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~ Adrea Kore ~ Erotica, Sexuality and Writing

Kore Desires

Tag Archives: Anais Nin

On Pleasures of the Text : Kore Reads

19 Wednesday Aug 2015

Posted by Adrea Kore in On Writing, Sexed Texts - Articles & Musings

≈ 6 Comments

Tags

Adrea Kore, Adrienne Rich, Anais Nin, Creative Process, erotic fiction, Inspiration, My Bookshelf, On Reading, On Writing, Susan Sontag, women writing sex

Words bloom flowers

Reading is a voluptuous, yet defiant act …

Reading is a voluptuous, yet defiant act, particularly in our increasingly  time-poor society.  Pages of a book can erect a little wall between yourself and everyday demands, whispering “later” to here-and-now concerns, and “yes” to deep time with the self. It’s a reason for lolling on your favourite couch with a pot of tea and home-made chocolate cake, or finding a mini-oasis of park green under the dappled shade of a tree.

I began this piece of writing with the intention of listing something like my ten most favourite works of erotica and stood, contemplating my bookshelf for inspiration. Yes, I have a real one, not a Virtual / Kindle one – to prove it there’s a photo further into the article.)

My bookshelf is an old-fashioned honeyed-wood thing of solidity that my father gave me one Christmas many years ago; five shelves high which means I have to stretch a little to reach the top shelf, and I like that feeling – of reaching for a treasured book. It makes me think of the feeling of yearning I get when I’m not reading; a yearning to sink in to the pages of a book and lose myself in story, and also the mental reach for the right word or image that one makes as a writer.

I keep my classics on the top shelf, just as a bartender will keep his top-notch spirits and liqueurs, gleaming and beckoning, on the uppermost shelf.  There, Dostoyevsky’s Crime and Punishment sits next to D. H. Lawrence’s Sons and Lovers. Bronte’s Jane Eyre leans, shivering a little, against Poe’s Tales of Mystery and Imagination. This shelf is bolstered by Shakespeare’s Collected Works at one end and a weighty volume of Oscar Wilde’s prolific and genre-spanning writing at the other.

 Language and ideas, once encountered, live inside you, and can effect changes, both subtle and catalytic.

Devouring and studying these classics in different ways during my childhood, adolescence, and adulthood, studying literature at University and hurling myself headlong into several semesters of Shakespeare and Ancient Greek Theatre (text and performance) through my theatre degree gave me a deep appreciation for the almost-limitless fecundity of language. As importantly, it also cultivated an absence of fear of language. Wrestling with Grecian choric text, conquering the vocal delivery of iambic pentameters in Shakespeare’s work, finding contemporary sense in obscure medieval words, and unravelling complex metaphors to reveal depth, beauty and universal truths in works conceived of many centuries ago; these interactions with language absolved me of any hesitancy I had in seeking out any author’s ideas I felt curious about, and opened me to the power and potency of the written word. The ideas we consume contribute to our growth or our atrophy. Language and ideas, once encountered, live inside you, and can effect changes, both subtle and catalytic.

Words endure. And the feelings they conjure up in the body can endure too, leaving traces, imprints in the cells, the memory.

You can tell a lot about a person by looking at the books on their bookshelf.

Can you keep a secret? This top shelf is now no longer my favourite shelf. These kinds of texts have had their way with me; they’ve done their work.  These … relationships I’ve had with texts such as these now underscore my new handful of literary touchstones. I’d like to introduce to you my new favourites – ones that have specifically  coaxed me along a path of writing. Initially, some of these works allowed me to notice my love for sensual, voluptuous prose and searing imagery, simultaneously realising what I most felt drawn to reading was the feminine experience of the world, and also those stories of  growth, transformation or dislocation, felt through and mediated by the body.

These were the things that I began to write about: Love and longing. Loss. Translating the physical arts I most loved into words: my experiences of dancing and life-modelling. Then, more arduously, carving out narratives of sexual trauma. Death. Then, the sensual pleasures. Sex.

