Earth-Watching: A Seductive Pleasure in a Perfect World


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Some people have become emotionally connected to the Earthlings they watch. When groups of Palalans start to emulate the Earthlings, and one Palalan get too involved in an Earthling's life, there's problems in paradise. It's a murder mystery and a clash of cultures intertwined. Murder,politics,religion and a few laughs. Death Angels. Ake Edwardson. Raphaelle Giordano.

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Gurjinder Basran. Walking to Japan. Derek Youngs. Mystery Mob and Midnight in the Waxworks. Sarah Flemming. Paperback , pages. More Details Other Editions 3. Friend Reviews. To see what your friends thought of this book, please sign up. To ask other readers questions about Earth-Watching , please sign up. Lists with This Book. This book is not yet featured on Listopia.

Community Reviews. Showing Rating details. Sort order. Jan 03, Brian rated it really liked it. I really like some of the concepts that this book brings forward. The extraterrestrial world is somewhat utopian, but has its own problems.

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The alien characters are dry but quite humorous, and the human they watch behaves as you would expect yourself to. My only gripe with the book is that it felt rushed at the end. I wanted a more complicated plotline, a hairier ultimate solution that may not have worked, and something which would have put the alien characters at greater risk. There was so much I really like some of the concepts that this book brings forward. He may be disloyal, dishonest, and amoral, but that only adds to his appeal. Stir a woman's repressed longings by adapting the Rake's mix of danger and pleasure. The Ideal Lover page 29 Most people have dreams in their youth that get shattered or worn down with age.

They find themselves disappointed by people, events, reality, which cannot match their youthful ideals. Ideal Lovers thrive on people's broken dreams, which become lifelong fantasies. You long for romance? Lofty spiritual communion? The Ideal Lover reflects your fantasy. He or she is an artist in creating the illusion you require. In a world of disenchantment and baseness, there is limitless seductive power in following the path of the Ideal Lover. The Dandy page 41 Most of us feel trapped within the limited roles that the world expects us to play.

We are instantly attracted to those who are more fluid than we are—those who create their own persona. Dandies excite us because they cannot be categorized, and hint at a freedom we want for ourselves. They play with masculinity and femininity; they fashion their own physical image, which is always startling. Use the power of the Dandy to create an ambiguous, alluring presence that stirs repressed desires.

The Natural page 53 Childhood is the golden paradise we are always consciously or unconsciously trying to re-create. The Natural embodies the longed-for qualities of childhood—spontaneity, sincerity, unpretentiousness. In the presence of Naturals, we feel at ease, caught up in their playful spirit, transported back to that golden age.

Adopt the pose of the Natural to neutralize people's defensivencss and infect them with helpless delight. The Coquette page 67 The ability to delay satisfaction is the ultimate art of seduction—while waiting, the victim is held in thrall. Coquettes are the grand masters of the game, orchestrating a back-and-forth movement between hope and frustration.

They bait with the promise of reward—the hope of physical pleasure, happiness, fame by association, power—all of which, however, proves elusive; yet this only makes their targets pursue them the more. Imitate the alternating heat and coolness of the Coquette and you will keep the seduced at your heels. The Charmer page 79 Charm is seduction without sex. Charmers are consummate manipulators, masking their cleverness by creating a mood of pleasure and comfort. Their method is simple: They deflect attention from themselves and focus it on their target.

They understand your spirit, feel your pain, adapt to your moods. In the presence of a Charmer you feel better about yourself. Learn to cast the Charmer's spell by aiming at people's primary weaknesses: vanity and self-esteem. The Charismatic page 95 Charisma is a presence that excites us. It comes from an inner quality—self-confidence, sexual energy, sense of purpose, contentment—that most people lack and want.

This quality radiates outward, permeating the gestures of Charismatics, making them seem extraordinary and superior. They learn to heighten their charisma with a piercing gaze, fiery oratory, an air of mystery. Create the charismatic illusion by radiating intensity while remaining detached. The Star page Daily life is harsh, and most of us constantly seek escape from it in fantasies and dreams.

