Showing posts with label classic. Show all posts
Showing posts with label classic. Show all posts

Friday, February 15, 2013

Where did Fifty Shades of Grey come from, from The Story of O...

Where did Fifty Shades of Grey come from, from The Story of O

Story of O

From Wikipedia, the free encyclopedia
Story of O
Cover of a French edition of Histoire d'O featuring Corinne Cléry
Cover of a French edition of Histoire d'O featuring Corinne Cléry
Author(s) Pauline Réage
Country France
Language French
Genre(s) Erotic novel
Publisher Jean-Jacques Pauvert
Publication date 1954
Media type Print

Story of O (French: Histoire d'O, IPA: [istwaʁ do]) is an erotic novel published in 1954 about love, dominance and submission by French author Anne Desclos under the pen name Pauline Réage.

Desclos did not reveal herself as the author for forty years after the initial publication. Desclos claims she wrote the novel as a series of love letters to her lover Jean Paulhan,[1] who had admired the work of the Marquis de Sade.

Contents

 

Plot


Published in French by Jean-Jacques Pauvert, Story of O is a tale of female submission about a beautiful Parisian fashion photographer, O, who is blindfolded, chained, whipped, branded, pierced, made to wear a mask, and taught to be constantly available for oral, vaginal, and anal intercourse

Despite her harsh treatment, O grants permission beforehand for everything that occurs, and her permission is consistently sought.

At the beginning of the story, O's lover, René, brings her to the château of Roissy, where she is trained to serve the men of an elite group. After this first period of training is finished, as a demonstration of their bond and his generosity, René hands O to Sir Stephen, a more dominant master. 

René wants O to learn to serve someone whom she does not love, and someone who does not love her. Over the course of this training, O falls in love with Sir Stephen and believes him to be in love with her as well. 

While her vain friend and lover, Jacqueline, is repulsed by O's chains and scars, O herself is proud of her condition as a willing slave. During the summer, Sir Stephen decides to move O to Samois, an old mansion solely inhabited by women for advanced training and body modifications related to submission. 

There she agrees to receive a branding and a labia piercing with rings marked with Sir Stephen's initials and insignia. At the climax, O appears as a slave, nude but for an owl-like mask, before a large party of guests who treat her solely as an object.


One version of the Roissy triskelion ring described in the book

Movie-style Ring of O, as sold in Europe.

Publishing history


In February 1955, Story of O won the French literature prize Prix des Deux Magots, although this did not prevent the French authorities from bringing obscenity charges against the publisher. The charges were rejected by the courts, but a publicity ban was imposed for a number of years.
The first English edition was published by Olympia Press in 1965. Eliot Fremont-Smith (of The New York Times) called its publishing "a significant event".

A sequel, Retour à Roissy (Return to Roissy, but often translated as Return to the Chateau, Continuing the Story of O), was published in 1969 in French, again with Jean-Jacques Pauvert, éditeur. It was published again in English by Grove Press, Inc., in 1971. It is not known whether this work is by the same author as the original.

Emmanuelle Arsan claimed the Story of O inspired her to write her own erotic novel Emmanuelle.[2]

A critical view of the novel is that it is about the ultimate objectification of a woman. The heroine of the novel has the shortest possible name, consisting solely of the letter O. Although this is in fact a shortening of the name Odile, it could also stand for "object" or "orifice", an O being a symbolic representation of any "hole". The novel was strongly criticised by many feminists, who felt it glorified the abuse of women.[3][4][5]

The book has been the source of various terms that are used in the BDSM subculture such as Samois, the name of the estate belonging to the character Anne-Marie, who brands O.

When the film of The Story Of O was released, L'Express magazine ran a feature on the novel and film. This resulted in L'Express being picketed by feminists from the group Mouvement de libération des femmes, who found the novel and film objectionable.[2] Journalist François Chalais also criticized Story of O, claiming the novel glorified violence; he described the novel as "bringing the Gestapo into the boudoir".[2]

 

Hidden identities


The author used a pen name, then later revealed herself under another pen name, before finally, prior to her death, revealing her true identity. Her lover Jean Paulhan wrote the preface as if the author were unknown to him.

