Not really a handsheet, but anyhow:
We haven't seriously researched this, but writing style is not different from finger prints or irises, every author has her own. And the spread of the distribution is wider, think of comparing the foot print of a dinosaur with the touch of an ant or the mark of a rabbit (even inside a genre, just compare erotic writers
Susan Johnson and
Ludmilla Sanders).
We had this idea to look at a few female erotic authors, their rendering of the
climax, the
crest, the
moment, when he
brings you off with that extraordinary precision soon unbearable, sooner or later after having you mounted with the vacant expression of a mating animal, having you kept there for an hour with his extraordinary erotic fabulations, perhaps after he would have tried out the most acrobatic positions, and the most improbable substitutes (cucumbers, sausages, Perrier bottles, a policeman's luminous white trunchheon), and then he would suddenly become quiet a few moments before orgasm...
...and compose all this into a report of last night's meeting of minds and bodies of John ("Ben") Fletcher and erotic author Brigitta Haagen-Dasz in the second part of the
Green Eyes.
Yes, along those lines, more or less, although we'd like it to be a bit more poetic.
Let's think.
Okay, let's proceed this way, let's try to apply a simple elimination filter, not really modifying anything, just eliminating unnecessary, extraneous, or otherwise irritating expressions.
|
Catherine Millet at home |
So, for example, let's not employ the verbification (yes, it exists, and an ugly word it is) the verbification of
climax.
By the way, all expressions above are from
Catherine Millet, founder and editor of France's leading art magazine
Art Press, you may have heard of her and her book
The sexual life of Catherine M. It is---spoiler alert---extraordinary---her book, and there's this familiar clustering of superlatives that we will now try to tackle: