May 202013
 

In researching the history of consensual sadomasochism, there isn’t a comprehensive body of knowledge to draw upon, no established canon of reference works, no Journal of Sadomasochistic Studies.

Instead, I have data points: case studies, books (often anonymous), anecdotes, images, etc. I’ll admit that sometimes what is and isn’t a data point is decided on the “I know it when I see it” principle. Connecting those points requires a certain amount of guesswork and judgment calls.

For example: Dr. Samuel Johnson, English man of letters of the Enlightenment, and his relationship with his close friend Hester Thrale.  The latter’s posthumous effects, sold at auction in 1823, included a padlock and fetters. Thrale identified it as “Johnson’s padlock, committed to my care in the year 1768.” In 1767 or 1768, Thrale wrote that “our stern philosopher Johnson trusted me… with a secret far dearer to him than his life”. On other occasions , she wrote that “this great, this formidable Doctor Johnson kissed my hand, ay & my foot too upon his knees!” and quoted him saying, “a woman has such power between the ages of twenty five and forty five, that she may tie a man to a post and whip him if she will.” Finally, there is a reference in  Thrale’s journal to “the fetters & padlocks [that] will tell posterity the truth”, and Johnson’s own journal entry, dated 24 March 1771, about “Insane thoughts on fetters and hand-cuffs.” (in Latin) (Pg.387-388)

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Mar 032013
 

Here’s a blog post on the work of artist Allen Jones, best known in kink circles for his sculptures of women as furniture (aka “forniphilia”), but also a designer of fetish attire.

The sculptures appeared in Kubrick’s A Clockwork Orange, and Jones also designed some costumes for the film that weren’t used.

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Dec 172012
 

Paul Gormanis’ blog has complete (albeit low-res) scans of a feature from a 1976 Forum (a UK adult magazine) which profiled the proto-kink store SEX founded by punk leaders Malcolm McLaren and Vivienne Westwood.

Four women and one man, posing in a row with bare buttocks and

Photo detail (from left): SEX customers Danielle, Alan Jones + Chrissie Hynde; Vivienne Westwood; assistant Jordan.

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Aug 192012
 

Amputee fetish site Overground.be has a collection of amputee fetish and letters published in London Life magazine, running from 1924 to 1941 and most signed “Wallace Stort”. Some of the letters also concerned prosthetic limbs, orthopedic boots, crutches and other devices. These were published alongside other types of fetish letters and stories.

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Jun 132012
 

The Vintage Sleaze blog has the story behind the Fads and Fancies fetish magazine, published in the late 1940s and early 1950s, and its signature artist known as Janine, actually a woman by the name of Reina Bull.

The astounding drawings by an anonymous artist known only as “Janine” who drew work for the sleazy Utopia magazine “Fads and Fancies” a British fetish magazine in the late 1940s and early 1950s.   The work is no longer anonymous. It was done by a woman all right, but Janine wasn’t her real name. Fads and Fancies was published by Utopia, who printed fetish material remarkably similar to Nutrix and Irving Klaw, and at roughly the same time.

[…]

Janine had an incredible, unique, eccentric and curious style likely developed to cater to the audience. Particular parts of the plump participants protrude depending on the proclivities she wished to portray. Which is an alliterated way of saying big boobs and big butts. Kinky and unreal, but then certainly enticing to the readers who must have been “big” fans (pun intended.) To the rest of us, they look hilarious…Dolly Parton on Steroids!   The work takes an “all-purpose” approach to fetishists.  The artist can not figure out if she is titillating a shoe fetish, a butt fetish, a fat fetish, a breast fetish, a stocking fetish…if the idea of a fetish is to focus on one particular object, there was something kinky for all in Janine’s curious drawings.  At the time, the fetish underground was not yet defined, but the publishers knew if they appealed to a handful of eccentricities, they would reach a market.

Fads belongs in a tradition of English fetish magazines that includes Photo Bits and London Life, and goes back at least to the 1870s when the Englishwoman’s Domestic Magazine took a turn for the pervy. The business model seems to be, “give the punters what they want”.

Nowadays, Rule 34 is in full effect and every fetish has its own Tumblr.

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Nov 072011
 

Peakman, Julie Mighty lewd books: the development of pornography in eighteenth-century England Palgrave Macmillan, 2003 Gbooks

As in just about any discussion of pornography, this book addresses the problem of definition. Peakman “place[s] pornography as one genre within a superfluity of other types of erotica, erotica being used as an overarching description for all books on sex… either overtly or in a ‘hidden’ form; for example, through metaphor, innuendo or implication.” (pg. 7) She defines pornography based on carrying the intention to sexually stimulate. I don’t consider that an adequate definition, as texts that are not pornographic or even erotic (in Peakman’s usage) can be read pornographically. This is particularly relevant in discussing anti-Catholic propaganda/”Convent Tale” pornography. Peakman introduced me to the useful term of metalepsis, “layer upon layer of figurative terms (particularly metaphors) distancing the real subject (sex) under discussion…. It also reveals the multiplicity of images and understandings of men’s and women’s bodies which were current, many of them conflicting, some of them constant.” (Pg.9)

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Feb 052011
 

An Oxford academic says that an otherwise obscure 18th century collection of miscellaneous poems was in print for more than a century because it included a section of erotic verse.

The finding suggests that what we think of as high art and low art was being packaged, sold and read together in the 18th Century – and raises questions about whether the popularity of other bestselling books might have different explanations.

Dr van Hensbergen said: ‘I had just finished entering details of poems typical of miscellanies of the period- satires, imitations and amatory verse, when at the end of the second volume a new title page announced the start of ‘The Cabinet of Love’.

‘To my surprise, ‘The Cabinet’ turned out to be a collection of pornographic verse about dildos. The poems include ‘Dildoides’, a poem attributed to Samuel Butler about the public burning of French-imported dildos, ‘The Delights of Venus’, a poem in which a married woman gives her younger friend an explicit account of the joys of sex, and ‘The Discovery’, a poem about a man watching a woman in bed while hiding under a table.

Samuel Butler, you may recall, is no stranger to the kinky side of things. His mock epic poem Hudibras introduced the maxim “spare the rod and spoil the child” (not the Bible as is commonly believed), which is actually a reference to erotic flagellation.

This shows that in the 18th century pornography, as we would understand it today, was not a completely separate genre or category of media. A miscellaneous collections of poems might include sexual material. Something like this might have spread through word of mouth to the sexually curious.

This also brings up why I am so excited by the digitization of huge amounts of historical documents into searchable databases, which can open up new frontiers for historical research, particularly in the case of researching things other people haven’t already searched for. Overthinking It once did a semi-serious exploration of the history of Mr. T’s catchphrase “I pity the fool”, tracing it back to an obscure early 19th century book via Google Books. While this was in part a joke, it also showed the potential of new kinds of historical research.

Via io9

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Jan 112011
 

Pandora Blake’s LJ has a list of cases of people prosecuted over the UK’s new “extreme pornography” law.

This suggests that our fears about the consequences of the extreme porn legislation are being borne out. It’s no longer about protecting the people involved in making the images, but about policing our fantasies. Never mind that no causal connection can be demonstrated between viewing pornography and sexual violent crime (in fact it’s arguable that access to pornography helps prevent violent crime by giving people with socially ‘unacceptable’ desires an outlet for their fantasies), nor that it is perfectly possible to create ethical images of violent acts using consenting actors. Under this way of thinking, even illustrations and cartoons are too dangerous. This isn’t about regulating the porn industry, it’s about personal taste masquerading as morality. The prosecution in this case explicitly uses the Victorian concept of the “decency of society” as an excuse for censorship.

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