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POSITION

SEX BIBLE
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POSITION

SEX BIBLE

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MORE POSITIONS THAN YOU COULD POSSIBLY IMAGINE TRYING

QUIVER

R A N D I F OX X

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2004 by Hylas Publishing


The moral right of the author has been asserted.
This 2008 edition published by
Quiver, a member of
Quayside Publishing Group
100 Cummings Center
Suite 406-L
Beverly, MA 01915-6101
www.quiverbooks.com
First published in 2004 by Hylas Publishing
129 Main Street, Suite C
Irvington, New York 10533
www.hylaspublishing.com
All rights reserved under International and PanAmerican Copyright Conventions. No part of this
publication may be reproduced, stored in a
retrieval system, or transmitted, in any form or
by any means,electronic, mechanical, photocopying,
recording, or otherwise, without prior written
permission of the copyright owner.
ISBN-13: 978-1-59233-349-3
ISBN-10: 1-59233-349-4
12 11 10 09 08

12345

Publisher: Sean Moore


Publishing Director: Karen Price
Art Directors: Gus Yoo, Edwin Kuo
Editor: Angda Goel
Production Manager: Sarah Reilly
Photographer: Robert Wright

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Printed and bound in TK

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Contents

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Section One: Bed Action . . . . . . . . . 12

