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Dante Remy | "Le-clair-de-femmes-Moonstruck" “Let us not confuse the question. Apollonia Saintclair is not the artist behind the pen. She is the threshold, the channel, the voice that draws.” The Introduction I Wanted to Write Let me tell you from the start: I am going to get this all wrong. But that, in truth, is the essence of Apollonia Saintclair’s art . Her drawings are not made to be “understood” in any final sense. They are riddles that multiply as you look, images that demand stories but never yield conclusions. Every attempt to name them only opens another chamber of ambiguity. What follows, then, is not a map but a wandering. It is my story woven into her ink—just one among the thousands her work has already provoked, and the thousands still to come. An Introduction The Artist Deserves There are artists who illustrate, and there are writers who narrate—but Apollonia Saintclair belongs to neither camp. She is the writer who draws, a conjurer of stories in ink, who lets the unconscious guide her hand like a sleepwalker in shadow. Her black lines are not decoration but sentences; her compositions are chapters torn from a secret novel of desire and strangeness. She does not render bodies so much as she reveals fictions in flesh: wounds that are ecstasy, embraces that are estrangements, gazes that belong as much to the viewer as to the viewed. To look at her work is to feel both seen and unsettled, as though she has reached inside your private dream and sketched it before you could speak it. Much has been written about her emergence and mercurial rise on the internet in 2012. And yet, to want to know her story—her past, her identity, who she is outside the page—is to risk missing the point. That search gets in the way of knowing her art. In this essay I focus not on her biography but on her drawings, and the stories they summon. So let us agree to disagree, if we must, about the desire to unmask the artist. Instead, let us turn toward the illustrations themselves, and the voices they release. "Les psychopompes - Evocation of the spirit of a murdered sybarite" The first shock of her art is not erotic but literary. Each drawing is a story compressed to a single moment, like a page torn from a book whose remaining chapters exist only in your imagination. When I see her ink, I do not think of other illustrators but of writers: of Flaubert’s obsessive detail, Matheson’s haunted estrangements, Kafka’s dense shadows. She does not draw to show; she draws to narrate. Each stroke of blackness is both sentence and silence, a fragment of fiction that calls upon the viewer to complete it. Her works are not fantasies but worlds—laconic, labyrinthine, and alive. What makes them unforgettable is the sense of estrangement that hovers over every line. Her drawings are never quite safe: they belong to the liminal terrain where beauty unsettles, where pleasure bends toward pain, where intimacy dissolves into something uncanny. They resist the simple comfort of desire and instead open onto that landscape where fascination and repulsion entwine. Her eroticism is not a call to arousal alone, but a threshold into strangeness—a reminder that to be seduced is always to be unsettled. And yet: you will never know who she is, and you should never seek to know her. Saintclair is not the subject of these images but their conduit; her anonymity is not a mask to be stripped away but the very condition of her art. To demand her face would be to mistake the door for the world it opens. What matters is not the life she lives once she steps back into the ordinary, but the vision she offers us in the extraordinary. She belongs to no biography but the one you discover in her work—our work, because when you see yourself mirrored in her ink, the story is no longer hers alone. "La broyeuse - The crusher" Her genius lies in this: she makes art that is at once intimate and impersonal. The women and men she conjures are not characters but archetypes—desire itself in shadow, the body as myth, the gaze as confession. Cross-hatching behaves like syntax: density for emphasis, white space for breath. In her hands, sexuality is not spectacle but scripture, written in ink that refuses erasure. To look is to be implicated, to be turned voyeur and visionary at once. She is not offering herself but a mirror, and if you dare to look long enough, you will see not her secrets, but your own. This is why her work cannot be contained by the familiar language of erotic art. The erotic is certainly there—sometimes violent, sometimes tender, sometimes absurd—but it is always bound to something more elusive. Like the gothic novelists who made terror sublime, she reminds us that the deepest pleasures are threaded with unease, that beauty is most potent when it hovers near the grotesque. Her ink insists that to desire is to risk dissolution, that to look is to risk being changed. "Les dames dans la soupente - The welcome party" Saintclair also has a sense of irony that cuts like a scalpel. Titles, captions, and the sly humor embedded in her compositions make it impossible to take her images as straightforward fantasies. They undercut sentimentality, expose absurdity, and remind us that desire is never pure. The laugh that emerges in front of her work is not the laughter of mockery but of recognition—the sudden awareness that our longings, however transgressive, belong to the human comedy. It is precisely this irony that allows her art to reach so many: it reassures the intellect even as it unsettles the body. But what lingers most is her mastery of ambiguity. She works in black and white, yet nothing she creates is one-dimensional. Every drawing carries at least two readings—sometimes three or four—layered like transparencies. To stop at the first interpretation is to betray the work. These are double-bottomed drawers, and to open them is to discover not closure but further recesses. She teaches us that eroticism, like truth, is inexhaustible: it only deepens the longer you gaze. "L’asymptote du plaisir - On the scaffold" In an age where everything clamors to be explicit, her anonymity and her indeterminacy feel like acts of resistance. They remind us that mystery is not a defect but a force. She does not give you herself; she gives you the conditions in which you must give yourself away. Her drawings leave you implicated, unsettled, laughing, desiring, estranged. They make you wonder not who she is, but who you might be, once the ink has spoken to you. So let us not confuse the question. Apollonia Saintclair is not the artist behind the pen. She is the threshold, the channel, the voice that draws. She has built for us a literature of shadows in which words have vanished and only their images remain. She has offered us a mirror to see ourselves differently, to glimpse both our hunger and our strangeness. To encounter her art is to discover that anonymity can be more intimate than confession, and that the deepest truths are revealed not when the mask is torn away, but when it is worn with absolute conviction. La femme au fichu blanc (Happiness blooms in my garden) A walk through just a few of the thousands of works of art helps to reveal the nature of Saintclair’s appeal: the way her drawings linger in the mind, multiply into stories, and haunt us long after the page is turned. One such image, first posted on social media and never collected into her books, is titled La femme au fichu blanc —“the woman in the white headscarf”—with the English subtitle, Happiness blooms in my garden . The title alone sets the paradox: serenity and mischief, innocence and exposure, leisure and provocation entwined in a single frame. "La femme au fichu blanc - Happiness blooms in my garden" A woman sits on the steps of a modest garden dacha, or what appears to be so, legs open, sex revealed, her expression faintly amused. The stone still holds the noon heat; the leaves behind her hum with insects. She could be anyone: a holiday guest taking the sun, a hostess waiting for company, a stranger who has wandered in from another life. The headscarf, the bare feet, the rustic stone steps all suggest simplicity, leisure, even innocence. And yet—her body tells another story. Her pubic hair is neatly trimmed, marked with the worldliness of the city, a sign of the curated, the intentional. She is not simply