The Artisan's Book of Fetishcraft: Patterns and Instructions by John Huxley

By John Huxley

This pretty and necessary booklet teaches the reader to layout and build fetishwear, restraints, sensory deprivation units, toys and whips, professionally stylish and customised to the maker's person wishes and needs. each one undertaking encompasses a particular trend with whole directions for tailoring it to slot the wearer's or user's body structure and fantasies. that includes such never-before-shown luxurious goods as full-body zentai, customized lace-up hoods, totally expert and correctly weighted floggers and singletails, and numerous physique harnesses for all genders, The Artisan's advisor pays for itself thousands of occasions over within the fingers of an artistic craftsperson.

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Additional info for The Artisan's Book of Fetishcraft: Patterns and Instructions for Creating Professional Fetishwear, Restraints and Sensory Equipment

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That love affair becomes the basis of lOving relations and all erotism after the separation-individuation phase and into the oedipal and postoedipal period. When we use the word "erotic" we are talking about the gamut of feelings- from tender, The Maternal Erotic Transference 35 sensual, and romantic to anal erotic, s;ldistic, aggressive, and masochistic-that stem from that original mother-baby bond. The feelings pertain to bodily contact and arise in the transference. Ours is the broadest possible view of maternal erotic transferences.

At the beginning of each session, Gillian would exclaim about the flower arrangements in the office. She was, in fact, something of a naturalist. I was astonished by Gillian's rage when I declined to accept the proffered rose. Gillian had never shown much passion before. As this event occurred early in my analytic career, I was Simply and perhaps dutifully follOwing the usual rule of abstinence, to explore the meaning of such an action rather than partiCipate in it. Both the gift offering and the patient's subsequent rage provoked enough worry in me that I began to put together pieces of observations I had made of other bodily centered events in Gillian's analysis and began a more thorough investigation of the transference and countertransference.

That statement echoes Schafer's conception of multiple histories, the creation of analytic narratives that are progressively refined in the analytic discourse. In a similar vein, Schafer (1976, 1978, 1980) insists that the analysand, like the analyst, must be viewed as a person; not as the repository or passive agent of events, or drives, or metapsychological structures and forces, but as one who actively (both mentally and physically) finds and makes the world in which he acts. In this sense, both analyst and analysand are active agents, authors of the patient's life histories.

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