50 SHADES OF GREY Thinking: Are the Alarmists Missing the Important Layers of This Fiction?
Love is not separate from lust in a marriageable relationship.
Is the myth of virgin taming the wild thing lost on us today?
What is an inappropriate sexual first time? And all the blood and pain of a "traditional" wedding night is bull, and unnecessary except to those who think blood and pain prove virginity, not impatience and lack of foreplay.
Trust, whips, bindings. Do you trust your lover / spouse / significant other / partner?
What is the emotional and physical cost of redemption -- with your help -- for someone you love?
We're all piggybacking on the interest of this "controversy" but is the alarmists for domestic violence going too far in apparently proposing the attitude that properly agreed upon bondage, dominance, submission, and sado-masochistic behaviors LEAD to true violence and domination in physically intimate relationships without a woman's inability to stand for herself and say no.
That's not what I've learned from the news about bad and violent marriage, date rape, and war crimes. The nonplay crimes.
The limits change and can be misunderstood, that is a the end of the first book; Anastasia's misunderstanding what her limits are, and Christian's misunderstanding of his own motives (properly diagnosed, but he rejects that truth and internalizes the incorrect negative).
Are you certain she's not a sneaky dominant, rewriting or discarding his long held rules? And he the actual submissive submitting to her changes?
And never underestimate the charming fiction that we can influence and change someone with love; it can happen, but is not something you can count on or depend. But romantic female fiction is being loving and effective in that love; romantic male fiction is being hero and leader (soldier, warrior, cowboy, pirate, special ops).
Showing posts with label submissive. Show all posts
Showing posts with label submissive. Show all posts
Tuesday, March 17, 2015
Saturday, February 16, 2013
SHORT STORY, Romantic Erotica: Neale Sourna's Dez at the Silver Pole
 |
03_Silver
Pole
READ
excerpt
Dez is a willful, stubborn hottie, the bisexual top stripper and erotic dancer [exotic dancer] at Max’s club; independent to the bone, she won’t be controlled. But, enter Mr. Dark, a powerful, dangerous, wealthy player, a corporate gangsta with an eye only for sexy Ms. Dez.
He’s certain he can teach this free girl a few things.
In lust and love, what is “control,” what is “danger,” when two headstrong people are in conflict over their mutual desires, at the foot of a stripper’s silver pole. _9587 words Erotic Romance stripper, exotic dancer, bisexual, lesbian, love, heterosexual, forced sex, coerced sex, domination, control |
Silver Pole [excerpt]
...G'd left for a last minute upscale,
bachelor party, when Max, I - Am - An - Ass - And - Completely -
Spineless - Around - Mr. - High - and - Mighty - Dark, said Dark had
finally "requested" I dance for him. Yes, Max made finger quotes.
I'd asked Ginger once if she liked
dancing for Dark. She giggled. Remember, with G, giggling means me…or
money. Translation, she doesn't like men but she'd even fuck him, since
he pays well. He'd better because I can charge more than the others. I
get the patrons to come inside, and bring their friends, and I keep
them all there longer and cumming right here in my hot, little hand.
I really considered not dancing for
that imperiously bossy snot though.
But, maybe I'm stupid, because Dark's
sudden interest in a private dance, after ignoring me, except for my
general dances and to taunt me, had me a smidge…intrigued.
Well, actually, more than a smidge.
* * * *
He didn't want me on his lap, so I and
my delicate, gold Egyptian bracelets gyrated and twisted, and displayed
and fingered and shook my more obvious assets from a distance.
He seemed pleased, while Shadow [his
huge bodyguard] looked on. Minutes later, Shadow put down lots of Mr.
Franklins. I guess, his boss didn't want to get his hands dirty. I was
reaching for the loot.
"Again."
"They're your Bennies," I said.
This close to him, this long, it was
starting to get to me that he never looks at me like anyone else does.
Not like his Shadow, who was trying hard not to
look at me. I know when a man's looking at me, and Shadow'd lost the
battle. The hard proof being the growing precum stain, from his stiff
billy club in his pants, that he tried to modestly shift to a more
comfortable position.
Unless, of course, he had a big thing,
for his boss.
"Come here."
The sahib indicated I may now
approach, and buff his lap, which I did thoroughly. The song ended.
Shadow piled on the Poor Richards.
"Again." Greedy bastard.
He peeled off his long, stylish
jacket. A little warm, I guess. Y'know, others want lots of dances,
too, but they don't have the cash or credit, or they're afraid they'll
cum their slacks. Dark seemed to be holding his cream but his trousers
were becoming less slack the more I rode his very expensive imported,
custom tailored fabric.
Then, he touched me.
"No touching!"
I'd dismounted so fast, I don't think
he'd expected it. The look on his face said touching me was no
overinfatuated mistake. As they always say.
Tiny Natalie'd had some queer lick her
ass just yesterday.
Totally creepzoid.
We do a lot. But, it's a service,
a special service, and it has its limits. Let's
face it; we're vulnerable--naked, outweighed, unarmed, with help far
enough away that we could get seriously damaged or dead before the
bouncers get to us.