a child of the garden; she has carried a different kind of knowledge into this place. At her feet sits a small dog, upright and calm, as though posing for its own portrait. The dog’s presence complicates everything. If it is her dog, then the moment is one of intimacy made banal: an ordinary afternoon with a companion who knows nothing of scandal. If it belongs to a friend, then the scene shifts—she is borrowing not only space but loyalty, exposing herself in a borrowed intimacy. And if it is her lover’s dog, the question sharpens still further: does the animal stand in for its absent master, a surrogate placed exactly at the threshold of her desire? Her smile may be amusement at her own audacity, or at the absurdity of this new companion suddenly elevated to co-conspirator. From here, a thousand narratives unfold. Is she a woman escaping the city, savoring the freedom to sit unguarded in the sun? Is she a seductress, smirking at the scandal she knows she provokes? Is she laughing at us, the viewers, for seeing only exposure where she feels none? Or is her amusement directed inward, at the strangeness of being caught between cultivation and rustic ease, between the world of the city and the world of the garden? But here is the revelation: none of this is interpretation in the scholarly sense. It is storytelling—my own story, projected into her ink, made necessary by the way her art refuses to close its meaning. Saintclair does not give us images to decipher like puzzles with solutions. She gives us fragments that demand our invention. What I see is not the truth of the drawing but a fiction I cannot help but write in response. And that, perhaps, is her rarest gift: she does not simply show, she provokes narration. Her followers do not merely view her images; they inhabit them, tell themselves into them, fill the silences with their own voices. Each drawing becomes a mirror that speaks back, not with her story, but with ours. To look at her work is not to decode, but to compose—to become the author of a fleeting novel written through her lines. The depth lies in that paradox: she is the artist, yet we supply the stories. She sketches the body, and we write the life around it. That is why her art feels so endless, so inexhaustible—because it multiplies itself in the imagination of every viewer. La femme au fichu blanc  will never belong to one reading, but to a million. She is not her, she is us. And that is Apollonia Saintclair’s gift: to turn spectators into storytellers, to remind us that our erotic lives are already scripted—and the body is just another page. Le masque de la Méduse (Object Woman) Let us open Volume 4 of Ink is My Blood  and gaze upon an image. At first encounter, the drawing overwhelms: a woman collared, gagged, and engulfed by a monstrous apparatus of dials, lenses, and levers. Her eyes are hidden behind a phantasmagoric optician’s device gone berserk, while her mouth is pried open, drooling around a ball-gag. Flesh is consumed by mechanism; body becomes extension of machine. She is not simply masked—she is transformed into Object Woman. "Le masque de la Méduse - Object Woman" The French title, Le masque de la Méduse,  invokes the petrifying gaze of myth. Yet here her gaze is eclipsed, redirected through glass and metal. Is Medusa subdued, her terrible power neutralized by optics? Or has the machine become her mask, a new face multiplying her vision, freezing us with its mechanical stare? The English title, Object Woman,  sharpens the paradox: she is objectified, reduced to instrumentation—and yet in that reduction she radiates uncanny power. Her sexuality is blunt, but it is also displaced. The gag stretches her mouth, saliva trailing from her lips, but her face is not contorted with panic. She seems transfixed, suspended, as if caught between pain and rapture. Perhaps she is not resisting the apparatus at all. Perhaps she is absorbed by what she sees—images refracted endlessly through the lenses, a world only she can perceive. The drool becomes less a mark of degradation than of surrender, of immersion in an experience we cannot access. This is not simple bondage. It is fetish as allegory: the union of body and machine, silence and spectacle, submission and transcendence. The labels on the device—“CAUTION,” “DO NOT REMOVE HELMET,” “RESCUE OTHER SIDE”—mock us with their warnings, as though there were some protocol to follow, some safe way to engage with what is essentially a riddle. And so, stories multiply. Is she victim, bound within a patriarchal machine? Or is she priestess, chosen to see what others cannot? Is her silence imposed, or is it the price of a vision so overwhelming that words would falter anyway? Her enjoyment is ambiguous, but it is there—quiet, disquieting, a complicity that unsettles the boundary between domination and desire. Or is this simply a modern, even futuristic Medusa—the woman whose crown of vipers has been replaced with technology, whose mask of lenses petrifies us more surely than serpents ever could? In this reading, she is no longer trapped at all: she is the captor. We, the viewers, become the frozen statues, transfixed and transformed by her mechanical gaze. Her power lies not in her own expression but in our inability to look away. We want to create a modern retelling of the Medusa story from this image because we must; the gaze has captured us, compelled us to narrate ourselves into its mythology. What Saintclair captures is not just the spectacle of restraint, but the allure of surrender to something larger than oneself. The image forces us to confront the strange intimacy between vision and control: how to look is also to be trapped, how to desire is also to risk petrification. We do not know what she sees behind the mask of dials, but we know she does not wish to look away. That is why Le masque de la Méduse  remains one of her most iconic works. It resists the easy reading of victimhood or titillation. It confronts us with a deeper unease: that pleasure may dwell in restraint, that revelation may require objectification, that the act of looking is itself a form of entanglement. We are caught with her in the machine, transfixed, transformed, unable to step back. La technicienne de surface (Worshiping My Idol) Turning the pages of Volume 4, we stop at a scene that seems absurd: a woman, skirt hitched, panties tangled at her thighs, bends forward to kiss and press against an enormous poster of another woman’s body. Her hands are braced on the surface, as if she might step through it or draw it around her like a lover. In the corner, a vacuum cleaner slouches idly, anchoring the scene in comic domesticity, as though housework has been interrupted by desire. "La technicienne de surface - Worshiping My Idol" The French title— La technicienne de surface —literally “the cleaning lady,” a bureaucratic euphemism that strips dignity away in favor of sterile neutrality. The English title, Worshiping My Idol,  transforms the same image into an act of reverence, longing, even transcendence. The interplay is striking: one diminishes, the other elevates. One reminds us of labor’s banality, the other of devotion’s rapture. Caught between the two, the figure becomes both ordinary and mythic, comic and tragic. Is she mocking the rituals of idolization, parodying our dependence on images larger than life? Or is she entirely serious, lost in reverence before an unreachable surface? Is she a beautiful, perhaps tragic cleaning lady who has paused from her work to kneel before a private fantasy? Or is she every viewer, caught in the paradox of worshiping that which cannot worship back? The vacuum cleaner suggests interruption, yet it also functions as a sly joke: even in the most mundane corner of life, ecstasy can erupt. The hose coils like a leash no hand is holding. For some, this is comedy, a parody of desire’s absurdity. For others, it is longing distilled, devotion played out on an unyielding surface. Saintclair does not allow us to choose; she holds both readings in tension. Worship and parody blur together until they become indistinguishable. And this is her rare genius: her images are not puzzles to be solved but fictions that demand completion. Each viewer writes a different story. For some, she is a cleaning lady made radiant in her longing, her devotion tragic in its impossibility. For others, she is a mirror of