Saïna MoonShine

Like I said, the museum was a pretty snotty institution. It’s got a LOT of objects it’s way famous for possessing, but nobody knew about the absolutely massive collection of Moche erotic pottery it had because the curators were totally embarrassed by this stuff.

Some examples:

Pretty hot shit, right? They never, ever put any of this stuff on public view or published it in any catalogues but - we legit had like several hundred pieces of Moche ceramics in the “dirty pots” category. Anyway, I was left alone to just do my job with regard to the database for several years, ok? And I figured, well, these’re accessioned objects in the museum’s collection - better get down to bidness. 

I catalogued every goddamn bestiality, necrophiliac, cocksucking, buttfucking, detached penis, and giant vulva drinking cup in that collection. I’d be like, 

A drinking vessel in form of a standing man wearing a tunic and cap. He holds an oversized erection in his hands and stares into the distance (note I did not say “like he’s hella-constipated”). The vessel has a hole at both the tip of the penis as well as around the rim of the figure’s head, thus forcing the drinker to drink only from the penis or risk spilling wine all over themselves from the top of the vessel. Red and orange slip covers the surface of the piece.

Pretty straightforward, right? Apparently the deep seated fear of these objects that the curators exhibited was meant to spread to me as well, but - no one ever gave me that memo, because I guess Midwesterners reproduce asexually. When the curators understood that I had catalogued all of these objects in addition to the other, non-sexy pieces in the collection, they were apparently livid, but knew they had no legs to stand on in terms of getting pissed at me for it. 

I visited the museum’s online public access database a few years back and - every single description I wrote of these pieces has been totally neutered to say something like Male figural vase. 

They started messaging. Cachét complimented his drawing of a human-bug threesome and asked for a print. Three years later, Cachét and David got married. The human-bug threesome drawing hangs on the wall of their home.

The Slayer, they called me then. The Monster of Sentan. I’d killed nineteen people… I remember that number because I was so furious that they stopped me so close to my goal of twenty-one. And I didn’t just kill ordinary people, no, but the Chosen of the Gods. The Great and Good. They were terrified of me. So they locked me away, to die forgotten.

It had been a little less than a hundred years when the king died without heir, and a civil war tore the country apart. When the fighting was all over, the losers were dragged down to the deepest cells under the castle, and the new king and his soldiers stopped and stared at me. “Who… who is this?” he asked, frowning. “Some victim of the usurper?”

People like cooks and jailers and scrubbers don’t change as easily as kings. The same man who’d been bringing me my meals since there was still brown in his hair and beard shuffled forward, hunched and grey now. “No, yer majesty,” he said humbly. “That be a special prisoner, from before the old king died.”

“Special? Special how?” He frowned, moving closer to my cell. “The old king died more than ten years ago. This woman must have been a child then. What could she have done to - “

“Don’t get too close, yer majesty,” the old man said sharply. “That’s the Monster of Sentan… an’ she bites.”

That was true. I do bite.

It was fascination, I know ♪〜

Seeing you alone with the moonlight above ♪〜

Deep voice, big muscles, Tall

L'APPEL DU VIDE

L'Art et la mode, no. 29, vol. 37, 15 juillet 1916, Paris. Pour l'après-midi. Dessin de Mireille. Bibliothèque nationale de France