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Romance, masochism and the lure of misogyny in the romance novel

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For as long as I can remember, the month of February has been associated with romantic love and its celebration. Every year, Cupid, St. Valentine and Hallmark conspire to make people the world over feel guilty for not making enough grand gestures or declarations of everlasting devotion to their partners, crushes and/or secret lovers. It would seem that love is a thing universally craved, and even those who have it want to be reminded regularly that they still do. But are love and romance really that simple?

This week, the day of love, St. Valentine’s Day, will be widely celebrated and women (and some men) across the globe will read more romance novels than any other genre out there. They will read Contemporary Romance, Romantic Suspense, Historic Romance, Gothic Romance, Regency Romance, Paranormal Romance, Erotica and a host of other sub-genres to do with the topic of love. This is also true all the other weeks of the year, as Romance is the most read genre today, by a fairly large margin. But what makes Romance such a popular genre for (predominantly female) readers, and why is it that they just can’t seem to get enough?

The answer, according to Sarah Frantz Lyons, is that:

“Women write and read romance heroes to examine, subvert, discuss, revel in, and reject patriarchal constructions of masculinity…” (see “More on the business of Romance novels” in Further Reading at the end of this post.)

While this statement is certainly true, it also massively simplifies the way the romance novel is received by the average reader. Not only does the romance novel not belong strictly to female authorship, but it isn’t strictly written for women, and never was. The romance novel isn’t simply about gender roles or sexuality either. There is an expectation of the genre, now more than ever, to also allow the reader to change their mind about their own boundaries and expectations of romance, love and/or sex, and perhaps on a more subtle level, of sex in the loveless relationship. And while not all romance novels concentrate on the sexual aspects of a relationship, it is inevitable that even the most demure novels in the genre must affect a reader’s sexual sensibilities, or in the very least, their expectations regarding intimacy within the constraints of a relationship.
But what of the novels we don’t normally speak about: the BDSM, the 50 Shades of Submission, the novels of forbidden desires?

Since E.L. James’ iconic 50 Shades series, erotica has made a comeback unlike any other genre in our time. Women feel empowered by it. Relationships have grown in ways sex therapists can only dream of achieving with their customers and the Internet has exploded with offspring novels on all manner of erotica, vanilla or taboo. And while true connoisseurs of erotica would call the 50 Shades series closer to vanilla than taboo, it is hard to discredit what the novels did for the Romance genre, and for the perception of sex in general.
But why now, and why this, when erotica is in no way new to the game of literary escapism?

According to Wikipedia, (where all legitimate research is spawned 🙂 ), mainstream society simply didn’t care about erotic texts and art until the invention of the printing press in the 15th century. Even after the invention of the printing press, printing was only obtainable by the rich and culturally discerning, and as such, erotica was supposedly a rare commodity afforded only by the truly sordid, or sexually eccentric (male) patron.

In actuality, this is probably quite far from the truth. From the histories and mythologies of almost every continent, it is clear that human sexuality was at the forefront of the ancient mind. In fact, erotica has been around for a very, very long time in some form or another, as is evident from the countless ancient artifacts to do with the erotic human body and behavior. The devout Christian may turn to their Bible for some of the earliest surviving sensual texts (see Songs of Solomon). The very first book of the Bible even points out the state of sexual tendencies in its time through the mention of Sodom and God’s extrication of Lot and (some) members of his family. Here we also get a first glimpse of the misogyny that can be traced alongside the history of the erotic act, as though they go hand in hand. Did Lot not throw his teenage daughters into the crowd of sodomizers in order to facilitate his own escape?

This sodomy that the Bible refers to likely stemmed from the prevailing Greek and Roman world view that the human body was beautiful to look at, and should therefore be celebrated. Such “celebrations” had a tendency to take on orgiastic proportions, and no sexual act, apart from kissing in public, was considered too salacious for the likes of the Greek or Roman patrician. But earlier still, the sexual nature of the human body was exalted in text and art (and thus likely also physically) from Egypt, through the Middle East and India and as far as Japan. Some of the earliest works of erotica, such as the famed Kama Sutra, remain popular today, even in its unchanged form.

On Masochism and Misogyny

In my personal experience, the full spectrum of the Romance genre can be sub-divided by three hero-types:

The brooding bad boy (or misunderstood sadist?)
The well-to-do millionaire/duke/prince/king
The strong-ish female lead (or sexually inexperienced career-woman?)

In some of the more successful, if not well-written modern romances, these hero-types may be combined, or all may be present at once. And after reading a great deal of novels from almost every sub-type within the genre, I have come to the conclusion that the most successful romance novels will present at least two of these hero types. Interestingly enough, the two most financially successful romance stories in recent history, The Twilight series and (dare I mention it again?) the 50 Shades of Grey series, present with all three. But what about the romances that paved the way for these modern versions of the genre? Surely they have something in common with their modern contenders?

In the case of the Twilight series (and most paranormal romance), a comparison can be drawn with the great gothic novels that inspired them. Due to the author’s careful placement of Wuthering Heights within the series, it can be assumed that the classic novel was, at least in part, responsible for inspiring the brooding monster (Edward), the all-consuming relationship (Edward and Bella) and the tragic choices the heroine (Bella) makes, for better or for worse. There’s even the classic love-triangle (Edward – Bella – Jacob) that the Bronte sisters were so fond of. The resolution, that the child born from their union instills in all connected to the couple love and hope for the future (and forgives all past wrongdoings), is truly Victorian in spirit.