Stars feed on this weakness; standing out from others through a distinctive and appealing style, they make us want to watch them. At the same time, they are vague and ethereal, keeping their distance, and letting us imagine more than is there. Their dreamlike quality works on our unconscious. Learn to become an object of fascination by projecting the glittering but elusive presence of the Star. The Anti-Seducer page Seducers draw you in by the focused, individualized attention they pay to you. Anti-seducers are the opposite: insecure, self-absorbed, and unable to grasp the psychology of another person, they literally repel Anti-Seducers have no self-awareness, and never realize when they are pestering, imposing, talking too much.

Root out anti-seductive qualities in yourself and recognize them in others—there is no pleasure or profit in dealing with the Anti-Seducer. Study your prey thoroughly, and choose only those who will prove susceptible to your charms. The right victims are those for whom you can fill a void, who see in you something exotic.

They are often isolated or unhappy, or can easily be made so—for the completely contented person is almost impossible to seduce. The perfect victim has some quality that inspires strong emotions in you, making your seductive maneuvers seem more natural and dynamic. The perfect victim allows for the perfect chase. At first there must be nothing of the seducer in your manner.

The seduction should begin at an angle, indirectly, so that the target only gradually becomes aware of you. Haunt the periphery of your target's life—approach through a third party, or seem to cultivate a relatively neutral relationship, moving gradually from friend to lover. Lull the target into feeling secure, then strike. Most of us are much too obvious—instead, be hard to figure out.

Send mixed signals: both tough and tender, both spiritual and earthly, both innocent and cunning. A mix of qualities suggests depth, which fascinates even as it confuses. An elusive, enigmatic aura will make people want to know more, drawing them into your circle. Create such a power by hinting at something contradictory within you.

To draw your victims closer and make them hungry to possess you, you must create an aura of desirability—of being wanted and courted by many. It will become a point of vanity for them to be the preferred object of your attention, to win you away from a crowd of admirers.


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Build a reputation that precedes you: If many have succumbed to your charms, there must be a reason. Tension and disharmony must be instilled in your targets minds. Stir within them feelings of discontent, an unhappiness with their circumstances and with themselves.

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The feelings of inadequacy that you create will give you space to insinuate yourself, to make them see you as the answer to their problems. Pain and anxiety are the proper precursors to pleasure. Learn to manufacture the need that you can fill. There is no known defense, however, against insinuation—the art of planting ideas in people's minds by dropping elusive hints that take root days later, even appearing to them as their own idea.

Create a sublanguage— bold statements followed by retraction and apology, ambiguous comments, banal talk combined with alluring glances—that enters the target's unconscious to convey your real meaning. Make everything suggestive. The way to lure them out of their shell and set up your seduction is to enter their spirit.

Play by their rules, enjoy what they enjoy, adapt yourself to their moods. In doing so you will stroke their deep-rooted narcissism and lower their defenses. Indulge your targets' every mood and whim, giving them nothing to react against or resist. As the serpent tempted Eve with the promise of forbidden knowledge, you must awaken a desire in your targets that they cannot control.

Find that weakness of theirs, that fantasy that has yet to be realized, and hint that you can lead them toward it. The key is to keep it vague. Stimulate a curiosity stronger than the doubts and anxieties that go with it, and they will follow you. More: You have ceded them power. The only way to lead the seduced along and keep the upper hand is to create suspense, a calculated surprise. Doing something they do not expect from you will give them a delightful sense of spontaneity—they will not be able to foresee what comes next.

You are always one step ahead and in control. Give the victim a thrill with a sudden change of direction. The trick to making them listen is to say what they want to hear, to fill their ears with whatever is pleasant to them. This is the essence of seductive language. Inflame people's emotions with loaded phrases, flatter them, comfort their insecurities, envelop them in sweet words and promises, and not only will they listen to you, they will lose their will to resist you. The details of a seduction—the subtle gestures, the offhand things you do—are often more charming and revealing.

You must learn to distract your victims with a myriad of pleasant little rituals—thoughtful gifts tailored just for them, clothes and adornments designed to please them, gestures that show the time and attention you are paying them. Mesmerized by what they see, they will not notice what you are really up to. Familiarity and overexposure will cause this reaction. Remain elusive, then. Intrigue your targets by alternating an exciting presence with a cool distance, exuberant moments followed by calculated absences.

