the ideal of ‘from each according to his or her ability, to each according to his or her needs.’ Part of this means taking the ‘his or her’ part seriously, thus establishing full equal rights for women and a way out of the trap of restrictive traditional roles for both sexes (Lenin/Tucker, pages 679-699).

These developments, along with such ones as promoting tolerance for LGBT people, helping people with physical and mental disabilities, and eliminating racial prejudice, will help move us further clockwise along the ouroboros from its head to its tail, from 3:00-9:00.

Proper defences against the danger of a reinstating of capitalism, a move from 6:00 back to 1:00, must be erected. North Korea has done well in that regard with their development of nuclear weapons, the only thing that has prevented a US invasion. Venezuela must do more to protect herself from imperialist aggression: gusanos like Guaidó should be arrested (at least) for treason; let the liberal media lambast Maduro for being firm with these traitors, for they’ll criticize his democratically socialist government as a ‘dictatorship’ regardless of what he does. To ensure the survival of the proletarian dictatorship, not letting it slip counter-clockwise back to the bourgeois dictatorship of ‘liberal democracy,’ one mustn’t flinch at such measures.

To an extent, some concessions have to be made to ensure against the backsliding into bourgeois ways. But sometimes, those concessions really do result in such backsliding. A delicate balance must be made, like walking a tightrope. Moving too much the one way (as Mao was perceived to have done) or too much the other way (as I perceive Deng to have done) leads to a slipping along the serpent’s tail back to its capitalist head.

And once we reach the tip of the tail of the ouroboros (9:00-12:00)–when all remaining traces of capitalism have been eradicated, mountainous class differences have been lowered to the calmly rippling waves of “from each according to his ability, to each according to his needs,” the state finally withers away, and money is replaced with a gift economy–we mustn’t assume our new communist society will be a painless utopia. There will be new challenges to be dealt with, new contradictions of some sort or other. The bitten tail will phase into a new biting head, though not a capitalist one. We’ll have to be ready for those new challenges when they come.

Robert C. Tucker, The Lenin Anthology, W.W. Norton and Company, New York, 1975

Mark Will’s Review and Analysis of My Erotic Horror Novel, ‘Wolfgang’

I wish to give my thanks to Mark Will at Cadmus and Harmony Media for reading and reviewing my Wolfgang: a Werewolf Erotic Horror Novel. Here is what he said about it:

“Stylistically, Wolfgang: A Werewolf Erotic Horror Novel would seem to belong to the transgressive literary tradition of Sade and Bataille. The scatological aspects of the book remind one of both authors, while the sexual didacticism and the cataloguing of perversions, which I often found highly comical, are particularly characteristic of Sade. Rightly or wrongly, I even detected Sadean echoes in the names of the three avenging spirits Sades, Chisad, and Chebirüsad

“Unlike the work of Sade and Bataille, however, that of Mawr Gorshin is ideologically infused with a sympathy for the wretched of the earth and an outraged sense of social justice. I was impressed by the manner in which Gorshin appropriated the European folkloric motif of the werewolf and placed it within the context of African liberation in order to condemn the slave trade and the capitalistic exploitation of labor. 

“At the same time, Wolfgang may be read as parody. The various allusions to the Little Red Riding Hood fairy tale are playfully amusing, and the protagonist Wolfgang himself can be seen as a kind of Dracula-Christ with a lycanthropic twist. The doppelgänger motif is also relevant here: the character Renate, for example, is a parodic double of the character Etty (as well as Wolfgang’s mother and wife), just as the character Marko is a parodic double of Wolfgang’s father. 

“The Christological nature of the Wolfgang character is emphasized by the themes of crime/punishment, atonement, redemption, and absolution of guilt. These themes are juxtaposed with various Freudian elements: detailed descriptions of erotic dreams, ritualized reenactments of family traumas (with a particular emphasis on the Oedipal), and an implicit association of the superego with good cop/bad cop personae. This eclectic combination makes for a fascinating reading experience. 

“Overall, Wolfgang is a book of great subtlety and complexity. I highly recommend it to readers with the fortitude necessary for a foray into the realm of the transgressive.”

Thanks again to Mark Will (whose translation of AeschylusPersians I wrote up an analysis of) for this wonderful, thoughtful review and analysis!