27 Lateral Kneel and Extend . . . . . . . 66

1 Straight-Edge Sex A . . . . . . . . . . . . 14

28 Kneel and Push Back . . . . . . . . . . . 68

2 Foot Rub with Rhythm . . . . . . . . . . . 16

29 Side-to-Side Kneel and Extend . . . 70

3 Straight-Edge Sex B . . . . . . . . . . . . 18

30 Surfs Up . . . . . . . . . . . . . . . . . . . . 72

4 Always by Your Side . . . . . . . . . . . . . 20

31 Pelvic Thrust . . . . . . . . . . . . . . . . . . 74

5 Pig in a Blanket . . . . . . . . . . . . . . . . 22

32 Pelvic Lap Dance . . . . . . . . . . . . . . 76

6 The Penitent Forgiven . . . . . . . . . . . . 24

33 Locked Lap Dance . . . . . . . . . . . . . 78

7 The Awakening . . . . . . . . . . . . . . . . . 26

34 Kamas Wheel . . . . . . . . . . . . . . . . 80

8 The Piked Awakening . . . . . . . . . . . . 28

35 Reclining Kamas Wheel . . . . . . . . 82

9 Inner Awakening . . . . . . . . . . . . . . . 30

36 Snake Trap . . . . . . . . . . . . . . . . . . . 84

10 Scissors . . . . . . . . . . . . . . . . . . . . . 32

37 Full Reclining Snake Trap . . . . . . . 86

11 Splitting of a Bamboo . . . . . . . . . . 34

38 The Neverending Hug . . . . . . . . . . . 88

12 Hammerhead . . . . . . . . . . . . . . . . . 36

39 Paired Feet . . . . . . . . . . . . . . . . . . 90

13 Jackknifed Splits . . . . . . . . . . . . . . 38

40 X Marks the Spot . . . . . . . . . . . 92

14 Lateral Jackknifed Splits . . . . . . . . 40

41 The Mares Trick . . . . . . . . . . . . . . 94

15 Climbing Ivy . . . . . . . . . . . . . . . . . . 42

42 Pair of Tongs . . . . . . . . . . . . . . . . . 96

16 Inverted Wheelbarrow . . . . . . . . . . 44

43 The Spinner . . . . . . . . . . . . . . . . . . 98

17 The Crab . . . . . . . . . . . . . . . . . . . . . 46

44 Back to Meditating . . . . . . . . . . . 100

18 The Wrapped Crab . . . . . . . . . . . . . 48

45 The Pin . . . . . . . . . . . . . . . . . . . . . 102

19 The Open Crab . . . . . . . . . . . . . . . . 50

46 Spoon-on-Spoon . . . . . . . . . . . . . 104

20 The Press . . . . . . . . . . . . . . . . . . . . 52

47 Stretched Spoon-on-Spoon . . . . . 106

21 The Bicycle . . . . . . . . . . . . . . . . . . . 54

48 Sliding Into Home . . . . . . . . . . . . 108

22 Side-to-Side Press . . . . . . . . . . . . . 56

49 The Recliner . . . . . . . . . . . . . . . . . 110

23 Half Lotus . . . . . . . . . . . . . . . . . . . 58

50 The Wrap Around . . . . . . . . . . . . 112

24 Full Lotus . . . . . . . . . . . . . . . . . . . 60

51 The Bucking Bronco . . . . . . . . . . 114

25 Wife of Indra . . . . . . . . . . . . . . . . . 62

52 Will You Do Me? . . . . . . . . . . . . . 116

26 Kneel and Extend . . . . . . . . . . . . . . 64

53 Crouching Tiger, Hidden Passion . . 118

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54 Let Us Pray . . . . . . . . . . . . . . . . . 120

77 The Backbend B . . . . . . . . . . . . . . 170

55 The Body Hug . . . . . . . . . . . . . . . 122

78 The Pushover . . . . . . . . . . . . . . . . 172

56 Flexed Body Hug . . . . . . . . . . . . . 124

79 The Cobra . . . . . . . . . . . . . . . . . . . 174

57 Reclining Body Hug . . . . . . . . . . . 126

80 The Pilot . . . . . . . . . . . . . . . . . . . 176

59 Sweet Abandon . . . . . . . . . . . . . . 130

Section Four:The Standing O . . . . 178

60 The Corkscrew . . . . . . . . . . . . . . . 132

81 The Stick Up . . . . . . . . . . . . . . . . 180

61 The Flexed Corkscrew . . . . . . . . . 134

82 Stand by Your Man . . . . . . . . . . . 182

62 Inverted Headlock . . . . . . . . . . . . 136

83 The Tango . . . . . . . . . . . . . . . . . . . 184

63 The See-Saw A . . . . . . . . . . . . . . 138

84 The Harness . . . . . . . . . . . . . . . . . 186

64 The See-Saw B . . . . . . . . . . . . . . 140

85 The Backbend C . . . . . . . . . . . . . . 188

65 The Backbend A . . . . . . . . . . . . . . 142

86 Congress of the Cow . . . . . . . . . . 190

66 The Throne . . . . . . . . . . . . . . . . . . 144

87 The Hoover . . . . . . . . . . . . . . . . . . 192


88 The Hoover Upright . . . . . . . . . . . 194

Section Two: Back Door Policy . . . 146

89 The Handstand . . . . . . . . . . . . . . . 196

67 See Spot Come . . . . . . . . . . . . . . 148

90 The Leg Up . . . . . . . . . . . . . . . . . 198

68 The Dutch Doggy . . . . . . . . . . . . . 150


69 Taking Sides . . . . . . . . . . . . . . . . . 152

Section Five: Chair Action . . . . . . 200

70 The Back Scratcher . . . . . . . . . . . 154

91 The Chair Lift . . . . . . . . . . . . . . . 202

71 Enveloped in Love . . . . . . . . . . . . 156

92 Purrfect Plunge . . . . . . . . . . . . . . 204

72 Baby Elephant . . . . . . . . . . . . . . . 158

93 The Lounge Cat . . . . . . . . . . . . . . 206

73 Open Elephant . . . . . . . . . . . . . . . 160

94 Fidos on His Feet . . . . . . . . . . . . 208

74 The Elephant . . . . . . . . . . . . . . . . 162

95 The Wheelbarrow . . . . . . . . . . . . . 210


96 Lay-Z Girl . . . . . . . . . . . . . . . . . . 212

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Section Three: On the Edge . . . . . 164

97 Tug of War . . . . . . . . . . . . . . . . . . 214

75 Sitting Body Wrap . . . . . . . . . . . . 166

98 Come Sit on My Lap . . . . . . . . . . 216

76 Sitting Flexed Body Wrap . . . . . . 168

99 In Reverse . . . . . . . . . . . . . . . . . . 218

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58 Crying Out . . . . . . . . . . . . . . . . . . 128

