What you're reading right now is known as the "cover copy," or “flap copy.” This is where the 84,951 words of my latest book are cooked down to 350 words or less to capture your imagination/download. I pondered how to do that. Should I cut to the chase and reveal pivotal plot points like the one at the end of the book where the little girl on crutches points an accusing finger and shouts, "the killer is Mr. Porter"? No. I have too much respect for you as an intelligent consumer to attempt such an obvious ruse. But let's not play games here. You clicked your way to this page, so you either: A. Know who I am. B. Like the cool smoking jacket I'm wearing on the cover. Or: C. Thought this was a secret link to Ashley Madison. Is it a sequel to my autobiography If Chins Could Kill: Confessions of a B Movie Actor? Sadly, no, which made it much harder to write. Is it an "autobiographical novel"? Yes. I am the lead character in the story (coincidentally an actor), and I am a real person, and everything in the book actually happened - except for the stuff that didn't. The action revolves around my preparations for a pivotal role in the A-list relationship film, Let's Make Love! My Homeric attempt to break through the glass ceiling of B-grade genre fair is hampered by a vengeful studio executive and a production that becomes infected by something called the "B-movie virus" - symptoms of which include excessive use of cheesy special effects, slapstick, and projectile vomiting. From a violent fistfight with a Buddhist to a life-altering stint in federal prison, this novel has it all. And if the 84,951 words are too time-consuming, there are lots and lots of cool graphics – all of which have been upgraded to vibrant color since the first publication. I hope you enjoy the book – and if you learn anything at all about making love, please share it with me! Regards, Bruce "Go Ahead and Call Me Ash" Campbell

Is your love-life heaven or hell? Where is God in the act of love? Divine love is not an elusive dream. With this program of tantric teaching, you can practice freedom from sexual unhappiness and obtain mutual joy in sexual union. Barry Long's western tantra is a step-by-step revelation to woman of what she knows love to be -- but so rarely and fleetingly embodies. It is a reeducation of male sexuality to make man more worthy of woman's love. Dealing frankly with common sexual problems, the author offers a practical, down-to-earth guide to the transcendent mystery of sexual union.

Erotic sepia photographs combine with a sensitive, informative text in this frank guide to keeping a sexual relationship fresh and vital

"These days sexual sin is far less about sex and far more about the misuse of power and exploitation of vulnerability. It's time to redraw the ethical map. But how should a contemporary Christian ethic of sexuality be formulated? Marvin Ellison, a pioneer in contemporary Christian rethinking of sexuality and sexual ethics, uses a series of provocative questions to increase readers' skills and confidence for engaging in ethical deliberation about sexuality. Students and all adults will welcome this book for enabling their personal clarity, approach to relationships, and mindful participation in respectful moral debate." -- Publisher description.

Drawing from her years of professional experience as a sexual surrogate and therapist, Keesling delves into the profound and complex powers of sexuality, offering readers the idea that sexual exchange between loving partners contains all the elements necessary for healing and happiness: touch, intimacy, communication, physical activity, and playfulness.

In Making Love: Sentiment and Sexuality in Eighteenth-Century British Literature, Paul Kelleher revises the history of sexuality from the vantage point of the literary history of sentimentalism. Kelleher demonstrates how eighteenth-century British philosophers, essayists, and novelists fundamentally reconceived the relations among sentiment, sexuality, and moral virtue. It is his contention that sentimental discourse, both philosophical and literary, posited heterosexual desire as the precondition of moral feeling and conduct. The author further suggests that sentimental writers fashioned the ideal of conjugal love as an ideological antidote to the theories of self-love and self-interest found in the works of Thomas Hobbes and Bernard Mandeville. Heterosexual desire and its culmination in conjugal love, in other words, were represented as the privileged means for an individual to transcend self-love and to develop a moral sensibility attuned to the thoughts and feelings of others. At the same time, Kelleher suggests, other pleasures and desires—particularly those rooted in same-sex eroticism—were increasingly depicted as antithetical to conjugal love and, thus, were morally devalued and socially disenfranchised. Kelleher's argument unfolds through close readings of a variety of texts, including Shaftesbury’s Characteristics of Men, Manners, Opinions, Times, Joseph Addison and Richard Steele’s the Tatler and the Spectator, Eliza Haywood’s Love in Excess, Samuel Richardson’s Pamela, and Henry Fielding’s Tom Jones. Although these texts embody diverse rhetorical strategies and thematic concerns, he shows how they collectively reinforce an overarching sentimental ideology: on the one hand, heterosexual desire and conjugal love become synonymous with sympathy, benevolence, and moral goodness, while on the other hand, same-sex desire is pathologized as a selfish withdrawal from procreation, domesticity, sociability, and ultimately, “humanity” itself.