Associate yourself with poetic images and objects, so that when they think of you, they begin to see you through an idealized halo. The more you figure in their minds, the more they will envelop you in seductive fantasies. The best way to cover your tracks is to make the other person feel superior and stronger. If you seem to be weak, vulnerable, enthralled by the other person, and unable to control yourself you will make your actions look more natural, less calculated.

Physical weakness—tears, bashfulness, paleness—will help create the effect. Play the victim, then transform your target's sympathy into love. If you can create the illusion that through you they can live out their dreams, you will have them at your mercy. Aim at secret wishes that have been thwarted or repressed, stirring up uncontrollable emotions, clouding their powers of reason. Lead the seduced to a point of confusion in which they can no longer tell the difference between illusion and reality. By slowly isolating your victims, you make them more vulnerable to your influence. Take them away from their normal milieu, friends, family, home.

Give them the sense of being marginalized, in limbo—they are leaving one world behind and entering another. Once isolated like this, they have no outside support, and in their confusion they are easily led astray.


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Lure the seduced into your lair, where nothing is familiar. If they resist your efforts, it is probably because you ham' not gone far enough to allay their doubts—about your motives, the depth of your feelings, and so on. One well-timed action that shows how far you are willing to go to win them over will dispel their doubts.

Do not worry about looking foolish or making a mistake—any kind of deed that is self-sacrificing and for your targets' sake will so overwhelm their emotions, they won't notice anything else. The deepest-rooted and most pleasurable memories are usually those from earliest childhood, and are often unconsciously associated with a parental figure. Bring your targets back to that point by placing yourself in the oedipal triangle and positioning them as the needy child. Unaware of the cause of their emotional response, they will fall in love with you. Some of these, the most elemental taboos, go back centuries; others are more superficial, simply defining polite and acceptable behavior.

Making your targets feel that you are leading them past either kind of limit is immensely seductive. People yearn to explore their dark side. Once the desire to transgress draws your targets to you, it will be hard for them to stop. Take them farther than they imagined—the shared feeling of guilt and complicity will create a powerful bond. If your seduction appeals exclusively to the physical, you will stir up these doubts and make your targets self-conscious.

Instead, lure them out of their insecurities by making them focus on something sublime and spiritual: a religious experience, a lofty work of art, the occult. Lost in a spiritual mist, the target will feel light and uninhibited. Deepen the effect of your seduction by making its sexual culmination seem like the spiritual union of two souls. At first, perhaps, your kindness is charming, but it soon grows monotonous; you are trying too hard to please, and seem insecure.

Instead of overwhelming your targets with niceness, try inflicting some pain. Make them feel guilty and insecure. Instigate a breakup—now a rapprochement, a return to your earlier kindness, will turn them weak at the knees. The lower the lows you create, the greater the highs. To heighten the erotic charge, create the excitement of fear. You need to wake them up, turn the tables. Once they are under your spell, take a step bach and they will start to come after you. Hint that you are growing bored. Seem interested in someone else. Soon they will want to possess you physically, and restraint will go out the window.

Create the illusion that the seducer is being seduced. Put their minds gently to rest, and waken their dormant senses, by combining a nondefensive attitude with a charged sexual presence. While your cool, nonchalant air is lowering their inhibitions, your glances, voice, and bearing—oozing sex and desire—are getting under their skin and raising their temperature.

Never force the physical; instead infect your targets with heat, lure them into lust. Morality, judgment, and concern for the future will all melt away. This is the time to throw aside chivalry, kindness, and coquetry and to overwhelm with a bold move. Don't give the victim time to consider the consequences. Showing hesitation or awkwardness means you are thinking of yourself as opposed to being overwhelmed by the victim's charms.

One person must go on the offensive, and it is you. After emotions have reached a pitch, they often swing in the opposite direction—toward lassitude, distrust, disappointment. If you are to part, make the sacrifice swift and sudden. If you are to stay in a relationship, beware a flagging of energy, a creeping familiarity that will spoil the fantasy.

