If the same events took place between, say, a male protagonist and his step mother or surrogate mother (e.g., mother-in-law), the reader would have been allowed a “moral exit,” as it were, and the story would arguably have been a relatively less apprehensive, hence safer, read (see Kaoru 2021: 159). There are no buffering mechanisms in the narrative to protect the reader from being scandalized there is a rawness to it, all the more because the mother-son relationship depicted in the story is a consanguineous one.
In this most intriguing tale of incest, no punches are pulled. Here we have the erotic spectacle of a mother (Ru’ai 如愛) touching, smelling, and tasting her son’s (Dongdong 冬冬) nocturnal emission, much to the moral distress of her husband (Zihan 子寒)-and of the unprepared reader. Zihan’s face flushed, as if it wasn’t Dongdong who had a wet dream, but him.
She caressed it with her fingers, took a sniff of it, licked it with the tip of her tongue.
URBAN TALE INCEST FILM PATCH
She groped the mattress, feeling the remnant warmth of Dongdong’s body-and that little patch of wetness. Dongdong had already gone, leaving behind a moist impression on the bed barricading between Ru’ai and himself. When he woke up Zihan felt slightly better. She was perpetually around she wouldn’t let him go. Zihan could neither touch nor see her, but could nonetheless feel her palpable presence. Zihan tossed around he was cautious not to disturb Dongdong, and wondered if he was still awake. Dongdong, now a teenager with grown arms and legs, was slotted between husband and wife. It was perhaps ten years ago that they last slept together like this. Zihan felt a strange vertigo: the three of them were lying in the same bed. Let us begin with what is possibly the most outrageous scene in contemporary Chinese fiction, from the short story “Gluttony” 饕餮 by the Hong Kong writer Wong Bik-wan 黃碧雲:
Cover of Seven Types of Silence, a collection by Wong Bik-wan that includes “Gluttony.”
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