The books make use of the tragic (read brooding) hero, who happens to also be a millionaire who cannot die. This seems circumstantial, but it isn’t. It is an important construct for both the author of successful romance and the reader of romantic fiction: an invincible hero, who has the means both to protect and to provide. And because of these things, because for centuries women have been indoctrinated with the importance of finding a protector and provider, readers of romance do not acknowledge the misogyny in this construct: that women need protection, and to be provided for, and that men may therefore offer those services to them in return for a lifetime of submission.

The 50 Shades series, which in the author’s own words were inspired by the one and only Twilight series, draws on these same elements. But in deepening the sexual nature of the relationships, E.L. James also heightens the level of misogyny the books portray. And yet, women the world over swoon for Christian Grey. He is powerful, is he not?

To illustrate the way that masochism meets misogyny in romantic fiction, it is necessary to go back. Way back. To Leopold von Sacher Masoch and his Venus in Furs, which is perhaps better explained, in the context of the art and literature of its time, by Michael DeMarco in the excellent video below.

Perhaps the most interesting, and certainly most noticeable aspect of von Sacher Masoch’s Venus in Furs, is the role reversal that takes place here. Not only is the author male, but the protagonist is male too, and in juxtaposition to him, a female in position of power and financial stability is given the task of domineering and dominating the relationship. But she does not receive that power implicitly. She is made to do it, almost coerced into the agreement, on the basis of her ineffectiveness as an equal partner and lover. This ineffectiveness is mentioned in many guises by Severin, the masochist male protagonist, throughout the book. Severin, in his appearance as a doting and devoted lover, is also a true misogynist. He points out that if he cannot own his wife in all things, then he would rather not marry at all. The opposite excites him equally, perhaps more; he is to be owned by his mistress, and mistreated a great deal, to his extreme pleasure. This is not a form of respect for the woman he loves, however. In fact, despite her repeated pronouncements that she is not interested in the kind of relationship he proposes, Severin does not take into account her needs and wishes for a fulfilling relationship. He disregards her wishes completely, even in becoming her devoted slave. This kind of “loveless” love seems to be a common theme even in modern romance. In 50 Shades of Grey, Christian Grey decides that he has to have Anastasia Steele at any cost, as long as it is on his terms. Her wants and needs are provided for, so long as they remain domestic in nature and not emotional. In erotica, women are bribed, coerced, tricked and even dared by friends to participate in the kinds of schemes that fulfill their male counterpart’s fantasy, even if it goes very much against their own moral codes. Again, these are not the acts of love. And while such a love-interest’s overbearing presence might often be very carefully disguised as loving or at least caring, in reality any rational person would label such behavior as selfish and narcissistic.
But the prevailing thread that runs through romance novels throughout time, is the substantiation of the patriarchal construction of masculinity that makes romance readers swoon and feel cherished and imagine great, strong men sweeping them off their feet. In reality, their misogynist origin is often cleverly disguised in the old positivity-sandwich, as Severin’s statement does here, but it is equally often propagated by the female character’s own thoughts and decision-making, as we will see a little later on.

“In woman and her beauty I saw something divine, because the most important function of existence –the continuation of the species- is her vocation.” – Venus in Furs, Fernanda Savage translation, page 32.

This statement also explains something about the nature of sex and love in romantic fiction, and perhaps how it came to be thus. Women are not expected to admit to enjoying sex, as Wanda does at first. In doing so, they become immediately wanton creatures who participate in promiscuous activities, or who are suspected of being willing to do so. As Severin suggests here, women’s primary “vocation” is supposed to be the continuation of the species. Therefore they are expected to be inexperienced or virginal (unless they are already mothers of many children), they should want relationships that create a safe haven for them to fulfill this “vocation”, and they should do so in a “loving”, submissive way. Those of them who do not comply with this set of rules are considered cruel, ineffective partners who are only good for engaging in off-balance relationships and sexual deviancy. In the romance novel, the true measure of love is inextricably tied to eventual marriage, and children. This is the ultimate outcome of the “Happily Ever After” model.

Considering that Venus in Furs was first published in 1870, at the height of the era of the Victorian romance novel, it is important to note the underlying trend in this novella. This is a romance, written by a man, and it is likely meant as a warning of sorts for other men of its time. It is meant to be a book about love, but there is hardly love in the actions of either Wanda or Severin. The only time love is potentially exhibited, it goes hand in hand with the sexual nature of their relationship. Wanda repeatedly claims to love Severin, but she is unwilling to marry him and be faithful to only him, because he is not “man enough” for her.

“I can easily imagine belonging to one man for my entire life, but he would have to be a whole man, a man who would dominate me, who would subjugate me by his innate strength…” she explains when Severin asks her to become his wife. And furthermore, if he manages to win her by being this kind of man she would become his wife, and a wife “who will conscientiously and strictly perform all her duties.”

So what constitutes the proper level of masculinity in her opinion, is a man who is known for cruelty and mistreatment of others. A rich man, no less, and this is the kind of man she chooses over the man she claims to love more than anything in existence. And it is almost as though this added status, him being a man of means and/or position, excuses his cruelty (50 Shades comes to mind here). This sexist view of the male-female relationship goes exactly against Wanda’s early pronouncements about her own pagan beliefs of pleasure without pain, and yet, like every heroine in every romance, classic or modern, this rich, cruel man, who will dominate her in everything she does, is the man she eventually chooses. Not only does she choose him, but in her submission to him, she also gains power for herself. She allows her husband-to-be to beat her lover and she praises him for it and humiliates her lover by laughing at him. Ultimately, she receives this power over her lover by becoming a masochist herself. Yet, in the end, Wanda suggests her cruelest act was also her greatest declaration of love and devotion for Severin, because she wanted to free him of his masochism.