A second seduction is required. Never let the other person take you for granted—use absence, create pain and conflict, to keep the seduced on tenterhooks. Preface Thousands of years ago, power was mostly gained through physical violence and maintained with brute strength. There was little need for subtlety—a king or emperor had to be merciless. Only a select few had power, but no one suffered under this scheme of things more than women.

They had no way to compete, no weapon at their disposal that could make a man do what they wanted—politically, socially, or even in the home. Of course men had one weakness: their insatiable desire for sex. A woman could always toy with this desire, but once she gave in to sex the man was back in control; and if she withheld sex, he could simply look elsewhere—or exert force.

What good was a power that was so temporary and frail? Yet women had no choice but to submit to this condition. There were some, though, whose hunger for power was too great, and who, over the years, through much cleverness and creativity, invented a way of turning the dynamic around, creating a more lasting and effective form of power. First they would draw a man in with an alluring appearance, designing their makeup and adornment to fashion the image of a goddess come to life.

By showing only glimpses of flesh, they would tease a man's imagination, stimulating the desire not just for sex but for something greater: the chance to possess a fantasy figure. Once they had their victims' interest, these women would lure them away from the masculine world of war and politics and get them to spend time in the feminine world—a world of luxury, spectacle, and pleasure.

They might also lead them astray literally, taking them on a journey, as Cleopatra lured Julius Caesar on a trip down the Nile. Men would grow hooked on these refined, sensual pleasures—they would fall in love. But then, invariably, the women would turn cold and indifferent, confusing their victims. Just when the men wanted more, they found their pleasures withdrawn. They would be forced into pursuit, trying anything to win back the favors they once had tasted and growing weak and emotional in the process. In the face of violence and brutality, these women made seduction a.

Oppression and scorn, thus, were and must have been generally the share of women in emerging societies; this state lasted in all its force until centuries of experience taught them to substitute skill for force. Women at last sensed that, since they were weaker, their only resource was to seduce; they understood that if they were dependent on men through force, men could become dependent on them through pleasure. More unhappy than men, they must have thought and reflected earlier than did men; they were the first to know that pleasure was always beneath the idea that one formed of it, and that the imagination went farther than nature.

Once these basic truths were known, they learned first to veil their charms in order to awaken curiosity; they practiced the difficult art of refusing even as they wished to consent; from that moment on, they knew how to set men's imagination afire, they knew how to arouse and direct desires as they pleased: thus did beauty and love come into being; now the lot of women. And all those who know her suffer. They learned to work on the mind first, stimulating fantasies, keeping a man wanting more, creating patterns of hope and despair—the essence of seduction.

Their power was not physical but psychological, not forceful but indirect and cunning. These first great seductresses were like military generals planning the destruction of an enemy, and indeed early accounts of seduction often compare it to battle, the feminine version of warfare. For Cleopatra, it was a means of consolidating an empire. In seduction, the woman was no longer a passive sex object; she had become an active agent, a figure of power. With a few exceptions—the Latin poet Ovid, the medieval troubadours—men did not much concern themselves with such a frivolous art as seduction.

Then, in the seventeenth century came a great change: men grew interested in seduction as a way to overcome a young woman's resistance to sex. History's first great male seducers—the Duke de Lauzun, the different Spaniards who inspired the Don Juan legend—began to adopt the methods traditionally employed by women. They learned to dazzle with their appearance often androgynous in nature , to stimulate the imagination, to play the coquette. They also added a new, masculine element to the game: seductive language, for they had discovered a woman's weakness for soft words.

These two forms of seduction—the feminine use of appearances and the masculine use of language—would often cross gender lines: Casanova would dazzle a woman with his clothes; Ninon de l'Enclos would charm a man with her words. At the same time that men were developing their version of seduction, others began to adapt the art for social purposes. As Europe's feudal system of government faded into the past, courtiers needed to get their way in court without the use of force. They learned the power to be gained by seducing their superiors and competitors through psychological games, soft words, a little coquetry.

As culture became democratized, actors, dandies, and artists came to use the tactics of seduction as a way to charm and win over their audience and social milieu. In the nineteenth century another great change occurred: politicians like Napoleon consciously saw themselves as seducers, on a grand scale.