Light, dark, light, dark. Always this dance, and writing has helped me embrace the totality in the supposed contradictions.

These are a few of my favourite things ...

These are a few of my favourite things …

I realised it’s not been only my reading of erotica that has fuelled my desire to write erotica. As importantly, it’s been my reading of the following: non-fiction feminist texts and essays, strong, powerfully imaginative contemporary women fiction writers, play-texts written by female playwrights, and women’s short stories, in addition to a few core works of erotica read at crucial moments in my life journey. Then, throw in a few texts by male authors, and that would more aptly represent  those voices that resonate and refract in my own writing. Sontag again captures my thoughts on the relationship between what one reads and how one writes:

“Reading usually precedes writing. And the impulse to write is almost always fired by writing.”

I have said before that reading Anais Nin’s Delta of Venus gave me the spark to write about desire, and almost a decade later re-discovering Jeanette Winterson’s sensual, Delta of Venus Book Coversearing prose gave me the permission. Something about Winterson’s work resonated with the language burning away inside me, threatening a slow smouldering consumption of my journal pages if I didn’t give my ideas some more space and light. And more eyes and ears. Susan Sontag writes in an essay called Writing as Reading that our writing too, is part of our reading; that ” to write is to practice, with particular attentiveness, the art of reading.”

This portion of my shelf houses a seemingly arbitrary, but indelibly meaningful personal version of the Dewey decimal system. My obsession with creative process is revealed by my collection of books on the craft of writing and creative process. After all, “writing is finally, a series of permissions you give yourself to be expressive in certain ways” (Sontag).

Honourable mention goes to Ray Bradbury’s (one of my lifelong revered writers, so he had to get a mention in this article somehow)  Zen in the art of Writing and Writing as a Way of Healing by Louise DeSalvo. (Want to know how to go about writing difficult, personal experiences of trauma and loss so you can re-frame your experience and let words heal the wounds? This is the book)

Then there are my feminist theory texts such as Naomi Wolf’s Vagina.  There are more of those off-stage left, but I wanted a closer shot where you could also see some of the titles on the spine. There are two anthologies in which my own stories are published  (Mammoth Book of Best New Erotica 13, A Story-telling of Ravens) nestled next to works that inspired me to start writing erotica. There’s an incredible feminist re-imagining of Medea’s story by German author Christa Wolf. Margaret Atwood’s chillingly feminist work of speculative fiction The Handmaid’s Tale.

Missing in action is Tobsha Learner’s witty and sensual Quiver,  also part of my chain of cause-and-effect of becoming an erotica writer.  I fear this one went the way of an ex, never to return, though her other anthology Tremble  is present. Also, I noticed with dismay I have no personally owned volumes of Angela Carter’s stories. That I shall have to remedy. There are more obscure erotic works such as Alina Reye’s Lucie’s Long Voyage and a comprehensive, gently academic and exhaustive collection of women’s writing called Erotica: An Anthology of Women’s Writing, edited by Margaret Reynolds. This one almost made it to my list, but it’s been more a reference book and an introduction to some of my favourite writer’s work, rather than one I’ve read cover to cover. This snapshot contains a good number of what I’d call my “Kore Reads”, but not quite all of them.

So here, in the order my subconscious tumbled them onto the page, is my bakers’ dozen (or my witches’ coven) of beloved  texts of erotic inspiration. Thirteen is a powerful number with a contentious and misunderstood history, so perhaps that’s appropriate for a tracing of the articulation of female desire. Over time, I’ll add descriptions or reviews.  If my writing resonates with you in any way as the reader, I hope you’ll feel intrigued to investigate a few of them. Or maybe some of these are your favourites.

