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Total Abuse: Collected Writings 1984-1995
WARNING: This book contains extremely unpleasant material described with unremittingly graphic precision. It would be a darkly humorous understatement to say that this collection is not intended for the squeamish.
Peter Sotos is the world's foremost practitioner of verbal brutality. His words achieve a nearly inconceivable level of intensity while offering the most cohesive, insightful commentary on pornography currently available. And he serves it up without detached, hypocritical hand-wringing or the sticky postmodern safety net of camp humor. Devotees of blandly moralistic “true crime” writing and pockmarked collectors of “horror” fiction won't find much to suit their tastes here.
Total Abuse features nearly all of Sotos's written output since 1984...
PURE. The world's first self-published true-crime fanzine, PURE was so convincingly written that it led to police surveillance of the author and his subsequent arrest. The first two issues of PURE have been endlessly photocopied on the bootleg circuit; their complete text is reprinted herein. The text to both volumes of PURE III, written in 1985, is being published here for the first time anywhere. Included are the author's essays on child pornography; anal rape; Nazi fetishes; Prostitutes' crushed skulls; homosexual slaughter; and a close-up lens on the bawling faces of victims' family members.
TOOL. A brief collection of fictionalized psycho sexual narratives, the first chapter of which caused seismic levels of uneasiness when printed in ANSWER Me! #4. Sotos regales the reader with thoughts on his arrest; child abuse; gay-bashing; race-baiting; project-dwelling crack whores; peep-show dancers; murdered male hookers; and the inexorable pain of surviving friends 'n' family.
PARASITE. Pornography examined, prodded, deconstructed, and understood as never before. Originally published as twenty issues of a monthly newsletter, PARASITE is literary criticism seamlessly woven with personal psychodrama. Sotos scrutinizes gay glory-hole porn; true-crime untruths; gang-bang videos; and his favorite philosophical ghetto, radical feminism. He delivers surprisingly witty one-liners regarding the current glut of empowerment-theory, sexual-healing, self-help gibberish. He ruminates about the “money shot” and its degrading potential. More abused kids. More crying mothers. More bad feelings on all sides.
Total Abuse contains a brief introduction by Jim Goad and an extensive interview with Peter Sotos. WARNING: TOTAL ABUSE is not for the squeamish!!!
Peter Sotos is the world's foremost practitioner of verbal brutality. His words achieve a nearly inconceivable level of intensity while offering the most cohesive, insightful commentary on pornography currently available. And he serves it up without detached, hypocritical hand-wringing or the sticky postmodern safety net of camp humor. Devotees of blandly moralistic “true crime” writing and pockmarked collectors of “horror” fiction won't find much to suit their tastes here.
Total Abuse features nearly all of Sotos's written output since 1984...
PURE. The world's first self-published true-crime fanzine, PURE was so convincingly written that it led to police surveillance of the author and his subsequent arrest. The first two issues of PURE have been endlessly photocopied on the bootleg circuit; their complete text is reprinted herein. The text to both volumes of PURE III, written in 1985, is being published here for the first time anywhere. Included are the author's essays on child pornography; anal rape; Nazi fetishes; Prostitutes' crushed skulls; homosexual slaughter; and a close-up lens on the bawling faces of victims' family members.
TOOL. A brief collection of fictionalized psycho sexual narratives, the first chapter of which caused seismic levels of uneasiness when printed in ANSWER Me! #4. Sotos regales the reader with thoughts on his arrest; child abuse; gay-bashing; race-baiting; project-dwelling crack whores; peep-show dancers; murdered male hookers; and the inexorable pain of surviving friends 'n' family.
PARASITE. Pornography examined, prodded, deconstructed, and understood as never before. Originally published as twenty issues of a monthly newsletter, PARASITE is literary criticism seamlessly woven with personal psychodrama. Sotos scrutinizes gay glory-hole porn; true-crime untruths; gang-bang videos; and his favorite philosophical ghetto, radical feminism. He delivers surprisingly witty one-liners regarding the current glut of empowerment-theory, sexual-healing, self-help gibberish. He ruminates about the “money shot” and its degrading potential. More abused kids. More crying mothers. More bad feelings on all sides.
Total Abuse contains a brief introduction by Jim Goad and an extensive interview with Peter Sotos. WARNING: TOTAL ABUSE is not for the squeamish!!!