These men depended on the art of seductive oratory, but they also mastered what had once been feminine strategies: staging vast spectacles, using theatrical devices, creating a charged physical presence. All this, they learned, was the essence of charisma—and remains so today.

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By seducing the masses they could accumulate immense power without the use of force. Today we have reached the ultimate point in the evolution of seduction. Now more than ever, force or brutality of any kind is discouraged. All areas of social life require the ability to persuade people in a way that does not offend or impose itself. Forms of seduction can be found everywhere, blending male and female strategies. Advertisements insinuate, the soft sell dominates. If we are to change people's opinions—and affecting opinion is basic to seduction—we must act in subtle, subliminal ways.

Today no politi-. Since the era of John F. Kennedy, political figures are required to have a degree of charisma, a fascinating presence to keep their audience's attention, which is half the battle. The film world and media create a galaxy of seductive stars and images. We are saturated in the seductive.

But even if much has changed in degree and scope, the essence of seduction is constant: never be forceful or direct; instead, use pleasure as bait, playing on people's emotions, stirring desire and confusion, inducing psychological surrender. In seduction as it is practiced today, the methods of Cleopatra still hold.

People are constantly trying to influence us, to tell us what to do, and just as often we tune them out, resisting their attempts at persuasion. There is a moment in our lives, however, when we all act differently—when we are in love. We fall under a kind of spell. Our minds are usually preoccupied with our own concerns; now they become filled with thoughts of the loved one. We grow emotional, lose the ability to think straight, act in foolish ways that we would never do otherwise.

If this goes on long enough something inside us gives way: we surrender to the will of the loved one, and to our desire to possess them. Seducers are people who understand the tremendous power contained in such moments of surrender. They analyze what happens when people are in love, study the psychological components of the process—what spurs the imagination, what casts a spell. By instinct and through practice they master the art of making people fall in love.

As the first seductresses knew, it is much more effective to create love than lust. A person in love is emotional, pliable, and easily misled. The origin of the word "seduction" is the Latin for "to lead astray" A person in lust is harder to control and, once satisfied, may easily leave you. Seducers take their time, create enchantment and the bonds of love, so that when sex ensues it only further enslaves the victim. Creating love and enchantment becomes the model for all seductions—sexual, social, political. A person in love will surrender.

It is pointless to try to argue against such power, to imagine that you are not interested in it, or that it is evil and ugly. The harder you try to resist the lure of seduction—as an idea, as a form of power—the more you will find yourself fascinated.

The reason is simple: most of us have known the power of having someone fall in love with us. Our actions, gestures, the things we say, all have positive effects on this person; we may not completely understand what we have done right, but this feeling of power is intoxicating. It gives us confidence, which makes us more seductive.

We may also experience this in a social or work setting—one day we are in an elevated mood and people seem more responsive, more charmed by us. These moments of power are fleeting, but they resonate in the memory with great intensity. We want them back. Nobody likes to feel awkward or timid or unable to reach people. The siren call of seduction is irresistible because power is irresistible, and nothing will bring you more power in the modern world than the ability to seduce. Repressing the desire to seduce is a kind of. No man hath it in his power to over-rule the deceitfulness of a woman.

This important side-track, by which woman succeeded in evading man's strength and establishing herself in power, has not been given due consideration by historians. From the moment when the woman detached herself from the crowd, an individual finished product, offering delights which could not be obtained by force, but only by flattery. It was a development of far-reaching importance in the history of civilization.

Only by the circuitous route of the art of love could woman again assert authority, and this she did by asserting herself at the very point at which she would normally be a slave at the man's mercy. She had discovered the might of lust, the secret of the art of love, the daemonic power of a passion artificially aroused and never satiated. The force tints unchained was thenceforth to count among the most tremendous of the world's forces and at moments to have power even over life and death.

The combination of these two elements, enchantment and surrender, is, then, essential to the love which we are discussing. What exists in love is surrender due to enchantment. What is good? Some day they will come to the surface. To have such power does not require a total transformation in your character or any kind of physical improvement in your looks. Seduction is a game of psychology, not beauty, and it is within the grasp of any person to become a master at the game.

