····in the vase—spring passes over the withering
Reviewed and added the following books to Erotic Poetry, Love & Passion • A review of Poets & Anthologies:
You will find it below and appended to the larger review linked above.
Erotiku: erotic haiku for the sensual soul
by Lisa Marie Darlington
This is a book I really looked forward to getting my hands on. Anyone who’s been following my blog knows I love haiku and erotic poetry in general. Erotiku has only been fitfully available at Amazon, mostly OP or of Limited Availability. When I saw it available at list price with a used book dealer, I snagged it.
The cover is great; unfortunately, the poetry not so much. Like so many western authors, Darlington seems to have walked out of the haiku tutorial at ‘three lines‘. The author herself doesn’t go much beyond this description in the book’s brief introduction. She writes:
“Haiku is known to follow the metrical 5-7-5 syllable structure, yet I have revised it to take on a more contemporary form. It’s composition does not follow any kind of syllable rule, yet it still holds true to the three line pattern.”
As if that were all that made a haiku (or senryu for that matter). At the close of the introduction she’ll write that “western haiku tries to imitate old Japanese Haiku with little understanding”. The criticism, unfortunately, is applicable to the entirety of her collection.
The book is thick with one haiku per page. You’re essentially buying blank paper. Having said that, Darlington’s presentation isn’t all that different from other haiku collections. She hints at aesthetic reasons for doing so, maybe to savor each poem individually. The problem is that there’s really not that much to savor. The best senryu and haiku are rich with allusion and suggestiveness. They invite the reader to conjure what the poet leaves out. The reward is traditionally a realization of nature’s interconnectedness (haiku) or the humorous foibles of our humanity (senryu). There’s a broad spectrum between these two, but all the best haiku and senryu serve as an imaginative starting point, not end point. And that’s the problem with Darlington’s erotiku. They’re too often an end point.
Kama Sutra Art
Kama sutra art
Of intense connection
A “poem” like this (presented the way she centers them in her book) has nothing whatsoever to do with haiku or senryu. It’s little more than a statement in three lines. There’s nothing remotely erotic other than by association. The reader is likely to respond: Yes, and? This is Darlington at her least successful and unfortunately typifies, to a greater or lesser degree, too many of her haiku (which I think number around two hundred?—I’m guessing since there are no page numbers).
Arched Out in Pleasure
Her slender body
Curved to the couch
Back arched out in pleasure.
This is more typical of Darlington’s erotiku. They are descriptive prose passages in three lines. The reader will find lots and lots of these. I suppose it’s erotic/pornographic, but that’s as far as it goes—an end point rather than a starting point. There’s no sense of narrative or realization. By way of comparison, a rare (and possibly) erotic haiku by Basho:
to get wet passing by
a man is interesting
bush clover in rain
This was translated by Jane Reichhold who comments: “The euphemism ‘to get wet’ was often used in tanka where the reader could decide how this happened, from rain, dew on flowers, tears, or sexual activity.” And this, in my view, is profoundly more erotic than Darlington’s essentially three line descriptions of pornography. The reader is invited to finish Basho’s haiku. Is it really erotic? If so, what happened? Did they have a quickie? Is she wet because she was turned on or because he fucked her? Is she the bush clover? Is he the rain? Or is it simply a coincidental spring rain the makes her wet as she passes by a man?
Other issues I have with Darlington’s erotiku are her tendency toward “pigeon English”:
Around neck and shoulders
Squeezing like a heart attack.
Kindling, the passion
That burns like Hell.
Descriptive redundancy, verbosity and too many adjectives:
Your tongue walks
Your tongue walks
Heavily, up against
The surface of my naked skin.
She doesn’t need up, surface (as this is implied) or naked (also implied). It’s her skin his tongue walks on, after all, not her clothes. (Too great a use of adjectives and overstatement are probably Darlington’s most consistent failings.) Or consider the following where only needlessly appears twice:
Sexy Thong Panties
She buys sexy thong panties
To only please
And does the reader need to know they’re sexy? It’s overstatement that repeatedly mars Darlington’s poetry.