  • Delta of Venus – Anais Nin
  • Written on the Body – Jeanette WintersWritten on the Body - Book Covon
  • Lighthouse Keeping – Jeanette Winterson
  • The Last Magician – Janette Turner-Hospital
  • Perfume –Patrick Suskind
  • Medea – Christa Wolf
  • On Lies, Secrets and Silences: Selected Prose 1966 – 1978 – Adrienne Rich
  • Women who Run with the Wolves – Clarissa Pinkola Estes
  • The Bloody Chamber – Angela Carter
  • Quiver – Tobsha LearnerPerfume Book Cover
  • What I have Written – John A Scott
  • Vinegar Tom – Caryl Churchill
  • A Lover’s Discourse: Fragments – Roland Barthes

These are a few of my favourite things. These works and their themes, language, ideas, imagery now live inside me. These are the words that fire my own.

“Reading usually precedes writing. And the impulse to write is almost always fired by reading.  Reading, the love of reading, is what makes you dream of becoming a writer. And long after you’ve become a writer, reading books others write – and rereading the beloved books of the past – constitutes an irresistible distraction from writing. Distraction.  Consolation.  Torment.  And yes, inspiration.”

~ Susan Sontag

*If you’d like references or more information about any of the books I’ve mentioned, dear reader, leave a Comment below or send me a personal message HERE.

Talk to me. I’m listening…

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Earthing Eros : the Makings of Erotica

25 Thursday Jun 2015

Posted by Adrea Kore in On Writing, Sexed Texts - Articles & Musings

≈ 20 Comments

Tags

Anais Nin, Delta of Venus, Desire, Eros, erotic fiction, erotica, Female Sexuality, Peek Hour, sexuality, Taboo, Tobsha Learner, Transgression

I sometimes get asked by readers and acquaintances new to the erotica genre what makes a piece of fiction “erotica”?  What distinguishes it from other fiction genres? And recently, some other erotica writers and I have been mulling over the question in a forum. Considering the diversity of erotica out there, the answer appears difficult to define.

A story can contain sex as an element, and yet not be erotica.

A story can be erotica, and yet not have an obvious sex scene in it.

“What?” I hear you ask. “Well, how do you know if it’s erotica?”

It is my observation from both reading and writing erotica that there are three primary elements present in a piece of fiction that place it within the genre of erotica: framing, focus and intent.

 Framing – The Erotic Gaze

In erotica, sex is the lens through which the character, events and themes of the storystanding-naked-in-front-of-the-mirror are framed. Effective erotica does not negate crafted story-telling – author Tobsha Learner in The Zipless Read reminds us that “like all good writing this does involve setting up the attraction, the obstacles, the psychology … of the characters”. This lens is then kept tightly focused on what occurs or is revealed through the characters’ sexual desires, thoughts, feelings and actions.  These elements are the vital components of the story, not merely floral embellishments; they are central to the plot, themes and character development. Remove the sexual elements, and the story collapses in on itself, disintegrates like the average short-term sexual-romantic relationship. Remove the sex or sexual elements, and there simply won’t be a story.

In non-erotica fiction genres such as mystery or historical drama, if there are sexual elements, they are not core to the central theme of the story. Sexual elements may illustrate an aspect of the development of a relationship, or the end of one, and be part of a sub-plot. But the main spine of the story is not the sex. Character growth and plot development might be mapped through depicting a descent into madness, or the recounting of a road trip, or the unravelling of a mystery.

So, what about romance? Doesn’t this genre have sex as a central element to the story? Along with emotional and psychological imperatives, yes, undoubtedly it does. But here, we move onto the element of focus, and see that the focus on sex in erotica differs in ways both subtle and substantial to romance.