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100 My Knight, My Chair . . . . . . . . . 220

126 A Bridge to Pleasure . . . . . . . . . . 274

101 Chair Twister . . . . . . . . . . . . . . . 222

127 Tunnel of Love . . . . . . . . . . . . . . . 276

Section Six: Foreplay and

128 Checking the Oil. . . . . . . . . . . . . . 278

Oral Sex. . . . . . . . . . . . . . . . . . . . . . 224

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102 Backseat Driver . . . . . . . . . . . . . . 226

Section Seven: Advanced Positions. . 280

103 Prepare for Takeoff . . . . . . . . . . . 228

129 Bumper Cars. . . . . . . . . . . . . . . . . . . 282

104 The Magic Lamp . . . . . . . . . . . . . 230

130 Back in the Saddle. . . . . . . . . . . . 284

105 Third Wish . . . . . . . . . . . . . . . . . . 232

131 The Plow . . . . . . . . . . . . . . . . . . . 286

106 Cat in the Cradle . . . . . . . . . . . . . 234

132 My Door Is Always Open. . . . . . . 288

107 Spank Her Thrice. . . . . . . . . . . . . 236

133 The Nexus. . . . . . . . . . . . . . . . . . . 290

108 The Double Grip . . . . . . . . . . . . . . 238

134 Elephants on Parade . . . . . . . . . . 292

109 The Slippery Slope . . . . . . . . . . . . 240

135 Table Saw. . . . . . . . . . . . . . . . . . . 294

110 The Jigsaw. . . . . . . . . . . . . . . . . . 242

136 Queen of the World . . . . . . . . . . . 296

111 Put You on a Pedestal . . . . . . . . . 244

137 Fantasy City. . . . . . . . . . . . . . . . . 298

112 Under the Hood . . . . . . . . . . . . . . 246

138 The Dinner Party . . . . . . . . . . . . . 300

113 Pumping Petrol . . . . . . . . . . . . . . 248

139 The Kissing Lotus. . . . . . . . . . . . . 302

114 Sweet Spot. . . . . . . . . . . . . . . . . . 250

140 The Sheath . . . . . . . . . . . . . . . . . 304

115 Australian for Sex . . . . . . . . . . . . 252

141 Members Only Entrance . . . . . . . 306

116 Rising Sun . . . . . . . . . . . . . . . . . . 254

142 Lean on Me . . . . . . . . . . . . . . . . . 308

117 The Dip. . . . . . . . . . . . . . . . . . . . . 256

143 The Consolation . . . . . . . . . . . . . . 310

118 The Bird Feeder . . . . . . . . . . . . . . 258

144 Lady Godiva. . . . . . . . . . . . . . . . . 312

119 Chasing the Cat . . . . . . . . . . . . . . 260

145 The Bare Hug. . . . . . . . . . . . . . . . 314

120 Seat of Honor . . . . . . . . . . . . . . . 262

146 Cupids Bow. . . . . . . . . . . . . . . . . 316

121 Give and Take. . . . . . . . . . . . . . . . 264

147 Tight Quarters . . . . . . . . . . . . . . . 318

122 Downtown Girl. . . . . . . . . . . . . . . 266

148 Ive Found My Niche . . . . . . . . . . 320

123 Slippery When Wet . . . . . . . . . . . 268

149 The Long and Deep of It . . . . . . . 322

124 Always on Your Side . . . . . . . . . . 270

150 Into Each, His Own . . . . . . . . . . . 324

125 The Grateful Hostage. . . . . . . . . . 272

151 The Door Jam . . . . . . . . . . . . . . . 326

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152 Climbing the Walls . . . . . . . . . . . . 328

