The Burn Of Browning-Citori Sugar

Browning-Citori Sugar Press, the non-commercial belletristic imprint known for exclusively publishing transgressive breastfeeding fiction, sucked the tit dry Thursday as their exclusive anthologies failed to give audience nipples any suckle. Social media inveterated its milked demise after their penultimate anthology Hot Shit Knockers left them cancel cultured over an abortion tale centered around gun wielding sentient watermelons out for revenge against habitual seed spitters cannibalizing their people at the spoiled age of sixteen.

Limited readership click baited into discovering their drip tit lit say they deserve a pat on the back with a sledgehammer. Critics gleefully refunding review copies championed their output as titans of proving nothing is impossible since nothing is what their entire run was. For the politically correct crowd overjoyed in their demise, the itchy trigger finger beyond bitty imprint leaves behind a spark of American madness that showed the world its illuminating flair was on the end of a sparkler.

An independent anthology imprint their rivals refer to as mummy dummy halfwits, the imprint hit the literary scene as a collaborative affair after insomnia, James Cagney gangster flicks, and late night baby formula infomercials became a eureka moment for its masthead without the benefit of inebriation. Former members of its Masthead say that Browning-Citori Sugar came into the world in a botched miscarriage with the storytelling goal of figuring out whether removing nursing children from lactating nipples was foreplay or stealing candy from a baby.

Their hardcore debut anthology release Bang The Jugs Slowly was considered by critics to be as cutting edge as going to a seafood disco and pulling a mussel and as hardcore as a picture going to jail for being framed. The seminal follow up The Dirty Pillows Who Sat By The Floor was lauded as one long period that cramped every writing style. Preceded by A Rage In Hooters which debuted the serial character Donna Chesticles, critics on GoodReads raved that it landed like screaming turbo power after a flatulent episode in public before sliding into the gutter.

Lacking award nominations, the imprint forged ahead with an impressive slew of controversial releases known for revering women as lead action characters without a hint of oversexualized boredom. The iconic titular femme fatale Tatty Bo Jangles featured in the I Know Why The Wookie Nipple Pinches became the ire of the Breastfeeding Federation Of America; patriarchal advocates claimed their biological exploitative works incited a trend of drive-by shootings from gang bangers wearing a fake boob designed for fathers’ bonding suckle time.

Sources say a review on Amazon praising ebonical James Bond-esque led Janet “Shoulder” Boulder in a featured story in Nipple Holsters brought them to their peak of sales and to the attention of Lesser Ebenezer Old Revival Triple Rock Baptist On The Pentecostal Jericho Side Church Of God In Christ who criticized its publication as biological pornography. Their leader, Pastor Dixon Kuntz, garnered national attention to Nipple Holsters, preaching that the issue openly encouraged youths to have gun toting breastfeeding sessions to be popular.

Bad press equating their output to that of a scarecrow winning an award for being outstanding in the field did not stop Browning-Citori Sugar from forging ahead into uncharted territories. The derivative Tig Ol’ Bitties anthology came under scorched scrutiny hot off the press by the funeral directors across the country; court documents filed claimed funeral chains filed a class action lawsuit on the grounds that the imprint unduly influenced their clientele base into boycotting their crematorium services for not giving discounts to the dearly departed burn victims.

The mammary offensive anthology Tough Titty, which featured a collection of stories about fat men with floppy knockers getting knocked off by a serial killer boob rash, brought an outright protest against the imprint by every internet created women’s pronoun based activist group. Accused of misogyny, sources say the anthology misdirected the conversation of women’s breast issues to male hormonal problem and encouraged women via mansplaining to be erased from the national conversation completely. The bad press brought their sales up to nine.

Despite lawsuit influenced sales and being dropped from distribution for suggestive book covers that featured golden milk showers covering dead bodies, Browning-Citori Sugar pressed on to explore the dark seedier side of violent lactation and out of their familiarity on the subject. The ill conceived Mud Flaps Of Mercy, which critics vandalized as the worst compliment of race car historical fiction and gun toting breastfeeding grime exploitation so criminal it should be made illegal from ever being cross genred again, pushed the empty envelop to no acclaim.

Contributing writers of the anthology say the imprint went on its own warped speed of life support after the rhythmically themed The Rack In The Sack and its sequel The Rack In The Sack Comes Back were dragged through the Twitter streets in political posturing in red and blue wave mob actions. Torn between a reputation of being a sinful breastfeeding pornography rag for freaks doing fallen angels work and a body positive publication that normalizes breastfeeding as ascertaining body autonomy, the imprint shifted focus to inanimate objects for neutrality.

Despite pleas from good writers to quit while they were ahead, the imprint released Hot Shit Knockers, featuring stories about inanimate melons of varying type sticking it to the farm man. Ignored by critics who couldn’t quite make out the point of gun toting sentient watermelons killing people that enjoy its meat, religious castigators led their flock into chastising their abortions by being racist towards colored fruit, flooding fruit filled racists memes on their timelines.

Browning-Citori Sugar bit the milk dust after all social media deplatformed them for hate speech against fruit across all social media, and the three bookstores left across the forty-eight states. Fans say they habitually pushed the envelope but racism against fruit could not be tolerated as freedom of speech or freedom of reach. Feigning no wrongdoing, their final byline is a staunch reminder that anyone can keep their dream alive by hitting the snooze button.