Analysis of ‘A Clockwork Orange’

A Clockwork Orange is a 1962 dystopian novel by Anthony Burgess that was adapted into a film in 1971 by Stanley Kubrick. I’ll be discussing and comparing both. The story is narrated by its fifteen-year-old sociopathic protagonist, Alex the Large (DeLarge in the movie, played by Malcolm McDowell, who almost a decade after would play another psychopath, one from ancient Rome), a boy whose interests include drinking drug-laced milk with his “droogs” (Georgie, Dim [Warren Clarke], and Pete), beating people up (“tolchocking,” or “ultra-violence”), gang raping women (“the old in-out, in-out”), and listening to classical music, especially Beethoven.

In this futuristic world, the wayward teens speak a Russian-influenced argot called nadsat (<<If your nadsat is a little rusty, click the link provided [or this one], for I’ll be using quite a few of these words [I’ve italicized them, even in the quotes].). The central theme of the story is the dialectical tension between freedom and restriction, physical or mental, and how one may effectively–or ineffectively–resolve this tension, with or without harming society or the individual.

Here are some quotes:

From the novel: “What’s it going to be then, eh?” (Burgess, page 5)

There was me, that is Alex, and my three droogs, that is Pete, Georgie, and Dim, Dim being really dim, and we sat in the Korova Milkbar making up our rassoodocks what to do with the evening, a flip dark chill winter bastard though dry. (page 5)

Then I looked at its top sheet, and there was the name -A CLOCKWORK ORANGE- and I said: ‘That’s a fair gloopy title. Who ever heard of a clockwork orange?’ (page 21)

‘ – The attempt to impose upon man, a creature of growth and capable of sweetness, to ooze juicily at the last round the bearded lips of God, to attempt to impose, I say, laws and conditions appropriate to a mechanical creation, against this I raise my sword-pen – ” (page 21)

So I creeched louder still, creeching: ‘Am I just to be like a clockwork orange?’ (page 100)

‘Does God want woodness or the choice of goodness? Is a man who chooses to be bad perhaps in some way better than a man who has the good imposed upon him?’ –Prison Chaplain, to Alex (page 76)

From the film:

Irish Drunk: Can you spare some cutter me brothers? Go on, do me in, you bastard cowards! I don’t wanna live anyway. Not in a stinking old world like this.”

Alex: Oh? And what’s so stinking about it?

Drunk: It’s a stinking world because there is no law and order anymore. […]

“Ho, ho, ho! Well if it isn’t fat stinking billy goat Billy Boy in poison! How art thou, thou globby bottle of cheap stinking chip oil? Come and get one in the yarbles, if ya have any yarbles, ya eunuch jelly thou!” –Alex

[While listening to Beethoven’s Ninth Symphony] Oh bliss! Bliss and heaven! Oh, it was gorgeousness and gorgeousity made flesh. It was like a bird of rarest-spun heaven metal or like silvery wine flowing in a spaceship, gravity all nonsense now. As I slooshied, I knew such lovely pictures!

“As an unmuddied lake, sir. As clear as an azure sky of deepest summer. You can rely on me, sir.” –Alex, to Deltoid

“You needn’t take it any further, sir. You’ve proved to me that all this ultraviolence and killing is wrong, wrong, and terribly wrong. I’ve learned me lesson, sir. I’ve seen now what I’ve never seen before. I’m cured! Praise God!” –Alex, during the application of the Ludovico technique

“When a man cannot choose, he ceases to be a man.” –Chaplain

In the Korova Milkbar, Alex and his droogs are drinking their “milk plus something else,” laced “with vellocet or synthemesc or drencrom or one or two other veshches,” wondering what to do that night. In the novel, the question, “What’s it going to be then, eh?” is repeatedly asked. The crimes they commit ultimately derive from boredom and sloth, a lack of purpose or direction in life. The boys also have too much freedom in their lives.

Excessive freedom, as Erich Fromm observed in Escape From Freedom, results in a sense of instability and unsureness, causing an anxiety that authoritarian rule would relieve one of. What are you supposed to do with yourself if you can do absolutely anything? A list of dos and don’ts provides a comforting structure, hence excessively free people (or, at least, people perceiving themselves as having too much freedom) tend to run back to forms of authority like fascism.

The violence of fascism can be symbolically seen in the droogs‘ crimes, as well as in their uniform-like outfits: in the novel, back tights, waistcoats with big shoulder-pads, “flip horrorshow boots for kicking,” and white cravats (pages 5-6); in the film, the iconic white outfits, black hats, codpieces, and black boots.