Focus – Eros Up-Close

I spent half a semester at Uni studying the romance novel in a subject on popular desireculture, and I’ve retained very little of it. Except as an opportunity for feminist analysis, romance novels bored me,  and my discovery of interesting writing about sex such as Anais Nin’s Delta of Venus was a couple of years away. But I do recall that Mills and Boons novels are written to certain plot formulas – the desirable Mr Aloof must be introduced by page 7, the first obstacle to their union must occur by page 43 – that sort of thing. The formulaic approach alarmed my inner creative writer, and also disturbed me, because I believe fundamentally in the individuality of the reader and what the reader brings to the text. This is not an academic analysis of the romance novel. But I will draw some comparisons; how the focus on sex  achieves differing functions in the two genres.

Erotica, in comparison to romance, is generally far more explicit about the sexual acts and aspects. The remnants of ejaculate drying across the belly are as worthy of focus as the delirious intensity of mutual orgasm. Where romance revels in painting in pleasing sunset hues and sweeping brushstrokes the gloss of ‘perfect’ sex with perfect or almost-perfect people, the “erotic gaze” permits both this, but also the grainy close-ups, the incomplete orgasm, the portrayal of scars and flaws of the body and psyche as sexy.

Tobsha’s article observes that readers want to be “in the skin” of the protagonists, feeling “the aching frustration and longing and then the blissful release of orgasm, both in the emotional, physical and sometimes spiritual sense.” This kind of interiority begets a particular focus to the writing, a focus on the sensory and emotional realms. A focus on relating to the world and to the lover through the detail and delight of all of the senses. Language gets textural, sensual and becomes finely attuned to the smells of different skins, the sounds of arousal and orgasm. As Nin passionately declares about erotic writing in the preface to Delta, “how wrong it is not to mix it with emotion, hunger, desire, lust, whims, caprices, personal ties, deeper relationships that change its color, flavor, rhythms, intensities.”

Language gets textural, sensual and becomes finely attuned to the smells of different skins, the sounds of arousal and orgasm.

Erotica delves into the ambiguous, the taboo, the grotesque. Romance does not. It is comfortable with portraying these things alongside the sensual, the ecstatic, the celebratory elements of sex. Delta of Venus contains stories that explore bestiality, incestuous desires, paedophilia, and non-consensual sex, as well as more socially conventional themes of mutual seduction, virgins deflowered, and sexual awakenings.

Erotica can have a sense of humour about the messiness and awkwardness of sex, whereas romance takes itself very seriously.

Erotica can explore the eccentricities of human sexuality. In Tobsha Learner’s The Man Who Loved Sound, audiologist Quin falls in love with women via the tones and timbres of their voices. In Peek Hour I turn the misogynist tables and create a female voyeur character with an unrelenting case of penephilia (love of and enthusiasm for the penis). Romance sits within the narrow spectrum of normalcy – it is homogenised and pasteurised desire. It is also by and large heterosexual and monocentric, whereas erotica permits the exploration of alternative sexualities such as polyamory, kink, gay, queer and open relationships.

In this genre named after him, Eros can possess both god-like attributes and the frailties of humanity. Sometimes he misfires his arrows. Sometimes he refrains from flying, and takes the train.

eros card art

Sex as a focus in erotica can be simply for its own sake. It can explore excessive, subversive, dangerous and addictive sexual behaviour without rancour. It can, but does not have to situate sex as a bonding activity, unlike romance. The characters that have sex do not have to live happily ever after. They do not even have to enjoy sex, depending on the intention of the writer.

Which brings me to the final aspect of erotic writing – that of intent. But, as it’s my intent to have your company for a little longer … that will be a whole other blog post.

