Showing posts with label story of o. Show all posts
Showing posts with label story of o. 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

Thursday, November 22, 2007

Reviewing an Old Vicious and Questionable Review That Will Not Die

New authors and publishers, and old. Chin up. "Don't let the bastards get you down." I recently reread the following review of my first to publish novel, "Hobble." I always remembered that it originally appeared alongside what that particular book review website thought was THE BEST pick. I still find it interesting and odd, to say the least.

I also find this to be one of two of my least favorite reviews: always because the reviews sounded as if the person really didn't read my work, and/or didn't have the decency to say I don't get it or I don't like this sort of thing so my review is highly skewed, or I passed it on to someone who reads this genre.

Do note that the review on my work is anonymously signed, "staff." Isn't that special and obscenely discourteous. I come naked to the party and someone hides behind "staff." I bet his staff is quite soft and inadequate or her inner staff is utterly dry and shallow. Or maybe staff has both genitalia or none. Because "staff" can say anything when too coarse and disrespectful to just place its initials on its supposed witticism.

And the bloody thing just won't die, as it always comes up on the search engines, first page often. Oh, well. My consolation is that those REAL people who read Neale Sourna's "Hobble" and who have the ability to actually read, always "get it" and can't put it down, or can't retrieve it from their lovers. That's better than one anonymous poopfest from the too inadequate to author and publish themselves.

--Neale Sourna
Other "Hobble" Reviews can be read at:
http://hobble.neale-sourna.com/
http://www.amazon.com/s/ref=nb_ss_gw/105-6637399-1494866?url=search-alias%3Dstripbooks&field-keywords=neale+sourna&x=0&y=0

PS: One last amusing bit is the use of the other book of the name de Sade as in Marquis de Sade, with whom I shall always have something of a link, as we're both born on the same day. Hm. Radical, as they used to say back in the day.
=========================================
B O O K R E V I E W

Spring 2003

Hobble by Neale Sourna

Hobble
Neale Sourna
Infinity Publishing, Pennsylvania
291 pp. $18.95

It’s books like Neale Sourna’s Hobble: An Adult Fiction that make us seriously consider giving up the reviewing of self-published books. Though well-meaning, Sourna makes just about every mistake possible with this weakly written, amateurish yarn about sex and control. The back-cover blurb lays out the story like this (normally we'd break it down ourselves, but in cases like this, it would be a waste of time):

"BENNET GILLESPIE, a brilliant but burned out, Native American surgeon, too quickly becomes entangled in an obsessively sexual, emotional tug of war for irresistible, homicidally "insane," and ... mysteriously lamed DAY, whose body and love promises loss of soul ... and life."

Sic. Simply count the ly's in the setup and you'll begin to see the problem. Now contrary to industry standards, we at ALR are champions of muscular modifier use in fiction, but authors need to use some common sense for crying out loud. Sourna shows very little. This inattention to prose fundamentals doesn't stop at verb and noun modifiers—oh no. The author commits almost every classic beginner's error: failing to identify the speaker in dialogue for pages at a time; over-over-OVERwriting; cliché; reckless, silly, and downright incorrect usage; horrendously melodramatic dialogue and narrative; general lack of descriptive elements; a droning repetitive voice prone to redundancy and self-indulgence.

The story and characters aren't bad on a basic level. A decent professional writer could have done something with the character and relationships, but Sourna uses them so ineffectively and broadly that the reader gets bored after a page or two—every page or two. The numerous sex sections, which at least show a hint of natural spark, aren't enough to pull this self-published novel out of its self-involved spiral.

Despite all the negatives of Hobble, Sourna isn't necessarily a lost cause. As we said, her basic ideas are fairly strong. A year or five in a solid critically-based fiction writing program (which is quite different from film and video writing—Sourna's alleged areas of expertise) or a no-holds-barred, rip-the-story-apart workshop environment might just make her understand how naive she was to think this book worth publishing, especially at $18.95 softcover! Our diatribe against Publish America's policies in our review of Nathan Leslie's Rants and Raves applies to Infinity Publishing's practices as well. These online publishing “stores” are preying on the meek, the young, and the yet-to-be-talented—which would be fine if these people would just stop sending their half-told tales out for review.

Unfortunately Sourna is not alone in her folly, and it is our sincere hope that this review communicates the world-wise message to all prospective self-publishers out there: Think twice before going that route. This applies especially to those under the age of thirty (or forty) with little or no experience in writing for publication. It doesn't matter how much of a genius you are—odds are the mistakes this author made in Hobble are the ones you'll make in your book, so you had better be damned sure you know the Ten-Thousand Things about writing before you throw underdone hamburger to the big dogs. True, they may eat it, but we guarantee it's not going to look pretty when it gets vomited back at you a few hours later.

-Staff-
=========================================
B O O K R E V I E W

Spring 2002

Extraterrestrial Sex Fetish by Supervert

Extraterrestrial Sex Fetish
Supervert
New York: Supervert 32C Inc
216 pp. , $15

In ETSF, a rogue author named Supervert has offered us a bizarre literary assay into parts and orifices unknown by attempting to combine philosophy, psychology, science fiction, and serial pornography (a la Sade’s 120 Days of Sodom) into a single, sound literary work.

