~oOo~

2011-11-30

booknotes: see me naked

One of the books I consulted for my thesis was Amy Frykholm's Rapture Culture: Left Behind in Evangelical America (Oxford U.P., 2004). In Rapture, Frykholm traveled around the nation interviewing readers of Tim LaHaye's Left Behind series, exploring the effect of rapture narratives in Evangelical culture. Frykholm -- who grew up Evangelical and now attends an Episcopal church -- studies her former subculture with a keen and empathetic eye. In her latest book, See Me Naked: Stories of Sexual Exile in American Christianity (Beacon Press, 2011), Frykholm turns to personal narratives of sexuality, embodiment, and Christian spirituality. The slim volume contains nine profiles of Protestant Christians struggling in various ways to integrate their physical, sexual selves with their concepts of Christian "purity" or righteousness.

As much as possible, Frykholm backs away from any larger-scale analysis in the interest of allowing her subjects to make meaning of their own lives. However, it seems clear that all of her interviewees have struggled to integrate their sexual selves with their theological beliefs. Some because they experience same-sex desires, some because they're struggling to live up to demanding Christian ideologies of chastity or modesty, some because anything associated with bodily desires became the enemy.

One of my favorite essays was less about sexual activity or relationships, per se, than it was about our sense of embodiment and the sensual experience of being and expressing oneself in flesh. "Monica" recounts her experience of attending a life-drawing class while studying abroad -- an experience that challenged her understanding of propriety and ultimately helped her re-evaluate her expectations of what beautiful bodies should look like and how women's bodies should behave. At first repulsed by the normal-looking nude model (to the point where she almost dropped the class), Monica perseveres and eventually exhibits her drawings in the college library upon returning to her home campus:
Monica heard two things in the comments [about her art show]. She heard the same fear and revulsion that she had experienced in herself when first encountering the model. It was a disgust that human beings exist in this form ... she also heard in the comments that Christianity and nakedness were incompatible -- that somehow being clothed and being Christian were necessary to each other (84).
At that point in her own journey, Monica has grown enough to be critical of these assumptions, and by the end of the piece has challenged herself to volunteer as a nude model for community life drawing classes -- an act of bravery that seems to be very intertwined with her developing sense of spiritual practice.

What I think may surprise non-Christian readers of these narratives is their familiarity: in many ways, the discomfort with embodiment is a malaise that is more American than Christian, though obviously practicing Christians will express their struggles in theological language. The individuals here struggle with unrealistic beauty standards, with the commercialization of sexuality, with questions of attraction and desire and what their bodies want versus what they're being taught they should want by their parents, youth leaders, peers. The process of coming into one's own bodily self and finding a voice for our desires is rarely an easy one, regardless of the faith tradition we're raised in.

On the other hand, See Me Naked does put those struggles in a particularly Christian theological and social context, and illuminate some of the ways Christian language -- particularly theology which seeks to construct rigid definitions of "right" and "wrong" sexual expression -- fails believers. Reading stories about young women starving themselves to the brink of death in the name of "modesty" and young men told their interest in pornography was sinful, brought to mind the recent post, How Modesty Made Me Fat, by Sierra of No Longer Quivering in which she writes:
Modesty made me “fat” because it defined my relationship with my body in terms of appearance. Not action. Not gratitude. Not the joy of movement. Just appearance. It also defined my relationship with men as one of predator and prey. It was my job to hide from men so that their sex drive would lie dormant, like a sleeping wolf. But if that wolf ever awakened, it was not because it had been sleeping for a long time and its circadian rhythm kicked in, or it was just naturally hungry. It was my fault because I had done something to “bait” the wolf. Just by being visibly female, or by moving in “unladylike” ways. You cannot consider women full human beings unless you recognize that their lives do not revolve around the male sex drive. Modesty is a philosophy that dehumanizes. It incites constant fear and vigilance in one sex while excusing the other of all responsibility. It’s immoral."
See Me Naked offers similar examples of the way in which our religious language falls perilously short in its ostensible effort to increase well-being for all. Naked tells stories of women starving themselves close to death for the sake of being pure, stories of women and men who feel lost when faced with the task of integrating queer attractions with their Christian faith, and stories of men who are taught to hate and fear their feelings of sexual desires as something inherently impure or incompatible with living a righteous life.