240 pages, Softcover
First published January 1, 1996
5 people are currently reading
1032 people want to read
About the author
Peter Sotos
36 books225 followersPeter Sotos (born April 17, 1960) is a Chicago-born writer who has contributed an unprecedented examination of the peculiar motivations of sadistic sexual criminals. His works are often cited as conveying an uncanny understanding of myriad aspects of pornography. Most of his writings have focused on sexually violent pornography, particularly of that involving children. His writings are also considered by many to be social criticism often commenting on the hypocritical way media handles these issues.
In 1984, while attending The Art Institute of Chicago, Sotos began producing a self-published newsletter or "fanzine" named Pure, notable as the first zine dedicated to serial killer lore. Much of the text and pictures in Pure were photocopied images from major newspapers and other print media. Sotos also used a photocopy from a magazine of child pornography as the cover of issue#2 of Pure. In 1986 this cover led to his arrest and charges of obscenity and possession of child pornography. The charges of obscenity were dropped, but Sotos eventually pled guilty to the possession charge and received a suspended sentence. Sotos was the first person in the United States ever to be charged for owning child pornography.
Sotos' writings explore sadistic and pedophilic sexual impulses in their many, often hidden, guises. Often using first person narratives, his prose takes on the point of view of the sexual predator. Despite his early legal troubles, and the seemingly fatal stigma of falsely being labeled a pedophile, Sotos continues to garner support for his ideas and literary output.
He was until 2003 a seminal member of the industrial noise band Whitehouse.
In 1984, while attending The Art Institute of Chicago, Sotos began producing a self-published newsletter or "fanzine" named Pure, notable as the first zine dedicated to serial killer lore. Much of the text and pictures in Pure were photocopied images from major newspapers and other print media. Sotos also used a photocopy from a magazine of child pornography as the cover of issue#2 of Pure. In 1986 this cover led to his arrest and charges of obscenity and possession of child pornography. The charges of obscenity were dropped, but Sotos eventually pled guilty to the possession charge and received a suspended sentence. Sotos was the first person in the United States ever to be charged for owning child pornography.
Sotos' writings explore sadistic and pedophilic sexual impulses in their many, often hidden, guises. Often using first person narratives, his prose takes on the point of view of the sexual predator. Despite his early legal troubles, and the seemingly fatal stigma of falsely being labeled a pedophile, Sotos continues to garner support for his ideas and literary output.
He was until 2003 a seminal member of the industrial noise band Whitehouse.
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Displaying 1 - 8 of 8 reviews
March 12, 2017
If you had to start someplace with Sotos (and I don't necessarily think you should), this would be my recommendation. Pure, Tool. and Parasite are a solid introduction to this very twisted writer's world. They have all of his signature traits: an overwhelming obsession with sex crime (more specifically the VICTIMS OF sex crime), child pornography, murder, peep shows, prostitutes, glory holes, etc. But Sotos is a writer whose later works are considerably more experimental, and so I think it is especially helpful to read his work in order if possible. And in this regard, I found Total Abuse to be particularly helpful because it presents his earliest, most "accessible" works in chronological order.
Total Abuse starts with an introduction by Jim Goad, followed by an interview with Sotos conducted by Goad. The interview is quite illuminating, and especially valuable considering that Sotos doesn't often give interviews and those he has given are often difficult to find.
Next comes Pure. Much had been said of Pure. That it is repulsive. Obscene. It is, sure. Sotos writes about killers, rapists, torturers, Nazis, etc. in glowing terms, and that can make for an uncomfortable reading experience. But really, at the end of the day, I found it to be pretty juvenile. The shock tactics take center stage in a manner reminiscent of a morbid rebel teenager trying to shock his parents and teachers. BUT, here you can clearly see Sotos is in the process of discovering his powers and developing his voice as a writer, and that in and of itself is fascinating. His power with words, even in the context of this juvenilia, is on full display. So while I don't think it comes even remotely close to his more finely crafted later works, I still think it's essential.
Tool. comes next. It was written in the years following Pure and the resulting court case, and its obvious that the intervening years have given Sotos time to hone his craft, in addition to deepening his bitterness and misanthropy. The language here cuts like a scalpel. A series of vignettes concerning all manner of terrible things, Tool. is the best thing here from a writing perspective. No other writer can match Sotos when it comes to making me feel physically uncomfortable while reading. After reading all of Tool. in one evening, I felt drained. Empty. Dirty. But also invigorated for having encountered such powerful writing. Sotos undoubtedly wrote better books than Tool. later on, but considering his then young age and the jump in quality from Pure, which was written and published only half a decade or so earlier, this is seriously impressive stuff.