According to an article by Geraldine Bedell,[1] published in The Observer on Sunday 24 July 2004, "Pauline Réage, the author, was a pseudonym, and many people thought that the book could only have been written by a man. The writer's true identity was not revealed until 10 years ago, when, in an interview with John de St Jorre, a British journalist and some-time foreign correspondent of The Observer, an impeccably dressed 86-year-old intellectual called Dominique Aury acknowledged that the fantasies of castles, masks and debauchery were hers."

According to several other sources, however, Dominique Aury was itself a pseudonym of Anne Cécile Desclos, born 23 September 1907 in Rochefort-sur-Mer, France, and deceased 26 April 1998 (at age 90) in Paris, France.

The Grove Press edition (US, 1965) was translated by publisher Richard Seaver (who had lived in France for many years) under the pseudonym Sabine d'Estree.[6]

 

Jean Paulhan


Jean Paulhan, who was the author's lover and the person to whom she wrote Story of O in the form of love letters, wrote the preface, "Happiness in Slavery". Paulhan admired the Marquis de Sade's writing and told Desclos that a woman could not write in a similar fashion. Desclos interpreted this as a challenge and wrote the book. Paulhan was so impressed that he sent it to a publisher. 

Interestingly, in the preface, Paulhan goes out of his way to appear as if he does not know who wrote the book. In one part he says, "But from the beginning to end, the story of O is managed rather like some brilliant feat. It reminds you more of a speech than of a mere effusion; of a letter rather than a secret diary. But to whom is the letter addressed? Whom is the speech trying to convince? Whom can we ask? I don't even know who you are. That you are a woman I have little doubt."[7] 

Paulhan also explains his own belief that the themes in the book depict the true nature of women. At times, the preface (when read with the knowledge of the relationship between Paulhan and the author), seems to be a continuation of the conversation between them.

Discussing the ending, Paulhan states, "I too was surprised by the end. And nothing you can say will convince me that it is the real end. That in reality (so to speak) your heroine convinces Sir Stephen to consent to her death."[citation needed]

One critic has seen Paulhan's essay as consistent with other themes in his work, including Paulhan's interest in erotica, his "mystification" of love and sexual relationships, and a view of women that is arguably sexist.[8]

 

Adaptations

 

Mainstream


French director Henri-Georges Clouzot wanted to adapt the novel to film for many years. It was eventually adapted by director Just Jaeckin in 1975 as Histoire d'O (Story of O), starring Corinne Cléry and Udo Kier. The film met with far less acclaim than the book. It was banned in the United Kingdom by the British Board of Film Censors until February 2000.

In 1975, American director Gerard Damiano, well known for Deep Throat (1972) and The Devil in Miss Jones (1973) created the movie The Story of Joanna, highly influenced by the Story of O, by combining the motifs from one of the book's chapters and from Jean-Paul Sartre's No Exit.

In 1979, Danish director Lars von Trier made the short movie entitled Menthe—la bienheureuse, as an homage to Story of O. His 2005 film Manderlay was also inspired by the book, particularly Paulhan's introduction.[9]

Five years later, in 1984, actress Sandra Wey starred as "O" in The Story of O: Part 2.

In 2002 another version of O was released, called The Story of O: Untold Pleasures, with Danielle Ciardi playing the title character.

A Brazilian miniseries in 10 episodes with Claudia Cepeda was made in 1992 by director Eric Rochat, who was the producer of the original 1975 movie.

In 1975, it was adapted for comics by the Italian artist Guido Crepax. Both the original and Crepax's adaptation were parodied for comics in 2007 by Charles Alverson and John Linton Roberson.[10]

 

Documentaries


Writer of O, a 2004 documentary film by Pola Rapaport, mixed interviews with re-enactments of certain scenes from the book. In the documentary, the real author of Histoire d'O, Dominique Aury (also a pen name), talks about the book A Girl in Love. This book was written about how Story of O was written.