At the very end of See Me Naked, Frykholm does offer some reflections on an alternative ethic of sexuality, one that I think is worth contemplating whether or not you're interested in the explicitly Christian language in which she couches her suggestions. "True, deep, real pleasure is an avenue to the Holy," Frykholm writes. "Through discernment, wonder, and aliveness we will know what real pleasure is ... and when we sense true pleasure, we will trust it and be able to act bodily in it and with it." She recounts the counsel of a parent to her soon-to-be adolescent daughter, "Your body will know more pleasure than you can even now imagine. You are going through a period when your body is going to learn to feel pleasure, and you will be amazed" (176)  While I'd argue that children, too, have the bodily capacity to feel pleasure -- though of a different kind than adults -- I like this invitation to an emerging teenager to embrace that part of her growing-up. Too often, we're quick to associate teenage embodiment with danger, not pleasure. As Frykholm says, "We all know that puberty, adolescence, adulthood are not solely about pleasure ... But pain we know well. Pleasure we sometimes need help attending to" (177). Such an invitation crosses the boundaries of faith traditions and is a reminder to us all how much better we could be, as a culture, at living embodied and joyful lives.

Cross-posted at the oregon extension oral history project blog.

2011-11-27

harpy fortnight: season of thanks

via
I'm finally getting around to posting a round-up of Harpyness posts for the first time since October 2nd. Sorry folks! But it's actually been kinda a slow season for everyone over at TPoH, so the links haven't been accumulating too fast. Here's what I got for y'all:

I think blogging will likely continue to be sedate through the holiday season, as we all balance our personal, professional, and online priorities. As always, you're welcome to hop on over to Harpyness to check out all the conversation in situ there.

2011-11-24

thank yous: thesis edition

Maggie + wood stove (October 2004)
photograph by Anna
One of the most enjoyable parts of writing my Master's thesis was pulling together the acknowledgments. Since it's unlikely everyone who appears therein will read the thesis in full [PDF], I'm reproducing the acknowledgments here. 

It should go without saying this is far from everything I have to be thankful for this year, but it's a damn good starting place. 

May your holiday weekend be peaceful and content, wherever and with whomever you may be.

As a reader, I often turn first to the acknowledgments when evaluating a book.  It is here that one gets a true sense of the solitary author working in a densely-woven web of social and intellectual relationships, one that often fades into the background with an author’s solitary byline.  For while it is accurate to say that I crafted this thesis myself, and that the analysis herein is my own, the thinking and writing I have done over the past three years would not have been possible without the myriad conversations, generous support, timely encouragement, articles and books shared by my friends, family, and colleagues. As my partner, Hanna, points out, “alone” is not the same as “lonely,” and although I have written this work alone, many, many people deserve the credit for making sure that I seldom felt lonely or worked in intellectual isolation.

O.E. class of  '75
Without my oral historical narrators, of course, I would have no primary source material to analyze and thus no story to tell.  My gratitude belongs first and foremost, then, to Sam and Pat Alvord, Randy Balmer, Doug and Marj Frank, Mark Evans, Anne Foley, Alison and Phil Kling, Rebecca McCurdy, Sogn Mill-Scout, Paul Norton, Jim Titus, and Randy Wright for sharing their memories of the Oregon Extension and the contents of their personal archives.  Particular thanks are due to the folks at Lincoln for hosting me during my research trip in March, 2010, when we recorded the majority of our oral history interviews. Thank you also to Doug Frank and Sam Alvord giving me access to administrative records and personal papers from the early years of the program; to alumni Phil Kling, for sharing notes, papers, and other ephemera from his student days; and to Alison Kling and Jim Titus for generously sharing their photographs from the early years.