Sound like a difficult proposition? Like a pipe-bomb text more likely to explode in the hand of its creator than in the mind of the reader? Assuredly. Should the self-inflated tenor of the author’s nom de plume give further pause to any prospective audience? Probably. Does Supervert deserve a round of applause for this blending of discipline, subject, and raw psychic fiction?

Strangely enough, he does—as well as meriting a standing O and a curtain call or two. Extraterrestrial Sex Fetish is nothing short of brilliant. Misanthropic, satirical, informative and undoubtedly shocking to many for its ongoing examination of pedophilia and exophilia (alien sex fetish), ETSF resounds as a deft dissection of the disaffected mind in the post-postmodern period. While the protagonist, a computer programmer/philosopher/practicing pedophile named Mercury de Sade thinks he has evolved into a philosophical creature quite beyond the simple apathetic sentiments of existentialism and nihilism, the author’s controlled exposition and development of de Sade’s sickness—a fetish for something beyond the boring, disgusting human sphere— shows that despite its space age manifestation, this sickness springs from the same basic earth: a deep-seated loathing for mankind. However, the inverted posture of de Sade’s misanthropy does make for unique viewing. We seldom see distaste for one’s fellows based on their frustrating inability to be or become extraterrestrial.

The format of ETSF follows a parallel development of four precisely related lines of fantasy, plot, analysis, and dissertation. “Alien Sex Scenes” chapters (ASS) represent the imaginary encounters of Mercury de Sade’s ever stalwart erogenous accompli with just about every orifice and/or skin surface available on a series of alien worlds. Death, dismemberment, intergalactic whores, detachable genitalia, sex battles, humiliation, excretory prolapse, sexual time travel, and pedophilia of the third kind are just a few of the delights that greet the protagonist on his voyage, which must be perceived in the greater context not as pornographic science fiction per se but as the stuff of the protagonist’s boiling brain.

The plot heavy “Methods of Deterrestrialization” (MOD) chapters deal with a real time liaison between Sade and a shoplifting sixteen-year-old schoolgirl named Charlotte Goddard, who Sade (in the frustrated context of his impossible fetish) seeks to convert to an alien or more accurately an alien surrogate. As with other victims in his past, his disenchantment with the veracity of the stand-in leads him to sadistic extremes. The twisted line of plot in these chapters helps bind the book together, lending a disturbed sense and subtext to some of the more abstract and clinical sections.

Chapters marked Lessons in Exophilosophy (LIE) might read like studies from a well constructed Western Philosophy textbook were it not for their often subtle connection to the perverse action in the MOD and ASS chapters. In LIE, Supervert lays out a historical progression of argument from Anaxagoras and Heraclitus to Kant, Schopenhauer, and even Sartre on questions of extraterrestrial life and sex. The convolution and bastardization of logic in his syllogisms displays de Sade’s monomaniacal psyche perfectly, while the controlled use of fetishistic obsession as handmaid to philosophical method lends a humorous lightening hand to the material. The use of veritable philosophical works to prop up a burning desire to fornicate with aliens summons to mind the old maxim of the Devil quoting scripture for his own purposes. One is often tempted to decry the protagonist’s ill use of reason until one remembers that it is the character’s disease talking; as such, every fallacy falls perfectly in line.

“Digressions and Tangents” chapters are mostly diary entries, descriptive texts, and self analyses wherein de Sade confronts and studies his demons and their psychological / cultural /physical origins. The subtitle for ETSF is Materials for the Case Study of an ET S&M Freak; the DAT chapters expand upon this principle, feeding and being fed upon by the whole as the protagonist seeks to justify, deconstruct, and even explode the basis of his fetish.

We should castigate the author for the repeated de-capitalization of Earth (though there is perhaps some textual support for this “de-capitation”) and for one or two exceedingly minor copy-editing mistakes, but since we’re sure this gem was never sullied by a trip through the entrails of the regular publishing beast, we’ll offer a sly wink instead. In the interest of clarity, ALR isn’t especially fond of the self-published book industry—it leads too many young or under-talented writers to publish long before they understand their craft—but occasionally an author like Supervert throws his work into the press, knowing full well that no publisher would ever take the chance on his book. Marcel Proust self-published Swann’s Way due to a staid and unreceptive market; in the same vein, accomplishments like ETSF need to be printed, distributed and sold.

To sum up: Had Immanuel Kant, William Burroughs, Carl Jung, the Marquis de Sade, and an overly libidinous Captain Kirk been confined to a single spacecraft to write a book, ETSF would have been the result. That this montage of reason, disease, and literary style is the work on one writer is laudable; that it not only hangs together but spins and thrums, creating a perfect, demented cosmos is a miracle; that the author of such a fantastic work is named Supervert is hysterical. If you have philosophical and transgressive cohones large enough to appreciate it, you should buy this book.

– CAW –