Category Archives: Erotica
An orgasm in a caravan with a convector heater on full blast and a thousand rounds of toast popping. Nothing can adequately describe the frenzied claustrophobia in Elizabeth Smart’s By Grand Central Station I Sat Down And Wept. When I read it at age 22 in a damp smelly bedsit in north London in the clinch of obsessive love for a co-worker who’d chosen a brilliantly achieved woman over me, I understood the heart-stopping power of literature for the first time. This little book grabbed me by the hair and dragged.
She had been there in the 1930s, Canadian writer Elizabeth Smart, and was able to explain it to me six decades later. Swallowing the earth with a married man, putting the whole untidy world into a nest, declaring that ‘love is strong as death’, especially the vetoed kind. I was flailing around with delusion in Wood Green, a harpy of relentlessness, addicted to hummus kebabs, drinking too much, longing for life with this man I’d met in a pet insurance company, screaming at him in red phone boxes, being mental. It was all a bit ugly and engrossing as often young love is.
The stifling descriptions of how Smart felt for poet-floozy George Barker after enticing him and his young wife to America – the length and latitude she was prepared to go to in pursuit of carnal hunger (she’d planned seven kids with him, though reality & economics restricted her to four) – her long-lived love story and how she wrote it became a strange anchor for me. I was relieved by its lunacy. In some ways it helped me move on. I entombed my man in London, moved back to Ireland, grew up a bit and learnt how to behave. Though the book, like sea lichen, left its tidemark.
I re-read it again recently and wanted to puke! A nauseating and brilliant ecology of desire and mental oblation. The reader is a peeper, an ogler, a watcher, through something mad, thrilling and rare. We witness Smart baiting her lover while sacrificing his martyr wife, the steamy affair that ensues across America, Canada and England, the ‘real’ trouble they get into because of the social mores of the time, the disgust her family experienced (Parent’s imaginations build frameworks out of their own hopes and regrets into which children seldom grow, but instead, contrary as trees, lean sideways out of the architecture, blown by a fatal wind they never envisaged) and her own mercenary journey through marvellous filthy love, horrible loneliness and eventual abandonment by a man who went on to have 15 kids with a bunch of women, while never managing to nab a full-time job. By today’s standards, he really was a Casanova shithead.
While the language and depth of feeling is still affectingly brilliant, it reads a little indulgent for our time. Nature, birds, prophecy, insects, shame, cheap hotels, Macbethian blood, betrayal, weather systems, crazed sex, all the things that suffocated her senses would peter out in a string of maniacal text messages today. Smart seems not very smart in truth, a posh girl hell bent on self annihilation and pissing off her parents, but her ability to sculpture language into terrifying and wonderful reflections marks her out as a unique and brilliant writer whose ‘whoring after oblivion’ with claws of biology and pity and hysterical hypnotism will leave you reeling in the trees. There should be a penance of a lot of pints after finishing this book. My dear, my darling, do you hear me where you sleep?
*This piece by moi will be part of Colm Keegan’s We Are What We Read exhibition, taking place at the dlr LexIcon, Dún Laoghaire, from 28th August – 31st October 2015, featuring a range of writers talking about books that had an impact on them.
Writer Sean O’Reilly is hosting an erotic writing course this autumn – a bit of an experiment for the Irish Writers’ Centre – at a time when sexy stories are being sucked up by the global publishing industry. How can we write about sex in a tasteful effective way, causing a stir in the reader, while giving enough insight into the character’s psychology to make the story believable, intriguing, real..? Irish writing seems to shy away from any attempt to represent the reality and complexity of our erotic lives. Sex is a secret. Desire is merely a plot-device. The story of a character’s erotic life or the growth of a character’s erotic taste seems to have no bearing on a convincing psychological portrait of a literary character.
This 10-week course looks at the history of the genre of erotic writing, examining classic texts in both prose and poetry, and concentrating on student’s writing in this field. Using both poetry and prose, participants will learn that the ‘erotic’ is more than the description of sexual acts but the context in which they take place, about power and phantasy, and in particular, about the representation of desire itself. O’Reilly has a unique approach – forensic even – to analysing words. He is deeply interested in people who are serious about writing, and will do to your writer’s block what Polish builders did to concrete here during the boom. A story I wrote on one of Sean’s previous courses made it to the ‘Top Ten’ in the 2012 RTE Guide/Penguin Ireland Short Story Competition and is published on the RTÉ TEN website. A second one [a Dystopian tale about Dublin junkies] is being edited for inclusion in a literary magazine and has developed into a novel-in-progress.
