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Dakar
Joined October 2021
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« Blased about women for a long time, Justine de Sade fell under my hand. She set me on fire; I wanted to cum, and it was with fury: I bit the breasts of my mount; I twisted the flesh of her arms... Ashamed of these excesses, effects of my reading, I made myself a tasty, but not cruel Erotikon, which excited me to the point of making me put on a hunchback, two feet high.
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L’Anti-Justine, ou les Délices de l’amour (1798) by Nicolas-Edme Restif de La Bretonne is one of the most singular texts in French libertine literature. Its title already announces its program: it is a direct answer to Justine of the Marquis de Sade. Restif, who devoted a fierce hatred to Sade (a reciprocal aversion), affirms it without detour in his preface: « No one has been more indignant than me by the dirty works of the infamous of Sade [...] This scoundrel only presents the delights of love only accompanied by torments, of death itself, for women. My goal is to make a book tastier than his ». Where Sade makes suffering the heart of pleasure, Restif claims an eroticism of tenderness and voluptuousness, where « everything is voluptuousness, love and tenderness ».
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Emmanuelle (1959), written by Emmanuelle Arsan (pseudonym of an author, as for Histoire d’O), is the other great French female erotic novel of the post-war period. Where Histoire d’O explores a dark and voluntary submission, Emmanuelle is described as a « solar eros »: it tells the sexual awakening and liberation of a young woman married in Thailand, celebrating freedom of the senses and triolism rather than domination. Published four years after Histoire d’O, he nevertheless claims it as a filiation while radically breaking with his black tone. The novel was a worldwide success and gave rise to many film adaptations.
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Histoire d'O is undoubtedly one of the most famous and controversial erotic novels of the 20th century. Published in 1954 under the pseudonym Pauline Réage, it has long hidden the identity of its true author: Dominique Aury, a respected publisher at Gallimard and a recognized literary critic. This novel, written in a cold, precise, almost clinical language, tells the story of voluntary submission and extreme domination. As soon as it was published, it caused a scandal, was banned, then ended up establishing itself as a classic of erotic literature.
The plot is simple but disturbing. O, a young independent woman free from her morals, is in love with René. To prove this love, she agrees to be taken to an isolated castle where she undergoes rigorous training: she is whipped, offered to other men, marked with an iron sign that indicates her belonging. René then "gives" it to a more powerful man, Sir Stephen. Under his control, O continues his journey of submission to a form of almost religious sacrifice, where he ends up dissolving in the erasure of himself. What makes the book so disturbing is that O's submission is always presented as a deliberate choice, an act of freedom.
This novel has become a classic precisely because it refuses any simple moral judgment. Since its publication, the readings were divided into two opposing camps. Some see it as a raw representation of the oppression of women, even a literary confirmation of the most secret fantasies of a patriarchal society. Others believe that by writing this extreme story, Dominique Aury conducted a radical exploration of female desire: in France in the 1950s, that a woman dared to publish such a text was already a transgression. Aury herself called herself a "feminist" without ever having campaigned in any movement, an ambiguous position that reflects the very complexity of the novel.
The literary quality of Histoire d'O also deserves to be highlighted. Aury's style is sober, controlled, stripped of all sentimentality, and this narrative dryness gives the story a strange solemnity, almost ritual. Jean Paulhan, his lover and one of the first readers of the manuscript, signed the preface, praising the precision and power of his writing. Whatever the judgment on the content, the formal awareness of the work cannot be denied. The novel was adapted to the cinema and comic book by the Italian Crepax, who offers O a more provocative ending, suggesting that under his submission lies an elusive power. But the strongest version remains this thin volume with an icy and precise text. He offers no consolation and asks for no forgiveness: he simply asks the reader a naked question. When a person totally abandons his freedom, does he destroy himself or fulfill himself?