My thesis advisers, Laura Prieto and Sarah Leonard, have been invaluable and professional support throughout the research and writing process. It was my [admissions] interview with Laura back in July 2006 that convinced me I would be able to complete the research I had in mind under the auspices of Simmons' History Department. She has been unfailingly supportive throughout my tenure at Simmons, giving my research notes and early drafts careful and insightful readings.  Any remaining weaknesses in my thinking and writing are, needless to say, my own responsibility. Sarah, meanwhile, deserves particular thanks for allowing me to hijack her seminar in Modern European History in order to write a paper on American psychologist Carl Rogers, one of the influential educational philosophers whose work inspired the Oregon Extension's founders.  Her passion for intellectual history and the dedication with which she approaches her vocation are almost enough to make me reconsider the teaching profession.

Boston skyline across the Fenway Gardens
(December 2007)
I would like to remember the late Allen Smith who developed and taught a course in oral history at Simmons Graduate School of Information and Library Science, and whom I was privileged to study under during his final semester of teaching. His work at Simmons College paved my way with the Institutional Review Board, whose familiarity with oral history research saved me the anxiety and frustration many oral historians face when applying to do human subject research. I also wish to thank Gail Matthews DeNatale, oral historian and former faculty member at Simmons, whose experience and advice helped to shape my thesis proposal in its early stages.

Reaching backward in time to my undergraduate years at Hope College, I wish to recognize my colleagues on the Aradia Research Project, as well as the Aradians themselves, who served as my hands-on introduction to feminist-minded oral history and ethnographic research and who encouraged my enduring interest in the experience of those who live in intentional community.

The outstanding faculty of my alma mater, Hope College, were in many ways responsible for taking the enthusiastic autodidact I was at age seventeen and encouraging me to direct and hone that passion into something I could honestly consider a craft and a vocation. Poet and creative writing teacher Jackie Bartley first opened the door to creative nonfiction to me, suggesting that dedicated research and analytical writing could use the power of the particular to connect us to the universal.  It was Jackie who first suggested I consider attending the Oregon Extension. Thanks is also due to Lynn Japinga for introducing me to oral history methods during a summer spent transcribing her oral history interviews with Reformed Church clergy, as well her determination to offer classes in feminist theology in an often-hostile academic environment. Without her introduction to religious history, I might not have paid such close attention to the nuances of
religious thought and practice at Lincoln. My undergraduate adviser, historian Jeanne Petit, taught my first history class (20th Century American Women’s History) and was the first to suggest I consider graduate school. She has since become a colleague and a friend. I must also extend my gratitude to Natalie Dykstra for her friendship and enthusiasm, for her love of Boston, and for teaching a course on autobiography that was – hands down – one of the most electrifying intellectual experiences of my college career. Her training in the interpretation of personal narratives has stood me in good stead throughout the research and writing of this thesis.

Former colleague Jeremy Dibbell
(December 2007)
I must recognize my colleagues at the Massachusetts Historical Society, particularly past and present members of the Library Reader Services department, who have been unblinking in their support of my research – including covering for me while I spent two weeks out West doing fieldwork. It is impossible to say how grateful I have been these past four years to work at an institution that recognizes my labor as an historian as well as a reference librarian.

I would like to thank colleague Aiden Graham for offering to loan me recording equipment, and for timely technical advice including helping me figure out how to wiretap my phone for long-distance interviews. Thanks, also, to Linnea Johnson and the GSLIS Tech Lab for the loan of a netbook that would otherwise have cost me hundreds of dollars this poor graduate student didn't have.  The Simmons College Student Research Fund, likewise, awarded me a travel grant that helped alleviate the financial burden of my fieldwork in Oregon. Valerie Beaudrault’s assistance in the Office of Sponsored Programs ensured that my application for funds was complete and submitted in a timely fashion.