A documentary was also made for BBC Radio 4 entitled The Story of O: The Vice Francaise, presented by Rowan Pelling, former editor of the Erotic Review, which looked at the history of the book and Pauline Réage.

 

In popular culture


The comic book character Orlando is a blend of several fictional characters with the name Orlando as well as being known during the mid-sixties as O while engaged in sexual games with the descendants of the Silling Castle survivors, according to Alan Moore and Kevin O'Neill's The League of Extraordinary Gentlemen series.

On The Dresden Dolls' album Yes, Virginia..., the piece "Mrs. O" includes reference to the Story of O.

The band Oneida has a song "Story of O", on their album Rated O.

In Jacqueline Carey's novel Kushiel's Dart, during a grand ball, the main character — a masochist and submissive — dresses as a naked bird, as in the last scene of O.

Tori Amos's song "Glory of the 80s", on her album To Venus and Back, mentions having "The Story Of O in my bucket seat of my wanna-be Mustang".

In the TV series Frasier (season 5 episode 3 "Halloween"), Roz Doyle appears as O at a Halloween party.

 

See also

 

References

  1. ^ a b Bedell, Geraldine (24 July 2004). "I wrote the story of O". The Guardian. Archived from the original on 24 March 2008.
  2. ^ a b c Destais, Alexandra (2006). "Réage, Pauline". In Brulotte, Gaétan; Philips, John. The Encyclopedia of Erotic Literature. London: Routledge. pp. 1080–1086. ISBN 978-1-57958-441-2.
  3. ^ Dworkin, Andrea (1974). Woman Hating: A Radical Look at Sexuality. New York: Dutton. ISBN 0-452-26827-3.
  4. ^ Griffin, Susan (1982). "Sadomasochism and the Erosion of Self: A Critical Reading of Story of O". In Linden, R. R.. Against Sadomasochism: A Radical Feminist Analysis. East Palo Alto.
  5. ^ Smith, Joan (1998). Different for Girls: How Culture Creates Women. London.
  6. ^ "The True Story of 'The Story of O' by Pauline Reage". h2g2. 3 Novovember 2006 [13 November 2001]. Retrieved 2012-11-15.[unreliable source?]
  7. ^ Story of O. Ballantine Books. p. xxiv.
  8. ^ Syrotinski, Michael (1998). Defying Gravity: Jean Paulhan's Interventions in Twentieth-Century French Intellectual History. SUNY Press. pp. 74–75.
  9. ^ Bell, Emma (10 October 2005). "Lars von Trier: Anti-American? Me?". The Independent. Retrieved 2011-06-05.[dead link]
  10. ^ Alverson, Charles; Roberson, John (2007). "Story of OH!". Retrieved 2012-11-15.

 

External links

Tuesday, August 28, 2012

Adding Sex to Classics? Remember This?_Fornicating with Mr Darcy_2004

By Catherine Keenan
January 10, 2004




Arielle Eckstut, 33, literary agent

Not long after her extraordinary discovery of the lost sex scenes of Jane Austen, Arielle Eckstut went on radio to discuss her find. She was joined by the president of the Jane Austen Society of North America, and a mysterious academic called Dr Elfrida Drummond. Both listened, enthralled, as Eckstut recounted the moment when, in a "grand manor" in Britain, she was battling to open an old window and accidentally dislodged a small wooden box that had been hidden there for almost two centuries.

Inside was something beyond imagining: pages and pages covered in an exacting hand, detailing sex scenes between Elizabeth and Mr Darcy, Charlotte and Mr Collins, a not entirely successful encounter between Knightley and Churchill from Emma, and more. Austen, an author famed for her control over the unsaid, had apparently said it all, in explicit detail, but the scenes had been excised by a hidebound editor. Austen's heated correspondence with him was in the box, too.