our own absurdity, pressing ourselves against surfaces that will never yield. Which is true? All, and none. The drawing is not singular—it multiplies. And in its multiplication, it makes storytellers of us all. La lionne blessée (Love is a Killer) Let’s turn to another iconic illustration in Volume 4, Love is a Killer,  its English title. In French it is La lionne blessée —“the wounded lioness.” Immediately, the pairing of languages fractures the image into two readings. One is mythic: a creature of ferocity and dignity, a lioness who bleeds but does not bow. The other is brutal, intimate: love itself as executioner, passion as wound. Both titles hold truth, both contradict one another. "La lionne blessée - Love is a Killer" The drawing itself is deceptively stark: a woman’s face in close view, her features taut, caught between suffering and rapture. Arrows pierce her flesh, but her gaze does not falter. She seems suspended between collapse and transcendence. The French title emphasizes her power even in woundedness; the English title underlines the cruelty of love’s bite. Which are we to believe? Or are we meant to oscillate endlessly between them? Here the stories multiply. Is she victim of desire’s violence, or its willing acolyte? Do the arrows represent betrayal, loss, heartbreak? Or are they the ecstatic marks of being possessed by love so entirely that the body itself must rupture? Perhaps she is not victim at all but predator wounded by her own hunt, a lioness who knows that to love is also to bleed. And perhaps it is no mistake that la petite mort —the little death—haunts the face: orgasm and arrows layered as one. To see both ecstasy and death mingled here is to recognize that Saintclair draws not just wounds of the flesh but the paradox of pleasure itself: that rapture and ruin are inseparable. These arrows pierce as much with desire as with violence, collapsing climax and mortality into a single haunting image. Saintclair forces us to supply our own narrative, to read the arrows as allegory. Some will see tragedy, others resilience. Some will read in her face the exhaustion of surrender, others the power of endurance. The genius lies in the impossibility of choosing. She offers a single frame that holds a thousand unwritten chapters. And so the truth of the piece is not her truth, but ours. Each viewer completes it with their own memories of desire, betrayal, devotion. This is not interpretation in the narrow sense, but storytelling compelled by the image itself. Saintclair’s art reminds us that we are already authors of our erotic scripts—that the body is another page, and love, when it wounds us, is always both killer and gift. La Musique du Matin (Head) At first glance, the image seems brutally direct: a woman leaning over a man’s body, her hand tight around him, semen spilling in a pale thread. Sex, immediate, unvarnished, raw. It could almost be mistaken for blunt pornography—until we read the title. La Musique du Matin , “the morning music.” And suddenly the image shifts. "La Musique du Matin - Head" Now the drawing is not only something we see, but something we hear. The music is not metaphor alone—it is the rhythm of their pleasure. The slick chorus of fluids. The low moans. The sharp intake of breath. The percussion of bodies moving against one another. The hand gripping him keeps tempo; the drip of semen is both note and rest; the man’s body beneath her hums with bass. The music is the build to climax, the crescendo of release, and the long decrescendo after—the calm, the silence that follows orgasm like the last chord dissolving into air. This is why the scene lingers. What looked like blunt carnality is revealed as score, as ritual, as performance. The shadows no longer merely conceal—they become the stage against which sound vibrates. The curls of her hair fall like commas in the dark, punctuation in the unspoken hymn of sex. The body becomes not just page but instrument, tuned to the intimacy of the hour. And morning complicates everything. Morning is both aftermath and overture: the hour when night’s secrets still cling, and the day has not yet begun. To call this “the morning music” is to suspend the act between conclusion and renewal, a climax that is also a beginning. Pleasure becomes time itself: brief, cyclical, irrepressible. The power of the piece is this transformation. We begin with an image of sex, stark and unyielding. But with its title, Saintclair asks us to listen—to recognize that sex is never silent. Its sounds are its truth: the gasps, the moans, the music of bodies saying what words cannot. And that is the morning music: not only the act itself, but its echo. A hymn written in flesh, in sound, in silence. We smile when we see it, because the music is already ours. We know it. We’ve heard it. We’ve been there—in the slick rhythm of bodies, the laughter under breath, the rush to climax, the collapse into warmth. We want to be there again. It is our music, our sex, our morning. Saintclair reminds us of what we already carry: the memory of desire’s song, waiting always to play again. For Your Love is Better than Wine (Project M) It is, of course, impossible to select only a few images to represent Apollonia Saintclair’s work. Her output is too vast, too prolific, too profound. Each piece multiplies into stories of its own, and the reader should seek out her active site to experience the full breadth. Yet here we glimpse something new—an image that heralds her long-anticipated Project M , titled For Your Love is Better than Wine . If her six volumes of Ink Is My Blood   mapped an atlas of desire in ink, this next work promises to be monumental: a liturgy of flesh and imagination. "For Your Love is Better than Wine (Project M)" The image is stark yet elusive: a nude woman kneels in a small stone chamber, a candle in her hand, an open book balanced on her lap, surrounded by a constellation of flames across the floor. A cross hangs from the wall, asserting faith, but the shadows and nudity turn the act into something between devotion and transgression. The light across her face is not a blindfold but candlelit chiaroscuro—an invitation to see her in fragments, as if caught in mid-revelation. But who is she? Is she aristocracy, reading enlightenment texts under cover of night? The pastor’s daughter, or even a nun, hidden in a cloistered library with forbidden books? Or is her reading the spoils of a tryst, her body traded for access to knowledge, her nudity less about shame than transaction? Each possibility expands the story outward, refracts it into new genres: romance, tragedy, liberation, rebellion. Saintclair plants the seeds, and we, the viewers, write the garden. The title reaches back to the Song of Songs : “For your love is better than wine.” Love as intoxication, devotion as rapture. This biblical resonance complicates the scene further. Is she reading scripture? Casting a spell? Writing her own gospel in the silence of her body? Is the candle an instrument of prayer, or an erotic offering? The details sharpen the ambiguity: the shoes neatly placed aside suggest deliberateness and choice, while the vessels in the corner evoke ritual preparation. Every element pushes us toward a story, but none closes it. In Project M , these images are paired with brief, poetic passages—slender texts to accompany the drawings. This fusion will shatter the boundary between illustration and literature, blowing open the possibility of novels that will not be written by the artist alone but in the minds of her viewers. Each pairing becomes a spark, an unwritten book living inside every witness. That is the promise: Saintclair no longer simply gives us pictures to interpret. She sets text beside image, teasing us with fragments of story, daring us to fill the rest. The result will be a cathedral of multiplicity: erotic, sacred, heretical, poetic. For Your Love is Better than Wine will not close her oeuvre but detonate it outward, leaving us with a thousand novels we will each carry away in silence. Where She Exists, We Begin Let us end here, struck by the magnitude of an art that will not be contained. To stand before Saintclair’s work is to feel both excitement and disturbance at once—as though the same lines that seduce also threaten to undo us. Her images function like maps of half-dreamed fears and desires, charts of places we seem to