The most surprising realization, for me, is that while masochism claims to hand over power to another, to victimize the masochist, physically and emotionally, it achieves just the opposite. Because masochism gives consent, it gives the masochist a greater power, even, than their dominator. All acts committed against them are in aid of their pleasure and all ill treatment of them is by their request and expectation. As Leopold von Sacher Masoch shows in his Venus of Furs, the agreement with his Venus not only empowers him to receive the treatment he so desperately craves, but it entitles him to it. And what does he give in return? Nothing. His misogyny towards his Venus prevents her from having true power in the relationship, to claim that which she craves above all: uncomplicated love. She can only receive this power by becoming a martyr, a masochist, herself.

It would appear that there is nothing uncomplicated about love at all. Especially where the romance novel is concerned. But then, whoever said that love was uncomplicated? No masochist, I suppose. They suffer in love.

The Masochism Tango

Afterthoughts:

About Leopold von Sacher Masoch:

While Venus in Furs was a work of fiction that, in any day, would have won the author great admiration for his understanding of the human condition and the psychology behind masochistic tendencies, that admiration quickly dwindled among his peers when they later learned that von Sacher Masoch himself, was in fact, a masochist. Just like in the case of Marquis de Sade, von Sacher Masoch’s name will forever be tied to his “perversion” – masochism.

About Michael DeMarco:

Michael DeMarco is a Massachusetts litigation attorney who specializes in child welfare and consumer protection. His practice is in Norfolk County. In 2017, he self-published a work of historical fiction entitled Redemption Lost, which follows a Dutchman through the global economic network of the 17th century. He now produces YouTube videos in which he discusses various artistic, musical and literary works from Milton’s Paradise Lost to Maria Callas’ interpretive performance of Bellini’s Norma.
You can subscribe to his YouTube video log here: https://www.youtube.com/channel/UCK8AGpMGhicIffdsFxkBTVw/featured

Further reading:

Get your copy of Venus in Furs by Leopold von Sacher Masoch here:


More on the business of Romance novels

More on Ancient Erotica

More on BDSM

Special thanks to Bragi Thor Valsson for the suggestion of the Masochism Tango.

New Kids on the Blog: An interview with Judy and Keith, authors of Children’s and YA fiction (@JudyandKeith)

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This past week I had the profound pleasure of talking to Judy and Keith, who are not only writing partners, but have also been life-partners for more than forty years (they don’t look old enough for that!). Their story is such a selfless one, but not entirely smooth sailing on the publishing side of things. Read the interview below to find out more about them, their writing and their wonderful books. At the very bottom I will post a link to the article that sparked our conversation, and that can be of great value to anyone who hopes to publish Children’s fiction, or anything that contains graphic content, via Amazon Kindle.

Judy and Keith are also members of the WolfPackAuthors writers’ group. If you haven’t any idea what that is, visit @WolfPackAuthors on Twitter, and be sure to follow them. They’re pretty awesome, just like real wolves.

Keith & Judy

“Judy’s Big-nan told the best bedtime stories with witches, fairies, magic teapots…etc. Judy carried on the tradition with our children, and now we’re reaching a new generation.”

 

  1. Who are you? Tell us a bit about yourself.

Judy and Keith mainly write children’s stories. Each story tries to emphasize a moral and has to pass the acid test: Would we be happy if our own grandchildren read it?

We were born near Tamworth in the UK, met at high school, have been married for over forty years, and are now semi-retired, living in the South Bay, Los Angeles.
Judy initially followed a medical career as a radiographer and ultrasound technician in the UK and in her spare time gave piano lessons.
Keith followed a career first as an electronic engineer and later as a program manager.
In the mid-eighties, we relocated to Los Angeles where Judy switched profession to cosmetologist. We have two sons and two grandsons.

  1. You are both authors, and a couple?! Tell us about your books.

Keith writes, Judy edits—she says ‘why bark when you have a dog!’
Keith’s alter-ego writes adult material. Our grandson heard us discussing a story and wanted to read it. He was only eight. We promised to write a story just for him and asked what he wanted—answer, a wrestling story. Big T was the result. By the time we’d worked through all our grandchildren & god-grandchildren—we were on a roll.

Some of our earlier eBooks are no longer available individually, but we are republishing them as anthologies. The first two collections are available from Amazon, with Bedtime Stories following early in 2019.

Wicked Witch Anthology

Also available in print here.

Children’s Stories Anthology

Also available in print here.

  1. What motivates you to write?

It has to be our grandchildren.

  1. What are your writers’ Achilles Heels?

Some stories don’t resonate with Keith, and he procrastinates. A few glasses of wine in our rooftop garden usually works to break the deadlock.

  1. How do you negotiate plot ideas or differences in opinion about the content of your books? Is it a negotiation?

It’s a negotiation—usually involving a couple of glasses of wine. Judy is the big picture plot…Keith fills in the details.

  1. Your books are aimed at children and young adults. How did you come to work in this genre? What is your personal connection to the characters in your books?

See answer to Question #2
All characters are fictional…although, we do cherry pick the names we use so our grandkids can relate better to the stories.

  1. Of the books you’ve written, which resonates most closely with you as authors? Are there characters that hold a special relationship with your own childhoods?

The Wicked Witch series—Judy’s Big-nan told the best bedtime stories with witches, fairies, magic teapots…etc. Judy carried on the tradition with our children, and now we’re reaching a new generation.

