Work Text:
PART ONE: WORDS, STORIES, AND ORGASMS BETWEEN THE TIME-RIVERS
you can skip this part if you're not into lit theory! see part two to get right to the A/B/O juice (heh heh). you will however miss my fanfic-is-lesbian-sex explanation.
who’s involved here
Consider Roland Barthes’ “texte de jouissance” and Edmond Jabès’s Book as made of Words and Walter Benjamin’s intertext, and the messianic flow of time. What I mean is that text is spatial. Yeah, yeah, structuralism, the world is a text; but the text is a world. (Sorry, I had to!) Consider Derrida’s Shibboleth. Consider Bakhtin’s heteroglossia. Consider the spaces between meaning and intent, and the spatial relationship of author to reader.
relevant texts
- Roland Barthes - The Pleasure of the Text
- Edmond Jabès - The Little Book of Unsuspected Subversions [ no PDF available, sorry :( ]
- Walter Benjamin - The Task of the Translator
- Walter Benjamin - Theses on the Philosophy of History
- Jacques Derrida - Shibboleth (For Paul Celan)
- Mikhail Bakhtin - The Dialogic Imagination
- relying less heavily on their theorizing, but thinking influenced by Gayatri Spivak, Eve Kosofsky Sedgwick, Jasbir Puar, Slavoj Žižek, Frederic Jameson, Ferdinand de Saussure, and a little bit Martin Heidegger (unforch)
You don't need to read any of these texts to read this essay! I am also happy to further clarify and contextualize. Basically I'm just using other texts to try to articulate abstractions I experience but don't have my own language for.
so anyway, time-rivers
Let “homogenous, empty time” (Benjamin) be a river. Suspended transparently above it flows another time-river. Occasionally transparent drops land in the lower river. These drops are revolutionary and singular (messianic, Benjamin; monolithic/Shibbolethic, Derrida); the glowing pools emitted by these drops both travel with the flow of the chronological river and remain forever in their original landing place, connected by a thin transparent stream to the messianic transparent river above. These two-places-at-once are: first, the original event (unreachable, though at times different kinds of visible to witnesses); second, every time-based perspective on the original event since.
People (when I say people, I really mean I rather than a universal we, but I experience this as true for people besides me! Please understand any wes are shortcuts for I-myself-and-my-perspective-on-others-also) cannot escape the river of homogenous time. We exist in it at least bodily even when we emotionally, psychologically, spiritually leave it - which to say we exist in the construct of time as other people perceive us, regardless of our own perception of our relationship to the river. But at times we see the upper river's glowing drops and we can see, feel, experience them. Or at times we can raise our hand to the suspended time-river above us and touch it gently. And this is how we have relationships with the dead. And this is how we understand ourselves in solidarity with others who fought and will fight for the same things we do.
Messianic time exists always-and-never above chronological time. In every homogenous second exists the potential for redemption (in the Benjaminian and Jewish sense, not the apocalyptic Christian one, just as I'm using "messianic" here in the specific Benjaminian sense): the potential for a transcendent connection to the transparent alternate revolutionary always-and-future messianic time-river suspended above chronological time.
Writing happens in the homogenous, empty time-river (because words are created by people, and we are submerged within this lower river). But words are not people and do not end. Words float between the messianic/monolithic-Shibbolethic time-river and the homogenous, empty time-river. They may travel more or less with the chronological river, but like the glowing drops of messianic/monolithic-Shibbolethic time they refer at once to their own creation (or for words created through collaboration, iterations of original creation) and to every point of time during which they have been perceived and every person who has perceived them since. (Oops, Heidegger as I learned through reading Jameson: object creates subject. Fuck Heidegger, by the way.)
And that’s how we have relationships with texts, and how those relationships evolve over personal and societal time.
Words are not themselves necessarily suspended in messianic time but can provide footholds to climb, and directional sign-posts, and bridges across the electron spaces between individual consciousnesses, deaths, births, years, languages, societies, species.
Now, stories.
Words travel sometimes alone (consider empty signifiers, consider Jabès’s Book, consider Benjamin’s interlinear Holy Text) and sometimes in loose and familiar clouds (consider myths, consider tropes) and sometimes in very rigidly-bound parcels (i.e., in a text whose existence relies on specific words traveling together in a specific order).
My primary interest is in the loose and familiar clouds of words.