178 Climbing the Ladder . . . . . . . . . . 382

153 Synchronized Deep Diving . . . . . . 330

179 Behind on Work . . . . . . . . . . . . . . 384

154 Long Night, Full Moon . . . . . . . . 332

180 Flex Benefits . . . . . . . . . . . . . . . . 386

155 Spreading Some Joy . . . . . . . . . . 334

181 Double Shift. . . . . . . . . . . . . . . . . 388

156 Deep Satisfaction. . . . . . . . . . . . . 336

182 The Profit Share . . . . . . . . . . . . . 390

157 Surfing the Wave . . . . . . . . . . . . . 338

183 Take a Letter Please . . . . . . . . . . 392

158 Leapfrog . . . . . . . . . . . . . . . . . . . 340

184 Sharing Your Assets. . . . . . . . . . . 394

159 Blooming Lotus . . . . . . . . . . . . . . 342

185 Squeeze Me In. . . . . . . . . . . . . . . 396

160 Speaking In Tongues . . . . . . . . . . 344

186 The Ruthless Negotiator. . . . . . . . 398

161 The Nail-Gun . . . . . . . . . . . . . . . . 346

187 Appealing to Your

162 Praying Mantis . . . . . . . . . . . . . . 348

Target Market . . . . . . . . . . . . . . . 400

163 Lowered Inhibition. . . . . . . . . . . . 350

188 Better Than Phone Sex . . . . . . . . 402

164 Meet Me in the Middle . . . . . . . . 352

189 Tight Schedule . . . . . . . . . . . . . . . 404

165 Studying Geometry . . . . . . . . . . . 354

190 Getting the Memo . . . . . . . . . . . . 406

166 Behind the Scenes . . . . . . . . . . . . 356


167 Hopping the Fence. . . . . . . . . . . . 358

Section Nine:Toys . . . . . . . . . . . . . . 408

168 I Saved Your Seat . . . . . . . . . . . . 360

191 Rough Rider. . . . . . . . . . . . . . . . . 410

169 Upside Down You Turn Me. . . . . . 362

192 Performance Art . . . . . . . . . . . . . 412


193 Smear Tactics . . . . . . . . . . . . . . . 414

Section Eight: At the Office. . . . . . . 364

194 Prisoner of Love . . . . . . . . . . . . . 416

170 The Corporate Merger . . . . . . . . . 366

195 Love Slave . . . . . . . . . . . . . . . . . . 418

171 The Motivator . . . . . . . . . . . . . . . 368

196 Impaled Passion. . . . . . . . . . . . . . 420

172 Working Your Way Up . . . . . . . . . 370

197 Working Every Angle . . . . . . . . . . 422

173 Out of the Box . . . . . . . . . . . . . . . 372

198 Trapped Bumblebee . . . . . . . . . . . 424

174 Power Broker. . . . . . . . . . . . . . . . 374

199 Fire and Ice . . . . . . . . . . . . . . . . . 426

175 Giving Her a Raise. . . . . . . . . . . . 376

200 The Earthquake . . . . . . . . . . . . . . 428

176 Entry-Level Position . . . . . . . . . . 378


177 Loving Takeover . . . . . . . . . . . . . . 380

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Section Ten: Advanced Foreplay