Below is a Q&A I did with Sean for the IWC blog on the erotic writing topic. His published work includes Curfew and Other Stories, the novels Love and Sleep, The Swing of Things and an experimental erotic novella: Watermark. [Click the book cover above to buy Sean’s book]. The Writing Desire: Flesh Made Word course runs from 25th September, on Tuesdays for ten weeks – 6.30pm to 8.30pm – and costs €280 or €260 for members. Places are limited so if you’re interested…See you there!
“Degenerates are not always criminals, prostitutes, anarchists, or outright lunatics,” the physician and journalist Max Nordau cautioned in 1893, “they are often writers and artists”…is there any truth in this statement!? In the current situation in Ireland, where the arts seem to be a branch of tourism, of green jersey consensus, yes, it’s important to remember that the artist may be an outsider, an angry voice, a twisted voice, a moral outlaw, jailed and loathed, or a voice that doesn’t give a damn.
What empowered you to want to teach a ‘writing desire’ course at the Irish Writers’ Centre…was there a literary gap that needed to be filled (no pun intended)? Not sure what ’empowered’ means. I’m interested in desire as a literary theme. As a subject. A premise. As the basic predicament for story. The question of pleasure for example. Anybody doing a deal with the devil will have erotic pleasure high on their list of demands. Or seduction. The magic of seduction. What is it to seduce, to cast a spell, to invade the fantasy life of another person? The story of a character’s desire-life is as interesting as the story of their intellectual or spiritual development. Or emotional. As morally interesting. In this course, I’d like us to look at how desire is represented in fiction, at how erotic tension is created, at descriptions of sexual fulfillment and disenchantment, at the body and its tastes but all of this with the aim of inspiring, reading and talking to inspire writing around these themes. People are there to write at the end of the day.
What is the core difference between ‘romantica’ and ‘erotica’ in fiction, given that our romantic and sexual lives are so inherently fused in real life? Are they? All I can say is good erotic writing is an investigation of the character’s world. The foundations and the Iimits of the self. Power. Society. The Law, the inner legislator. Bernard Schlink’s, The Reader, for example. Or Kundera’s hedonists in occupied Prague . Or Edna O Brien’s House of Splendid Isolation. Books exploring a culture, a time, through the story of desire. Or Angela Carter’s work; the sense we are backstage with the dramatis personae of desire, the bored divas, the villains with their false moustaches, the acrobats, the broken-hearted, all our dreams dripping with greasepaint. Or those poets interested in the physicality of the line, the tactility of the spoken.
Is there a long-strong tradition of good erotic writing that we’re not particularly aware of? There’s been writing about sex and sensuality for as long as there’s been storytelling. For as long as we’ve wondered about what the meaning of life is or been curious about other people. Long before there was even a notion of the individual self. We have some erotically charged early Irish poetry. Chinese literature has some very early examples. Boccaccio’s Decameron, published in the 1400’s, the source for Chaucer’s Canterbury Tales, is a good starting point for the European stuff. Or you can go right back to the some of the stories in the Old Testament. What was happening in Sodom that had to be stopped? Aside from the Marquis de Sade, and his forensic encyclopedias of pleasure, and censorship, I’d say the most powerful effect on the development of erotic writing in the West has been psycho-analytic theory. I’d point to Philip Roth, and books like Sabbath’s Theatre, as an example of a modern writer using desire as the driving force of his characters.