Familiar clouds of words cannot be made alone. One can make a specific parcel of words that reference, draw from, or contribute to a cloud, but those words do not become widely familiar in any kind of community without many creators working together over time. Thus tropes (plots, characterizations, conventions, linguistic quirks, etc.) common to a particular genre are in fact a kind of ongoing collaborative text. All texts are temporally subversive in that they do not simply follow the flow of the homogenous time-river as living beings must. Collaborative texts are also temporally subversive in that they are living, open texts - in brief, because they evolve.
Individual texts or writers may reach, more or less successfully, for the messianic time-river, though honestly, for the most part, texts that successfully refer to the messianic time-river - texts that are politically, narratively, interlinearly revolutionary and connect the reader to that alternate forever-always-future-time - are highly personal. Most messianic texts, that is to say, are not themselves Shibboleths: they do not create for every person reading/perceiving/entering that text a singular experience, the-past-burst-into-now. Collaborative texts are not more or less likely, in my experience, to be messianic or Shibbolethic than individually authored texts, but the process of their creation (translation both literal and figurative, between languages, contexts, and people) gestures directly to the unreachable interlinear Holy Text: that perfect universally accessible and meaningful translation.
Like all texts, fanfic refers to the specific time of its own creation, and all the instants since. Barthes uses “texte de jouissance” ("text of [orgasmic] bliss") as a way to describe experimental and complex works - works that do not guide the reader through the text, but instead works that must be “entered” by the reader in order to understand them (yes: a penetration reference; it’s gay French philosophy, what do you expect!). Romance novels and fanfiction, though not usually experimental or dense in the way Barthes is trying to describe, are I would argue textes de jouissance because they require a reader’s “entrance” (heh heh*) into the collaborative text of fandom in general and of the work's specific fandom in order to fully comprehend the text.
Also, there are orgasms in them, which makes it extra funny to call them textes de jouissance, and I think that’s as reasonable a theoretical association as any - thank you Žižek!
*P.S. I do in fact also suggest that unlike Barthes’ conceptualization of a texte de jouissance, which places the reader in the position of the penetrative desirer and the author in the position of the mysterious and coy penetrated desired, fanfic places author and reader in parallel positions of mutual desire. Both author and reader of fanfic aim their desire originally towards the canon text - desire for an impossible more, a perfect text, that can never be fulfilled (by the genre and creative constraints placed upon the canon text, because the particular desire is idiosyncratic and unique, because the canon text is complete, because, because, because). Fans' unfulfilled desire then constitutes the evergreen desire of fandom's collaborative text.
As fellow fan scholar beyonces_fiancee put it (clarifying punctuation added by tomato_greens, since we were talking about this on the very academic platform of tumblr messenger), "we read fanfic and we are like, god, that was good. but it's good because it stimulates MORE DESIRE within us, not because it satisfies us. because the desire itself is the fannish condition."
Fanfics are conversational texts - always in relationship to other texts (the canon text, of course, but also every other fanfic the author has read, and much more explicitly than the same conversational position of original fiction). Fans' collaborative desire is continually referred to, added to, and taken from by both readers (who after all write comments, write in conversation with the fic they read, prompt fic, organize community spaces, and otherwise participate in the broader fandom community) and writers (of fanfic, specifically, who may or may not also do the above activities).
All right, look, I'm a prude, but Barthes did this first, so let's make it about orgasms. One kind of orgasm is pleasurable, intense, but ultimately complete - satiating. Another kind of orgasm avoids and avoids a particular kind of satisfaction, and when it finally comes, the pleasure can be so consuming it is almost terrible - sublime. Satiating canon texts do not tend to invite reader participation; desire is stimulated and satisfied within the text itself. I'm not necessarily into penetration metaphors, but you get the idea. On the other hand sublime texts pique reader desire beyond that which the text can satisfy, turning readers into writers - and writers into readers in turn - placing the specifically fannish acts of reading and writing not as respectively belonging to a penetrative partner and a penetrated partner, but rather as a site of mutual action, in which fan reader and fan writer are both active collaborators, piquing ongoing desire in each other.
(Again, when I say “this is how fandom works,” I am really saying, “this is my singular perspective on fandom, ignore or not as is interesting or useful to you.”)**
**P.P.S. I should note Barthes was a gay man in mid-20th-century France and I am a lesbian in 2022 so like, you know, Take That As You Will / Literary Theory Has Literally Always Been Like This / I Blame Freud / Sorry / Fanfic Is Lesbian Sex Maybe?