  1. What is your favorite thing to discuss with your readers?

Nothing specific, although we do try and introduce morals and consequences into our stories.

  1. What are some of the life-changing books you’ve read, and why?

Keith fell in love with C. S Lewis’ Narnia series and E. S Nesbit’s stories…especially the blend of reality and fantasy. The idea that you can be living a mundane life…and a second later, a miracle happens…Judy’s the practical one…but, can make up a children’s story at a drop of a hat!

  1. You have had unique challenges with self-publishing children’s books and have overcome them in unique ways. Can you tell us a little bit about that, the illustrations and your process, also about your recently published article in regards to the challenges of publishing books for young readers?

Family and friends told us we’d reach a bigger audience if we had illustrations and the books in print. My son kept plugging away, so when Amazon offered this suite of publishing tools—effectively removing the barrier to play—we had to give them a try. The article goes into more details.
For us, we promised ourselves not to spend family money on what could be viewed as a hobby. The Amazon tools appeared too good to be true. It may be true…and in the future the tools themselves might become a profit-center, but not at the moment. We have a backlog of short stories—more than enough for two additional anthologies. We’ve turned it into a family affair, we all produce illustrations, help with marketing. Judy takes the lead with editing. Keith pulls all the parts together.
At the moment, except for the cover, we’re keeping the illustrations as pen-pencil. If these take off, we’ll consider full color. Our first front cover was home grown using an Amazon template, the second was the result of a competition.

  1. What was the first book you ever wrote?

Children’s stories…was Big T. It still appears on Amazon, but the publisher Devine Destinies has removed it from their website. We will include it in Bedtime Stories 1Q2019. The Mystery of the Broken Vase…still a short-story, but the theme is darker.

Big T

The Mystery of the Broken Vase

  1. What is your greatest passion?

Who knows? We don’t. Music’s a passion…dancing.
We firmly believe communication and doing things together are two of the three legs to keep a relationship fresh and new.

  1. Do you have other talents or hobbies?

Keith’s getting better at drawing illustrations…

  1. What are you currently reading?

Nothing in the YA-children genres.
Keith is a reviewer with TBRpile, so there is plenty of reading material. The last one was an adult detective story by Susan Laine.

  1. Are there any new projects in your future? What’s next for you?

One day at a time…finish the series of children anthologies. That covers 2019!! Bite the bullet with Harry Putter—a YA/NA romantic comedy…we’re stuck at 2000 words…

  1. And the question that everyone gets asked: Recommend one Netflix series I should watch?

Punisher…Keith
Orange is the new black…Judy

To learn more about Judy and Keith’s lovely children’s books, click here, or visit their Amazon Authors’ Page. Download their article on publishing Children’s fiction/graphic content to Amazon Kindle here.

If you are an author, book blogger/vlogger or book reviewer and would like to be featured as one of my New Kids on the Blog, DM me @StinavD on Twitter, or drop me a line at christina (at) christinavandeventer.com (please replace (at) with @).

Have a lit week!

New Kids on the Blog: An interview with Michael DeMarco (@HanlaBooks)

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“I consider Paradise Lost to be the greatest achievement in all of English language literature.” – Michael DeMarco

 

This week I had the wonderful opportunity to get to know a little more about the inspiring Michael DeMarco. Wearing many hats, Michael is an author and Lit-vlogger who wants to revolutionize the way young people experience classic literature. By day, he takes on the world’s wrongdoings, but after hours, he’s a superhero championing the finer persuasions in life (Literature, Music, Art!). His Youtube Vlog is a must-visit for any book lover (see links below) and his commentary on how classic literature can be applied to modern life is a unique take on the power and influence of great books.  Michael isn’t just someone whose videos you’ll want to watch and whose book you’ll want to read, he’s someone you’ll want to get to know on a personal level. And now you can.

Read the interview below.

 

  1. Who are you? Tell us a bit about yourself.

I’m a civil litigation attorney with my own practice in greater Boston. As of now I will be accepting appointments from the state to represent children and parents when there has been a removal made by the Department of Children and Families.

2. You are an author. Tell us about your book.

My book is a work of historical fiction, in four parts, taking place in England, the Netherlands, Indonesia, and finally Puritan Massachusetts. A Dutch prisoner of war is freed by a precocious young girl in search of her long lost father. While she seems to have freed him out of mutual interest, she makes an obsession out of corrupting him, sabotages the love of his life, while catapulting him up the ranks of the Dutch East India Company.

3. What motivates you to write?

A love of language and a desire to create.

4. What is your writer’s Achilles Heel?

My weakness as a writer is that my taste is very classical, and so my style is more formal and dense than what is found on the shelves these days.

5. Your book, Redemption Lost, is about The Dutch Golden Age, and more specifically the East India Company. What is your personal connection to this historic period/the characters in your book?

I was an Economics major in college and in my senior year I took a seminar level history course on Puritan New England. I am from Massachusetts and the story of European settlement in America fascinates people who live here. Redemption Lost deals with the machinations of the “first modern economy” centered in Amsterdam, the distortions of bear market saboteurs, and that colonial, geographic arbitrage that the Dutch used to acquire high value commodities from Asiatic trade. The climax is in Essex County, Massachusetts, almost too predictably I suppose, ending in a witchcraft trial, the description of which allowed me to draw upon my experience as a trial lawyer.

6. What is your favorite thing to discuss with your readers?

I enjoy hearing their own original opinions that had not occurred to me, sympathies where I had not intended them, or a relation to one of the characters (it is always to Louisa, the main female character).

7. What is the most annoying question you get from your readers?

“Who is your target audience?”

