I haven't been here in a while, and I do apologize for that. This blog is a project I do want to keep up, and I hope to write here often enough to attract comments and questions.
I'm thinking tonight about ghosts. Not the ghost girls who've been part of my life and still haunt my dreams, but about the ghosts of erotica past.
I've been saying for rather a while now that erotica seems to be fading as a genre. There seems to be less and less erotica available. Porn clips at streaming services, sure. PornHub and its fellows are readily available. But actual erotica-- written or drawn or painted, not put on video or conjured up via AI? The boundaries seem to be shrinking.
I hadn't gone to Literotica for a while-- well, yes, several years --and my thought when I did go back this week was that there seems to be a dearth of new stories. And there seems to be an utter drought of inventive stories. No one seems to be writing anything elegant, transgressive, stylish, powerful.
The boundaries of erotica seem to be collapsing towards the ordinary. What erotica I can find is flat and dull. The link between the erotic and the darkly elegant seems to be broken. Even S/M stories are just...boring. There's no longer an association between S/M (I dislike BDSM as a term) and style and elegance. Where there is any attempt to be transgressive, it veers towards urban punk and not towards decadence. And for me, decadence-- rooted in class and style --was always key.
Tonight I'm thinking of two figures from my past-- Michael Manning and Olivia de Berardinis. Both of them erotic artists whose work meant something to me in the days of my lost youth. Olivia began work in the l970s doing her "O Cards"-- greeting cards with wickedly clever and highly erotic art based in decadence and dark elegance. Michael Manning appeared in the mid-1990s. His work combined goth, manga, cyberpunk, and gender fluidity. I miss both artists.
Olivia's work came under attack in the early '90s, if I recall correctly. A lot of her '70s and early '80s work had references to s/m, certainly, but also clever references to drugs. By the '90s, cocaine was no longer a chic quirk or erotic accessory, but a Social Menace. She was pressured to discard much of her early work, and her work became ever less explicit throughout the '90s. Once upon a time, I'd buy several dozen O Cards at a time, some for my own collection, but most to be sent to lovely young companions during correspondence. That's all gone, now. I have no idea what happened to the O Cards I saved, and there's nothing out there today from her that has the wicked and elegant darkness that her '70s and '80s work had. I've seen interview snippets where she apologizes for the explicitness of her paintings and cards. That's deeply sad.
Michael Manning's graphic novels-- "The Spider Garden", "In a Metal Web", "Hydrophidian", "Illuminagerie", "Tranceptor", etc. --were amazingly erotic and engrossing. His heroines crossed through boundaries of gender and sensation into some very dark and elegant places. He incorporated cyberpunk and biomechanics motifs as well as lovely Oriental architecture. For a while, late in the 1990s, he was with a now-vanished publisher called Eurotica, which is where I discovered his graphic work. But in the world of the Noughts and beyond, he found it increasingly hard to market his work.
The Culture Wars caught up with Michael Manning, I suppose. His version of gender fluidity was based on sci-fi and fetishism rather than trans ideology-- he had characters who were self-described "androgynes", fabulous creatures whose "trans" status meant "trans-human". His androgynes were languid, willowy, goth-Heian, cruel in their beauty, and eerie. That didn't help Manning in the current age. And late-capitalism caught up with him, too. It became harder and harder for him to get credit card transaction companies to process orders. In a world of on-line marketing, he was hamstrung. I haven't seen anything new by him in years. I can look at his "Cathexis" collection and feel like I'm looking at lovely art and wicked stories from a lost age.
There's less and less erotica out there that wants to take chances. There's less and less erotica that wants to link class, style, and darkness. Experimentation is frowned upon, fetishism (either in the anthropological or the private club sense) is rejected. There's less and less out there that I find erotic.
And so here we are, in the spring of the Year Twenty-Three, focused on politics and economics, and with no interest in the possibilities of the erotic.