know but cannot name. "La lessive de l’archange - Heavenly detergence" She exists in our world only through her drawings. Each figure, each moment she offers in her place is inked in her blood, a condition of her vision. That is why every mark feels at once intimate and estranging, like touching someone you cannot fully see. This is the way she inhabits us: not as a name or a face, but as a pulse carried through line and shadow. In her work, we witness perpetually beginning. Each drawing holds us in a moment that is before, during, and after all at once—an eternal present I cannot name. Are we watching the instant before desire erupts? Its ferocious fulfillment? The messy aftermath? We do not know. What we know—but dimly—is that we will return to the image, over and again, like a ritual of seeing, and every time, we will be changed. The novels Saintclair whispers into the world are in her lines and our imaginations. If you want to see more—if you want to be both unsettled and carried away—visit her site. Explore the six volumes of Ink Is My Blood in French and English, with essays from fellow wanderers of desire and shadow. Look for Project M , poised to dissolve the boundaries between drawing and poetry. Seek out her exclusive offerings—signed prints, collector’s editions, original sketches—each not a possession, but a threshold into a story you must write. We arrive searching for her and leave searching for ourselves. Full Disclosure: I’m a Storyteller Too I must disclose, though perhaps it is already obvious, that I do not stand outside Apollonia Saintclair’s work. I write as Dante Remy —but like thousands of others across the world, I have followed her from her earliest days online, and I own her volumes and her artwork. Perhaps it is because I am a writer that her images strike me as literary, that her drawings feel less like illustrations and more like stories. Yet I know this recognition is not mine alone—it is the strange communion she extends to all who dare to look. "The Mysteris: I Misteri del Convento" There is more. Her drawings have crossed into my own work, appearing in Bloodlust and gracing the pages of my novel The Mysteries: I Misteri del Convento , a tale of forbidden passion in a Sicilian convent at the turn of the century. In those books, her figures did not simply illustrate but deepened the vision, shadows answering words. So let me be clear: this is not a conflict of interest, but the deepest form of interest itself. What I have written here is not critique, but another chapter in the story. It is an attempt to honor what her drawings give: profound realities and impossible riddles, revelations that dissolve into mystery, and a vision of desire as inexhaustible as ink itself. "Bloodlust: A Letter to My Victims"   Learn more about the artist, her art and art books at apolloniasaintclair.com . Look inside and learn more about the books The Mysteries and Bloodlust published by and her art in Erosetti Press at erosettipress.com . ©️2025 Dante Remy

Dante Remy | Erosetti Press Listen to the podcast version on the Erotic Obscura Blog hosted by Zhanna Z! The New Art Book from Bear X and Erosetti Press There are art books that decorate a coffee table, and then there are art books that devour it—sinking their teeth into your imagination and refusing to let go. Gods and Monsters  by Bear X is one such work: an intoxicating volume where erotic and mythic collide, where desire and terror fuse into ink and shadow, and where the human body is re-imagined as both temple and battleground. From the first page, Bear X makes it clear: this is not polite erotica. These are images that lunge, grip, writhe. Figures are bound, pierced, exalted, transformed. The black-and-white palette sharpens everything into a confrontation between light and darkness, flesh and spirit, lust and annihilation. Like the finest fetish art, the drawings invite both arousal and unease. You do not look at them without feeling watched in return. The Style: Fetish, Mythic, and Sacred Violence Interior Pages: Gods and Monsters Bear X’s line is sharp, confident, unapologetic. Figures are rendered with muscular clarity that makes their pain and ecstasy palpable. This is not the softened sensuality of boudoir photography; it is the hard geometry of power. The aesthetic recalls the decadent flourishes of Aubrey Beardsley, the chiaroscuro of Goya’s nightmares, and the sexual surrealism of Hans Bellmer. But Bear X pushes further into a realm where kink is mythic, and myth is kink. Leather, chains, masks, and piercings recur as motifs, but they are not decoration—they are ritual implements. Each restraint binds more than a body; it binds the viewer into complicity. Every mask conceals a face but reveals an archetype. These are not merely submissives and dominants, but gods and monsters—avatars of hunger, cruelty, surrender, and worship. The Erotic in Mythology and Horror What Bear X achieves in Gods and Monsters  flows from an ancient current—the deep entwining of sex, myth, and terror that has always haunted human imagination. His art does not invent this fusion so much as reclaims and amplifies it , restoring its original danger. Myth has always been erotic at its core. Pan, the goat-footed god of lust, gave us the very word panic —his sudden appearance in the forest was equal parts desire and fear. Dionysus dissolved his followers into ecstatic frenzy, where flesh, wine, and blood mingled until the boundaries of the self disintegrated. To be touched by the god was not to be comforted; it was to be unmade. Horror, too, has always been arousal in disguise. The vampire who drains is also the lover who seduces. The werewolf ravishes as he devours. The specter who visits in the night penetrates as much as it haunts. In each case, what terrifies us also tempts us, because it reveals us as vulnerable, penetrable, undone. What Bear X makes visible is that myth and horror are not opposed to the erotic—they are its primal theater. His horned beast clutching a bound woman is Pan reborn in ink. His crucified angel is the saint re-imagined as orgasmic martyr. His knot of writhing bodies is the Bacchanal rendered in black lines, a danse macabre of lust. Horror teaches us that our limits will be broken. Myth teaches us that the breaking transforms us. Eroticism, when it is at its most powerful, occupies the hinge between those two truths. Bear X does not parody ancient stories; he restores them to their raw intensity. Horror becomes foreplay. Myth becomes climax. The Images: Where Desire Meets Myth Several plates demand to be lingered over. One depicts a horned figure—part satyr, part executioner—pressing a bound woman to his chest. Her back arches, mouth parted, as if both terrified and exalted. The horns are not costume but extension, signifying a power that is simultaneously demonic and divine. To gaze at this image is to recognize how lust and fear have always been intertwined in the oldest myths of Pan, Dionysus, and the Wild Hunt. Gods And Monsters: The Art of Bear X Another image presents a female figure with wings torn open, crucified not by nails but by ropes that pierce her flesh. Blood mingles with tears, but her expression is serene, almost beatific. This is martyrdom eroticized: a vision of pain transformed into ecstatic offering. It echoes the Catholic saints pierced by arrows and swords, their rapture indistinguishable from orgasm. Bear X pulls this imagery into the realm of fetish, but without irony—it is reverent in its sacrilege. One of the most striking compositions layers multiple bodies into a knot of limbs and mouths, indistinguishable as human or beast. Some faces leer, others plead, others moan in silence. The effect is orgiastic and monstrous, a Bacchanal where the individual dissolves into collective appetite. The eye never settles—it is dragged from thigh to claw, from kiss to wound, unable to disentangle where pleasure ends and horror begins. Gods and Monsters by Bear X Later images shift the current from private torment to ritual spectacle. A priestess masked and bare-breasted clutches a blade like a phallus, rosary of bones in her other hand—dominance transfigured into liturgy. A pierced figure arches in rapture, every wound an orgasm. A hierophant cloaked and masked binds worshippers with chains in a circle of submission—BDSM reimagined as sacred ceremony. These plates do not