| ~Dancer of Gor~ Written by John Norman ~Back Cover~ Doreen Williamson appeared to be a quiet shy librarian, but in the dark of the library, after hours, she would practice, semi-nude, her secret studies in belly-dancing. Until, one fateful night, the slavers from Gor kidnapped her. On that barbarically splended counter-Earth, Doreen drew a high price as a dancer in taverns, in slave collar and ankle bells. Until each of her owners became aware that their prize dancer was the target of power forces---that in the tense climate of the ongoing war between Ar and Cos, two mighty empires, Doreen was too dangerous to keep. Dancer of Gor is a John Norman bonus novel---an erotic fever-pitched novel of an alien world where men were all-powerful and women were living jewels of desire. |
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| ~Quotations from the book, Dancer of Gor~ |
| "I had never known anyone who remotely compared with him. I had not even known such men could exist. To such a man I knew that I, even with all my refinement, education and intelligence could never be more than a dog, a panting bitch at his feet." ~Dancer of Gor, page 60~ "I supposed I was a wicked, worthless woman and, far worse, only a despicable natural slave, but something deep in me, fundamental in me, proud and ancient in me, loved men, and I did not want to make them small, and nothing, but wanted, rather, to please them, to obey them, to serve them, to give my all to them, to make them strong and proud, grand and glorious, to make them happy. But here, among the virile men of Gor, I had little choice in such matters. Such things, regardless of whether or not I might wish to bestow them of my own free will, would be simply commanded of me." ~Dancer of Gor, page 75~ "The sul is a large, thick-skinned, yellow-fleshed root vegetable. It is very common on this world. There are a thousand ways in which it is prepared. It is fed even to slaves. I had some at the house, narrow, cooked slices smeared with butter, sprinkled with salt." ~Dancer of Gor, page 80~ “He yelled something raucous and ribald. It had to do with “tastas” or “stick candies.” These are not candies, incidentally, like sticks, as, for example, licorice or peppermint sticks, but soft, rounded, succulent candies, usually covered with a coating of syrup or fudge, rather in the nature of the caramel apple, but much smaller, and, like a caramel apple, mounted on sticks. The candy is prepared and then the stick, from the bottom, is thrust up, deeply, into it. It is then ready to be eaten. As the candy is held neatly in place, there is very little mess in this arrangement. Similarly, as the candy is held in its fixed position, it may, in spite of its nature, be eaten, or bitten, or licked or sucked, as swiftly, or slowly, and as much at one’s leisure as one might please. These candies are usually sold at such places as parks, beaches, and promenades, at carnivals, expositions and fairs, and at various types of popular events, such as plays, song dramas, races, games, and kaissa matches. They are popular even with children….The expression was sometimes used by men for women such as we.” ~Dancer of Gor, page 81~ “He and men like him, were inutterable superior to me. I had not known such men could exist. I had only dreamed of them. Before such men, I , a refined, educated, highly intelligent woman of Earth, knew myself nothing. I could be, in effect, no more than a dog at their feet.” ~Dancer of Gor, page 91~ "New slaves are often treated with great harshness. It helps them learn quickly that they are slaves. Later, when the girl is well trained and her services become perfections she may be treated more leniently, even lovingly, like a dog." ~Dancer of Gor, page 90 & 91~ "We do not choose our Masters nor is it up to us, whether or not we will please them, or to what degree. We must strive for perfection in all ways, for anyone. That is part of what is to be a slave. In reconciling myself to bondage I had, also, to reconcile myself to this condition, it is a part of bondage. It is something which the slave must accept. Without it there can be no true slavery. I had accepted this condition, at least theoretically, verbally acknowledging its incumbency on me, in my training. Somehow, interestingly, this acceptance too, seemed liberating to me, it made my bondage much more real to me. Too, interestingly, in its way, it also made it seem much more precious to me." ~Dancer of Gor, page 92~ "Too, I had little doubt that not all men on this world could be of the nature of Teibers and Ulricks, and the guards in the house where I had been trained. Doubtless there were men here too, if not as on Earth, men who might be fretful, petty and weak, men the very sight and smell of which I might find