My father and mapmaker extraordinaire, Mark Cook, is responsible for the beautiful customcreated maps that grace the pages of this thesis: without him, my visual representations of the Oregon Extension as a geographic place would have been awkward and, in all likelihood, inaccurate. My mother, too, has my undying gratitude for first introducing me to the work of John Holt, Ivan Illich, A.S. Neill, and other activists in the free school movement of the 1960s and 1970s, as well as to the history of intentional communities and their intersection with child-rearing and educational practice. Moral and intellectual support and good-humored camaraderie came in full measure from two founding members of the Secret Feminist Cabal, Ashley Minerva LeClerc and Laura Cutter, and from fellow oral historian, kick-ass librarian Diana Wakimoto. Y’all rock.

A slightly different form of support came from Geraldine, the feline member of our household, who took a keen interest in my work and sat on my notes, on the keyboard, and occasionally on my hands in order to ensure that work never took precedence over chin-scratching and the dispensing of kitty treats.

Finally, a few words for Hanna, who stoically endures my mania for American countercultures, Christian subcultures, and the history of utopian thought. Thanks for flying solo for two weeks while I was off collecting interviews in Southern Oregon, for taping useful PBS documentaries, for forwarding promising book reviews, for teasing me about garish 1970s cover art. Thanks for the proof-reading, the cheer-leading, the bottomless supplies of tea, wine, and baked goods. Thank you for letting me cry on your shoulder and for pointing out (quite rightly) that if I didn’t finish this project I would always wonder.

Thanks for helping me keep it all in perspective.


I moved to Boston in 2007 to write this thesis, not fall in love. I found you here, sweetheart, so in the end I did both.

2011-11-22

nano update: week three

I'm closing in on my own personal goal of 25,000 words for the month of November, folks! On this Tuesday before Thanksgiving, my official count is 18,444 and the only thing standing between me and completion is the complete sixth season of Doctor Who (I KNOW) and a Tofurky with orange-cranberry relish.


I had Hanna beta the impromptu Breakfast in Bed Challenge from last week and posted that to AO3 on Friday night, so you can go read All That the Garish Week Hath Scattered Wide if you want canoodling and nakedness and a pesky cat.

The five-times-plus-one fic is done but for the second half of the sixth part, which Hanna said on the walk to work yesterday was much to complicated a math problem for early in the morning. With the NaNo word-count whip behind me, it's by far the lengthiest installment of my Sybil/Gwen series to-date. But I also happen to be rather fond of it, and the plottish bit finally, finally gets them to London which is definitely where I wanted the series to take them.

Hanna has requested that I create Branson a boyfriend, since I've taken Sybil away from him. So that will obviously have to be done at some point. My first foray into m/m erotica? We'll find out the limits of my smut-writing abilities!

2011-11-19

chai rose water cookies

Last May when Hanna and I were in Holland (Mich.) I ordered a drink at lemonjello's that was a chai latte with a shot of rose flavoring. Heaven on earth. The problem is, rose flavoring is a rare offering at coffee shops and not the sort of thing that's easy to find at grocery stores, even a number of our favorite specialty shops here in Boston. But this morning Hanna and I were in Harvard Square for coffee and window shopping + actual shopping and I found rose water at the fabulous Cardullo's. So tonight we decided to make cookies using rose water, and found the following recipe on the Food Network website. We followed it with slight tweaks, so here is the altered version:

Ingredients

2 cups all-purpose flour
2 teaspoons ground ginger
2 teaspoons baking soda
3/4 teaspoon ground cardamom
3/4 teaspoon ground cinnamon
1/4 teaspoon freshly ground black pepper
1/2 teaspoon salt
1 cup packed dark brown sugar
1/2 cup (1 stick) unsalted butter, room temperature
1/4 cup canola oil
1 tablespoon rosewater

Instructions


Pre-heat oven to 350 degrees Fahrenheit

1) Combine flour and spices in a bowl and set aside.