illustrate kink; they stage initiation. The Psychology: Why It Arouses and Disturbs To engage with Gods and Monsters  is to confront the truth that eroticism is never clean. It feeds on the very drives we are taught to repress—our fascination with wounds, our fantasies of submission, our awe before cruelty. Bear X dares to illustrate these forces without apology, elevating them to the status of myth. Gods and Monsters, from Bear X and Erosetti Press Freud would call it the uncanny: the return of what is both familiar and forbidden. A gag, a lash, a piercing—recognizable objects transfigured into ritual tableaux that unsettle as much as they arouse. Jung might say Bear X’s art activates the archetypes of shadow and anima: the parts of ourselves we repress but cannot escape. And therein lies its power. We are turned on not in spite of the danger, but because of it. We recognize ourselves in the monsters, our desires in their cruelty, our longing for transcendence in their pain. The Meaning: Erotic and Mythic Bear X is not simply drawing fetish scenarios—he is staging myths. The title Gods and Monsters   is not ornamental but literal. Each figure is larger than life, each scene torch-lit in some forgotten temple. The erotic body is not just lust’s object—it is altar, sacrifice, gateway. This positions Bear X within a lineage of artists who knew that sex and religion, bondage and ritual, were never separate. Where ancient priests painted frescoes of gods coupling with mortals, Bear X sketches masked lovers chained to beasts. Where saints were painted pierced and bleeding, Bear X gives us submissives tied and broken—their surrender made holy. It is not parody. It is reverence through blasphemy. The liturgy of desire rendered in ink. Why This Book Belongs in Your Hands Gods and Monsters To flip through Gods and Monsters  is to experience seduction. Each page confronts you, dares you, lures you deeper. This is not a book you simply view . It is a book that implicates you. Whether you come as an admirer of gothic erotica, a collector of fetish art, or someone curious about the darker edges of desire, Bear X offers not just images but initiation. This volume deserves a place not on a hidden shelf, but at the heart of any serious erotic library. It joins the tradition of Apollonia Saintclair, Guido Crepax, and Eric Stanton, yet speaks in a voice unmistakably its own—contemporary, fearless, mythic. In the end, Gods and Monsters   is not about illustration. It is about the dangerous, necessary truth that what we fear in our desires is exactly what makes them divine. Bear X has given us not a book but a temple disguised in paper and ink. Step inside—if you dare. Explore the book at the Erosetti Press site . ©️2025 Dante Remy

Dante Remy | An inked illustration by the fetish artist Coax for "Behind Closed Doors" from The Anthology of Erotic Narrative, Volume I (Erosetti Press). What is it that draws us to the darkest corners of desire? Why do some crave the searing sting of a flogger, the whispered promise of submission, the intoxicating thrill of absolute surrender? The world of BDSM literature has long been home to stories that explore power, desire, and the deep, often taboo corners of human sexuality. The genre has given us great works that have shaped our understanding of dominance and submission. Pauline Réage’s Story of O  taught us that submission can be an act of ultimate devotion, an offering of self to the one who commands. Leopold von Sacher-Masoch’s Venus in Furs  introduced the complexities of masochism and the intoxicating power of humiliation. Anne Rice’s Sleeping Beauty  series exposed the decadent extremes of pleasure and punishment, while Jean de Berg’s The Image  unraveled the psychological depths of control and obedience. Each of these works, in its own way, has added a vital piece to the ever-evolving landscape of BDSM erotica. Yet, few works have dared to push these themes as far as Behind Closed Doors  by Dalia Folia, a stunning and unflinching tale that forces readers to confront the rawest, most intimate dimensions of desire and control. Featured in the latest anthology of boundary-breaking erotica , Behind Closed Doors  takes its rightful place within the legacy of BDSM literature. But it does more than just follow in the footsteps of its predecessors—it extends the tradition in ways that make it essential reading for those drawn to the most visceral, evocative expressions of kink. Accompanied by Coax’s striking, graphic illustrations, the story is a visceral journey into the world of a dominant man and his submissive partner, one that neither shies away from the harshest truths of sadomasochism nor diminishes the deep emotional bond that can exist between those who live this lifestyle. A Tale That Transcends Fantasy—BDSM Erotica Unlike many BDSM-themed stories that romanticize or gloss over the realities of total power exchange, Behind Closed Doors  presents its themes with unapologetic realism. From the moment the narrator meets her future Dominant at a play party, the story unfolds with an intense authenticity. Their relationship doesn’t develop in a whirlwind of instant submission and dominance but through a gradual, tension-filled dance of trust and discovery. Have you ever felt an instant, unshakable attraction? That moment when two souls recognize something in each other—a shared hunger, an unspoken understanding? That’s exactly what happens when the protagonist meets her Dom. Their connection simmers beneath polite conversation, their gazes lingering just a second too long. He is controlled, deliberate, a man of few words, yet she sees something in him—something she fears, something she craves. And so begins the slow, tantalizing descent into their shared obsession. Find the illustrated edition of The Anthology of Erotic Narrative, Volume I at ErosettiPress.com . The narrator’s journey is not simply one of arousal but of self-acceptance—something that many in the BDSM community will find deeply resonant. She carries the scars of past relationships that could not withstand her desires. The rejection, the pity, the fear from partners who could not understand or accept her need for submission and pain. Her new Dom, however, does not flinch. He is not shocked. He recognizes in her the same hunger that dwells within him. This recognition marks the beginning of something powerful, something deeply personal. The story walks readers through their initial negotiations, their first tentative steps into impact play, humiliation, and power exchange. Yet, Behind Closed Doors  doesn’t remain in the realm of light BDSM—it descends, unafraid, into the abyss of true sadism and masochism. Themes That Go Beyond the Norm Erotic literature that focuses on BDSM often explores well-worn themes: the thrill of submission, the intoxicating power of control, and the sharp edge where pleasure and pain collide. But Behind Closed Doors  dares to go further, delving into themes that are still considered taboo even within the genre: An early sketch by the fetish artist Coax for "Behind Closed Doors" in the illustrated edition of The Anthology of Erotic Narrative, Volume I from Erosetti Press. What happens when control is not a fleeting fantasy but a permanent, inescapable reality?  CNC (Consensual Non-Consent) and TPE (Total Power Exchange) are often misunderstood by those unfamiliar with the lifestyle. In this story, control is not a game played for a few hours before returning to the safety of equality—it is a way of life. The protagonist willingly submits to being used, hurt, and controlled, knowing there is no safeword to pull her back. For those who fantasize about surrendering completely, Behind Closed Doors  offers a glimpse into a world where boundaries are not just tested, but erased. Can humiliation and degradation be the deepest expression of trust?  Society teaches us that dignity is to be preserved, that to be stripped of it is shameful. But in the world of Behind Closed Doors , humiliation is not just tolerated—it is craved. The protagonist finds fulfillment in degradation, in being reduced to nothing more than an object for her Dominant’s pleasure. It is in this loss of self that she feels most whole. This theme speaks to those who understand that submission is not about losing power but about willingly giving it away to someone worthy. How does one come to terms with a need for cruelty when the world tells you it is wrong?  