Also, whether the decision was deliberate or simply not a part of their tradition (or language), Japanese poets never made use of like or as. The idea of the simile was there, but was handled far more subtly and to greater effect. Unfortunately, the simile is all too frequent in Darlington’s poems. [Note to western poets: Haiku aren’t glorified similes. Don’t write simileku]:
His Raising Blade
His raising blade
Cutting through; like shears –
Through her wilted flower.
(There again, through needlessly appears twice.)
A bit like a broken clock though, Darlington gets it right every now and then:
Stirred by Moonlight
Stirred by moonlight
The afterglow of sex
This is actually quite good. There’s a play on the notion of afterglow that works nicely with moonlight. If only she had written more like this.
However, in fairness to Darlington and having written all this, I think it’s worth pointing out that the book is a record of her sexual awakening. As she points out in the first sentence of her Forward: “Not to [sic] long ago, I shunned myself from erotic pleasure. ¶ Not only did I find it dirty, filthy, downright skanky and vulgar – but degrading as well… ¶ Then, through my greatest despair, came the union of my lover. He showed me that through lovemaking and experiencing of such erotic explosions, that sex wasn’t something to be ashamed of, yet something to be celebrated and explored.” My heart goes out to her. Anyone brave enough to publish a book like this and to share their erotic life with other readers deserves some praise.
If you’re willing to set aside literary expectations and willing to read the book as a kind of awakening and erotic autobiography (in a series of three line poems) then I highly recommend it.
Look & Feel ♥♥♥♥
The Poetry of Sex
Edited by Sophie Hannah
Finally, a title that says it and means it. In case you were wondering, this is indeed a book of poetry about sex. And to keep things short and sweet: I consider this to be one of the best anthologies available. Without hesitation, I rank it among my other favorites: intimate kisses; Passionate Hearts; The Erotic Spirit; The Best American Erotic Poems.
The editor, Sophie Hannah, is delightfully playful in her introduction, fully aware that her selection is weighted toward the actor Daniel Craig (you’ll just have to read it). Compare Hannah’s playfulness to the starched-underwear snootiness of Peter Washington’s Everyman collection: Erotic Poems (if you want to ‘compare and contrast’). Hannah has no problem with the pornography that is, much to the apparent shock of many a literary editor, the defining attribute of sex and erotica.
The book is divided into sections with the headings:
Each section has about 19 or 20 poems, and that adds up. Not an inconsiderable collection. The poems range from Catallus, though Shakespeare, and to contemporaries like Hannah herself, Rubbish at Adultery, and Sharon Olds (who, though I don’t much care for her mainstream poetry, easily writes some of the best erotic poetry around). I suppose what differentiates Hannah’s collection from the other anthologies is her sense of humor. Though there’s only so much scope for that preference in pre-20th century poetry, she nevertheless finds some choice nuggets. In her contemporary choices her nose for the humor in erotic literature really shines:
Their Sex Life
One failure on
Top of another
Or this poem by Irving Layton:
The idle gods for laughs gave man his rump;
In sport, so made his kind that when he sighs
In ecstasy between a woman’s thighs
He goes up and down, a bicycle pump;
And his beloved once his seed is sown
Swells like a faulty tube on one side blown.
But I also don’t want to give the impression this anthology is just for laughs. It’s not. The difference is in allowing that sex isn’t always about overheated stares, cataclysmic orgasms or the ecstasy of “spiritual”, quote-unquote, unions. Sometimes sex is just sex—fun, funny, and as dirty as you want it to be. It’s books like this that persuade me that all the best writing of the latter 20th and early 21st century is in erotica. The rest, in my opinion, is largely a morass of mediocrity.