2) Cream butter and oil and brown sugar, mix in rose water.

3) Add dry ingredients 1/2 cup at a time until fully incorporated. Cookie dough will be crumbly, like a dry pie crust dough.

4) Use hands to form walnut-sized balls of dough and place on a cookie sheet roughly 2 inches apart.

5) Bake for 15 minutes and use spatula to transfer cookies to wire rack for cooling.

Serve with warm milk and/or chai tea.

2011-11-17

congratulations doctor jay!

Joseph Tychonievich, Ph.D.
(taken May 2005, wearing my hat)
Earlier today, my friend Joseph successfully defended his PhD dissertation in horticulture, plant breeding, and plant genetics before his advisory committee at Michigan State University. We're drinking a fine zinfandel tonight in his honor. Congratulations!

Verbena bonariensis with bronze fennel
photo by Joseph

2011-11-15

nano update: week two


So they have the widgets up this week, but I'm not sure I'm all that thrilled with them. The color scheme is unimpressive. Still. Here ya go. As of this morning I have 13,880 words written toward the official goal of 50,000 and my personal goal of 25,000.

I like the screenshot a bit better. Perhaps I'm just vain?


This past weekend, I wrote a 3,300 word "plot? what plot?" bit of fan fiction at the request of a friend of mine, which accounts for a fairly large chunk of the total gain made. I'll probably edit it tomorrow evening and post it to AO3 if anyone is feeling deprived of Sybil/Gwen smut and wants something to look forward to for mid-week. It's about as plot-what-plot as I think I'll ever be capable of writing. Let's just say it involved doing some Google searching for the date upon which the zeppelin raids began on London (to ensure that leisurely morning sexytimes wasn't historically inaccurate) and to verify the name an inception date for Sylvia Pankhurst's East London Federation of Suffragists (yes, the acronym really was ELFS).

Happy writing everyone!

2011-11-13

booknotes: women in lust

Today, I am participating in the virtual book tour for Women in Lust, a new erotica anthology edited by Rachel Kramer Bussel and published by Cleis Press. I've written straightforward reviews of erotica anthologies before, as well as using them as starting-points to muse about erotic writing more generally. This time I wanted to mix it up a little and followed up on Rachel's offer to connect the virtual tour bloggers with anthology contributors for an e-interview.


Writer Donna George Storey was gracious enough to take the time to respond to my emailed questions with her thoughts about writing erotica professionally and what power erotica has to inform our lives. I hope you find her responses as thought-provoking as I did.


Without further ado, here's Donna.




“My desire made me more interesting to myself.”
an interview with Donna George Storey  

Anna: You describe yourself as an academic turned erotic fiction writer. Can you say a little bit about how you made that shift? What prompted you to begin writing erotica, and then to make it a part of your professional life?

Donna: As far back as I can remember, I’ve loved to lose myself in a good story and dreamed of writing my own fiction.  However, I also internalized society’s messages that few writers make a living from their passion and most become staggering alcoholics, so it was safer to channel my love of words into an academic appreciation of the works of accepted “great authors.” The exoticism of Japanese literature, and the challenge of simply reading those intricate Chinese characters, kept me enthralled for a while, but deep down I felt I was ignoring my true calling.  I finally found the courage to write seriously when my first son was born, and I took a temporary break from teaching—which ended up being permanent.  Motherhood is supposed to drain you of all erotic and intellectual energy, but for me the opposite was true.