The male protagonist is not a dominant who enjoys playing at being rough—he is a sadist. He confesses his dark fantasies with shame, fearing his own desires, until he finds someone who revels in them rather than recoiling. For those who struggle with the weight of their own desires, this story is a rare and honest portrayal of what it means to embrace the darkness rather than suppress it. These themes align with the works of Jean-Paul Sartre and Michel Foucault, philosophers whose examinations of power dynamics, the gaze, and control resonate deeply within BDSM literature. The idea that submission is not weakness but a form of ultimate agency, that suffering can be pleasure, that the most extreme forms of degradation can foster an intimacy deeper than love—all these ideas pulse at the heart of Behind Closed Doors . A Story That Leaves No One Unmoved For the uninitiated, Behind Closed Doors  is a confronting read. It does not allow the reader to maintain a safe distance. Instead, it demands engagement, participation. One cannot merely observe the narrator’s submission; one must feel  it, as though the leather and rope and unyielding hands are binding them as well. Yet, for those who understand the beauty of BDSM, this story is a revelation. It strips away the artifice that many erotic novels drape over kink, exposing the raw nerve endings beneath. It acknowledges the parts of BDSM that people often don’t talk about: the guilt, the shame, the moments of fear, and the quiet, unshakable love that lies beneath it all. Dalia Folia’s prose is a masterclass in tension and release, echoing the very essence of sadomasochism. And Coax’s illustrations? They are nothing short of breathtaking—raw, graphic, and unrelenting in their honesty. Together, words and images create an experience that is impossible to forget. Why You Need to Read It The "Pocket book" Edition of the anthology is available from Amazon worldwide and offers a modestly illustrated version for public reading. If you are a fan of BDSM literature, if you have ever longed for a book that speaks to the deeper truths of power and pain, then Behind Closed Doors  is a must-read. It is not for the faint of heart, nor for those who seek sanitized depictions of kink. But for those who understand that submission is more than a game, that dominance is more than just control, this book is nothing short of a revelation. Are you ready to step into the darkness? To feel the sting, the surrender, the raw, unfiltered pleasure that only the most daring stories can offer? Behind Closed Doors  is available now in the The Anthology of Erotic Narrative, Volume I Fetish from Erosetti Press in Illustrated and pocket book editions. If you think you are curious, if you are willing to step beyond the tropes and into the realm of true power exchange, then this book is for you. Read it. Feel it. And never look at BDSM literature the same way again. Learn more and read the story by Dalia Folia and those of other international erotica authors at ErosettiPress.com . Available in an explicit Illustrated Edition at Erosetti Press and Pocketbook Edition at Amazon worldwide. ©️ 2025 Dante Remy

Dante Remy | The Romance of Lust, Complete Four Volumes from Black Fern, An Imprint of Erosetti Press There are books that titillate. There are books that scandalize. And then, once in a rare while, there are books that define an entire genre—books so daring, so evocative, and so psychologically rich that they defy easy categorization. The Romance of Lust , originally published anonymously in four volumes between 1873 and 1876, is one of those books. With the release of the newly restored, complete four-volume edition from Black Fern—an imprint of Erosetti Press—we are not merely republishing a Victorian erotic novel. We are reviving a cultural artifact, a literary rebellion, a mirror to the secret desires of an era that prided itself on restraint. This is the first time The Romance of Lust   has been assembled in its entirety, paired with historical commentary, restored antique photographic plates, and produced with the aesthetic it deserves. As the editor and commentator for this edition, I can say with conviction: this is not just a republication—it is a resurrection. And it belongs in every serious erotic library. A History Victorian Erotica Buried in Desire and Dust The Romance of Lust   has always been a book wrapped in mystery. We still do not know who wrote it. Its earliest readers devoured it in private, often by candlelight, their copies passed from hand to trembling hand in drawing rooms and dens of disrepute. It was distributed underground, by clandestine publishers, often to the very aristocrats who condemned it in public. The duplicity of the Victorian era—its surface piety and subterranean pleasures—is captured perfectly in this novel’s existence. But until now, the full story has never been told. Image from The Romance of Lust from Black Fern In preparing this edition, we uncovered something extraordinary: a trunk hidden in the attic of a crumbling English country estate. Inside, sealed for over a century, were dozens of collodion wet-plate photographs—raw, luminous, and shockingly erotic. They were accompanied by printing notes, handwritten letters, and fragments of what may have been the publisher’s original records. Were these the muses of The Romance of Lust ? Were they its secret co-conspirators? Though the photographs do not directly illustrate the novel’s plot, they undeniably evoke its world as a fictional account that accompanies this anonymous classic. They capture the atmosphere of the book—the heavy drapes, the exposed flesh, the furtive glances. As a story told in the volume's forward, these images have now been painstakingly cleaned, restored, and included in each of the four volumes—thirty plates per book, totaling over 120 rare Victorian erotic photographs across the series. This is the only edition in existence to include them. A Psychosexual Epic in Four Volumes The structure of The Romance of Lust  is itself bold. Told in the first person, it charts the sexual education and eventual mastery of Charlie, a young man whose erotic journey begins with curiosity and escalates into a symphony of taboo. Every volume peels back another layer of Victorian repression, exposing desires that still challenge us today. Volume I: The Awakening of Desire Here, the tone is discovery. The young Charlie is introduced to physical pleasure under the guidance of the sultry Mrs. Benson and his own sister Eliza—figures of maternal authority and familial intimacy, transgressing not only the bounds of propriety, but of psychology itself. This is Freud’s playground before Freud had a name. "Her glorious white bottom—dazzlingly white and shining like satin—rose before my gaze..." This is not pornography. This is literature that dares to understand lust as a force that molds identity, authority, and memory. Volume II: Into the Labyrinth of Temptation As Charlie’s experiences deepen, he is drawn into more complex webs of desire. Aunt Brownlow enters the stage, as does Harry Dale. We move from initiation to temptation. Themes of secrecy, power, and betrayal take center stage. The acts are bolder, yes—but more importantly, the emotional stakes rise. There is no longer the veil of innocence to hide behind. Volume III: Scandal and Seduction Unleashed Here is the storm. Charlie is no longer learning—he is orchestrating. Relationships become tangled, particularly with Miss Frankland and Mrs. Nichols, and each encounter teeters on the brink between ecstasy and ruin. The writing becomes more confident, more lyrical, and yet more devastating. This volume is Victorian erotica at its most fearless. Volume IV: The Zenith of Passion and Revelation Everything comes to a head. Secrets unravel, bodies and boundaries are both crossed and burned. This is not just the climax of a story—it is a meditation on desire as both liberation and destruction. Charlie’s final encounters are emotionally raw, carnally intense, and psychologically revealing. If the earlier volumes explored taboo, this one revels in its full implications. The Romance of Lust, Complete Four Volumes, from Black Fern, An Imprint of Erosetti Press Each volume is accompanied by restored photographic plates—scenes of domestic intimacy, salon