8. What are some of the life-changing books you’ve read, and why?

This would be a long list:

Moliere’s Tartuffe

John Milton’s Paradise Lost

Goethe’s Sorrows of Young Werther

Montaigne’s Essays

Plutarch’s Lives

Tasso’s Liberation of Jerusalem

I do not know that these books changed my life, but they evolved my thinking, each of them is full of little bits of wisdom for the reader to take away. Moliere in particular mocks everyone who takes things too seriously; arguing in every play, it seems, that to live well is the only true philosophy, and to try too hard to avoid calamity will bring it on you. Tasso is a series of allegorical delights. Plutarch is a tract pertaining to all life on earth. Goethe’s exploration of inner torment is so naked and confessional – and accurate — that it is difficult to wade through.

9. What is the one book you wish you had written, and why?

I hope I will write a comedy some day.

10. You host a Youtube Vlog about Literature. What prompted you to start Vlogging about books?

I’ve come to the determination that academics have ruined literature for young Americans. The purpose of my channel is to try to be entertaining; which is to say, I hope to extract the entertainment value from what is presumed to be dry material and show it to be comedic, meaningful, and even sexual.

11. What was the first book you Vlogged, and why?

I started with a series of podcasts on Paradise Lost because the core themes of that book were incorporated as homage in my own book. To put it simply, I consider Paradise Lost to be the greatest achievement in all of English language literature. It contemplates everything from domestic happiness, to his own theology, to his grapple with the correct relations within a free state. By the time I was done with the vlog, I realized I enjoyed the process. It is very clarifying to sit down and map out what I want to say.

12. What is your greatest passion?

I genuinely enjoy the practice of law and trial work especially. Reading, opera, classical music, the visual arts.

13. Do you have other talents or hobbies?

I get out on the bike for exercise during the summer and I ski during the winter.

14. What are you currently reading?

Maria Callas: The Woman Behind the Legend by Arianna Stassinopoulos.

15. Are there any new projects in your future? What’s next for you?

A Maria Callas video, the rest of Dante’s Inferno, and I must make a vlog on Moliere and Goethe!

16. And the question that everyone gets asked: Recommend one Netflix series I should watch:

Babylon Berlin

 

Follow Michael on Twitter @HanlaBooks or subscribe to his Youtube channel here!

If you are an author, book blogger or book reviewer and would like to be one of the New Kids on the Blog, contact me today!

.

Have a bookish weekend!

New Kids on the Blog

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Are you a writer? Do you have an awesome book or project you’re just dying to share with the world? Then why don’t you contact me about being one of my New Kids on the Blog?! You can guest post or interview with me or, if you’re so inclined, send me a little bit of reading from your awesome new book to share with the entire populace of the wicked web! So, hit those keys and blog a tune for me. And share share share!

Book review: I see London, I see France

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CAUTION: Spoilers ahead!

In 2017 I had the incredible privilege to undertake a great European road trip with my husband and parents. For nearly four weeks, we hopped from country to country, ticking things off our bucket lists at every stop. Mom wanted castles and culture, dad wanted nature and walking, my husband wanted to bump fists with statues of musical greats and visit their homes, my own pleasure is art, literature, fairytales and magic. We all wanted wine, great food and to experience something new together. And we did, everywhere we went.
But while backpacking, or road-tripping, through Europe is the adventure of a lifetime for anyone, what makes it life-altering is not so much about where you go as it is about who you go with. Which brings me to I see London, I see France by Sarah Mlynowski.

The book follows first year college (university) students/best friends Sydney and Leela on their great European adventure.
This is the trip they’ve both been dreaming of ever since they started reading books as teenagers. They have a bucket list of their own to work on, complete with stinky cheese and high tea, but they also have to budget to make it through four and a half weeks of traveling.
Each of them also come to the experience with an extra piece of baggage: Leela is recently broken up with her college boyfriend, with whom she was supposed to go on this epic trip. Sydney leaves behind an agoraphobic mother with her sister who, despite having grown up in the same household, just doesn’t get what it takes to take care of someone who fears leaving the safety of their own environment. The story is told from Sydney’s POV, and everywhere we follow her, so does her guilt over abandoning her fragile mother and teenage sister. But it is only for four and a half weeks, she constantly reminds us, and she said she’d go straight back if either of her selfish family members can’t deal with her absence.
Speaking of selfish, the really selfish person is Sydney’s best friend and travel partner, Leela. Not only does she count on Sydney to do all the planning, but she repeatedly changes her mind about where to go and about who she would or wouldn’t like to share in the experience. That is because, despite the breakup that caused Leela and boyfriend Matt’s plans to fall through, Matt and friend Jackson follow in Sydney and Leela’s wake on a trip of their own. This complicates matters to no end and is also the main plot-twist in the book, because it turns out Jackson is both easy on the eye and an interesting, if not exciting, travel companion, and Matt and Leela have unfinished business. Throw in selfish Leela’s jealousy over Sydney’s new college friend, Kat, and you’ve got yourself a story with plenty of intrigue, twists and turns and a few OMFG moments to boot. But it wasn’t the story so much that had me riveted. Not that it wasn’t riveting, it was. It was just that, truth to be told, once Sydney and Leela started going places, trying new foods and experiencing new countries and cities, I was there again, or for the first time, experiencing Europe as though it was as new to me as to the two characters portrayed in the book. And I thought what a marvelous job Sarah Mlynowski had done with the thing that some would consider secondary to the story; the traveling. At every twist and turn in the book I thought: ‘Poor Sydney! If only she could have done this with her mother like I did,’ or ‘Poor Leela, if only she would see how much work her friend put into trying to make this trip awesome for her,’ and I walked up narrow staircases with them and snapped selfies of great tourist attractions with them and when I put the book down, it was as though I had just returned from Europe again with my family, who had trusted me so completely to plan a trip that on the day we left for Europe, they still had no idea where we were off to. And it was magical and romantic and new and exciting and fun. Lots of fun. Both times.
So if you haven’t done the Great European Adventure yet, choose your travel partner(s) carefully. And read ‘I see London, I see France’. You can call it research. Or you can just experience the great European adventure, which is what this book is. Don’t go to Europe and act like Leela. Be the better friend, the traveler who is open to new experiences, the person who eats the snails even though they look disgusting. And if you ever go see a sex-show in Amsterdam, don’t be the idiot who gets up on stage with the performers. Be the idiot who takes video proof to show that you were there, then deletes it, to show that you care.