So, touching me...us is very much
breaking the law. And, my law.
Most people still like to think we're
wearing pasties or nude plastic or Sally Rand feathers, "if these kinds
of places must exist," they say. But, no, the law says nude's--fine,
opening my legs--fine, touching myself or another performer's anything
is--fine, but…customers touching us...me is forbidden. As I rub my body
against theirs.
I'm on…I am that thin,
fragile line between voyeurism and participation, stripping (Since
I'm naked, I strip your mind, not my clothes.--Good, huhn?)
and prostitution.
"Dez, it was just your waist I
touched."
"It doesn't matter, Dark. You
touch nothing."
"All right. I'll behave. Finish.
Please?"
I didn't like the look in his eyes, I
couldn't read it, and, the pit of my stomach churned. Never a good sign.
"If you want more, Dez.... A penalty
fee?"
Where was Shadow pulling
those bills from?
He never put his hand in a pocket, no
bill fold or wad seemed to be in his huge hand, and then Blam!
He put down ten of them this time, for his master; fanned so I could
count.
"You're not stupid, Dez, you know I
like you. I just momentarily forgot proper decorum."
"Bullshit." He smiled at my anger,
which pissed me good.
"Okay. One last dance. You get paid,
and I'll go. I'll never come back here to Max', unless you give me
permission."
I had to think about that one. The
money was better than great, and there'd be more, he always pays, even
if he only watches for thirty seconds. And, then his royal pain in my
ass would leave...he could dry hump himself.
I wished he'd stop looking like he
knew exactly what I was thinking, which, of course, I knew he did.
So, I Salome'd again, and he asked me
to straddle him, which is not unusual, especially from a high-paying
client. I mounted him and his eyes held mine for a long time, his
prodigious bulge between my legs, throbbing deliciously, making my bare
pussy dampen it's tongueless mouth. I tried to move off the expensive
fabric…before I--.
"Wet it, Dez, I don't care."
How'd he know I was getting so wet? I
thought to disobey; but, I liked the constant throb his cock was
singing to my cunt. I wanted more. He could tell.
"Put your hands on my shoulders, and
lean into me."
I hesitated, but finally did it, and
it felt wonderful; but, I was loosing control, and the position put his
hot lips too close to my breasts. If I'd been flatterchested we would
have stayed within the law, but my tit brushed his hot mouth and he
grabbed me and sucked.
Pulling away made him suck harder,
biting just a bit, and his pants got wetter, at least from my side.
He smiled, mouth full of me, knowing
he had me, knowing he was getting my body, that's controlled by me,
that serves me, to betray me.
I pulled away to dismount, and his
teeth let go but he held me on his hard bulge, pushing it up into me. I
wanted it; but, I wasn't having it, as I shoved to get away. He grabbed
a handful of hair on the back of my head.
Piss me! Tryin' to control
me.
I backhanded him, and, suddenly, he
had a switchblade at my ribs.
"She's thinking whether or not I want
her enough not to slice her beautiful body, or if I'm afraid someone
might hear her call out, and come for her." He pulled my head to his.
"Delectable Dez, who's going to run through that
door and into him? And, if they got past him, who'd
run up on me? Even for you."
"What d'you want?"
"Control of you."
Thought so.
I….
End of Excerpt
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 (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.
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.
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]
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, 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]
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]
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.
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.
Story of O
From Wikipedia, the free encyclopedia
This article is about the erotic novel. For the film, see Story of O (film).
| Story of O | |
|---|---|
 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 | |
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.
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
- ^ a b Bedell, Geraldine (24 July 2004). "I wrote the story of O". The Guardian. Archived from the original on 24 March 2008.
- ^ 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.
- ^ Dworkin, Andrea (1974). Woman Hating: A Radical Look at Sexuality. New York: Dutton. ISBN 0-452-26827-3.
- ^ 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.
- ^ Smith, Joan (1998). Different for Girls: How Culture Creates Women. London.
- ^ "The True Story of 'The Story of O' by Pauline Reage". h2g2. 3 Novovember 2006 [13 November 2001]. Retrieved 2012-11-15.[unreliable source?]
- ^ Story of O. Ballantine Books. p. xxiv.
- ^ Syrotinski, Michael (1998). Defying Gravity: Jean Paulhan's Interventions in Twentieth-Century French Intellectual History. SUNY Press. pp. 74–75.
- ^ Bell, Emma (10 October 2005). "Lars von Trier: Anti-American? Me?". The Independent. Retrieved 2011-06-05.[dead link]
- ^ Alverson, Charles; Roberson, John (2007). "Story of OH!". Retrieved 2012-11-15.
External links
- The complete 'Story of O' website: all about Histoire d'O and Dominique Aury
- Histoire d'O at the Internet Movie Database
- Story of O, the Series at the Internet Movie Database
- The Story of O: Untold Pleasures at the Internet Movie Database
- Writer of O at the Internet Movie Database
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