sensuality, and unflinching eroticism. They do not illustrate the plot. They illustrate the world the novel dared to describe. More Than a Novel: A Document of Human Desire What makes The Romance of Lust   extraordinary is not its catalog of sexual acts—though those are certainly here, described with a richness that still stirs even the jaded modern reader. What makes it vital is its psychological honesty. Its characters act out impulses most of us repress. They transgress, yes—but they do so with an awareness that they are crossing into forbidden territory. There is real artistry in the writing. The sentences are florid in that unmistakably Victorian way, yet pulsate with life. There is poetry in every moan, subtext in every spanking. Even the most explicit scenes unfold with the rhythm of ritual. "She bared her fine right arm, and grasping the rod, stepped back and raised her arm... The rod whistled through the air and fell with a cruel cut on my plump little bottom." Power, submission, longing—these are not decorations. They are the meat of the story. And the photographs included in this edition, real and raw, deepen the experience. You are not just reading about a hidden world. You are seeing it. The Freud Who Never Read It Reading The Romance of Lust  today, one cannot help but think of Freud—his theories of repression, of the Oedipal complex, of sublimated desire. This novel anticipates them all. But where Freud sought to explain, The Romance of Lust  enacts. It is the id unleashed, the superego shattered, the libido rendered in lush, opulent prose. In this edition, I’ve included a forward that examines these psychoanalytic dimensions. As a writer and a reader of transgressive literature, I believe this novel does not belong in the margins of academia or behind censored library shelves. It belongs on the main stage, alongside Sade, Bataille, Nin, and Genet. The Collector’s Edition: A Sacred Object For those who desire the ultimate experience, we’ve created the Collector’s Edition —a hardcover, oversized volume that includes all four books and all 120+ plates, presented in a cloth-bound case with a dust jacket designed to reflect both the opulence and the secrecy of the original text. It is more than a book. It is an object of devotion. Soon to be released. For bibliophiles, collectors of erotica, historians of sexuality, and those who recognize the body as both subject and symbol, this edition is an heirloom. Available Now — And Only Here The Romance of Lust , restored and complete, is available exclusively through Erosetti Press  and Amazon . No other edition includes the restored plates. No other edition includes this level of scholarly and aesthetic attention. No other edition tells the full story. Because erotica is not something we should apologize for. It is something we should honor. We are creatures of longing. And in books like this, we do not simply read—we remember. Dante Remy Author, Editor, and Curator Black Fern | Erosetti Press “Eroticism is the poetry of the flesh— A sonnet, spoken in whispers and gasps, Where body and desire merge in their darkest, Most sublime verse.” ©️ 2025 Dante Remy ________________________________ Learn more and look inside the volumes on the Erosetti Press website .

Dante Remy | The Mysteries, illustrations by Apollonia Saintclair Erotic fiction holds a unique power to take readers down new roads of self discovery. At its best, it does not merely titillate—it confronts, provokes, and transforms. Writing The Mysteries: Pain & Pleasure within the Convent Walls was such a journey into sapphic eroticism. It was my attempt to blend such elements, to create something that transcends boundaries while remaining rooted in profound human truths. Partnering with the enigmatic illustrations of Apollonia Saintclair, I sought to craft a work that invites readers to explore the uncharted intersections of faith, desire, pain, and transcendence. When I first came across the lost writings of Elisabeth Coote, I felt an immediate pull. These papers had not seen the light of day for over a century, a discovery I have written more extensively about in the book's introduction. Here was a sapphic voice from the late 19th century, buried beneath layers of scandal and repression, whispering truths that demanded to be heard. Elisabeth’s story—and that of Sister Lucille within the Convento di Santa Voluttà—was not just erotica; it was an invocation, a prayer to the body and the spirit to reconcile their eternal dance. The Profound Rediscovery of The Writings My journey began in a dusty archive in Monteconvento, Sicily, where I uncovered manuscripts penned by Elisabeth Coote—an Englishwoman exiled from her homeland in the 1880s. Her writings detailed her time among the secluded nuns of Santa Voluttà, a convent that existed on the razor’s edge between spiritual devotion and carnal exploration. As I read her words, I was struck by their audacity. Coote’s narrative was raw and unapologetic, sharing in details the bonds of female eroticism, her descriptions of rituals both explicit and sacred. She wrote: The Mysteries, illustrations by Apollonia Saintclair In the union of flesh and faith, I have found the divine. Each strike upon my skin was a prayer, each cry from my lips a hymn. The body is not a barrier to the sacred; it is the bridge. These words resonated with me, as they speak to the core of what erotic fiction can achieve—an unflinching acknowledgment of our humanity and our yearning for transcendence. I knew I was holding the pages of much more than erotic musings. Elisabeth writes in unflinching detail, often depicting shocking rituals that challenge conventions even today. I immediately committed myself to transcribing, organizing, and weaving together the story of the young novitiate nun Lucille and the glory of her sexual and spiritual awakening. The Mysteries of Submission and Surrender The Mysteries, illustrations by Apollonia Saintclair At the heart of this work lies the “Mysteries,” a series of sacred rites that Sister Lucille must endure to unlock her spiritual and sensual potential. These ten rituals—Submission, Obedience, Ritual, Discipline, Sacrifice, Atonement, Purity, Temptation, Redemption, and Transcendence—are not just acts of the body but transformations of the soul. In the chapter on Submission, Lucille reflects: I knelt before Mother Superior, trembling not with fear but with anticipation. Her voice, sharp yet tender, cut through my doubts. ‘To give yourself completely, Lucille, is to find your strength in the hands of another. It is only by yielding that you will learn what it means to truly belong.' These words frame the central paradox of the story: that surrender is not weakness but a form of empowerment. Lucille’s journey through submission reveals the strength it takes to trust, to let go, and to embrace the unknown. Eroticism as Sacred Exploration The Mysteries, illustrations by Apollonia Saintclair One of the most provocative aspects of The Mysteries is its portrayal of eroticism not as base indulgence but as a sacred practice. The nuns of Santa Voluttà engage in rituals that blend physical pleasure with spiritual devotion, challenging societal taboos and inviting readers to reconsider the boundaries of faith and flesh. During the Festival of Redemption, Lucille becomes the embodiment of the Virgin in a ceremony that is both shocking and profound. She describes: Bound and exposed, I felt the jeweled phallus press into me, its cold surface a jarring contrast to the heat rising within me. The chants of the nuns swelled around us, their voices lifting me higher, until the moment of release became a prayer unto itself. In that instant, I was not myself; I was the vessel through which divinity and desire converged. Scenes like this are designed not merely to provoke but to illuminate. They remind us that the erotic is not antithetical to the sacred—it is an integral part of it. Reimagining Pain and Pleasure Throughout the narrative, the interplay of pain and pleasure is a recurring theme. The convent’s rites use pain as a tool for purification and enlightenment. In one particularly vivid passage, Lucille reflects on her initiation: The whip sang through the air, a lover’s cruel serenade. Each strike stripped me bare, not just of my habit but of my doubts, my fears. Pain became a doorway, and through it, I stepped into a