PART TWO: THE ALPHA AND OMEGA OF GENDER ANXIETY
A/B/O is a particular loose cloud of familiar words - in other words, a collaboratively created, defined, and evolving trope. it’s one I am personally familiar with because I encountered the precursor to A/B/O, the BDSM AU, as a mere enfant in the days of personal fic sites; then I ended up Supernatural-adjacent (though not into J2, I remember the origins); I saw the trope evolve thanks to reading and writing in Teen Wolf (knotting: you’re welcome, everybody), and due to my various forays through subsequent A2G megafandoms, I have watched the trope develop further. It's never been my favorite, but I've written a bit and read plenty. That said, because it's not a go-to genre of fic for me, I want to stress that my opinions here come from my anecdotal evidence and experience, and are not based on any kind of empirical data-gathering, nor on deep familiarity with this genre in its current forms. I am also influenced by the eruption of non-subversive A/B/O into mainstream het romance novels, as hilariously documented in a 2020 NYTimes article regarding an IP lawsuit.
In recent years, most A/B/O fic I’ve encountered has been difficult to enjoy for me, largely because of the collaborative textual interest in an often violent sexual politic that conflates the penetrative partner with social and interpersonal domination and the penetrated partner with social and interpersonal submission.
For the record, I am not saying that it is bad to write A/B/O in this way, that it is somehow morally or ethically suspect, or that writing and reading this kind of story reveals anything in particular about the actual politics of the fans involved. Instead, I'm thinking about the politics hidden within the text itself. Mikhail Bakhtin calls the many social "dialects" hidden within the "single" linguistic code - the dialects of race, class, religion, gender, ability, etc. - used to write a piece of fiction heteroglossia, and it's from that conceptual framework that I'm borrowing. I won't close-read any particular fic, since it wouldn't be very community-minded, so rather than examining a particular author's linguistic context, I want to examine the heteroglossia of A/B/O in broad strokes.
Also, again, writing "broad strokes" and "hetero-" makes me laugh in this context, which I still think is a good reason for a theoretical grounding considering the frankly batshit history of postmodernist wordplay in lit theory.
I first noticed this shift from sort of goofy knotting fic to breeding kink central in A/B/O when I started trying to read lesbian erotica a couple of years ago - I didn’t know where to start, so I just looked up highly-kudos’d f/f E-rated fanfic on AO3, and discovered an unusually high ratio of them (at least, to my jaded eye) were tagged A/B/O. When I tried reading some of these fics, it turned out many of them were particularly interested in pregnancy and sex centering around g!p - that is, girl!penis. Most of these stories weren’t interested in exploring trans identity or trans sexual desire (which I think is fine! sci fi exists for a reason!); rather, in the gender paradigm of the story, the penis-having character was both a woman and the penetrative partner, and those two categories were not in tension. In a bunch of these stories, the act of penetration was a narrative site of obsession, particularly in the context of breeding (the loving and endless descriptions of ejaculation were my particular opting out moment of this genre, to be honest), and as I recall - anecdotally, again! - the penetrative partner’s subjectivity remained central, even when written from the penetrated partner’s P.O.V., because the act of penetration (and ejaculation/procreation) was so narratively pivotal.
In some ways, that’s definitely subversive: both partners are women; those women’s bodies do not look like [cis, and in the case of ovipositor fic, trans] “women”’s bodies in our consensus social reality. In the social reality of the story, these women are "cis" (as it were) because they belong to the same gender category (female/alpha, female/omega, male/alpha, male/omega, female/beta, male/beta) that they had been assigned at birth; this in turn disrupts our consensus social reality’s idea of what “cis” even means! Classic feminism! Classic fuck-up-the-cisheteropatriarchy-ism!
In other ways, this kind of story (and the slash equivalents, which in my once-broad-more-recently-limited experience tend to also focus obsessively on the act of penetration in service of procreation) recreate particular patriarchal ideas and, further, reify them by inscribing them into not only social but biological reality. in A/B/O couples, the alpha is biologically determined to penetrate, and the omega biologically determined to be penetrated; their subsequent social behaviors, respectively dominant and submissive, are thus also biologically encoded.