Coming soon …

twitter logo b-w FOR WRITING TIPS & INSPIRATIONAL TWEETS  

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Sex & Eroticism on Film

28 Friday Nov 2014

Posted by Adrea Kore in Reviews, Sexed Texts - Articles & Musings

≈ 6 Comments

Tags

Anais Nin, Betty Blue, Desire, erotic arts, film, Film Reviews, sexual fantasies, Shortbus, Story of O, The Hunger

girl on film Reading can inspire me creatively – but so can art and film. I’m a very visual person. So immersing myself in an exhibition on ‘The Nude’ or a compelling film that emanates eroticism are also ways to get ideas flowing. And other things …

Film as a medium has to do so much more to succeed in being sexy or erotic; moreso than a story, which is reliant soley on language (and its connection with the readers’ imagination) to establish erotic atmosphere. There are the elements of script, casting, cinematography, editing, lighting, settings, costume. Pacing (an editing factor) is also crucial, I think. The pace has to match the mood, the subject. And all of these elements have to work together to form a cohesive whole. It only takes one aspect to be sub-standard (acting or dialogue, for example) to undermine the effect of the whole.

Finding and waching erotic films, and compiling my own list of ‘must-sees’ is one of my little life pleasures. And it’s a wonderful thing to introduce someone to, as well. Add red wine, a comfortable couch and a fire and you have a VERY sexy night in… So – here is my list – my top Ten Erotic Films that I’d recommend. In no particular order. Over time, I’m going to add a review to each of these. Welcome to my virtual Cinema of Sensual Pleasures … Please sit back, relax and enjoy ..<3 Continue reading →

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Story of ‘O’: Writing the Orgasm in Erotica – 1

20 Thursday Nov 2014

Posted by Adrea Kore in Erotic Fiction, On Writing, Sexed Texts - Articles & Musings

≈ 11 Comments

Tags

Adrea Kore, Anais Nin, conscious sexuality, erotica, Female Orgasm, multiple orgasms, Orgasm, sexual fantasies, Tantra, women writing sex

“His topography fits my geography. The wicked curve upwards kisses that place, that place which sends me into sensory whirlpools of delirious intensity, there on the underside of my navel.

the O in eroticaSure now that my movements are making the most of him, I prop my body up on several pillows, opening my legs so I can see myself reflected in the mirror at the foot of the bed… I guide him in and out, giving him more daringly to that hungry place inside me, building the intensity of sensations until each dive inwards is met with an outward rush of pleasure.”

(Excerpt – Salad Days © Adrea Kore 2013. 

Published in Little Raven II and A Storytelling of Ravens) 

Orgasms. As a beginning erotica writer, it’s inevitable that at some point you encounter this challenge. You have to describe characters having orgasms. Then as you write more stories, and inevitably more sex scenes, you have to find more ways of describing them – different tones and shades to suit the context, mood, character psychology, and perhaps even the sub-genre of your erotic scene. (Is it paranormal, sci-fi or BDSM erotica, for example?) Different genres may suggest different approaches to description, different language, and even a different emphasis of the experience.

As importantly, you try to write in ways that you hope will arouse the reader.

And all of this, whilst trying to side-step cliché, purple prose or implausibility. Any of these elements risk taking a reader out of the story, and can dampen the intended effect of the more explicit parts of your story. Continue reading →

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Nine Writing Rituals

22 Wednesday Oct 2014

Posted by Adrea Kore in On Writing, Take Pen in Hand

≈ 5 Comments

Tags

Anais Nin, Creative Process, Greek Mythology, Natalie Goldberg, On Writing, rituals, the Muses

Image courtesy of Asghar Gonchehpour from “Sufi Dance” Series http://artforheart.daportfolio.com/gallery/206175#8

Writers are renowned for being eccentric creatures, and one of the aspects that shows our curious caprices are the things we do in order to write. Our inexplicable superstitions to ward off the dour fog of writer’s block. Our instinctive little rituals to centre ourselves, to call forth inspiration. Moving forward on the page with blind intuition, a finger held up to sense from which direction the winds of creativity are blowing. Invoking the Muse. Or muses if you happen to be polytheistic – there were nine of them, after all. The nine gracious daughters of Zeus and Mnemosyne ( memory personified), each embodying her own unique field of inspiration, art or endeavour. My favourites would be Melpomene, Goddess of Tragedy, Terpsichore the Muse of Dance and Urania, ruling over astronomy.

girl.owl and quote

Here are my rituals. One for each of the Muses …

1. The absolute necessity of the pen on the page, as my dowsing rod, to capture the first ideas for a piece (never fingers on a keyboard).