offensive, men whose appearance and least touch I might find literally sickening, men I might find inutterably disgusting, men who were unclean, who were cruel, and loathsome and gross, who might be hideous and frightful, men I might find myself shrinking from, almost vomiting in disgust and terror, but they would own me, as much as any other, and I would be obliged, as a slave, to bring myself warmly and unquestioningly into their arms, and bring my lips obediently and hotly to theirs, to submit wholly to them, to give myself wholly to them, holding back nothing, to please them, fully and intimately. These things were simple attachments of my condition, consequences of what I was. I could not change them. They were simply part of what it meant to be what I was, a slave. We do not chose our Masters." ~Dancer of Gor, page 92~ “Upswept hairdos are usually reserved for free women, or high slaves. They are a mark of status.” ~Dancer of Gor, page 112~ “Usually the hair of slaves is worn long, and loose, or confined only in some simple way, as with a ribbon or woolen fillet. Some masters like the ponytail hairdo on a slave, which, on Gor, is usually spoken of as the “leash,” or “hair leash,” for, by it, a girl may be conveniently seized and controlled.” ~Dancer of Gor, page 112~ "Swiftly we assumed a common form of slave obeisance, kneeling, the palms of our hands on the ground, our heads to the ground. Many masters, though it tends to be rather associated, usually, with given cities, require this position of their girls, usually when they first enter his presence, or find themselves, as in a room which he has entered, in his presence. She is then, usually, when given permission, permitted to lift her head, but is to remain kneeling before him, beautifully, in a standard position, her knees closed if she is a house or tower slave, her knees open, if she was the sort of slave I was, whatever sort of slave that was supposed to be." ~Dancer of Gor, page 114~ “The buyers were also informed that I was “glana,” or a virgin. The correlated term is “metaglana,” used to designate the state to which the glana state looks forward, or that which it is regarded as anticipating. Though the word was not used of me I was also “profalarina”, which term designates the state preceding, and anticipating, that of “falarina,” the state Goreans seem to think of as that of being a full woman, or, at least, as those of Earth might think of it, one who certainly is no longer a virgin. In both terms, “glana” and “profalarina”, incidentally, it seems that the states they designate are regarded as immature or transitory, states to be succeeded by more fully developed, superior states, those of “metaglana” or “falarina.” Among slaves, not free women, these things are sometimes spoken of along the lines as to whether or not the girl as been “opened” for the uses of men. Other common terms, used generally of slaves, are “white silk” and “red silk”, for girls who have not yet been opened, or have been opened, for the uses of men, respectively.” ~Dancer of Gor, page 128~ “Indeed, I suspected that there would always be more to learn about service and love, that such things were fathomless and limitless, and, thus, in a sense, the notion of being "fully trained," or knowing all there was to know, was in actuality less of a practical goal than a lovely ideal, one which might perhaps be approached ever more closely, but would never be, and perhaps should never be, fully attained. Let the girl revel in her growth, and not fear that one day there will be no more to learn, nowhere else to go. There are no summits on the heights of love” ~Dancer of Gor, page 129~ “In Gorean culture, generally, it seemed to me that people stood closer to one another than I was accustomed to on Earth. In this way it was natural for men here, for example, to stand much closer to the scantily clad slave than the average man of, say, northern Europe, on Earth, would be likely to, to a woman of his area. Indeed, he usually stands so close to her that it would be easy for him to put his hands on her, and draw her to him, taking her in his arms.” ~Dancer of Gor, page 156~ "I then walked as a slave, proudly, my shoulders back, gracefully and beautifully as a woman owned by men." ~Dancer of Gor, page 156~ “Yes Mistress,” I said to her. I must address all the female slaves in the house of Hendow as “Mistress.” That order would be in effect until it was explicitly rescinded, probably, depending on my behavior and progress, in a few weeks. This is sometimes done with new girls. It helps to keep discipline among us. I would then, when the order was rescinded, be able to call the girls, with the exception of the “first girl,” by their own names. I would be one of them. Tupita was “first girl.” We must