My travel companions, waiting for the bus in Florence, Italy.

Happy travels!

Three Short Stories about Johannesburg by Elizabeth Pienaar

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I have a confession to make. I love short stories. I love reading them, I love writing them and I love recommending the good ones to my fellow readers. A lot of people tell me they don’t like to read short stories, because they “get to spend so little time with the characters”, or “just when they get into it, the story is done”, or even, and this surprises me, “short stories don’t give authors enough scope to exhibit their abilities”. While you are allowed to have that opinion (if you happen to share in it), allow me the chance to change your mind. I know just the short stories that’ll do it.

I’ve mentioned Elizabeth Pienaar here before, because I adore her writing. The previous time I wrote about her, it was about her book “Bobby”, a beautiful tale about a dog’s life, based in truth and told from the dog’s perspective. But today I want to talk about her new series of short stories, collectively named “Breaking Down The House”, in which Elizabeth takes a very candid look at life on the streets of Johannesburg. The first story, Pius, is about the stark reality that faces every South African today; that no place is really safe anymore, that work is scarce and hard to hold onto and that sometimes life takes you on the roads you’d rather not have travelled. This story won the South African PEN Award, which is a much better endorsement than I could ever make. Nevertheless, I’m telling you, read it!

Get “Pius” on Amazon Kindle by clicking the link below.

The second story, “Breaking Down The House”, placed 2nd in the PEN Award. It takes a whole new look at the interplay between rich and poor and how, by helping someone else, you can sometimes also help yourself. It’s smart, intriguing and, even though it’s a short story, the characters are so well developed that you’d struggle not to identify with them. It’s short enough to read while waiting at the doctor’s office and it will keep you hooked until the end (or when your name gets called, whichever happens first).

Get “Breaking Down The House” on Amazon Kindle by clicking the link below.

The third story, “Rejoice”, was the story that really got to me. I’m a sucker for hero types and flawed characters and I’m an even bigger sucker for stories with heart. This one’s got all of that and more. It’s about the relationship between a worker and employer, and the many facets of the human condition, of relationships founded on uncommon ground. This story was so good that I’m biting my tongue not to tell you any of the details, because it’s something you should experience first hand. And it has all the scope of a full length novel without the time-investment of reading a four hundred page book. If you can only afford to get one, this is the story you should get! But really, you should just get all of them.

Get “Rejoice” on Amazon Kindle by clicking the link below.

Now, if after reading these you still don’t like short stories, there’s probably no ointment for that particular condition. If you did, feel free to scroll down for more recommendations!

Find out more about Elizabeth Pienaar by visiting her website at www.elizabethpienaar.com.

As always, be kind and review. Authors don’t only want to know what you thought, they want others to know what you thought and they depend on your reviews, shares and endorsements to get the word out.

Have a great week!

 

Book review: Oil and Marble by Stephanie Storey

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Last week I read Oil and Marble by Stephanie Storey. The book is a fictional rendition of Florentine life between the years 1501 and 1505, the time during which Leonardo da Vinci and Michelangelo Buonarotti were both in Florence, each working on creating the respective masterpiece that would later immortalize them for future generations.

As backdrop to the tumultuous lives of these two artists, history provides us with some of the most eventful years in Italy’s colorful past: the ascension of Pope Alexander VI, better known as the Borgia Pope, and consequently the ravaging of the Italian city-state system by the Spanish Pope’s son, Cesare Borgia, leading the Papal armies. The interplay between the Medici family, the French invasions of Italy and the near constant conflict between Pisa and Florence also comes into play here, but the much stronger underlying spirit of the book is one of pride, honor and love.
As an Art History student during my undergrad years, I briefly met these artists, learned about the zeitgeist that surrounded their genius and of course, the art itself. But coming to this book more than a decade later, purely with an eye on reading art-historic fiction, I was both surprised and delighted at the depth of perception it brings to the reader and how much of it is based in truth. The book not only lets us in on the machinations of sixteenth century patronage and politics, but also on the perceptions of art, art-making and society during a time when gender and class distinction dictated every aspect of a person’s life and education.
Storey’s Da Vinci is undoubtedly the genius we know him to be, but he is also a man of complex emotions, dreams and of great pride. In Oil and Marble, Da Vinci’s beauty and arrogance hides his own insecurities. He knows his allure, his power over people (by way of reasoning) and over art (by way of science), but he carries within him a kind of darkness that only comes to the fore in his most private moments. In contrast, Michelangelo’s character is portrayed as one of constant and very public turmoil. He lives and dreams at a pace unreachable by philosophers and scientists because he fears, above sickness, or starvation, or even death, that he will be forgotten. He does not, like Da Vinci, know his power, but he nevertheless believes steadfastly that it is within him to reach greatness. If only he would be given a chance, if only he can do so before he dies of hunger.
Both artists believe in possibility. For Michelangelo, the Duccio stone holds uncountable possibilities, despite its many flaws. He is at odds with the stone; if it would just speak to him, would allow him to see what is at its heart, then perhaps he can find what lies within the marble. The greatest possibility Michelangelo sees, however, is not the beauty of the art, or the amount of comfort the payment from its completion will provide him. He sees a future far beyond his own lifetime and he rushes toward it with unerring clarity. In contrast, Da Vinci sees, perhaps, too much possibility. He claims to leave his art unfinished because, by doing so, it will forever contain the possibility of greatness. Da Vinci, too, looks well into the future. Will the humans of the future achieve flight? Will they uncover the secrets he is forced to leave undiscovered because of time? And what about the arrogant young stonecutter? Will he perhaps make something more worthy of Florence than the Master from Vinci?