222 Learning to Walk . . . . . . . . . . . . . 476

and Oral Sex . . . . . . . . . . . . . . . . . . 430

223 The Golden Eagle. . . . . . . . . . . . . 478

201 The Classic . . . . . . . . . . . . . . . . . . 432

224 Crossing the River . . . . . . . . . . . . 480

202 Eating In . . . . . . . . . . . . . . . . . . . 434

225 The Carriage House . . . . . . . . . . . 482

203 Stand and Deliver. . . . . . . . . . . . . 436

226 Catch You on the Flip Side . . . . . 484

204 Nose to the Grindstone . . . . . . . . 438

227 The Intertwined Links . . . . . . . . . 486

205 Take It Sitting Down . . . . . . . . . . 440

228 Chain Me Up . . . . . . . . . . . . . . . . . . 488

206 The Happy Puppy. . . . . . . . . . . . . 442

229 Shucking the Oyster . . . . . . . . . . . 490

207 The Ben Dover . . . . . . . . . . . . . . . 444

230 Under Wraps . . . . . . . . . . . . . . . . 492

208 The Circle of Pleasure . . . . . . . . . 446

231 The Kitchen Sink . . . . . . . . . . . . . 494

209 Kiss My . . . . . . . . . . . . . . . . . . . . . 448

232 Rock-a-Bye Baby. . . . . . . . . . . . . 496

210 The Elevator. . . . . . . . . . . . . . . . . 450

233 The Curling Iron . . . . . . . . . . . . . . 498

211 The Landscape of

234 Like a Cat . . . . . . . . . . . . . . . . . . 500

Two Mountains . . . . . . . . . . . . . . 452

235 On the Road. . . . . . . . . . . . . . . . . 502

212 The Curled 69 . . . . . . . . . . . . . . . 454

236 The Whoopie Cushion. . . . . . . . . . 504

213 Slap and Tickle . . . . . . . . . . . . . . 456

237 Sailors Knots . . . . . . . . . . . . . . . 506

214 Oh, Adam,What an Apple . . . . . . 458

238 The Cancan Dancer . . . . . . . . . . . 508

215 Give Him a Hand . . . . . . . . . . . . . 460

239 The Venus Flytrap . . . . . . . . . . . . 510

216 O Marks the Spot . . . . . . . . . . . . 462

240 The Homestretch . . . . . . . . . . . . . 512

217 Mistress May I?. . . . . . . . . . . . . . 464

241 The Three-Chair Double Squat. . . 514

218 The Sack of Potatoes. . . . . . . . . . 466

242 Doing Cartwheels. . . . . . . . . . . . . 516


243 The Headstand of Pleasure . . . . . 518

Section Eleven:Taking It to

244 Pole Vaulting . . . . . . . . . . . . . . . . 520

Another Level . . . . . . . . . . . . . . . . . . . . 468

245 Springing . . . . . . . . . . . . . . . . . . . 522

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219 The Cradle . . . . . . . . . . . . . . . . . . 470

246 The Plow and Hoe . . . . . . . . . . . . 524

220 Hammocking . . . . . . . . . . . . . . . . 472

247 Roll Your Rs. . . . . . . . . . . . . . . . . 526

221 Salted or Unsalted?. . . . . . . . . . . 474

248 Thats a Wrap. . . . . . . . . . . . . . . . 528

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249 Mountains Majesty . . . . . . . . . . . 530