Parasite comes last and it's the most entertaining thing here. It's Sotos dabbling in criticism allsorts: social, music, film, literature, art... Sotos analyzes and criticizes all of these things and more, and the results are sometimes hilarious, often appalling, but always fascinating. It was originally published in a newsletter format, and I'm extremely grateful that it has all been reprinted here for posterity, as the original editions are very rare and expensive when sold.
All told, Total Abuse is fantastic. This writing and this writer are certainly not for everyone. No doubt the majority of people would be repulsed with the contents of this book. But as someone who has read the vast majority of his output, I stand by my opinion that this is the ideal starting place for someone new to Sotos. Absolutely essential reading if you have a high threshold for revulsion and feel like getting acquainted with a seriously powerful and disturbing writer.
Total Abuse starts with an introduction by Jim Goad, followed by an interview with Sotos conducted by Goad. The interview is quite illuminating, and especially valuable considering that Sotos doesn't often give interviews and those he has given are often difficult to find.
Next comes Pure. Much had been said of Pure. That it is repulsive. Obscene. It is, sure. Sotos writes about killers, rapists, torturers, Nazis, etc. in glowing terms, and that can make for an uncomfortable reading experience. But really, at the end of the day, I found it to be pretty juvenile. The shock tactics take center stage in a manner reminiscent of a morbid rebel teenager trying to shock his parents and teachers. BUT, here you can clearly see Sotos is in the process of discovering his powers and developing his voice as a writer, and that in and of itself is fascinating. His power with words, even in the context of this juvenilia, is on full display. So while I don't think it comes even remotely close to his more finely crafted later works, I still think it's essential.
Tool. comes next. It was written in the years following Pure and the resulting court case, and its obvious that the intervening years have given Sotos time to hone his craft, in addition to deepening his bitterness and misanthropy. The language here cuts like a scalpel. A series of vignettes concerning all manner of terrible things, Tool. is the best thing here from a writing perspective. No other writer can match Sotos when it comes to making me feel physically uncomfortable while reading. After reading all of Tool. in one evening, I felt drained. Empty. Dirty. But also invigorated for having encountered such powerful writing. Sotos undoubtedly wrote better books than Tool. later on, but considering his then young age and the jump in quality from Pure, which was written and published only half a decade or so earlier, this is seriously impressive stuff.
Parasite comes last and it's the most entertaining thing here. It's Sotos dabbling in criticism allsorts: social, music, film, literature, art... Sotos analyzes and criticizes all of these things and more, and the results are sometimes hilarious, often appalling, but always fascinating. It was originally published in a newsletter format, and I'm extremely grateful that it has all been reprinted here for posterity, as the original editions are very rare and expensive when sold.
All told, Total Abuse is fantastic. This writing and this writer are certainly not for everyone. No doubt the majority of people would be repulsed with the contents of this book. But as someone who has read the vast majority of his output, I stand by my opinion that this is the ideal starting place for someone new to Sotos. Absolutely essential reading if you have a high threshold for revulsion and feel like getting acquainted with a seriously powerful and disturbing writer.
July 14, 2011
I once read a quote about how a girl should never date a guy if he owns both: a Agoraphobic Nosebleed album, and a Peter Sotos book. Man, I hope that's not true. Bought this ages ago when I was tearing through the publisher's (Jim Goad) stuff. Flipping through it today though, I barely remember anything from it; hence the middling rating.
February 25, 2022
The attitude and spirit were there for sure! This is Sotos’s early work, so it can’t help but feel garrulous, amateurish, and aimless. Still, to witness written atrocity for what it truly is, in such an unappeasable way devoid of even a semblance of taste, is a rare “treat” indeed. I will say the “Pure” zines were decidedly my favorite of the collection, and I hope to do a more detailed review of them on my channel!
April 30, 2021
If only peters writing didn’t arouse me so much I would review faster , a true iconoclastic work of supreme importance and erotic merit thank you Peter xox
February 24, 2024
Once, many years ago, there was a very frightened child named Peter. Peter was so scared he never got over it, but it became the most important thing in the world not to let other people know how scared he was. Sometime later, he read the Marquis de Sade and decided that everything de Sade said was right, and if he said so loud enough and often enough, he would prove to the world that he wasn’t afraid.