Donna's collection of erotic literature and reference books related to Japan.
Photo by Donna George Storey, used with permission.
From the start my stories flirted with sex, but it took about a couple of years of practice before my stories were so steamy, I could no longer submit to proper literary magazines.  Yet I found being a “bad girl” immensely liberating to my creative spirit.  In spite of the erotica revolution in the 1990s when many talented authors and editors like Susie Bright and Maxim Jakubowski proved that stories with erotic themes could be smart, thought provoking and artistic, many people still assume sexually honest writing has to be poorly written, the kind of thing you hide under the bed.  My goal is to write stories that challenge that stereotype, stories that respect the complexity of the pleasures of body and mind.  Few mainstream authors are comfortable writing about sex in a way that celebrates its positive aspects (notice how often sex is coupled with punishment, betrayal, violence or other negative consequences in mainstream culture).  There are many erotica writers who do it bravely and beautifully—but we need more.  It changed my life and opened my senses in ways I’d never imagined, and I highly recommend it to everyone!

Anna: The story included in Women in Lust, "Comfort Food," uses recipes and cooking as part of the seduction -- and the end goal of the seduction, even. Can you talk a little bit about why you chose to write a piece centered around preparing and eating food? What was the immediate inspiration for this particular story?

Donna: When I’m not writing erotic stories, I love to cook, although I spend even more time salivating over beautiful cookbooks, a sort of culinary porn.  As I considered your question, I realized that my stories are also like recipes in that I’ll take an image that intrigues me and mix it together with a childhood memory, a touch of a lifelong hobby, and a few juicy tidbits from friends, then add a cup of my own libido to finish it all up.   “Comfort Food” is somewhat different from the common sex-and-food story involving lovers smearing whipped cream all over each other--which is fun, but messy!  In keeping with the female empowerment theme of Women in Lust, the story deals with a middle-aged woman’s fascination with a young chef and his secret pudding recipes.  He poses a challenge for her, but of course she gets everything she wants in the end.

There’s one line in this story that’s a particular favorite:  “My desire made me more interesting to myself.”  One of my many discoveries as an erotic writer is that sensual pleasure doesn’t have to be confined to the genitals.  Appreciating the sweetness of a ripe berry can be equally bewitching.  Yet enjoying food without guilt is as frowned upon in our society as enjoying sex without guilt, so that parallel also drove the story.  Last but not least, anyone who has a passion is very sexy to me, and good cooks by definition care about what they do.  Cooking is a form of communication, and I swear I can taste the love and dedication or lack thereof.  I once had an absolutely amazing dish of butterscotch pudding at a fancy restaurant in San Francisco called Fifth Floor.  I didn’t ask for the recipe, but I wish I had.

Anna: When I write about erotica and pornography as a blogger, I often get comments asking me for reading/viewing recommendations that are "women friendly" or "feminist." Where do you go for good-quality erotic literature? Any suggestions for my readers about places to seek out reading matter?

Donna: Yes, I definitely have some recommendations.  Cleis Press and Seal Press publish smart, well-written and very hot anthologies that celebrate female pleasure—anything edited by Rachel Kramer Bussel, Violet Blue and Alison Tyler are sure bets.  Online magazines are a great place to sample different authors without commitment.  Clean Sheets (www.cleansheets.com) tends toward the literary, you can always count on good, sexy writing.  Oysters and Chocolate (www.oystersandchocolate.com) is edited by two wonderful women, Jordan LaRousse and Samantha Sade who embrace all varieties of stories.  Since I began writing, I’ve come to appreciate the sensibility an editor brings to an anthology.  It’s more than just fixing typos.

Anna: One of the things I'm fascinated by as a reader/amateur writer of erotic fan fiction and original erotic stories is the relationship between peoples' sexual identities/experiences and the type of erotica they write or choose not to write. For example, there are straight and bisexual, even lesbian, women who write/read almost exclusively m/m erotica. I'm curious whether you write exclusively female/male erotica or whether you write other pairings (or groupings), and why you choose to write the pairings (or groupings) you do.