Section Twelve: Advanced Toys . . . 584

250 Crisscross Apple Sauce . . . . . . . . 532

276 From Both Sides Now . . . . . . . . . 586

251 Welcome Home . . . . . . . . . . . . . . 534

277 Good Vibrations . . . . . . . . . . . . . . 588

252 Ice Hot. . . . . . . . . . . . . . . . . . . . . 536

278 Hugging the Pole . . . . . . . . . . . . . 590

253 Whats for Dessert? . . . . . . . . . . . 538

279 Missile Launcher . . . . . . . . . . . . . 592

254 Sole-ful . . . . . . . . . . . . . . . . . . . . 540

280 The Impaled Seesaw . . . . . . . . . . 594

255 Stiletto High-Rise . . . . . . . . . . . . 542

281 Pulling the Plug. . . . . . . . . . . . . . 596

256 See You Later . . . . . . . . . . . . . . . 544

282 Watch Out Behind You . . . . . . . . . 598

257 The Great Plains . . . . . . . . . . . . . 546

283 Acrobatics . . . . . . . . . . . . . . . . . . 600

258 For Your Thighs Only . . . . . . . . . . 548

284 The Gladiators Torch . . . . . . . . . . 602

259 Sandy Dunes . . . . . . . . . . . . . . . . 550

285 Magna Cum Laude . . . . . . . . . . . 604

261 The T-Bone . . . . . . . . . . . . . . . . . . 554

Section Thirteen: Swing Time! . . . . 606

262 Rolling Hills . . . . . . . . . . . . . . . . . 556

286 The Shrieking Monkey . . . . . . . . . 608

263 Ready, Set, Go! . . . . . . . . . . . . . . 558

287 Sweet Chariot . . . . . . . . . . . . . . . 610

264 The Black Spider . . . . . . . . . . . . . 560

288 Get Sprung. . . . . . . . . . . . . . . . . . 612

265 The Intimate Hip Grasp . . . . . . . . 562

289 The Rocking Cradle . . . . . . . . . . . 614

266 Fighter Planes . . . . . . . . . . . . . . . 564

290 Dinner for Two . . . . . . . . . . . . . . . 616

267 Riding into the Sunset . . . . . . . . . 566

291 Dinner for One . . . . . . . . . . . . . . . 618

268 The Alligator . . . . . . . . . . . . . . . . 568


269 Linking Logs . . . . . . . . . . . . . . . . 570

Position Sex Bible Checklist . . . . . . 620

270 The Most Beautiful Flower . . . . . 572


271 The Contortionist . . . . . . . . . . . . . 574
272 The Cricket. . . . . . . . . . . . . . . . . . 576
273 Flamb. . . . . . . . . . . . . . . . . . . . . 578
274 Hottest Snow . . . . . . . . . . . . . . . . 580
275 Vroom,Vroom . . . . . . . . . . . . . . . 582

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260 Sail Away. . . . . . . . . . . . . . . . . . . 552

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Bed Action
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14 Position Sex Bible

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StraightEdge Sex A

Most commonly known as the


Missionary Position; also called
the Clasping position.The man is
on top and the legs of both the
man and woman are stretched
out straight.The partners face
one another.

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Foot Rub with Rhythm

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In Straight-Edge Sex A (1), the man turns a full 360 while


in union.When he is 180 to his partner, he can stop to give her a
nice foot massage! (She can take this opportunity to caress his
buttocks and get a new view of her lovers body). It takes a lot of
practice to do this move without the penis slipping out repeatedly,
but the angles of penetration are worth it!

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StraightEdge Sex B
Straight-Edge Sex A (1),
but with the woman on top.

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Always by
Your Side

Variation of Straight-Edge Sex,


with both partners face to face,
but on their sides. A hand is then
free to explore the rest of your
lovers body.

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Pig in a Blanket

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The most natural progression from Straight-Edge Sex A (1)


While the man is on top, the woman wraps her legs
around his waist, pulling him into her more.

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The
Penitent
Forgiven

A slight shift from the Pig in


a Blanket (5); the legs of the
woman are still wrapped
around the man (who is on
top), but the man is kneeling
with his arms at her sides.

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7
The Awakening
Also known as the Yawning position, but hardly boring. A natural
progression from Penitent Forgiven
(6).The woman, whose thighs are
wrapped around her lover, raises her
legs and keeps them apart in the air,
allowing for full penetration.
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The Piked
Awakening

Acrobatic variation of the


Awakening (7); the woman
throws her raised legs back in a
pike position and lifts her vagina,
allowing for full and deep penetration. For better control, she
can hold her calves with her
hands. (A pillow under her lower
back also helps).The man, who is
on top, relies mostly on upperbody strength and can lie or
kneel over the woman.

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9
Inner
Awakening

Variation of Awakening (7), with


the legs of the woman on the
inside of the mans arms, allowing
her to rest her legs on his shoulders, or to bend them back over his
arms.This position is more comfortable for the woman than the
Awakening, and can be sustained
for longer. She also has better
access to his buttocks and face.

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10
Similar to Splitting of a Bamboo (11); while on
her back, the woman moves her legs back and
forth in the air while penetrated by her kneeling
lover.This motion squeezes the penis, causing
powerful sensations for both partners.

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Splitting of
a Bamboo

Straight from the Kama Sutraan easy progression from the Inner Awakening (9).The woman
uses the motion of her legs to squeeze the penis
while it is in the vagina. A single leg rises onto her
partners shoulder and then lowers; the other leg
repeats this motion.

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12
Hammerhead

Variation of Splitting of a Bamboo (11);


the act is similar to hammering in a nail
while the man kneels and thrusts forward,
the woman places her foot on his
forehead instead of on his shoulder.

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13
Similar to Splitting of a Bamboo (11), but the
woman has one leg under her kneeling lover and
the other raised across his body, resting against his
face. From this vantage point, the man can see his
penis thrust in and out of the vagina, and the
womans breasts undulate in rhythm to the motion.