A devotee of Austen's books, Eckstut was astonished and delighted by her discovery, and published a book, Pride and Promiscuity: The Lost Sex Scenes of Jane Austen. It was introduced by "the most conservative of all modern Austen scholars", the Oxford-based Drummond, who announced that Eckstut had taken the accepted picture of the great author and turned it on its head. The radio station was inundated with calls from people wanting to find out more, and Eckstut was contacted by a doctoral student at Oxford University, who said he couldn't find Dr Drummond listed on the faculty records. Could Eckstut please supply him with contact details?

Very gently - though with some satisfaction - Eckstut pointed out to the young man that the radio program was broadcast on April 1. Dr Elfrida Drummond was, she explained, a fictitious character played by Eckstut's husband. Eckstut has indeed published a book of sex scenes between the most famous of Austen's characters, but it is a parody, "a loving homage".

Mr Darcy hadn't really "put his hands on Elizabeth's breasts and pushed up each soft globe so that both were near escaping the rim of her chemise". And Austen certainly didn't write about Charlotte dressing up in one of Lady Catherine de Bourgh's old dresses, giving Mr Collins a sound whipping while he crouched on all fours barking "I have been very, very bad! May I please have another!"

The doctoral student was by no means the first to be taken in. "A number of editors called and thought it was the real thing," says Eckstut. "I like to try and keep them going for a little while, saying, 'Oh my God, it was so amazing when I found it'."

Are they embarrassed when they find out the truth? "Absolutely," she laughs.

Eckstut, 33, is a literary agent and no stranger to writing about sex. Her husband, David Sterry, was a gigolo in his teens and wrote a memoir, Chicken. She has written about sex - and about being married to an ex-gigolo - for various publications.

The idea for this book came from a friend. "He just said, off the cuff, 'Wouldn't it be hysterical if someone found the lost sex scenes of Jane Austen?"' Eckstut had been a fan of Austen since she received a hard-bound copy of Emma for her 11th, or possibly 12th, birthday. "And I still have that copy, and I used it to do the research for the book."

When she decided not to go on to graduate work, she thought she put paid to her dream of writing about Austen: without a PhD, no one would take her seriously. "So when I heard this, I was like, 'This is my opportunity'."

She spent six months rereading all Austen's books, some of the literary criticism and a biography. "Then I got very, very detailed, and I started making vocabulary lists of words that I saw that were used over and over again. I studied the way she put together a sentence."

It was daunting trying to imitate one of the greatest prose stylists in the language. "And I don't make any claims to have done it in any way near what Jane Austen did. As someone who had read the works over and over again, I did a decent job capturing that tone, but I think that it doesn't come near her work."

Still, the president of the Jane Austen Society of North America has endorsed the book as "wickedly funny". Not so other Austen fans, who have been outraged by the idea of an actual sex scene between Lizzy Bennet and Mr Darcy. Even Andrew Davies, famed for injecting sex into the classics, stopped short of that in his BBC adaptation of Pride and Prejudice. Just having Colin Firth emerge from the water in a clinging shirt was enough to cause palpitations in Austen's female fans across the globe.

"There's a lot of older ladies who read her as romance reading. And I think that sector across the world just thinks it's the most disgusting thing," Eckstut says.

She defends it as a homage to Austen's wit. "There's a rich tradition in English literature, from Pope to Swift up through the ages, where parody takes people's characters and turns them on their head."

A.S. Byatt had no truck with this line of argument, however, and condemned the book on BBC radio as intrusive, crass, "very, very third rate", and an insult to the imagination of readers. In a tone of patrician disdain, she intoned: "If you were a really good writer, you'd invent your own characters, and your own world, and your own scenes. I think it's the piggybacking I don't like. It's parasitical. It's like being a flea."

"Wow," Eckstut responded. "Good parodies have always made people angry." Pride and Promiscuity: The Lost Sex Scenes of Jane Austen, by Arielle Eckstut, is published by Canongate, $24.95.

"There's a lot of older ladies who read [Austen] as romance reading. And I think [they] just think it's the most disgusting thing."