Donna: I’m fascinated by the same relationship myself.  Interestingly enough, the second most common question I hear after “are you published?” is “are your stories based on real life?” I actually do make use of material from my experience for many of my stories, but I take a lot of liberties with the facts, and none are strictly memoir.  No matter how realistic, erotic stories are fundamentally erotic fantasies.  Even if you aren’t peeping into the author’s actual bedroom, you are definitely getting a peek into her imagination and what really turns her on.  In a way, my readers are more intimate with me than many of my lovers have been.

When I write, I’m aiming to get at the hidden truths of sexuality, which is why I write mostly what I know, heterosexual sex, and why the wilder couplings are often explicitly presented as fantasy rather than reality.  On the other hand, it’s a big turn on to write and read about something you would never, ever do in real life.  That’s the power of fiction, to try on different lives.  So I have also written stories way outside of my experience.  I’ve noticed a trend of scenarios where a woman sleeps with two men, her maidenly reluctance completely overcome by her lover’s insistence that she enjoy sex with a hot stranger.  How can she say no to the man she loves, especially if he’s ordering her to be a slut?  It’s the perfect way to have your pudding and eat it, too.

Yet, I value authenticity and honesty in erotica.  I’d rather read a story written by a lesbian that gives me insight into her sensibility and experiences than something churned out by a guy who’s getting paid a penny a word for some hot girl-on-girl action.  Perhaps it’s my grounding in 70’s feminism, but part of me feels it’s a violation for a straight person to impersonate someone with a different orientation unless they approach it with great respect and sensitivity.  GLBT voices have been silenced for so long, it’s time to celebrate the chance for those who’ve been marginalized to tell it like it is.

That said, I have written a couple of lesbian stories that seemed to pass as believable.  My favorite is entitled “Ukiyo,” about a Japanese literature professor who takes a jaunt through Kyoto’s pleasure quarters with a colleague as an honorary man and finds herself becoming intimate with a female dancer.  I drew upon my own genuine curiosity and attraction to women, as well as a few actual drunken nights in Japan where my usual inhibitions were especially soft.  There was enough truth and genuine desire, I suppose, that Susie Bright chose the story for Best American Erotica 2006.

Anna: Are there any particular tropes in modern erotica that you wish would just go away?

Donna: I do have a particular pet peeve, which also happens to be a very common scenario in erotic fiction.  You lock eyes with a stranger at the bus stop or in a club, immediately retreat to an alley or public restroom, and have the most mind-blowing sex of your life without a word spoken.  I understand why this sort of zipless fuck is a popular fantasy—seduction is hard, knowing someone intimately is harder--but this particular type of story leaves me cold, bored, and unable to suspend disbelief.  I like to be warmed up first, even in fiction.

Anna: What are some of the things you wish we would see more of in erotic writing?

Donna: What I’d really love to see more of doesn’t have to do with a particular theme or kink, it’s about who writes erotica and why.  Until I started writing erotica myself, I thought of sexually arousing material as “out there,” images created by Hollywood or the porn industry, or naughty letters in Penthouse.  But writing erotica encouraged me to pay attention to my sexual response and my lover’s in a whole new way.  It was a tremendous awakening and took us to a new level of intimacy and enjoyment.  I realized how much sexual power and creativity was within me, not out there.

Donna George Storey
Photo by Laura Boyd, used with permission
The stories that blossomed from my imagination were an education as well.  Because of my writing, I’ve come to realize that sexual fantasy is not just a straight reflection of what you desire, it’s like a foreign language you have to decode.  Getting turned on by being dominated, as in the example above where the husband commands the wife to sleep with another man, does not mean you literally like or want to be dominated in all aspects of your life.   I now read this fantasy of mine as a way for my libido to borrow power relations in real life, where a good woman is only allowed to be sexual in relation to a husband.  But then something cool happens in my heated brain—the authority figure is transformed into someone who now allows  and insists on pleasure.   The same is true with exhibitionist fantasies, which are really about showing a hidden sexual self, not breaking genital exposure laws.  Sexual fantasy might seem taboo and outrageous, but at the heart is permission and acceptance of one’s eroticism.  That discovery has been very reassuring for me.   Even if you aren’t into this kind of analysis, just paying attention to what turns you on is fascinating.  How do you set up a gateway into your erotic world?  What point in the story is the climax?  How are figures in the real world transformed? (You’d never recognize my high school principal!)