All that is required is that you look at the world differently, through the eyes of a seducer. A seducer does not turn the power off and on—every social and personal interaction is seen as a potential seduction. There is never a moment to waste. This is so for several reasons. The power seducers have over a man or woman works in social environments because they have learned how to tone down the sexual element without getting rid of it. We may think we see through them, but they are so pleasant to be around anyway that it does not matter.

Trying to divide your life into moments in which you seduce and others in which you hold back will only confuse and constrain you. Erotic desire and love lurk beneath the surface of almost every human encounter; better to give free rein to your skills than to try to use them only in the bedroom. In fact, the seducer sees the world as his or her bedroom.

This attitude creates great seductive momentum, and with each seduction you gain experience and practice. One social or sexual seduction makes the next one easier, your confidence growing and making you more alluring. People are drawn to you in greater numbers as the seducer's aura descends upon you.

Seducers have a warrior's outlook on life. They see each person as a kind of walled castle to which they are laying siege. Seduction is a process of penetration: initially penetrating the target's mind, their first point of defense. Once seducers have penetrated the mind, making the target fantasize about them, it is easy to lower resistance and create physical surrender.

Seducers do not improvise; they do not leave this process to chance. Like any good general, they plan and strategize, aiming at the target's particular weaknesses. The main obstacle to becoming a seducer is this foolish prejudice we have of seeing love and romance as some kind of sacred, magical realm where things just fall into place, if they are meant to. This might seem romantic and quaint, but it is really just a cover for our laziness.

What will seduce a person is the effort we expend on their behalf, showing how much we care, how much they are worth. Leaving things to chance is a recipe for disaster, and reveals that we do not take love and romance very seriously. It was the effort Casanova expended, the artfulness he applied to each affair that made him so devilishly seductive. Falling in love is a matter not of magic but of psychology. Once you understand your target's psychology, and strategize to suit it, you will be better able to cast a "magical" spell.

A seducer sees love not as sacred but as warfare, where all is fair. Seducers are never self-absorbed. Their gaze is directed outward, not inward. When they meet someone their first move is to get inside that per-. The reasons for this are several. First, self-absorption is a sign of insecurity; it is anti-seductive. Everyone has insecurities, but seducers manage to ignore them, finding therapy for moments of self-doubt by being absorbed in the world.

This gives them a buoyant spirit—we want to be around them. Second, getting into someone's skin, imagining what it is like to be them, helps the seducer gather valuable information, learn what makes that person tick, what will make them lose their ability to think straight and fall into a trap. Armed with such information, they can provide focused and individualized attention—a rare commodity in a world in which most people see us only from behind the screen of their own prejudices.

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Getting into the targets' skin is the first important tactical move in the war of penetration. Seducers see themselves as providers of pleasure, like bees that gather pollen from some flowers and deliver it to others. As children we mostly devoted our lives to play and pleasure. Adults often have feelings of being cut off from this paradise, of being weighed down by responsibilities. The seducer knows that people are waiting for pleasure—they never get enough of it from friends and lovers, and they cannot get it by themselves. A person who enters their lives offering adventure and romance cannot be resisted.

Pleasure is a feeling of being taken past our limits, of being overwhelmed— by another person, by an experience. People are dying to be overwhelmed, to let go of their usual stubbornness. Sometimes their resistance to us is a way of saying, Please seduce me.

Seducers know that the possibility of pleasure will make a person follow them, and the experience of it will make someone open up, weak to the touch. They also train themselves to be sensitive to pleasure, knowing that feeling pleasure themselves will make it that much easier for them to infect the people around them. A seducer sees all of life as theater, everyone an actor. Most people feel they have constricted roles in life, which makes them unhappy. Seducers, on the other hand, can be anyone and can assume many roles. The archetype here is the god Zeus, insatiable seducer of young maidens, whose main weapon was the ability to assume the form of whatever person or animal would most appeal to his victim.