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14

Lateral
Jackknifed Splits

In a natural move from Jackknifed Splits (13), the


womans leg comes over the side of her partner,
resting against his thigh.This position is the perfect
prelude to the Elephant (74).

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15

Climbing Ivy

The man kneels while facing his lover who lies on her
back. She raises her legs and wraps them around his
neck, allowing for deep penetration. He can take hold
of her thighs and guide himself into her.

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Inverted
Wheelbarrow

An extreme variation of Climbing Ivy (15);


the woman is almost upside-down, with only her
head and neck on the bed. Her legs are on either
side of her lovers head, and her lower back and
buttocks are in the air. She may want to hold onto
his thighs for support, and he will have to hold her
legs while inside of her.

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17
The Crab

Moving from the Awakening (7), the man


takes a more dominating role and the woman
pulls herself into a ball, with her legs folded
against her chest.The man straddles her
while kneeling, allowing for deep penetration.

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18

The Wrapped Crab


The man crouches on the balls of his feet, and
the woman, on her back, moves from the Crab
(17) and wraps her legs over his thighs.

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19
The Open Crab

Instead of pushing the folded legs against her chest,


the woman opens her legs and rests her feet on
her lovers thighs. Her vagina is fully open and her
breasts are also exposed.The man is in control
and can add to his dominance by pushing down
on her shoulders.

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20
The Press

The woman is on her back and presses her


feet against her partners chest. He faces
her while sitting up on his back legs, allowing
for deep penetration.

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21

The Bicycle

Similar to Splitting of a Bamboo (11); the


woman presses one foot against her lovers chest
and raises the other leg in the air, as though she
were riding a bicycle.

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22
Side-to-Side Press

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Variation of the Press (20); the man takes


his lovers ankles, removes them from his
chest, and shifts them from one side of his
body to the other.This motion causes her
vaginal muscles to contract around the
penis. At the same time, he can kiss and
caress her legs, ankles, and feet.

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Half Lotus
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Natural progression from the Crab (17); the man leans


forward and supports his lovers body.When she pulls her legs
up, she crosses her shins while pressing her thighs against her chest.
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24
Takes the lotus position of yoga and brings
it into the bedroom.The woman assumes
this position while on her back with her
legs folded above her. Her partner leans
forward and enters her while facing her
and resting back on his legs.

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25
Extreme variation of the Crab (17); the woman pushes
her legs back and to her sides instead of letting them
rest against her chest.This position fully opens the
vagina to the man for deep penetration.

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26
Kneel and Extend

The woman lies on her back and pulls in her


knees.The man kneels in front of her and
enters her. She then extends both legs to one
of his shoulders.This position allows him to
caress her thighs.

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27
Lateral Kneel
and Extend

Instead of raising her legs to her lovers shoulder,


while on her back, the woman drapes her legs over
one of his thighs.The man sits back on his legs and
faces her. From this vantage point, he can see her getting aroused and may stroke her clitoris and breasts.

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28
Kneel and Push Back

Variation of the Kneel and Extend (26);


instead of letting her legs rest on his shoulder,
the man holds them away from him, altering
the angle of penetration.

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Side-to-Side
Kneel and
Extend
Variation of the Lateral
Kneel and Extend (27); the
woman swivels her legs back
and forth from one of her
lovers thighs to the other.
This angle works well for
G-spot arousal.

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30
The woman lies on her back with her legs
extended above her.The man lies across her,
preparing to catch the next wave of pleasure.

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31
From Straight-Edge Sex A (1), the woman moves
her legs apart so that they are on the outside of the
mans legs.The woman lowers her head, and raises
her pelvis toward her partner. In this position, the
vagina is fully open, allowing for deep penetration.

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32

Pelvic Lap
Dance
While on her back,
the woman places her feet
down and thrusts her pelvis
up toward the man who is
sitting on his hind legs.
Similar to the Pelvic
Thrust (31) with one
important difference:
the womans buttocks are
resting on her lovers
thighs.While the woman
arches her back, the man
has full access to her
stomach and breasts.