The ineffectual law enforcement of the government at the beginning of the story results in the droogs’ getting away with so much violence and rape; symbolically, this lax governance corresponds to a failed attempt at a left-libertarian society (Kubrick and other critics considered the society of his film to be initially like a failed socialism–the Russian-like nadsat symbolizes this sovietism, too, as does the pro-worker art that is defaced by graffiti).

In contrast, the later government’s use of the Ludovico technique on Alex, with its strict suppression of his criminal urges, symbolically suggests the rigidity and repression of fascism. The extreme left is not similar to the extreme right (as the horseshoe theory gets so absurdly wrong), but the one extreme dialectically phases into its opposite, as I’ve explained elsewhere.

The dialectic of freedom vs. restrictions is resolved with the idea that my right to swing out my arm, with my hand balled in a fist, ends where your face begins. Alex and his droogs, of course, have no respect for this resolution. Individual freedom to do whatever he wants is all that matters to Alex, even to the point of taking pleasure in hurting others.

Sadean delight in cruelty is shown in the film, not only with Alex and his droogs, but also with Billyboy and his droogs when they strip a beautiful “weepy young devotchka” naked and get ready to gang-rape her while a merry passage from Rossini‘s “Thieving Magpie” is heard in the soundtrack. This enjoyment in causing pain is especially evident during the “surprise visit,” when Alex gets ready to rape the “subversive” writer’s wife while singing “Singin’ In the Rain,” dancing, and slapping her and kicking her husband, forcing him to watch the rape.

In spite of how dreadful a human being Alex is, we nonetheless find ourselves liking and sympathizing with him, not just because he’s our “Friend and Humble Narrator,” but because he’s cultured and witty. His clever use of nadsat incorporates the archaisms of Elizabethan-era English, giving his already silver tongue an almost Shakespearean poetry. Then, of course, there’s his love of classical music–Beethoven in particular.

Normally, we stereotype punks as, for example, punk rockers; we look down on criminals as ‘low-life scumbags’; we think of sadists as brutish, unthinking monsters. That we can’t dismiss Alex in this way makes him all the more disturbing…for psychopaths are known for their dangerous charm. The juxtaposition of sadism with high culture is symbolic of the oppression of the ruling class. Nazis were art connoisseurs…though their reasons for liking or disliking this or that artwork were contemptible ones.

The sociopathic characters in the Marquis de Sade‘s explicit novels are cultured people in the upper classes: before and after their torture-laden orgies, they dine on sumptuous feasts, drink fine wine, wear beautiful 18th-century garments, and live in ornately decorated mansions. Sade’s satirical point in presenting his wicked characters in such finery was to allegorize the ruling class’s oppression of the people.

Alex is no aristocrat, but he has the narcissism of one. It shouldn’t be hard (pardon the expression) to know what he’s referring to in calling himself “Alexander the Large” (especially in the context of his raping the drunken ten-year-old “ptitsas” in his home while listening to Beethoven–page 39). As a pun on Alexander the Great, this moniker of Alex’s also embodies his egotism by comparing his assaults and rapes to the ancient Macedonian’s conquests and massacres. Alexander, ‘defender of men,’ defends individual freedom and culture by destroying those of other people; just as imperialism rationalizes its evil by claiming ‘to civilize the world.’

Alex has no illusions that what he’s doing is in any way moral, though. He knows his criminality is wrong; he does it anyway, because he enjoys it. Sade’s libertine characters also openly admit that they commit crimes, for criminal behaviour adds to their arousal. Deep down, we all like Alex because he dares to do what we’re too chicken to do.

We also have to consider Alex’s possible unconscious motives for committing heinous crimes. He’s obviously intelligent: why is he pressing his luck with the law? Even after Deltoid warns him that he’s getting dangerously close to being arrested (page 33), he still tempts fate…even to the point of antagonizing his fellow droogs (pages 25-27; 44-45), in whom he needs to have an unshakable trust. His wild rashness can’t just be reduced to youthful impetuosity.

Part of Alex’s unconscious is in conflict with his wish to be wild and free: part of him wants to be restricted. Recall Fromm’s analysis of the fear of freedom; people want a sense of structure, of where their place is in the world. Freedom from restrictions doesn’t often lead to a freedom to grow and fulfill one’s potential, to live in love and harmony with humanity. Freedom from, without the to following soon after, leaves a void.

