Type IV/#J90: Kathryn Sarah Morrison

double kosher trope: the Jewess pensive…in the mikveh pool.

post-mikveh sequence…

another double kosher trope, visual+verbal: the (nude) Jewish bride…and a specific Jewish sexual issue.

Kathryn Sarah, Playboy’s May 1978 centerfold subject, is an interesting (almost) crypto-Jew with, however, all sorts of subtle and not-so-subtle visual and verbal Tribal cues. First being the kosher patronym, which is her own. And, though there’s not much physical Jewishness to her…something about the lips (somewhat everted) and eyes (slightly slanted), she’s non-buxom and the facial angles are more Nordic/Anglo-Saxon via prior-generation genetic capture…the Morrison’s expressive behavior throughout her shoot is intensely Jewish: aversive and unsmiling, with a heavy scoop of Chosen Person pensive inwardness. Then, the shooting itself was a stack of Jewish “she’s one of us” intra-Tribal signalings by PB’s Jew-editors: first, the mikveh sequence (using an actual, traditional pool, complete with chair from which the Rabbi would watch the Jewess undress and bathe), and then some (drying off) post-mock mikveh shots, concluding with the Jewish Bride trope…in panties only and then full nude. And finally the vulgar poem accompanying the (((nude bride))), crafted again by one of the (((editors))), which refers to an issue so often affecting intimate relations between male and female Jews that it has become a literary trope, the “I’m sorry, dear…” apologetic: the Jew’s tendency, when confronted with the raw hypersexual body of his big-breasted Judith, to “come too soon” or fail to perform altogether:…and thus leave the Jewess in an agony of aroused sexual frustration, and soon to seek solace elswwhere. Back when, while making a delivery to one of the Jew York City ad agencies (BBD&O, then @ 437 Madison Ave.), this researcher first encountered one such solace-seeker: myself and 2 other guys in a down elevator, it stops, doors open, and in steps an elegantly-groomed, breath-takingly beautiful Jewess with remarkably big tits, wearing a black sweater taut against full brassiere, heavy gold chain around her neck from which hung an external oversized (cf. Kate Winslett stillshot on “signs and symbols” kosher trope-page)) gold Hebrew star just above the outward swell and fall of her breasts, and form-fitting gray slacks hugging long legs, almost flat hips, and a high, tight ass; she also featured chisled ashkenazic facial features, with jet-black hair tied back in traditional bun…she faced us briefly while getting in, giving just enough time to appreciate the racial rack, then turned and presented her perfect ass for the next few floors before (slowly) exiting the elevator. Eventually I ran into her again at another agency (Young and Rubicam, 285 Madison), asked her out, clicked and, just before our first conjugation, the Jewess surprised me by confessing that, at age 22, she was “still a virgin”. She then stated matter-of-factly that she had already been disappointed by a half-dozen kosher swains, all of whom had “come too soon” immediately upon seeing her naked or during sexual foreplay. The great Anglo-Saxon author Thomas Wolfe, having been similarly seduced and bedded in NY during the 1930’s by his hypersexual Jewish literary agent Aline Bernstein, describes the meta-historical aspect of this situation in his novel The Web and the Rock:

“the Jews hate the Christians….Jewish women seduce the pure young Christian boys because they love them and they want to destroy them, and the Jewish men, cynical and resigned, look on and rub their hands in glee….They get an obscene satisfaction from the spectacle, and because their souls are old and patient and have known that their women were unfaitful for seven thousand years….”

Wolfe’s relationship with Aline Sarah eventually ended, as did mine with the ad agency Jewess; her violent sexuality was, literally, dangerous…her time preferences impossible, and ditto the financial demands.