What struck me as most unusual was how biased my own opinion of these artists had been prior to reading Oil and Marble. Perhaps I had preconceptions because I had studied these artists somewhat at university, or maybe it was in spite of my prior experience of them, but I had always had this idea that Leonardo Da Vinci had come by his education and knowledge because of his privilege. This privilege, I now understand, only existed in name. Leonardo did not have a formal education on account of his being the illegitimate son of the notary Piero from Vinci. Though home-schooled in basic reading, writing and arithmetic, Leonardo couldn’t read or write properly until well into adulthood, when he had chosen to study letters by writing and rewriting words and sentences until he was fluent in their use. Even his signature, not an artist’s rounded lettering, but a child’s scribble, attests to his lack of skill in this regard. Yet, today, he is known equally as a writer, mathematician and scientist as for his art.
There is also another, perhaps much more important aspect to the bias I noticed while reading Oil and Marble, and that is the preconceived one-dimensionality of an artist’s sexual orientation.
It is a well documented fact that Leonardo Da Vinci had many male partners, specifically his long-time student and partner Salai, to whom he left the Mona Lisa upon his death, as well as Francesco Melzi, who shared his final years and inherited all of his notebooks. Based on his personal history it is reasonable to assume that Da Vinci was homo-sexual, and this is also what we are predominantly taught. Because there is sufficient evidence for Da Vinci’s homo-sexuality, it is easy for art historians to underplay and even overlook the sexuality in his works, especially his paintings, or to make sweeping statements about his experiences of and attitude towards sex, sexuality and gender. But in Oil and Marble, Storey achieves an intricate balance between what we know of the man’s sexual exploits and the interpretation of the artist’s very unique ability to imbue sensuality onto his female subjects, specifically Lisa Gherardini (del Giocondo). Storey suggests a side to Da Vinci that most historians wholly ignore: that through his careful study and constant questioning of the human condition, he not only learns to understand the suppressed intelligence inherent in his female sitters, but he comes to love them on a level that surpasses sex or sexuality.
The book culminates in the completion of each of these artists’ most iconic works, but it also leaves us with a new beginning for each of them. For Michelangelo, it is the beginning of a career, the beginning of acceptance by his family and friends, the beginning of a life underpinned by taking responsibility for himself. For Da Vinci, it is the beginning of a more personal journey, one of acceptance, understanding and humility.
In the afterword to Oil and Marble, Stephanie Storey says the book was twenty years in the making. As her first novel it set an impossible standard. Her prose is uncomplicated, well-researched and beautifully written. Her settings are colorful and tactile. Her characters are well-rounded, unique human beings who experience the entire spectrum of emotion while inspiring an equally broad range of emotion from the reader. But beyond her ability to write interesting characters and strong plot, Stephanie Storey understands that for the reader of art-historical fiction, there is the added expectation of well-written art. Art that comes to life on the page. Art that is tangible, vibrant and evocative. Stephanie Storey writes this kind of art.
There is a reason why, while reviewing a book that is essentially about art, I haven’t written a single thing about the art contained within Oil and Marble’s pages. This sacred task I trust to the writer.

Bobby: Man’s best friend as you’ve never seen him before

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Also available for Kindle at Amazon

I was introduced to Elizabeth Pienaar at the NB Books Authors’ Party earlier this year. A small, beautiful blonde woman with an open face and infectious smile. She was easy to talk to, even easier to listen to, as she is smart, well informed and a good conversationalist. That was my first impression, before we started talking shop.

What are you working on/getting published?

A new book, about to be released, she said. A Young Adult book called Bobby.

Young Adult? I had read only the week before that a multitude of American authors are suddenly finding themselves ranked as YA writers without ever having intended their work for that market. Did you write it as such? I asked.

She hadn’t, but it had become labelled during the publishing process. Labelled for teens, so it could be sold to teens.

What’s it about?

It’s about a dog, told from the dog’s perspective.

Pretty much the perfect elevator pitch, I thought. She hadn’t even needed two minutes. One sentence had me hooked.

Fast Forward two months.

In a charming bookstore in the heart of Melville, the lights are on tonight. Laughter flows out of the two entrances to Love Books at the Bamboo Centre on Rustenburg Road. Leopard’s Leap wine glows in every glass. Beautiful food disrupts happy conversation. In the midst of it all is Elizabeth, taking it all in. They are all here for her, but what they really came for is the book. A book, based on true events, inspired by the life of one creature that many would count insignificant. A dog. An animal so easily taken for granted, overlooked, forgotten. For the lucky few who understand, an animal which should never be taken for granted, overlooked or underestimated.