Thus A/B/O occupies this very particular and rather tenuous position in collaborative erotica, more so, I think, than other erotic tropes - both subversive and submissive, if you will.
I noticed this shift primarily because it was so different than the A/B/O I remembered encountering about a decade ago - which certainly was an outlet for some people’s breeding kink, of course, since mpreg was also one of A/B/O’s foundational influences, but was also an outlet for goofy intimacy, sex as transformation, and characterization, plot, and kinks entirely separate from procreation. The fever-pitch of these f/f fics’ obsession with procreative sex, as well as associated social roles played by penetrative and penetrated partners, seemed new and bizarre to me.
I want to say, again, my perspective is not total, comprehensive, or based on anything other than my own perception of my corner of fandom; maybe I just became a better reader, or maybe the widespread nature of this interpretation of the trope passed me by because it’s never been my trope of choice! However, from my perspective, the trope had evolved significantly.
(Brief theory break, feel free to skip to the end of the parenthetical if that's not your cup of meta: Barthes framing the reader as penetrator of course serves a different purpose through the rhetorical context of man/man relationships than in the context of woman/woman or man/woman ones, never mind relationships in which one or both parties do not subscribe to either gendered mode. Mid-20th-century gay erotics are fascinating and wonderful but probably not immediately relevant to what I'm writing about here, other than that they inform 21st century queer erotics, so I'm not going to unpack all of that. But I want to point out that A/B/O is as a collaborative text in tension in part because it is like all texts somewhat temporally subversive - floating between the time-rivers - but as a word-cloud it is also rather temporally fixated, because gender and sexuality anxieties have changed so rapidly over the last ten years, at least in a U.S.-based English language context. While a lot of collaborative texts and tropes are somewhat neutral about their own origins, A/B/O as a word-cloud is actually looking backwards even as it evolves.
Am I saying that A/B/O is the Angel of History? I mean, like, no, although that is extremely funny to imagine, so I invite fanart of The Angel Of History In Heat any time.
Rather, I'm trying to get at the crux of A/B/O's particular eroticism and neurotic gender nostalgia - A/B/O fic's gender anxieties in my opinion reflect not only the specific gender anxieties of the moment in which A/B/O was written, but the desire for A/B/O's own origins, when both trans and queer identities and discourses were far less mainstreamed and as a result less rigidly policed. I am struggling to articulate this, and I might not be right, but what I mean is that it seems to me that a decade or two ago fandom policed its own "appropriate" gender narratives significantly less severely with many fewer social consequences for perceived transgressions, and there was greater flexibility in understanding marginalized identities as empathetically and politically linked; at the same time, it was significantly more dangerous to be queer and/or trans - it is still dangerous to be both, to be clear. For the most part, in the fandom in which I first read A/B/O fics, fellow fans were not going to call you a pedophile, delete your account, and doxx you for the fiction you wrote: Christian activists were. Thus early-aughts internet fandom, though imperfect, transphobic, misogynist, homophobic, and racist as it has always been, by virtue of being a non-mainstream space, was a space of privacy in which gender flux and experimentation and subversion flourished. As fandom has become more mainstream, and as discussion of trans and queer identity has become more mainstream, as always-extant transphobia has become codified by specifically transphobic legislation as well as the "strange" political bedfellowship of radical feminism and conservative Christianity, as always-extant homophobia and misogyny have been both legislatively punished and pursued, as the internet has changed, that private space has disappeared - the bananas riotous creative frontier that led to A/B/O's creation is not really a frontier any longer, but well-trod ground, and thus has been coopted as all things are into the capitalist cisheteropatriarchy, and thus is now subject to Christianity-inflected moral judgments coming from inside the house.)
As I write this in 2022, procreative sex and gender anxieties are the site of particular attention - three days ago, Politico reported on a leaked U.S. Supreme Court draft of a decision to overturn Roe v. Wade, a decision that when it passes will set a precedent that appears to, and that I personally expect to, call into question the federal right to gay marriage, "sodomy" (in the legal sense) and same-gender sexual behavior, and access to birth control, not to mention a variety of other civil rights, not exclusively but most notably the those that impact Black Americans.