Fascism and repression tend to fill that void. Fromm explains “the dialectic quality in this process of growing individuation. […] one side of the growing process of individuation is the growth of self-strength […] The other aspect of the process of individuation is growing aloneness. […] When one has become an individual, one stands alone and faces the world in all its perilous and overpowering aspects.

“Impulses arise to give up one’s individuality, to overcome the feeling of aloneness and powerlessness by completely submerging oneself in the world outside.” (Fromm, pages 28-29, his emphasis)

“We see that the process of growing human freedom has the same dialectic character that we have noticed in the process of individual growth. On the one hand it is a process of growing strength and integration, mastery of nature, growing power of human reason, and growing solidarity with other human beings. But on the other hand this growing individuation means growing isolation, insecurity, and thereby growing doubt concerning one’s own role in the universe, the meaning of one’s life, and with all that a growing feeling of one’s own powerlessness and insignificance as an individual.” (Fromm, pages 34-35)

Alex is smart enough to know that lashing out at his droogs will give the three of them motive for revenge. He’s been punished by the law before, though he’s “been out of the rookers of the millicents for a long time now” (Burgess, page 33); he has no reason to believe he’ll never get caught again, especially when he has to rely on three frienemies.

In prison, he has his structure, but no matter how much of the Bible he reads (which is just to be entertained by the violent parts), or how much advice he receives from the chaplain (Part Two, chapter 1), he still has no inclination to be good. In fact, Alex quickly tires of the physical restrictions he has around him, and mentally, he’s as free to be as wicked as ever; for prison overcrowding drives him to beat a new cellmate to death, or so is he blamed for it, anyway (Part Two, chapter 2). This, in the novel, is what causes him to be chosen to receive the Ludovico technique.

Despite what he says about wanting to be good (page 66), I’d say he only wants to change the nature of his restricted freedoms, from physical bonds to mental ones. So all of this switching from one kind of freedom/restriction dichotomy to another is just the sublation of the dialectical unity in opposition that Alex is trying to resolve.

Part of the contradiction of freedom vs. restriction is how one man’s exercise of such ‘freedom’ (licence, really) is another man’s bondage…to suffering. Alex’s freedom to beat up or rape his victims becomes their bondage to trauma. One opposite offsets the other; thus, they’re balanced in the Brahman of universal oneness.

When Alex has had the treatment turn him into “a clockwork orange,” that is, organic and natural-looking on the outside, but mechanical and inhuman on the inside, making him an automaton incapable of moral choice, he gets a karmic exchanging of the victim/victimizer roles, of enjoyer of freedom vs. victim of traumatic bondage.

From here on, we get the antithesis of all that we had from the beginning, and the opposites are paralleled especially in the movie. Instead of Alex and his droogs beating up a derelict, the derelict and his “droogs,” if you will, beat up clockwork Alex. Instead of him dumping Dim and Georgie into water, they–as corrupt cops–dump him in water (in the novel, Dim and Billyboy are the police who brutalize him–Part 3, chapter 3). Karma.

Instead of Alex terrorizing the “writer of subversive literature” (F. Alexander [another ‘defender of men’], played by Patrick Magee, who–in an interesting twist of irony–played the Marquis de Sade in the film version of Marat/Sade several years earlier) in his “HOME” and destroying his ‘Clockwork Orange’ writing, F. Alexander–Alex’s doppelgänger–sadistically terrorizes the boy by playing Beethoven’s Ninth (in the novel, it’s “the Symphony Number Three of the Danish veck Otto Skadelig”–page 130) and forcing him to hear it in a locked-up room, after the Ludovico technique has conditioned him to feel sick whenever hearing his beloved music. Karma, karma, and more cruel karma.

Instead of unconsciously trying to have himself incarcerated, Alex consciously tries to liberate himself from the hell of life, “the tortures of the damned” (in the novel, he even goes to the library to research how to kill himself painlessly–page 112).

Finally, he’s hospitalized instead of imprisoned, given “the best of treatment” instead of exposed to the tolchocking of cellmates, and had the Ludovico conditioning removed from him instead of put into his body. The self-serving government that made his body a concentration camp for his mind now gives him a job in exchange for forgiving them, so they can hope to be reelected. He’s “cured all right.”

Though the film excluded chapter 21, which the American editions of the novel had also excised until 1986; in a way, the final scene–of Alex fantasizing giving his grinning, willing bride [as I suspect she is] “the old in-out, in-out” in front of applauding onlookers (who, dressed formally, seem like wedding guests to me)–is the implied ending of the final chapter.

Eighteen years old now, and with a new trio of droogs, Alex is inspired by a conversation he has with his old droog Pete and his new wife (pages 145-146), and decides it’s time to grow up and give up on the life of crime. He ought to settle down and get married, too. Will his future son become a criminal, though?

“That’s what it’s going to be then, brothers…”

However lame this final chapter may be to readers who prefer licking their lips over dystopian writing with darker endings, it does make an important point about freedom: in choosing to give up on crime on his own initiative, Alex is demonstrating Fromm’s ideal about freedom to; Alex is going to use his freedom from restrictions, physical and mental, to be free to become a good, productive member of society.

And this is the final sublation of the contradiction of freedom vs. restriction: one freely chooses to restrict oneself from doing wrong to others. When I swing my fist, I stop myself from making it meet your face. Instead of a morally lax society that is too lenient on criminals, or one that’s repressively authoritarian, we have a society that understands the need to have a mix of freedoms and restrictions.

As Fromm explains, “submission is not the only way of avoiding aloneness and anxiety [resulting from excessive freedom]. The other way, the only one which is productive and does not end in an insoluble conflict, is that of spontaneous relationship to man  and nature, a relationship that connects the individual with the world without eliminating his individuality. This kind of relationship–the foremost expressions of which are love and productive work–are rooted in the integration and strength of the total personality and are therefore subject to the very limits that exist for the growth of the self.” (Fromm, page 29, his emphasis)

So, the individual still is an individual, but one connected with the world. Limits exist, but for the growth of the self. This is that mix of freedoms and restrictions, the final synthesis of freedom vs. bondage. One isn’t merely free from evil, but free to do good. One is an orange, but sweet on the inside.

Anthony Burgess, A Clockwork Orange, Penguin Books, London, 1962

Erich Fromm, Escape From Freedom, Henry Holt and Company, New York, 1941

‘Creeps,’ an Erotic Horror Novel, Chapter Twenty-Four

[sexual content]

“Did you read the news in the paper today, Guy?” Thea asked him as she entered the kitchen with the newspaper.  

“What’s up?” he asked after gulping down some orange juice.  

“Ken Maynard and Ricardo Davis had to plead guilty on all the charges against them, including conspiracy to engage in human trafficking,” she said, then sat down across from him at the kitchen table. “Hey, don’t spill your cereal on the floor.” 

“I won’t,” he said, scowling at her never-ending nagging. “So, they’re in jail now?” 

“Yep. They’ve been sentenced.” 

“I still remember all the confessions from the staff, how they were smiling while high on the Creeps drugs. And how they were frowning when they had to confirm those confessions once the drugs had worn off, and once the staff knew that Van Gorder and Bill Shavick had heard the sex slaves confirming it all, and once the authorities saw the video that recorded all of Mark’s criminal intentions.” 

“Yeah, it’s so nice knowing the whole staff of Capitol is now behind bars, and investigations are being made of all the other Capitol branches, uncovering the same criminal scandal with the Creeps.”  

“I’m glad they all got theirs,” Guy said, then shoveled some cereal into his mouth. 

“Check this out,” she said, reading from the newspaper. “The so-called ‘Commodities,’ most of whom have nowhere else to go, were formerly either destitute or from impoverished countries, or from families that had betrayed them by selling them. So the government—which has also purged itself of the corrupt enablers of Capitol and put them in jail—has judged that the appropriate way to compensate the victims for their suffering is to renovate each Capitol building so thoroughly as to make the places unrecognizable for their former use, and make them new homes where the victims will be given free accommodation. Isn’t that amazing?” 

“Yeah,” he said. “And what of Petunia? I guess she’s living there.” 

“Presumably. You gonna go over there and apologize to her?” 

“Apologize?” 

“Yeah, for paying to rape her.” 

“Thea?! What the fuck? Didn’t you already say I was a hero for helping to save all those people? Haven’t I atoned for my bad karma?” 

“Guy, I’m very proud of you for what you helped me do.” 

“That’s funny: I thought you helped me do it.” 

“Yeah, well, anyway, I still think you should go talk to her about what you did in that VIP Room. Making her have sex with you under those circumstances is still rape.” 

He sighed, then left the table, having finished his breakfast. 