It would be pathetic, if it wasn’t so funny.
It would be pathetic, if it wasn’t so funny.
November 23, 2017
I seem to have unwittingly become an expert on serial killers.
January 21, 2026
Peter Sotos is someone I have an odd relationship with, at least from an artistic perspective.
I don't think he's a pedophile, which is a point of contention among those who discuss him. I used to think he was. He began his writing at a point in time where the Satanic Panic crossed paths with major changes in child safety law. This compilation of his works opens with a fellatory introduction by Jim Goad, and a rare interview of Sotos. Goad is, by all accounts, one of the worst interviewers on the planet -- clearly he's more interested in earning Sotos' respect than actually questioning him -- but, if it's to be believed at face-value, it teaches us a few things.
Namely that Peter Sotos is, in his way, a moron, and a miserable pill of a person.
He's clearly book-smart. Extremely well-read, at least to some extent. But he's as socially inept as a person can be. I kind of think he's autistic, though I obviously have no license to say this other than the fact that I'm also autistic. He somehow came into possession of a child nudie mag and, since previous law stated "child porn" only applied to explicit images of children involved in sexual activity, he figured it A-OK to use one of the photos from the magazine on the cover of his own zine, PURE. The law changed, obviously, and it also changed to criminalize possession as well as production and distribution. Law enforcement had their eyes on PURE already, and Sotos got arrested.
The reason I say he's not a pedophile is that, to be honest, he doesn't show much interest in sex at all. Certainly not in sex with girls and women. His crime is a result of other questionable morals and complete social idiocy, as throughout the interview he seems almost shocked that people might think he's into kids. He speaks in words of confusion about doctors and psychiatrists asking him what he jerks off to, as if they had no reason to wonder about these things. Assuming he's not just playing stupid, then he really just has no comprehension of why people watch porn, which is a pretty damning accusation against someone who writes so many thinkpieces about porn.
Somewhere in his head I guess he conflated sex with violence. And I don't say all of this stuff to pointlessly psychoanalyze a writer who would no doubt just scoff at it, I say this because it looms large over the entire book, particularly PARASITE. He scoffs at people who wonder why he writes the things he does, as if transgressive writing doesn't invite that kind of thing. If your friend owns a dildo, they probably intend to shove it up someplace, it's really that simple, and he just doesn't get it.
Saying all that, the interview is basically in the back of your head for the entire anthology, but let's consider the works separate from that context:
PURE is his first written work, a four-volume true crime zine that discusses serial killers and Nazis in a frankly congratulatory manner. This sounds pretty awful, and it is, but there is some artistic merit to it. Again, remember, this was Satanic Panic times, and the mid-20th century was prime time for serial murder. The character he plays for this fantasizes and extrapolates wildly about the victims and victims' families, to the point of practically writing serial killer fanfiction. It's in contrast of the news media at the time, which sensationalized violence in a far different direction while taking a comparative moral high ground. Essentially it's news on serial killers without the veneer of ethical superiority.
It's racist, sexist, homophobic, ableist, sadistic and invasive. However, at times, the worst things said are quoted from real people involved in the cases. A good example is that, when writing on a series of murder victims who are mostly prostitutes, the narration mentions that the non-prostitutes are often referred to as "innocents". He mentions invasive news coverage of the families of victims, and the way that news outlets similarly fictionalize the lives of victims, turning them less into humans and more into symbols. A partial transcript of a young girl's sexual assault is included, which begs the question of why any civilian has access to it.
In its essence, PURE exists to align himself with Satanic Panic news media in a way that one can't hide from. When I was young, I noticed the way news stations would linger on acts of violence for weeks on end, and I wondered, "Do reporters like when this stuff happens because it gives them something to talk about?" PURE responds: "Yes, absolutely." Though it's not necessarily tactful or clever, it has more going on than what sits on the surface. (Though, to be honest, I think its passages on the Nazis are pretty worthless. Only very rarely do they actually align with PURE's intrinsic themes.)
TOOL was written after Sotos' jail time, and is probably the best section of the anthology on account of it being more or less entirely fictional. (Just because I understand the purpose of Sotos' murder fetish fanfic doesn't mean I think it's all that great.) It's still similarly misanthropic, racist, sexist, et cetera. But, as pieces that get in the heads of some fucked-up individuals, they're pretty good. One of them lightly reflects on a fictionalized account of Sotos' arrest -- though, "reflect" might be a strong word, since he can't seem to understand that he did anything wrong. (Moron.)