2. Aesthetically pleasing, unique notebooks to embrace and keep warm my fledgling ideas. Plain ones do not say “play with me”. As often as possible, I carry one with me.

3. Black ink pens. Blue ones remind me of school days and shopping lists. It may sound precocious, but I cannot write creatively with a blue pen!!

4. A pot of black vanilla tea and the little jug of milk on a tray at my elbow, sipped from one of my collection of antique china tea-cups. The ritual of preparing this, I believe, prepares my mind for writing. And I recently discovered that vanilla is an aphrodisiac – so perhaps this is how I seduce myself to the page.

5. Non-intrusive, ambient, music in the background, but not on headphones: this would interfere too much with the particular rhythms of a piece; unless I find something that perfectly complements the piece I’m working on. I wrote a story listening only to Bonobos’ album “Northern Shores” recently.

6. Journal entries written at stream-of-consciousness speed to clear my mind of personal concerns and clutter if I stall. Or sometimes, before I begin my creative work. ( (I’m with Anais Nin here – journalling is the foundation of a writing life, a writing mind.)

7. The peaceful solitude of my living room, or the soothing background hubbub of a favourite local cafe as my ideal writing environments. In Writing down the Bones another of my writing heroines, Natalie Goldberg advocates writing practice in cafes; immersing yourself in the hither-thither flow of humanity, the enlivening scent of coffee.

bathing woman quote II
8. Rewarding my writer-self for publications or other successes. A bunch of flowers, a vintage teacup, a new notebook. Or perhaps a new book from a favourite author, or a writing workshop. Writing-oriented treats help keep the well of creativity free of weeds and algae, and the water from becoming stagnant.

9. If I consciously decide to sit down and work on a piece of erotica… the desire for sensuous textures against my skin directs my wardrobe choice, and (small) decadent treats on my tongue set a mood. One of my favourite wicked stories was partially sustained by a divine box of Belgian raspberry and chocolate truffles, savoured over the four days it took to write!

So there, laid bare, are my petits rituels .They are what I use to remind myself that writing time is sacred time, magic time. These little gestures demarcate my writing time from everyday reality, and allow myself to fall in deeply to the write-time dimension. That mysterious place where time and space can stretch out or shrink. Where clocks stop as if it’s the last day of the world. Or melt, like in a Dali painting. Where you can have conversations with yourself that are revelations to yourself. And you emerge from that place, like Alice from Wonderland, not quite yourself, and yet more yourself.

Curiouser

and

curiouser …

What might be your writing rituals? What are the secret codes, and magic spells you invoke to enter your own personal write-time?

Commit them to the page. Let them be your own Book of Spells…

Abracadabra …

starfield-background-1464 quote II

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Quote

Anais Nin – Delta of Venus (Preface)

10 Friday Oct 2014

Posted by Adrea Kore in Uncategorized

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Tags

Anais Nin, erotica, Quote, women writing sex

I had a feeling Pandora’s box contained the mysteries of women’s sensuality, so different from man’s and for which man’s language was inadequate.  The language of sex had yet to be invented. The language of the senses was yet to be explored.

 

 

 

 

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Adrea Kore

Adrea Kore

Adrea is a Melbourne-based freelance erotica writer/performer & developmental editor. She explores the rich diversity of feminine sexuality, focusing her lens on themes of desire, fantasy, arousal and relating. She publishes fiction and non-fiction. & is intrigued by both the transcendent and transgressive aspects of sexuality. She's working on her first themed collection of erotic stories. Most recently, Adrea has short stories & poetry published in the following anthologies: "Licked", "Coming Together: In Verse", & "Mammoth Book of Best New Erotica 13" - all available via Amazon.

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