Around lunchtime, Guy went over to see Petunia, in her new room, which was all refurbished and given new furniture, including a bed, refrigerator, stove, TV, and sofa. She opened the door, and they stared at each other for a minute before speaking. 

She was in a T-shirt and jeans, as was he. 

“Long time no see,” he said. “How is everything?” 

“Much better, thanks to you and Thea,” Petunia said. “Come in.” 

They sat on the sofa. She looked over at him, but he, frowning, or trying to smile, just stared down at his twitching hands. 

“It really has been a while,” she said. “Too long, really, since you last saw me.” 

“Well,…I saw a little too much of you the last few times.” 

“I don’t mind.” She put her hand on his shoulder. “You know, this room was actually the VIP room we’d fucked in the first time.” 

“Really?” he asked with a guilty smile. 

“Yeah. I kinda like it, actually, except for it being a little small. I feel a little squished in here. Though squished in here is a lot better than squished in those tunnels we tried to escape through.” 

“Yeah, I read about that problem you all had in the paper.” 

“I’m glad I’ll never have to do that again.” 

“I…really feel awful about what I did here, Petunia…” 

“Oh, Guy. It’s OK.” 

“No, it’s not OK. I took advantage of you. I treated you like a whore.” He was gulping back sobs; his eyes were getting wet. “And I always knew…you were better than that.” 

“Mark LeSaffre made me into a whore. Of all the men who paid to have me, you were the one I was happy to satisfy.” 

“But I was no better than they were,” Guy sobbed. 

“Yes, you were. Of course you were. You saved me, Guy. You and Thea saved me, and you saved all the other sex slaves. When you first found me in Capitol, sure I was uncomfortable, under my fake smiling, the smiling those Creeps were making me do, but I was uneasy only because I was worried you thought my slutty smiles were real. But now I’m glad you saw me there, because if you hadn’t, no one would have saved us.” 

“Yeah, I guess. I just wish I hadn’t fucked you.” 

“I don’t mind that. You were better than all the other Johns who had me.” 

“How was I better? In having you, didn’t I rape you?” 

“Not in my opinion,” she said. 

“How so?” he asked. 

“Because of all the guys who had me, you were always the one I wanted to have sex with.” 

“Why me? What’s so appealing about me? I’m a loser.” 

“Guy, you’re a hero. You saved all of us. I’ve been so hot for you, ever since I realized you’d done that.” 

“Well, maybe now, but how was I hot before that happened?” 

“Remember when I was sharing that apartment with Thea, and you used to come over and visit, to talk to her about, well, whatever? I saw you smiling at me, then you’d look away, all shy, whenever I looked back and smiled at you. You were such a cutie…you still are. I was always waiting for you to ask me out. I kinda liked your shyness, though: it was a nice change from all the aggressive guys who always bothered me.” 

“Was I any less aggressive when I screwed you in Capitol?” 

“Yeah, you were just as aggressive then, but that wasn’t the real you, just as me, acting like a happy whore, wasn’t the real me. I was happy to have sex with you, but not to be a slut: because deep down, I like you. I’ve always liked you.” 

“Really? Pretty girls never like me. They like guys with, you know, cars and money and stuff.” 

“Not all girls. I used to be like that, but after my ex slapped me around enough times, I left him in Vancouver, and came all the way over here, to Mississauga, to get away from him, and from my family, who only ever wanted to make me into something they wanted, not the real me.” 

“Why didn’t you get another guy right away? You’re pretty enough.” 

“I was hoping you’d be that guy. You’re sweet enough.” Then she pouted and whined, “But you never asked me out.” She playfully slapped his arm. 

You could have asked me out.” 

“Yeah, I guess I’m a little too traditional for my own good.” 

“So, you liked having sex with me?” 

“How many times do I have to tell you? I guess I have to demonstrate.” She pulled off her shirt. 

“Wait. Uh…” He started getting off the sofa. 

“What’s the problem?” she, now in her pink bra, asked. “You’ve already seen all of me. How is it different now?” She unzipped her pants and pulled them down. 

“I’m sorry. I do wanna do it with you; it’s just that…” 

“What?” She was standing before him in only her bra and panties. 

“Remember when you said, when we fucked in Capitol, it wasn’t the real you, and it wasn’t the real me? That felt…safer.” 

“But underneath the false me, the true me still liked it.” 

She took off her bra. 

“Why did you like it? I mean, with the false me?” 