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33
Locked Lap Dance
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During the Pelvic Lap Dance (32), the woman takes her
feet and locks them behind her lover, pushing herself against him.
This allows for maximum clitoral stimulation.
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34
Kamas Wheel
Both partners sit facing one another, with
the woman on the mans lap.The man sits
with his legs outstretched and his lover mirrors
his position (thus creating the spokes of a
wheel with their legs).

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35
Reclining
Kamas Wheel
While in the Kamas Wheel (34), the woman leans
back on her elbows, altering the angle of penetration.
Her legs wrap around the back of her partner.

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Snake Trap
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While in the Kamas Wheel (34), the woman leans back


and grasps her partners ankles. She uses her pelvic muscles
to grip her lovers penis and rock gently back and forth.

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es

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Full Reclining Snake Trap

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Both lovers lean back while in the Kamas Wheel (34), forcing
the woman to use her vaginal muscles to maintain his erection.
The couple focuses on stimulating their subtle energy bodies
rather than their physical bodiesvery tantric!

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38
The Neverending Hug

The lovers sit face to face, straddling each


others bodies. A position that allows for deep
penetration, kissing, and eye contact.

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39
Paired Feet

From the Kamas Wheel (34), the woman leans


back and draws her legs up so that her shins are
resting on her partners chest.The man opens his
legs wide apart, with her body between them, so
that the woman can experience full penetration.
Then he presses her thighs together to intensify
the sensations.

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40
X Marks
the Spot
Combination of the Full
Reclining Snake Trap (37)
and the Jackknifed
Splits (13); the woman
lies on her side with her
legs apart.The man lies
back with his legs apart.
They meet in the middle,
with one of her legs
underneath him and her
feet beside his face
if he lies back.

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41
The Mares Trick

More of a technique than a position, this


method allows the woman to forcibly hold
the mans penis in her vagina. She can
usually achieve this by pressing her legs
together. Best during Straight-Edge Sex B
(3), where the woman is on top and can
better control the action.

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42

Pair
of Tongs

Similar to the Mares


Trick (41); it is more of
a sexual technique than
a position. Once again,
the woman straddles the
man, who is facing her
while lying on his back.
The woman holds the
penis in her vagina
drawing it in, pressing it
and keeping it in for a
long time. Intense eye
contact and the woman
stroking her lovers
chest and testicles
enhance this technique.

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43

The Spinner
From the Bucking Bronco (51),
the woman rotates 360,
experiencing every angle of
penetration. She has the
potential for G-spot activation
while her back is to her lover.
Perfect for smaller women
with larger partners.

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30.Sex Positions You Never Thought Possible The Creat
31.Sex Positions Illustrated- 101 Hot Positions You Can Do Right Now
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41.Oral Sex That'll Blow Her Mind An Illustrated Guide to Giving Her
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50.Electrify Your Sex Life How to Get Rid of Sexual Hangups and Inhibitions
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51.Discovering Your Couple Sexual Style Sharing Desire, Pleasure, and
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52.Connoisseur's Sex Guide
53.Blow Her Mind - by Melinda Holmes
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55.Best Sex Positions_ The Hot Sex Book Wit - Williams, Stephen
56.Advanced Sex - Randy Fox
57.Acrobatic Sex Positions - So Crazy We Dare You To Try Them
58.1592332382.positionsx_2
59.365 Sex Thrills
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62.269 Amazing Sex Games
63.100 Great Sex Games For Couples
64.50 Shades of Better Sex - Melinda Holmes.
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66.[Shanna_Katz]_Oral_sex_that'll_blow_her_mind_An_i
67.[Marisa_Bennett]_Fifty_Shades_of_Oral_Pleasure_A_B
68.[Marcy_Michaels,_Marie_Desalle]_The_Low_Down_on_Go
69.[Marcy_Michaels,_Marie_de_Salle]_Blow_Him_Away_Ho.

70.[Jane_Merrill]_The_Ultimate_Guide_to_Oral_Sex
71.[Donna_Evans,_Sex_Positions]_Sex_Positions_Illustr
72.[Dan_Baritchi,_Jennifer_Baritchi]_The_Little_Black

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