In addition, the mainstreaming of discourse around trans identity (i.e., acknowledging in a national conversation that trans people exist) has caused a furious and panicked response from conservative policymakers, leading to bigoted and deadly laws, most recently - as in, within the last month - a Texas law punishing the families of trans children for pursuing gender-affirming care, and a Florida law making it illegal for educators to mention gay and trans people to children between kindergarten and third grade. (False equivalence of trans identity, gender-non-comformity, queer sexuality, and pedophilia is, of course, as it always is, part of these legislative discussions.)
Anxieties about trans people's relationship to, presentation within, and disruption of gender paradigms has existed in all spaces and times that trans people have existed, including queer spaces, and have led to various liberatory/inclusive/revolutionary and punitive/exclusionary/conservative reactions. The same is true for gay people; gay and trans people's fights are aligned, among fights for other marginalized communities - I simply don't want to avoid acknowledging how transphobia in gay spaces has also shaped the discourse around trans identities, including in fandom. Before same-gender sexual acts were legalized in the U.S. in 2003, gay cis people did not generally have systemic power (except within given specific communities) over trans people; since then, assimilationist and (homo)nationalist tendencies have been coopted in service of the capitalist cisheteropatriarchy, as they always are. Fandom is hard to map against this policy history, since it's a largely decentralized and anonymous space, but conservative tendencies, exposed to light, will always be coopted in service of conservative political goals.
We know how conservative and transphobic people work out their gender and trans anxieties: they pass laws that will lead to the deaths trans people; they murder trans people; they punish trans people by firing them or refusing them needed medical care; they have systemic power and use it. In fandom, they write hideous TERF screeds on FFA, attempt to trick young fans into their political positions, and act in as bad faith as they need to to pursue their political goals. Fuck them.
I am trying to understand the position of people who are actively anti-transphobic, anti-homophobic, anti-misogynist.
Of course, people writing fanfic are impacted by transphobic (and homophobic and misogynist) policies, whether because they themselves are impacted or because their loved ones are. And where can one go when one does not have systemic power, when one does not want to appear to take the conservative political position, when one needs to work out these anxieties - whether you’re trans and trying to negotiate a relationship with the patriarchal, Christian, procreative-sex-obsessed state, or whether you’re cis and trying to understand your own reactions (liberatory or punitive) to and relationship to trans disruption of the cis bimodal paradigm?
PART THREE: COLLABORATIVE NARRATIVE AND SPEAKING THE UNSPEAKABLE
One writes fanfic, duh.
First, because it is social creative outlet with very few barriers to entry - plus that which is taboo (trans sexual desire, cis sexual desire that subverts patriarchal expectation, non-gender-conforming sexual desire, extremely gender-conforming sexual desire, all of which are addressed within the kind of A/B/O erotic scenes described above) is pretty commonly experienced as sexy, so, hey, write a texte de jouissance about it!
But also because as collaborative texts, fanfics diffuse/defuse responsibility. Individual stories and authors can make individual people uncomfortable or whatever, but the collaborative word-cloud of biologically essentialist A/B/O can’t be attributed to any one person, so no one person has necessarily betrayed their feminist, anti-transphobic, anti-homophobic principles by writing into this net of biologically essentialist text. Instead within an anonymous, somewhat decentralized community, writers and readers can perform/explore/subvert/jerk off to whatever collaborative narrative they find appealing, no matter how unspeakable in other less anonymous and more centralized spaces. And even though fandom has become more mainstream and more accessible in recent years, thus less private, its continued norms of pseudonymity and specialized community organization protect (to a greater or lesser extent, depending on the extent to which the fans in any given fandom have internalized cisheteropatriarchal Christian moral judgments) the right to jerk off.
Which is very queer of it, honestly. Fandom as bath house! Someone else write that essay, or link me if it exists already.
The right to jerk off is liberating, obviously, as far as any individual person goes. Furthermore, I don’t think fanfic has very much social power due to its illegitimate cultural status and relatively small number of fans, so people can write and read whatever they want without changing the material conditions of trans people, gay people, and women as a class.
Still: I am not sure if it is always inherently liberatory.