“Because,” she said, pulling down her panties and kicking them aside, “I knew that, deep down under your false self, the lecher who leered at my body and checked me out, as naked then as I am now, your real self was still there, that sweet, shy boy who used to visit Thea in our old place, who came to visit me as much as to visit her.” 

“Oh, no. I came to see you…much more than to see her. I actually prefer staying away from her. She kind of annoys me. She’s a nag. Seeing my sister, that was just excuses to see you.” 

“Then let’s fuck.” 

“I want to…but I’m scared.” 

“Of what?” 

“That you won’t like me—the real me, I mean, when you know all about the real me.” 

“We’re all scared of that, Guy. But we try to love each other anyway, don’t we? And the more of the real you that I know, the more I’ll love you.” She unzipped his pants. 

He tried to stop her from pulling them down. 

“Why don’t I get to see you? You got to see all of me, and I don’t get to see you? That hardly seems fair.” 

“Yeah, but I look ugly nude. You have a beautiful body.” 

“I don’t believe you’re ugly nude, Guy. And I don’t care if I see physical imperfections. I love you as you are.” 

He finally allowed her to undress him. Both nude, they got on the bed. He lay on top of her, and she wrapped her legs around his waist. He pushed his cock against her wet vaginal opening, gently coaxing his way in. She put her arms around him. 

As he slid inside her, she looked up into his eyes; but his eyes were still avoiding hers. She held his face in her hands as he pushed in further, aiming his face straight down at hers, to see her wide-open eyes and mouth. 

He got all the way in, getting a squeal from her. 

Still, as he moved in and out, he wouldn’t look in her eyes. 

“Why…won’t you…look at me?” she asked in panting words. “Oh!” 

“I’m…still ashamed,” he moaned. “I remember…our first time.” 

“I liked it…I like it now…I love you, Guy…You saved me.” 

“Yeah, I did…I saved you all…the past…is over. Ah!” 

“Yes…you’re my hero…I love you.” 

“I love you, too, Petunia. Oh!” 

“This is…the real you, Guy…Ah!” 

“And I’m…making love…to the real…Petunia. Oh!” 

“I’m…almost there! Ah!” She came. 

“Me, too…But without…a condom…” He came. “Oh!” 

“It’s OK,” she said. “The Creeps they gave me…ensured I’d…never get pregnant.” 

“Really?” he panted. 

“Yeah,” she sighed. “And I don’t…wanna have kids, ever. Now, your come in me…That’s a Creep…I’ll gladly take…inside my body.” 

************************** 

They got dressed and went outside. 

Holding hands, they walked on the sidewalk beside the building that had once been Capitol. Now the sign in front said Community. It was a sunny afternoon. 

“It’s so nice to be able to go outside again,” she said, taking in a deep breath of fresh spring air. 

“Yeah,” he said. “It must have been awful being cooped up in there.” 

“Hey!” a woman’s voice called out to them. They looked back at her as she ran up to them. It was Arunny. Sobbing, she threw her arms around Guy. “I just wanted to say…thank you…for saving all of us.” Her tears were soaking his shirt by his left shoulder. 

“Hey, anytime,” he said. Both he and Petunia exchanged hugs with Arunny. 

After letting go of him, she looked deep in his face with her soaking wet eyes. She kept looking at him with those grateful eyes for several more seconds, then turned around while still looking at him. 

“Thank you,” she said again, and ran off in the other direction. 

Now, a tear ran down Guy’s cheek, as well as one down Petunia’s, as they watched Arunny continue running away, back to the Community building.  

They turned around and resumed their walk.  

As they continued walking further and further away from the building, they came by a neighbourhood, and someone’s house, which had a garden in the front. She stopped at it. 

“Oh, yeah,” he said, standing behind her. “I remember that garden you used to take care of back when you were living with Thea.” 

“Yeah,” she said. “Those were happy days. I should try to set up a garden in back of the Community building sometime soon.” 

“And I can visit you there regularly, as I did in Thea’s old apartment.” 

“That’d be nice. It would bring back two pleasant memories.” 

“Two?” 

“Yeah. You seeing me in the old apartment, and you seeing all of me in the VIP room, which is now a much more important person’s room, with you as a visitor.” 

They kissed. 

She looked down at the garden soil. She started at the sight of a few worms crawling out of the dirt.  

It’s OK, it’s OK, she thought; they aren’t glowing.

THE END