all call her “Mistress.” ~Dancer of Gor, page 170~ “Slave dance,” on Gor incidentally, is a very rich and varied dance form. It covers a great deal more than simple “ethnic dance.” For example, it includes dances such as hunt dances, capture dances, submission dances, chain dances, whip dances, and such. Perhaps what is done in slave dance on Gor would count as “exotic dance” on Earth, but, if we are thinking of the actual kinds of dances performed, then there is much in slave dance, for example, story dances, which are seldom, if ever, included in “exotic dance” on Earth, and there are forms of dance in “exotic dance” which, for one reason or another, are seldom, if ever, seen on Gor, for example, certain forms of carnival dancing, such as bubble dancing or fan dancing. Perhaps the reason such dances are seldom, if ever, seen on Gor, is that Goreans would be likely to regard them as being “real dance.” They would be regarded, I think, as little more than culturally idiosyncratic forms of comedic teasing. They are, at any rate, not the sort of dance, or the “danse-du-ventre” sort, so pleasing to strong men, which a slave on Gor, fearing the whip, must often learn to perform." ~Dancer of Gor, page 172~ "Have you had your slave wine?" asked Ina. "Yes," I said. This is not really a wine, or an alcoholic beverage. It is called "slave wine," I think, for the amusement of the masters. It is extremely bitter. One draught of the substance is reputed to last until the administration of an appropriate "releaser." In spite of this belief, however, or perhaps in deference to tradition, lingering from earlier times, in which it seems, less reliable "slave wines" were available, doses of this foul stuff are usually administered to female slaves at regular intervals, usually once or twice a year." ~Dancer of Gor, page 174~ “Slave wine makes sense in a slave-holding culture, such as Gor. The breeding of slaves, like any sort of domestic animals, and particularly valuable ones, is carefully controlled. As a slave, of course, I could be bred, or crossed, when, and however, my master might see fit. It is the same as with other animals.” ~Dancer of Gor, page 175~ “The dancing of the female before the male, that she be found pleasing and he be pleased, is one of the most profound lessons in all of human biology. Others are when she kneels before him, when she kisses his feet, when she performs obeisance, when she knows herself subject, truly, to his whip." ~Dancer of Gor, page 193~ "This speaks of reality and savagery, of ferocity, and beauty and barbarism, and of the fundamental meaningfulness of the male/female relationship, that of power and ferocity to beauty, of dominator to dominated, of master to slave. The dancing of the female before the male, that she be found pleasing and he be pleased, is one of the most profound lessons in all of human biology. Others are when she kneels before him, when she kisses his feet, when she performs obeisance, when she knows herself subject, truly, to his whip." ~Dancer of Gor, page 195~ “Women on the whole are not permitted in paga taverns, unless, of course, they wear collars.” ~Dancer of Gor, page 197~ "I had been opened, I thought. I was now “red silk”!" ~Dancer of Gor, page 204~ “I knew that Tupita was having her sport with me, but, too, I knew that she might beat me tomorrow, in the slave area. As first girl she had that privilege. I did not want her to whip me, or switch me, or have the other girls mput my ankles over the low bar and tie them there, and then have her spank the soles of my bare feet with the springy, flat board. It is very painful, and it is hard to walk after it.” ~Dancer of Gor, page 211~ “But if I wanted their touch why should I not ask for it, or beg for it? As a slave what else could I do? Too, even if my needs and my interests, and the incredible depth and intensity of my desires proved that I was "worthless" and without "merit", I did not care! Of course I was worthless, though, to be sure, men would pay hard cash for me! I was worthless because I was only a property! I was worthless because I was bond! I was worthless because I was the sort of woman who could be put upon a slave block and be sold! I was worthless because I was only an owned animal! Of course I did not have "merit"! I was beyond "worth" and "merit" of those sorts, I was only a slave! But thus I could be as free, and piteous and begging, and lewd, and loving, and sexual as I wished! I had nothing to conceal, nothing to keep secret. I belonged to my master, all of me, my thoughts, my love, my body, everything I was and could be!” ~Dancer of Gor, page 215~ "My midriff, like my right thigh, was bared. The skirt was low on my hips. I wore a double belt of treaded, jangling coins, one strand high, one low………….I