The last of the stories is posited as a letter to the mother of a fictional serial murder victim, the victim being a young girl. (It is heavily based on a real crime.) For once in his life Sotos forgoes the inflammatory language and performative bigotry to write something that, for once, feels honest. It's occasionally a bit snide, and definitely invasive, but there's something finally genuine to his words. And make no mistake, he's excellent at writing prose. That's part of what makes his work so skin-crawling. Finally without the veneer of masturbatory misanthropy, a human element shines through.
By contrast, PARASITE is an exhausting slog through, I guess, various reviews of random things. I didn't find this particularly interesting since Peter mostly seems to hate everything and think the stuff he reads/watches isn't filthy, violent and/or miserable enough.
Largely he finds the politicizing of the topics exhausting, which is sort of understandable. Thinkpieces about child abuse and AIDS and assault don't care as much about victims or experiences as they do about laws, scholarly opinions, "theory" and mythologizing victims as prideful heroes, martyrs, or beautiful success stories rather than human beings. Where's the reality?
At the same time, assuming all of this is what Peter actually believes and not just more cosplay, his ideas of what is "real" are largely transgressive posturing. I reckon Sotos is as fake as any of the people he slags off. People like Sotos nowadays just migrate to Great Value versions of 4chan to post soyjaks of trans women hanging themselves. "Sorry I triggered you, libtard!"
The writings of Sotos ooze insecurity. He can't just be a transgressive artist, he has to be the MOST transgressive artist. He can't just say controversial things, he has to say the MOST controversial things. Any art type that finds his work excessive or pointlessly shocking is just a tenderfoot PC feminist moralizer. So I will say something else: PARASITE is embarrassing. It's the written equivalent of shitting yourself in public.
The whole thing levels out to be "just okay", which is an odd thing to say about something (and someone) so relentlessly polarizing. Maybe I'm just biased towards fiction. The only fiction here, for the most part, is Sotos' personality. Nowadays Sotos seems to want to be left alone, and that's probably for the best. That being said, he is a very talented writer, and I'm curious to read some of his later stuff just to see if it's any better.
I don't think he's a pedophile, which is a point of contention among those who discuss him. I used to think he was. He began his writing at a point in time where the Satanic Panic crossed paths with major changes in child safety law. This compilation of his works opens with a fellatory introduction by Jim Goad, and a rare interview of Sotos. Goad is, by all accounts, one of the worst interviewers on the planet -- clearly he's more interested in earning Sotos' respect than actually questioning him -- but, if it's to be believed at face-value, it teaches us a few things.
Namely that Peter Sotos is, in his way, a moron, and a miserable pill of a person.
He's clearly book-smart. Extremely well-read, at least to some extent. But he's as socially inept as a person can be. I kind of think he's autistic, though I obviously have no license to say this other than the fact that I'm also autistic. He somehow came into possession of a child nudie mag and, since previous law stated "child porn" only applied to explicit images of children involved in sexual activity, he figured it A-OK to use one of the photos from the magazine on the cover of his own zine, PURE. The law changed, obviously, and it also changed to criminalize possession as well as production and distribution. Law enforcement had their eyes on PURE already, and Sotos got arrested.
The reason I say he's not a pedophile is that, to be honest, he doesn't show much interest in sex at all. Certainly not in sex with girls and women. His crime is a result of other questionable morals and complete social idiocy, as throughout the interview he seems almost shocked that people might think he's into kids. He speaks in words of confusion about doctors and psychiatrists asking him what he jerks off to, as if they had no reason to wonder about these things. Assuming he's not just playing stupid, then he really just has no comprehension of why people watch porn, which is a pretty damning accusation against someone who writes so many thinkpieces about porn.
Somewhere in his head I guess he conflated sex with violence. And I don't say all of this stuff to pointlessly psychoanalyze a writer who would no doubt just scoff at it, I say this because it looms large over the entire book, particularly PARASITE. He scoffs at people who wonder why he writes the things he does, as if transgressive writing doesn't invite that kind of thing. If your friend owns a dildo, they probably intend to shove it up someplace, it's really that simple, and he just doesn't get it.
