(Source: kajkelli)
One such woman, in particular, startled and excited me. She wore not only her collar. She also wore an iron belt. This belt consisted of two major pieces; one was a rounded, fitted, curved bar like waistband, flattened at the ends; one end of this band, that on the right, standing behind the woman and looking forward, had a heavy semicircular ring, or staple, welded onto it; the other flattened end of the waistband, looking forward, had a slot in it which fitted over the staple; the other major portion of this belt consisted of a curved band of flat, shaped iron’ one end of this flat band was curved about, and closed about, the bar like waistband in the front; this produces a hinge; the flat, U-shaped strap of the iron swings on this hinge; on the other end of this flat band of the iron is a slot; it fits over the same staple as the slot in the flattened end of the left side of the bar like waistband. The belt is then put in the woman in this fashion. The waistband is closed about her, the left side, its slot penetrated by the staple, over the right side; the flat U-shaped band of iron, contoured to female intimacies, is then swung up on its hinge between her thighs, where the slot on its end is penetrated by the staple, this keeping the part of the belt in place. The whole apparatus is then locked on her, the tongue of a padlock thrust through the staple, the lock then snapped shut.
Kajira of Gor page 103
I saw Tenalion smile. To be sure, many of the dances of female slaves are lovely and sensuous; others, of course, are piteous and orgasmic. In all fairness, though, one must note that there is a large variety of slave dances on Gor, and that there is some variation from city to city. The institution of female slavery on Gor is doubtless thousands of years old; accordingly it is natural that there should be great complexity and refinement in such a delicious art form as slave dance. There are even, it might be mentioned, hate dances and rebellion dances, but most dances, as might be expected, are display dances, or need dances, or love and submission dances; even the hate and rebellion dances, of course, conclude, inevitably, with the ultimate surrender of the girl to her master as a love slave.
Fighting Slave of Gor pages 288 - 289
She was performing a need dance, of a type not uncommon among Gorean female slaves. Such a dance usually proceeds in clearly defined phases, evident not merely in the expressions and movements of the girl but in the nature of the accompanying music. There are usually five phases to such a dance. In the first phase the girl, dancing, feigns indifference to the presence of men, before whom, as a slave, she must perform. In the second phase, for she has not yet been raped, her distress and uneasiness, her restlessness, her disturbance by her sexual urges, must become subtly more manifest. Here it must be evident that she is beginning to feel her sexuality, and drives, profoundly, and yet is struggling against them. Toward the end of this phase it must become clear not only that she has sexual needs, and deep ones, but that she is beginning to fear that she may not be, simply as she is, of sufficient interest to men to obtain their satisfaction. Here, need, coupled with anxiety and self-doubt, for she has not yet been seized by strong men, must become clear. In the third phase of the dance she, in an almost ladylike fashion, acknowledges herself defeated in her attempt to conceal her sexuality; she then, again in an almost ladylike fashion, delicately but clearly, with restraint but unmistakably, acknowledges, and publicly, before masters, that she has sexual needs. Then, with smiles, and gestures, displaying herself, she makes manifest her readiness for the service of men, her willingness, and her receptivity. She invites them, so to speak to have her. But she has not yet been seized by an arm or an ankle, or by her collar, a thumb hooked rudely under it, or hair, and pulled from the floor. What if she is not sufficiently pleasing? What if she is not to be fulfilled? What if she must continue to dance, alone, unnoticed. At this point it becomes clear to her that it is by no means a foregone conclusion that men will find her of interest, or that they will see fit to satisfy her. She must strive to be pleasing. If she is not good enough she may be chained, unfulfilled, another night alone in the kennel. There are always other girls. She must earn her rape. Too, if she should be insufficiently pleasing consistently it is likely that she will be slain. Goreans place few impediments in the way of the liberation of a slave female’s sexuality. In this phase of the dance, then, shamelessly the woman dances her need and, shamelessly, begs for her sexual satisfaction. This phase of the dance is sometimes known as the Heat of the Collared She-Sleen. The fifth, and final phase, of the dance, is far more dramatic and exciting. In this phase the girl, overcome by sexual desire and terrified that she may not be found sufficiently pleasing, clearly manifests, and utterly, that she is a slave female. In this portion of the dance the girl is seldom on her feet. Rather, sitting, rolling, and changing position, on her side, her back, her belly, half kneeling, half sitting, kneeling, crawling, reaching out, bending backwards, lying down, twisting with passion, gesturing to her body, presenting it to masters for their inspection and interest, whimpering, moaning, crying out, brazenly presenting herself as a slave, pleading for her rape, she writhes, a piteous, begging, vulnerable, ready slave, a woman fit for and begging for the touch of a master, a woman begging to become, at the least touch of her master, a totally submitted slave. The fourth phase of the dance, as I have mentioned, is sometimes known as the Heat of the Collared She-Sleen. This portion of the dance, the fifth portion, is sometimes known as the Heat of the Slave Girl.
Rogue of Gor pages 185 - 186
I regarded her.
“But I have learned things here,” she said, “that I never dreamed of as a free woman. I have been able to sense here the ecstasies of bondages, the ecstasies of life obligatorily sensual, a life under strict discipline, a life where I must obey, a life where I will, and must, surrender myself totally and, subject to penalties, and even death, if I am displeasing, live thenceforth solely for service and love.”
“You sing the joys of a love slave, surely,” I said, “not the woes of a woman who must crawl beneath the whip to a hated master.”
“Do you not think a love slave crawls fearfully beneath the whip of her master?” she asked.
“The love slave is still a slave, you see,” I said, “and perhaps more a slave than any other.”
“Yes,” whispered the woman.
“She is held in her bondage by the strongest of all bonds,” I said, “that of love.”
“Yes,” she said.
“It is stronger than the chain on your neck,” I said.
“I know,” she said.
“It must then be very strong,” laughed the woman who held her chain. She gave it a tug, jerking it against the side of the woman’s neck.
“It is,” I said.
Mercenaries of Gor pages 317 - 318
(Source: vdaguano)
(Source: cristania)