also wore a triple necklace of coins, together with necklaces of slave beads, of both glass and wood. These coins, all of them, would be counted by Mirus when I disrobed. On my left ankle were bound slave bells. My right ankle wore several anklets. I was barefoot. On my wrist were bracelets. On my upper left arm was a coiled armlet. A ruby, held by a chain, was at my forehead. Wound in and about my hair were strands of pearls." ~Dancer of Gor, page 223~ "Slave silk, and certainly that sort which is commonly worn in paga taverns and upon occasion in brothels, when girls are permitted clothing there, is generally diaphanous. It leaves little doubt as to the beauty of the slave. Some girls claim they would rather be naked, claiming that such silk makes them “more naked than naked.” ~Dancer of Gor, page 224~ "Too, Ina wore a snatch of diaphanous yellow silk." ~Dancer of Gor, page 224~ "It can be worn, for example, on the shoulder or off the shoulder, with high necklines or plunging necklines, in open or closed garments, tightly or flowingly, and in various lengths. Sometimes it is put on the girl only in halters and G-strings, or mere G-strings. Sometimes it is done, too, in strips wound about her body. The tying of slave girdles, with such silk, and otherwise, to emplasize the girl’s figure and make clear her bondge, is an art in itself. Often, too, and as usually in paga taverns, it is worn in brief tunics." ~Dancer of Gor, page 225~ "I must now keep my hands or wrists in contact with one another, and behind my back. I was now “bound by the master’s will.” I could not separate my hands or wrists from one another now without permission. There are many ways, of course, of “binding by the master’s will.” The behind-the-back position is one of the simplest and loveliest…. That the bond is a “will bond,” too, makes clear to her the power of the master over her.” ~Dancer of Gor, page 227~ “Tupita then came through the beaded curtain. She glanced at me. She was not pleased to see me in the arms of Mirus, who was a desirable male, and first among my master's men. She looked at me in hatred. She did not think twice about the position of my hands. She could see I had been "bound by the master's will." It could have been done as easily to her, at a word. She came close to Mirus. She licked at his shoulder. "Will you call for me tonight?" she asked. "No," he said. "Return to the floor" "Yes, Master," she said, and, with a look of fury, cast at me, slipped back through the curtain. "You are good for Tupita," he told me. "Because of you she is becoming more attentive and more desperate to please." ~Dancer of Gor, pages 227 & 228~ “You are a slave whether you like it or not. That is simply what you are, that and only that. You are absolutely helpless to alter or change your condition in any way, as much as a vulo or tarsk.” ~Dancer of Gor, page 230~ "I knelt. “My hands were together behind my back….. I pressed my body against his. “Were you given permission to approach me?” he asked. “No, Master,” I said. “Forgive me, Master.” Swiftly I drew back, so that our bodies were not touching.” ~Dancer of Gor, page 236 & 237~ “She would come to realize that, as the Goreans say, “slave fires had been lit in her belly.” She would learn, too, that these fires, even when they seemed most inert, could be suddenly fanned into raging, consuming flames by as little as a command, a glance or touch.” ~Dancer of Gor, page 241~ "…….”lure girls”, slaves who serve as bait for captains………such work can be very dangerous." ~Dancer of Gor, page 245~ “This was not much different, incidentally, than what was the case in even the most prestigious paga taverns. In such places, free women were generally not permitted. In them, usually, the only women to be found would be collared slaves, generally belonging either to the tavern keeper or the guests, who may have brought them in, to avail themselves of the facilities of the alcoves. In such places, the mastery was practiced. Such places, regardless of their cost, their location, their appointments, the excellence of their food and drink, the beauty of their slaves, the quality of their music, existed, as did the tavern of Hendow, for the pleasure of men. That was the purpose of such places, whether they were within lofty towers, reached by graceful bridges, or near the wharves, close enough to hear the tide lapping at the pilings, whether they had a dozen musicians or only a single, dissolute czehar player, alone with his music, whether the girls were richly silked or stark naked, save for brands and collars, whether there were chains of gold and luxurious furs in the alcoves or only wire and straw mats. They were paga taverns.” ~Dancer of Gor, page 245~ "Most Goreans seem skeptical of an afterlife, or , at