As for the why you write, there’s lots of emphasis on publication as the test of a “real” writer, but the most meaningful erotica can be a private gift to yourself or your lover.  So, yes, I’d love to see more people exploring their erotic imaginations and writing lots of hot stories.  The world would be a much better place for it.




WOMEN IN LUST: You can read more about the Women in Lust anthology, and find excerpts of several stories contained therein, at the anthology website as well as purchasing copies from a variety of online booksellers including Amazon, Powells, or Cleis Press.

AUTHOR'S BIO:  Donna George Storey has taught English in Japan and Japanese in the United States.  She is the author of Amorous Woman, a very steamy novel about a woman’s love affair with Japan (check out the provocative book trailer).  She’s also published over a hundred literary and erotic stories and essays in such places as The Gettysburg Review, Fourth Genre, Women in Lust, Best American Erotica, The Mammoth Book of Best New Erotica, and Penthouse.

Cross-posted at The Pursuit of Harpyness

2011-11-09

nano update: week one

The NaNo site doesn't have word count widgets this year, so I resorted to a screenshot this morning. I'm actually further along than I thought I'd be at this point -- so yay?


I've been working on two new installments of my How She Loved You series (posted at AO3), which is Sybil Crawley/Gwen fan fiction series building loosely on the events from season one of Downton Abbey and, you know, inventing liberally thereafter. I'm currently about 5K and three sections into a 5+1 fic ("Five times Sybil and Gwen parted before dawn and the first time they didn't have to"), a piece about Sybil painting Gwen's portrait, and a longish plottish piece filling in Gwen's back story (complete with Tragic First Love).

Hanna, as usual, has demanded there be orgasms at regular intervals for both main characters, so for those of you yearning after femslash rest assured that this is Porn With Plot and/or Plot With Porn on an installment-by-installment basis.

Any of you participating in National Novel Writing Month? How'd the first week go for y'all this year?

2011-11-01

nanowrimo 2011 commencing in 3...2...1...

Today is November 1st and thus the beginning of National Novel Writing Month 2011. As I wrote at The Pursuit of Harpyness last Thursday, I'll be participating this year for the second time (my first year being 2009).

For those of you unfamiliar with National Novel Writing Month, basically it's an opportunity to join thousands of other amateur fiction writers in solidarity as you try to write 50,000 words of fiction between midnight on November 1st and 11:59pm November 30th. A lot of people attempt a full-length novel, but me I've got some fan fiction planned and maybe some non-fanfic erotic short stories I've had kicking around for a while in the back of my brain. We'll see. I'm not particularly gunning for the full 50k, but I'd like to contribute as many words as possible to the overall pool of creativity the event sparks. So ... the upshot is that y'all may not be seeing so much of me between now and the end of the month. My goal is to keep writing at least one post a week here at the feminist librarian -- either a book review or a "thirty at thirty" post. I've already got a virtual book tour event later in the month that I'm committed to (Rachel Kramer Bussel's new anthology Women in Lust!) as well as a couple of advance review items I want y'all to know about (Gayle S. Rubin's collection of essays, Deviations, and Jeanne Cordova's memoir When We Were Outlaws). So look for those reviews in upcoming weeks. I'll also continue posting links at the feminist librarian reads and writing at least one post a week over at The Pursuit of Harpyness. Hanna and I also continue to post three fan fiction recommendations per week at everything is gay and nothing hurts. Plus, obviously, harassment by email is always an option for those of you who miss me!

In the meantime, I hope all of you have a cozy and creative November -- and we'll be back to our regularly scheduled programming sometime around December 1st.