Saying all that, the interview is basically in the back of your head for the entire anthology, but let's consider the works separate from that context:
PURE is his first written work, a four-volume true crime zine that discusses serial killers and Nazis in a frankly congratulatory manner. This sounds pretty awful, and it is, but there is some artistic merit to it. Again, remember, this was Satanic Panic times, and the mid-20th century was prime time for serial murder. The character he plays for this fantasizes and extrapolates wildly about the victims and victims' families, to the point of practically writing serial killer fanfiction. It's in contrast of the news media at the time, which sensationalized violence in a far different direction while taking a comparative moral high ground. Essentially it's news on serial killers without the veneer of ethical superiority.
It's racist, sexist, homophobic, ableist, sadistic and invasive. However, at times, the worst things said are quoted from real people involved in the cases. A good example is that, when writing on a series of murder victims who are mostly prostitutes, the narration mentions that the non-prostitutes are often referred to as "innocents". He mentions invasive news coverage of the families of victims, and the way that news outlets similarly fictionalize the lives of victims, turning them less into humans and more into symbols. A partial transcript of a young girl's sexual assault is included, which begs the question of why any civilian has access to it.
In its essence, PURE exists to align himself with Satanic Panic news media in a way that one can't hide from. When I was young, I noticed the way news stations would linger on acts of violence for weeks on end, and I wondered, "Do reporters like when this stuff happens because it gives them something to talk about?" PURE responds: "Yes, absolutely." Though it's not necessarily tactful or clever, it has more going on than what sits on the surface. (Though, to be honest, I think its passages on the Nazis are pretty worthless. Only very rarely do they actually align with PURE's intrinsic themes.)
TOOL was written after Sotos' jail time, and is probably the best section of the anthology on account of it being more or less entirely fictional. (Just because I understand the purpose of Sotos' murder fetish fanfic doesn't mean I think it's all that great.) It's still similarly misanthropic, racist, sexist, et cetera. But, as pieces that get in the heads of some fucked-up individuals, they're pretty good. One of them lightly reflects on a fictionalized account of Sotos' arrest -- though, "reflect" might be a strong word, since he can't seem to understand that he did anything wrong. (Moron.)
The last of the stories is posited as a letter to the mother of a fictional serial murder victim, the victim being a young girl. (It is heavily based on a real crime.) For once in his life Sotos forgoes the inflammatory language and performative bigotry to write something that, for once, feels honest. It's occasionally a bit snide, and definitely invasive, but there's something finally genuine to his words. And make no mistake, he's excellent at writing prose. That's part of what makes his work so skin-crawling. Finally without the veneer of masturbatory misanthropy, a human element shines through.
By contrast, PARASITE is an exhausting slog through, I guess, various reviews of random things. I didn't find this particularly interesting since Peter mostly seems to hate everything and think the stuff he reads/watches isn't filthy, violent and/or miserable enough.
Largely he finds the politicizing of the topics exhausting, which is sort of understandable. Thinkpieces about child abuse and AIDS and assault don't care as much about victims or experiences as they do about laws, scholarly opinions, "theory" and mythologizing victims as prideful heroes, martyrs, or beautiful success stories rather than human beings. Where's the reality?
At the same time, assuming all of this is what Peter actually believes and not just more cosplay, his ideas of what is "real" are largely transgressive posturing. I reckon Sotos is as fake as any of the people he slags off. People like Sotos nowadays just migrate to Great Value versions of 4chan to post soyjaks of trans women hanging themselves. "Sorry I triggered you, libtard!"
The writings of Sotos ooze insecurity. He can't just be a transgressive artist, he has to be the MOST transgressive artist. He can't just say controversial things, he has to say the MOST controversial things. Any art type that finds his work excessive or pointlessly shocking is just a tenderfoot PC feminist moralizer. So I will say something else: PARASITE is embarrassing. It's the written equivalent of shitting yourself in public.
The whole thing levels out to be "just okay", which is an odd thing to say about something (and someone) so relentlessly polarizing. Maybe I'm just biased towards fiction. The only fiction here, for the most part, is Sotos' personality. Nowadays Sotos seems to want to be left alone, and that's probably for the best. That being said, he is a very talented writer, and I'm curious to read some of his later stuff just to see if it's any better.
October 27, 2024
lily tino tik Tok, "did you know that if Peter sotos was alive today (he is) she would be transgender?"
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