least, seem content to wait and see. The only Gorean caste which, as far as I know, officially believes in an afterlife is that of the Initiates, and they believe in it, it seems, only for themselves, and seem to believe it is connected with such things as the performance of secret rites, the acquisition of secret knowledges, mostly mathematical, and the avoidance of certain foods." ~Dancer of Gor, page 279~ "Initiates commonly wear white and have their heads shaved. They also, supposedly, and perhaps actually, on the whole, abstain from alcohol and women. They count as one of the five high castes, the others being the Physicians, Scribes, Builders and Warriors. In some cities they are quite powerful, in others it seems they are largely peripheral to the life of the community. I have never been in one of these temples. Slaves, like other animals, are not allowed within." ~Dancer of Gor, page 279~ "Gorean masters, incidentally, almost never deprive a girl of sex, though it can, of course, be done with an end view, for such purposes as punishment, increasing her need for a later time, or bringing her to a good, hot ready point for, say, her sale from a block. The deliberate starving of a women of sex is almost unheard of on Gor. That sort of thing, is, I think, more likely to be done on Earth than Gor, and, on Earth, it seems to be practiced most frequently, interestingly enough, not on slaves, but free women. Indeed, one of the major differences between the slave and free sister is that the slave is generally far more sexually fulfilled than her free sister. This is not to say that a slave may not occasionally be made to beg for sex, or that she may not, upon occasion, have to beg for it. These things help her to understand that she has sexual needs, and that whether or not these needs are the be satisfied, is at the option of the master……..Needless to say, the master commonly accedes to the pleas of the slave. When he himself desires sex, of course, he simply takes it, or imposes it on the slave. Her will is nothing. And she must strive to be fully pleasing. He is master; she is slave." ~Dancer of Gor, page 298~ "Venna is a small, lovely city, largely a resort city, north of Ar, on the Viktel Aria It is known for it’s tharlarion races. It is also a common locale, it and its vicinity, for villas of the rich, usually from Ar." ~Dancer of Gor, page 319~ "It is said that there was once a war between men and women and that the women lost, and that the Priest-Kings, not wishing the women to be killed, made them beautiful, but as the price of this gift decreed that they, and their daughters, to the end of time, would be the slaves of men." ~Dancer of Gor, page 352~ "Aulus had chained me at his stirrup. He had used me as a display slave, to enhance his appearance, to add to the effect he might make when he came into the presence of Pietro Vacci. It is a use for slaves. I was proud that I had been put at his stirrup. In such small ways a slave may gather that she is exciting and beautiful." ~Dancer of Gor, page 367~ “Am I ready to go out on the floor now?” I asked. The “first girl” in a tavern often inspects her inferiors, before she permits them on the floor.” ~Dancer of Gor, page 380 “Slave girls must address all free men as “Master.” Commonly, however, the expression “my Master,” when it is used, is reserved for the actual Master of the girl, he who is her literal master, he who literally owns her.” ~Dancer of Gor, page 421~ “I suddenly hated being a slave! Was this possible? That I should be so casually put, so cordially put, in the liberality of a Gorean host, at the disposal of guests? But of course it was possible! I was only a slave! But why would he do this to me, to me? Was I truly to him only this, only another slave, to be put without a second thought to the purposes of guests, merely another amenity or convenience to them, as night be a napkin or finger bowl, or a comfort, such as a blanket, or an extra cushion for his couch.” ~Dancer of Gor, page 430~ “I did not always want gentleness. It did not displease me to be forced to recognize, and incontrovertibly, and with my whole body, that I was in a man's arms, those of a true man, and was a slave. Sometimes, I confess, I even wanted the whip, not for its pain, which I feared, but for its proof of my domination, that I was owned, and wholly, and was going to be mastered. But, sometimes, too, I wanted gentleness, and, in a slave's helplessness, begged for it." ~Dancer of Gor, PAGE 437~ “Turn about," he said. "Kneel down. Put your head to the ground, clasp your hands together, behind the back of your neck." "Yes, Master!" I wept. I hastened to obey. This is a common position for slave rape." ~Dancers of Gor, page 458~ |
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