Fellow fan scholar sheepknitssweater pointed out in response to the first draft of this essay that this kind of f/f fic, obsessed as it is with procreative sex and the site of penetration, is often a way to give "lesbian (or gay in some cases) sex a telos that it's otherwise seen as not really having...a lot of cultural bullshit around lesbian sex is sort of concentrated on it being diffuse/aimless/neither spurred forward by any particular interest in sex on anyone's part nor ultimately amounting to unarguably 'real sex.'" She further argues that people write A/B/O fic to "get around these huge roadblocks to...really inhabiting (whether in fiction or life) lesbian desire by substituting the prerogative to breed someone for the prerogative to have sex with someone because you desire her" in addition to "wanting to assimilate gay desire into heterosexual norms and reproduce conflation of biology with sex roles."
From my point of view, it appears that biologically essentialist fanfic provides a way for people to grapple with (internalized or external) transphobic and misogynist social organization without having to take full social responsibility for reifying the categories of penetrative and penetrated partner; furthermore, as sks so helpfully examines, lesbian desire is characterized as - forgive me, I blame Barthes - not having a point, and A/B/O provides the sexual engine otherwise seen as lacking from lesbian erotics.
(To be absolutely fucking clear, trans lesbians are also impacted by this discussion of lesbian erotics, and by the misogyny that fuels it.)
I'm trying to get at something - this is the part of the essay where I start circling around my own thoughts, seeking satiation and instead piquing unfulfillable desire. Man, I wish I could go into into intellectual heat and just leak it out. :( But in the name of speaking the unspeakable, however imperfectly, I'll try.
Without commenting on any individual authors' political motivations or convictions, and without close-reading any particular fic as that doesn't feel community-minded or appropriate, I want to critique this kind of lesbian A/B/O fic, and particularly g!p A/B/O fic, that does not in the text subvert the regressive sexual politics of biologically determined penetrative/societally dominant partner and penetrated/societally submissive partner.
By critique, I don't mean that people shouldn't write these fics, and I don't mean that people shouldn't disagree with em - I am very willing to be disagreed with! I am simply trying to understand why I feel so troubled by this particular kind of fic.
After all, aren't they an escapist fantasy - where a woman can have a penis and this fact can be unremarkable, not in tension with her womanhood or her gender alignment? Where a woman can feel overwhelming desire for another woman and this be societally sanctioned, respected, valued? Where two women, in love, can have a biological child as the summative proof of their emotional connection? (Okay, I yikes'd while writing that one...I think this is a normative value we should avoid assimilating, everyone!)
Yes, I think they can be. And I wouldn't ask anyone not to write an escapist fanfic, nor do I think that anyone is required to work out their internalized transphobia, misogyny, and homophobia before writing a fanfic. I just think this particular brand of escapism is particularly sharply misogynist and transphobic, in the aggregate if not in any specific individual fic. Assigning a woman a biologically determined penetrative role and conflating this penetrative role with inherent interpersonal and societal dominance is transphobic. Assigning a woman a biologically determined penetrated role and conflating this penetrated role with inherent interpersonal and societal submission is misogynist. Reframing lesbian sex as requiring a biologically determined dominant penetrative partner, a biologically determined submissive penetrated partner, and perseverating on the procreative act is homophobic. However personally liberating writing these scenes might be, they ultimately reify cisheteropatriarchal ideology.
And that makes sense: society is misogynist and transphobic and homophobic; obviously the erotics of our age and fanfic specifically reflects these forces.
I just - ugh. Really fucking hate that.
SO WHAT?
I don't know, man!
I don’t want lesbian erotica to be so obsessed with Christianity-inflected procreative sex; I don’t want a trope that relies so heavily on misogynist, transphobic, and homophobic social organizations to be so popular; I want collaborative word-clouds that shine with a liberatory erotics, word-clouds that reach towards the unknowable and revolutionary messianic time-river suspended above our own actual time; I want a society that no longer requires people to reach for tropes that reify biological essentialism; in short, no matter how individually freeing it might be for writers to use fanfic to work through their cultural anxieties, I think it kind of sucks and I want transphobia and misogyny to get the fuck out of my fanfic, but more importantly, I want it to get the fuck outta my god damn life.
As I said, I don't think this critique should or even could stop people from writing the fanfic they want to write. I think as a white American lesbian in my 30s, my perspective is limited by my experience, and I'm sure there's a lot I'm not seeing. I'd really welcome other people's thoughts - I want to know what I'm missing, I want to know your experiences with A/B/O, I want to know what other tropes feel aligned with this critique and what parts of A/B/O totally turns my argument upside-down. Maybe I have more to say. I'm not sure yet.
Send me your Angel of History MPreg any time.