Look & Feel ♥♥♥♥♥♥
The Literary Companion to Sex
by Fiona Pitt-Kethley
This is a book published in 1992 and I’m not sure why I haven’t gotten round to reviewing it until now. It’s easily one of the most comprehensive anthologies of not just poetry but of sex and erotica in literature of any kind. In other words, you’ll find not just passages of poetry but passages from the Bible, Drama, Elizabethan pamphlets, short stories and novels. At 415 pages, there’s a wealth of material grouped, as the introduction puts it, into “five wide periods”:
Among other luminaries, you will find the earily 20th century’s great egotist, Frank Harris. Going back to the ancient world you will read passages from Aristophanes, Ovid, Terence, and Apuleius. Selections from the Middle Ages include a literary passage from the Chinese author Wang Shih-Chen but are mostly limited to examples from the English. The author, in the forward, suggests a reason for this. She writes:
“The manual type of book can be seriously boring. Even at fourteen, I can remember all those ‘yonis’ and ‘lingams’ of The Kama Sutra turning me off, not on, as I perused it under my desk during scripture lessons. It was hard for me to find a likeable passage in either that or The Perfumed Garden. ¶ In the end I decided that my criteria for choosing would be these: realism, humour, or the unusual—preferably all three. It was important to find realistic writing, simply because there’s so little of it.”
Fair enough. I’m inclined to agree with her, though one might fairly ask if her selections don’t reflect her own cultural biases. I’m not asserting they do, but the question arises. Are readers in India turned on, rather than off, by yonis and lingams? — or do they also prefer cunts and cocks in their literature?
Some other observations she makes are, I think, worth mentioning.
On the ancient world:
“The writers of the ancient world, in the main, proved to be the most open and unashamed about sex, although a slightly prurient, shocked tone crept into their news reportage (the sensationalist historians, Suetonius and Procopius). But are journalists of today any different?”
On the Middle Ages:
“The Middle Ages and the Rennaisance, although bawdy, were overshadowed by religion and doom. Conversely, their religious writing often had sexual overtones. The fate in hell of the aduleress in Gesta Romanorum provides a memorably kinky image of tortured womankind that must have provided good masturbation material for pious monks everywhere.”
On the 17th century:
“By the time we reach the seventeenth century, dildoes, and jokes about them, are big news, as are venereal diseases. The Restoration and the eighteenth century provide a period of frankness similar to that of the ancient world. It’s probably the easiest period in which to find good sex writing.”
On the 19th century:
“I knew from the start that the nineteenth century would give me the biggest problems. Apart from some good French literature and Byron, what was I to include? Literature became schizophrenic during Victoria’s reign. Sex didn’t happen in official literature, but it happened nonstop – to an unrealistic extent – in The Pearl and other underground writing. Kinkiness was in. ¶ Apart from mainstream writing and underground pornography, there’s a third tradition in the nineteenth century — one that’s often ignored. Isolated individuals had begun to collect folklore. Writing for ‘the learned reder’, these writers could be a little franker than those who wrote for the mass market, like Dickens. And mercifully, their style is usually of far higher quality than that of the average nineteenth-century pornographer. These folk tales hark back to older traditions, keeping alive the bawdy spirit of the Middle Ages and the Renaissance.”
On the 20th century:
“By the twentieth century we are into mixed territory. I sensed curious affinities across the eras — Apollinaire’s erotic novel with Rochester’s Sodom; one of e.e. cummings’s poems with an anonymous seventeenth-century one; Eskimo Nell and Procopius’s Empress Theodora — another fucker of cosmic proportions. There is also, alas, a great deal of bad writing. Authors frequently make great claims for their own honesty, only to get bogged down in prurience and their own embarrassment. I avoided all passages that talked about waves beating on shores. (That sort of writing’s only permissible if the couple are doing it on a beach.) Still, on the plus side, there is a tremendous range of ideas and experience in the writing of the twentieth century — everything from bestiality to vibrators.”
And that ought to give you a flavor for the kind of erotic writing Pitt-Kethley has anthologized. If you’re looking for a collection offering literature besides poetry, you can’t do better than this (as far as I know). Consider this the best anthology of erotic literature currently available.
Look & Feel ♥♥♥♥♥
····her kisses descending with
54: December 30th 2015 | bottlecap
····in the shawl—the night’s paisley
Sometimes a stranger haunts me and her beauty momentarily colors all that comes after.
46: December 22nd 2015 | bottlecap
····kissing her toes before moving slowly
Some haiku need no explanation.
45: December 21st 2015 | bottlecap
····she brushes wild-flowers from her floral
····on her back—rain pooling
3: Three Summer’s Erotic Haiku • November 9 2015