Elizabeth understands.

She speaks with mirth about her method as a writer, about discipline and belief. She speaks about Bobby, the real Bobby, with great love, from heartfelt remembrance. She looks with reverence to the couple who gave Bobby his final home. Arthur and Ingrid. They are among the attendees.

When she reads from her book, my signed copy burns me through its brown paper bag. I could have bought it a few weeks ago on Kindle, but then I wouldn’t be reading the real thing. Then I wouldn’t be able to hold the paper copy in my hands with the same anticipation, the same first-read jitters.

The cover is beautifully simple. A girl and a dark-coloured Alsatian with hazelnut eyes. A book that every dog-lover would pick up. A book that everyone else might pass by, not knowing what they missed.

 

“People coming, people coming to look!” Elizabeth Pienaar – Bobby

 

I met Bobby on page one. I’d heard about him, read snippets about him, but until I met him I couldn’t have understood the immensity of his presence. Bobby embodies every look, every wag of the tail, every yelp, or bark or whimper of every dog who ever lived. Bobby is the book you read to your children so they can understand the importance of being kind to animals. It’s the book you give to someone who’s been unfortunate enough to have to deal with the loss of a beloved companion. It’s the book that was written expressly to remind us that dogs are not pets, or protectors or mere companions. Dogs are family. And if you treat them right, they’ll love you more than is humanly possible.

Bobby tells the story of a dog who loses his human to death. Afterwards he is repeatedly abandoned by his caretakers until he ends up in a care facility, awaiting adoption or death. Along with so many of his kind waiting for someone to notice them, there is no knowing which of the two will come first.

On the other side of the special barrier, a young girl finds it hard to overcome her grief after losing her dog to Cancer.

Elizabeth Pienaar understands the human condition. She understands what grief is, that everybody deals with it in their own way and that it often defines who we become. In Bobby we have to deal with a new form of grief, a new understanding of our own reactions to the grief of others, whether they are human or not.

This book is not just for teenagers. Young Adult is not an apt label. It should have been labelled more distinctly. It should have been labelled “For humans”. It should be sold in pet stores, at shelters, by breeders and vets. Anyone with a beating heart should get a copy of Bobby. And since you’re going to the bookstore anyway, why not grab one for your friend, sibling, parent, grandparent or boss?

Get Elizabeth Pienaar’s fantastic debut novel (R120) at your local bookstore or buy it from Amazon via Kindle. Also available in Afrikaans as Bobbie. To learn more about the author, visit her website at: elizabethpienaar.com

Rewriting your prose for literary types (and rendering it incomprehensible)

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The Book of Hard Words by David Bramwell

The Book of Hard Words by David Bramwell

I am affectionate toward books about words, which is how I came to read The book of hard words by David Bramwell. What comes next is what it inspired me to do.

This is the original flash fiction piece, written with it specifically in mind that I want to rewrite using only “hard words” from The book of hard words.

His neighbour’s unruly behaviour made him feel particularly bloodthirsty. The memories of his death and reincarnation returned once more.
Perhaps just one bite, he thought.
Biting her could be beneficial to him. He was one of a kind, a revolutionary of his time, because he was the only one of his kind who didn’t have the predisposition to kill his own offspring.
The more he thought about her slender digits, the more lustful he became.
She obviously feared speaking.
He carried her into his underground chamber. He hadn’t been there since the early part of the century, shortly after his rebirth, and the place was covered in spider webs and dust.
It had once been his winter retreat, but he had long since given up the practice. After his transformation it became unnecessary.
Tying her to a chair, he intended to pour her blood into a cup. That was, after all, the humane way of feeding.
He bent over her, ready to cut her delicate skin.
‘Wait,’ she insisted. ‘I can tell you many things about yourself. I am a palm reader.’
‘Is this a trick?’ he asked. ‘Or are you really a visionary?’
‘I’m not cool enough in the face of danger to be lying.’
He stuck out an overly cold hand towards her.
‘Hmm…,’ she murmured. ‘You have an unnatural vibe about you. Very mysterious.’ ‘Do you feel anxious during the full moon?’
He sighed audibly. ‘I’m not a werewolf, if that’s what you’re suggesting.’

How to use hard words in daily life.

How to use hard words in daily life.

This is the rewrite using hard words from the book.

His neighbour’s obstreperousness made him feel particularly sanguisugent. The memories of his metempsychosis returned once more.
Perhaps just one bite, he thought.
Biting her could be beneficial to him. He was sui generis, a sansculotte of his time, because he was the only one of his race who wasn’t prolicidal.
The more he thought about her leptodactylous beauty, the more concupiscent he became.
She was obviously lalophobic.
He carried her into his hypogeum. He hadn’t been there since the early part of the century, shortly after his rebirth, and the place was covered in spider webs and dust.
It had once been his hibernacle, but he had long since given up the practice. After his transformation it became unnecessary.
Tying her to a chair, he intended to extravasate her blood into a cup. That was, after all, the humane way of feeding.
He bent over her, ready to cut her delicate skin.
‘Wait,’ she insisted. ‘I can tell you many things about yourself. I practice dermatoglyphics.’
‘Is this a trick?’ he asked. ‘Or are you really theophanic?’
‘I’m not sangfroid enough to be lying.’
He stuck out an acrohypothermic hand towards her.
‘Hmm…,’ she murmured. ‘You have a preternatural aura about you. Very mysterious.’ ‘Do you feel anxious during the plenilune?’
He sighed audibly. ‘I’m not a lycanthrope, if that’s what you’re suggesting.’