Seducers take pleasure in performing and are not weighed down by their identity, or by some need to be themselves, or to be natural. This freedom of theirs, this fluidity in body and spirit, is what makes them attractive. What people lack in life is not more reality but illusion, fantasy, play. The clothes that seducers wear, the places they take you to, their words and actions, are slightly heightened—not overly theatrical but with a delightful edge of unreality, as if the two of you were living out a piece of fiction or were characters in a film. Seduction is a kind of theater in real life, the meeting of illusion and reality.

Finally, seducers are completely amoral in their approach to life. It is all a game, an arena for play. Knowing that the moralists, the crabbed repressed types who croak about the evils of the seducer, secretly envy their power, they do not concern themselves with other people's opinions. They do not deal in moral judgments—nothing could be less seductive.

Everything is. The disaffection, neurosis, anguish and frustration encountered by psychoanalysis comes no doubt from being unable to love or to be loved, from being unable to give or take pleasure, but the radical disenchantment comes from seduction and its failure. Only those who lie completely outside seduction are ill, even if they remain fully capable of loving and making love. Psychoanalysis believes it treats the disorder of sex and desire, but in reality it is dealing with the disorders of seduction.

The most serious deficiencies always concern charm and not pleasure, enchantment and not some vital or sexual satisfaction. Whatever is done from love always occurs beyond good and evil. Seduction is a form of deception, but people want to be led astray, they yearn to be seduced. If they didn't, seducers would not find so many willing victims. Get rid of any moralizing tendencies, adopt the seducer's playful philosophy, and you will find the rest of the process easy and natural.

The Art of Seduction is designed to arm you with weapons of persuasion and charm, so that those around you will slowly lose their ability to resist without knowing how or why it has happened. It is an art of war for delicate times. Every seduction has two elements that you must analyze and understand: first, yourself and what is seductive about you; and second, your target and the actions that will penetrate their defenses and create surrender.

The two sides are equally important. If you strategize without paying attention to the parts of your character that draw people to you, you will be seen as a mechanical seducer, slimy and manipulative. If you rely on your seductive personality without paying attention to the other person, you will make terrible mistakes and limit your potential. Consequently, The Art of Seduction is divided into two parts.

The first half, "The Seductive Character," describes the nine types of seducer, plus the Anti-Seducer. Studying these types will make you aware of what is inherently seductive in your character, the basic building block of any seduction. The second half, "The Seductive Process," includes the twentyfour maneuvers and strategies that will instruct you on how to create a spell, break down people's resistance, give movement and force to your seduction, and induce surrender in your target. As a kind of bridge between the two parts, there is a chapter on the eighteen types of victims of a seduction—each of them missing something from their lives, each cradling an emptiness you can fill.

Knowing what type you are dealing with will help you put into practice the ideas in both sections. Ignore any part of this book and you will be an incomplete seducer. The ideas and strategies in The Art of Seduction are based on the writings and historical accounts of the most successful seducers in history. The heroes and heroines of these literary works are generally modeled on real-life seducers.

The strategies they employ reveal the intimate connection between fiction and seduction, creating illusion and leading a person along. In putting the book's lessons into practice, you will be following in the path of the greatest masters of the art. Finally, the spirit that will make you a consummate seducer is the spirit in which you should read this book.

Earth-Watching: A Seductive Pleasure in a Perfect World Earth-Watching: A Seductive Pleasure in a Perfect World
Earth-Watching: A Seductive Pleasure in a Perfect World Earth-Watching: A Seductive Pleasure in a Perfect World
Earth-Watching: A Seductive Pleasure in a Perfect World Earth-Watching: A Seductive Pleasure in a Perfect World
Earth-Watching: A Seductive Pleasure in a Perfect World Earth-Watching: A Seductive Pleasure in a Perfect World
Earth-Watching: A Seductive Pleasure in a Perfect World Earth-Watching: A Seductive Pleasure in a Perfect World
Earth-Watching: A Seductive Pleasure in a Perfect World Earth-Watching: A Seductive Pleasure in a Perfect World
Earth-Watching: A Seductive Pleasure in a Perfect World Earth-Watching: A Seductive Pleasure in a Perfect World
Earth-Watching: A Seductive Pleasure in a Perfect World Earth-Watching: A Seductive Pleasure in a Perfect World

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