The ‘Writing Desire: Flesh to Word’ course will be taught by both you and poet Kimberly Campanello, how will this work in practice? Will participants have to be au fait at both prose and poetry or can they simply write in one genre if they prefer? The basic idea is to use the reading of both prose and poetry to inspire writing. Participants can write in whatever form they want but shouldn’t be afraid to read across a whole range of sources. For example I would encourage anyone to read Jean Genet’s play The Balcony. The course will suit anyone who is already working on/thinking about a piece of work with desire as the main issue. Each week there’ll be a loose theme, we’ll try to identify some of the different currents in erotic writing, the celebratory approach, the big Yes, as opposed to the more conflicted erotic text. Kimberly and I will take alternate weeks, using extracts from prose and poetry for discussion before we look at participant’s own work. Like I said, people should be there to write.
What do you think of the 50 Shades of Grey phenomenon? I think we’ll have to make it the starting point of the course. “This is wrong,” Anastasia says early in the first book during a romp with Mr Grey, “but holy hell is it erotic”. We’ll have a look to see if the writing actually manages to get above clichés and create any erotic tension, what makes a bad sex scene. And we’ll look at this notion of wrongness, of transgression, a common ingredient of erotic writing. But then again it’s interesting to think about reading and pleasure. Reading is sexy again. That can’t be bad. The book has now become a fetish object; it means much more than the words inside the covers.
There was a story recently in the papers about a court case involving a couple who had a row about the book, the man annoyed at the woman for reading the book again, for talking about it too much. The woman went round to her mothers. After a while, there was a knock at the door and when she opened it there was her boyfriend who, she told the judge attacked her with a bottle of brown sauce, pouring it over her head. Saucy? the man was shouting, You like saucy? I’ll show you what saucy means.
How do you delineate between the erotic and the downright pornographic? Or are we being unfair to porn….discuss? Does some porn contain literary value? I don’t think there’s any need to delineate anymore when artists in every medium play freely with them. Filmmakers, writers, cabaret, hip-hop, painters. Porn, like erotic art, wants to arouse. To stimulate. To turn the reader on. That used to be seen as not a fit ambition for literary art. A half-decent sex-scene should cause a bit of a stir in the reader. But when it’s a very good scene, I’d say, it should also be telling us something about the characters involved, about the meaning of the sex between them, and about the context in which it’s happening.
Is the widespread availability of internet pornography ruining natural erotic thinking/feeling, i.e., expectations of what a sex life should/could involve, the pull/drive that gets people together, how this is then expressed in literature & art? I’ve heard it said the 50 Shades of Grey phenomenon is a reaction against men and online porn. Against the infidelity of men on their machines. A rebellion. I’ve also heard it argued porn helps men NOT do certain things, a palliative so to speak. It keeps them off the streets. But the same was said about the use of prostitutes. And about sport! It could be entertaining to wonder what the 50 shades of Grey trilogy will help women NOT to do? Hopefully the internet is educating as much as it is ruining appetite. The sexual appetite, like any other appetite, can be sated and overindulged. It’s an old parable. The parable of excess. Think of Casanova. Those who have searched for wisdom in sensual experience. Enlightenment. Ecstasy. Think of Yeats poem, The Pilgrim. The sensualist, after years of erotic wandering, turns to fasting on Lough Derg, tired of “…passing around the bottle with girls in rags or silk/ in country shawl or Paris cloak” but by the end of it all, after excess and austerity, he concludes on his life’s journey, “I can put the whole lot down, and all I have to say / Is fol de rol de rolly O.“
What is your favourite piece of erotic writing and why? It would have to be JP Donleavy’s The Ginger Man. Published in Paris in 1955, it’s part of the uninhibited big Yes style of erotic writing. It was banned for obscenity. The central character is an American in Dublin, he’s got a wife and a kid, and money troubles. And when it comes to women, he just can’t stop himself. That’s his crime and his innocence. He can’t control himself. He is comically beyond any moral judgement or censor. His lust is all he has and leads him round in circles and deeper into the world of Dublin at the time, giving us a very real picture of the place, and even the predicament of women at the time. It’s the Dublin of Behan, Kavanagh, etc., and Cronin’s Dead as Doornails. He’s got a bigger appetite than any of them, free, guiltless. The writing, moving from sparse, short imagist sentences to rampant flows of interior randy monologues, will make you laugh from your guts as you savour and feel – and admire – his hunger: a powerful concoction. The flesh made word. I wish I’d been around to see Richard Harris in the stage version. Three nights it lasted in Dublin in 1959 before it was shut down!