realm where my body and soul were one, where suffering became transcendence. The psychosexual elements of the story are deliberate, drawing on historical practices of mortification and the psychological theories of masochism as a path to transformation. The Mysteries, illustrations by Apollonia Saintclair Why set such a narrative within the walls of a convent? Because the convent’s isolation allows for a reimagining of societal structures. Here, women reclaim their agency, redefine their relationships, and explore their desires without the constraints of patriarchal expectations. The sisterhood within Santa Voluttà is as much about solidarity as it is about submission. Lucille’s reflections capture this beautifully: In their touch, I found not just pleasure but belonging. These women, who wielded the whip and whispered words of comfort, were my guides, my companions, my sisters. Together, we forged a bond that no man could break, a bond sanctified by the rituals of our shared surrender. A Literary and Artistic Achievement Collaborating with Apollonia Saintclair was one of the most rewarding aspects of creating this book. Her stark, evocative illustrations capture the duality of austerity and indulgence that defines the convent’s world. Each image feels like an extension of the narrative, a visual hymn to the themes of the story. One particularly striking illustration accompanies the chapter on Atonement. It depicts a young nun, her body arched in both pain and ecstasy, framed by candlelight and shadows. The image is haunting, reminding readers that transcendence often comes at a cost. The Importance of These Writings: The Mysteries Erotic fiction has long been relegated to the fringes, dismissed as mere escapism. Indeed, these writings were kept hidden for a century, deemed too scandalous for the eyes of the world. But The Mysteries seeks to challenge that notion. This is not just a story of desire; it is a story of discovery, of breaking free from societal constraints, and of embracing the full spectrum of human experience. The Mysteries, illustrations by Apollonia Saintclair In writing this book, I hoped to reflect the sapphic essence of these found writings and to spark a conversation about the sacredness of the erotic. As Lucille’s journey demonstrates, desire is not something to be feared or suppressed—it is something to be explored, celebrated, and sanctified. Sister Lucille herself declares: In the arms of my sisters, I found the courage to face myself. In their rituals, I found the strength to surrender. And in my surrender, I found the divine. The Mysteries is more than a novel; it is an invitation—to step beyond the veil of convention, to confront the complexities of faith and flesh, and to embrace the transformative power of desire. It challenges us to see the erotic not as separate from the sacred but as an essential part of it. For those willing to take the journey, this book offers not just a story but an awakening. It is a testament to the courage it takes to face our deepest desires and the truths that lie within them. ©️ 2025 Dante Remy Are you ready to explore the sapphic, the sacred and the profane, the pain and the pleasure, the body and the soul? The Mysteries: Pain & Pleasure within the Convent Walls is available now through Black Fern , an imprint of Erosetti Press to learn more and to order your copy; or, find in it on Amazon in hardcover, paperback and pocketbook editions . Learn more about the author and artists, Dante Remy and Apollonia Saintclair on their creator websites. The Mysteries by Dante Remy, illustrations by Apollonia Saintclair

Dante Remy | When Joseph Sheridan Le Fanu’s Carmilla  first appeared in serialized form in The Dark Blue  magazine between December 1871 and March 1872, it quietly introduced one of literature’s most enigmatic and enduring vampire figures. Preceding Dracula  by over two decades, Carmilla  carved out a space for the seductive female vampire, whose predatory love operates within the uncanny landscapes of the Gothic tradition. While Le Fanu’s haunting narrative has long enjoyed literary acclaim, few readers realize that it was originally accompanied by three illustrations—images that subtly shaped the story’s reception at the time but have remained all but forgotten for nearly 150 years. Now, for the first time, these illustrations have been reunited in Carmilla: Restored Edition , published by Black Fern, an imprint of Erosetti Press (2024). This edition not only digitally restores the original engravings by David Henry Friston and Michael Fitzgerald but presents them alongside a curated selection of Gothic and erotic art from the same period. The result is a lush, immersive reading experience that resurrects the novella’s visual history and amplifies its psycho-sexual themes. The Lost Illustrations of Carmilla Le Fanu’s Carmilla  was serialized in five monthly installments in The Dark Blue , a literary magazine known for its Gothic sensibilities and avant-garde illustrations. Though often overlooked in later reprints, the original serial included three illustrations that appeared at pivotal moments in the text. Two of these were the work of Michael Fitzgerald, a lesser-known illustrator whose pen-and-ink style aligned with the emerging Symbolist movement. The third was by David Henry Friston, best remembered today for his illustrations in the first edition of Dracula  (1897). Their collaborative visual interpretation of Carmilla  remains one of the most haunting artistic contributions to vampire literature. As I have noted in the forward to the Restored Edition  note, these illustrations were never published together in book form until now. The restoration involved sourcing rare, corrupted copies of The Dark Blue , repairing damaged lines, and digitally reviving the fine crosshatching and shadow work that gave these images their uncanny depth ( Black Fern, Carmilla: Restored Edition , 2024 ). The Illustrations: Three Moments of Dread and Desire Each of the three illustrations captures a key turning point in Laura’s descent into Carmilla’s world—points where seduction and terror become indistinguishable. These images do more than depict the events of the story; they evoke its underlying tensions: eroticism cloaked in horror, and love perverted by vampiric hunger. "Funeral" by Michael Fitzgerald (1872) “As we sat thus one afternoon under the trees, a funeral passed us by.” Michael Fitzgerald’s illustration, Funeral , marks the moment in the story when Laura and Carmilla sit together in the castle gardens, witnessing the passage of a funeral procession. The villagers carry the coffin of a young peasant girl who has died under mysterious circumstances—her wasting illness marked by nightmares of a spectral visitant. This is one of several deaths that foreshadow Laura’s own fate. In the narrative, this quiet, somber event unfolds with an eerie stillness. Yet, it is Carmilla’s reaction that draws attention. She is visibly disturbed, not by sorrow or reverence, but by anger and contempt. When Laura stands and joins the mourners’ hymn, Carmilla covers her ears and declares the song an unbearable cacophony. “You pierce my ears,” she protests, before denouncing funerals as pointless “fuss.” In Gothic tradition, the vampire fears sacred rites and the symbols of Christian burial, and Carmilla’s outburst betrays her true nature. Fitzgerald’s rendering captures the contrast between the serene ritual of the villagers and Carmilla’s private turmoil. The mourners move in solemn procession through the shaded glade, their bowed heads forming a silent chorus of grief. In the foreground, Laura appears contemplative, while Carmilla’s posture suggests tension, her face turned away, isolated in her defiance. The mist drifting across the ground, a visual hallmark of Gothic imagery, suggests both the literal fog of the Styrian countryside and the metaphorical fog clouding Laura’s understanding of Carmilla. The funeral scene encapsulates the novella’s themes of repressed knowledge and impending doom, with Fitzgerald’s careful composition reflecting the tension between innocence and corruption, reverence and desecration. "Laura in Bed" David Henry Friston (1872) "I had a dream of something black coming round my bed..." Friston’s illustration, Laura in Bed , presents one of the story’s most haunting moments—Laura’s eerie, hallucinatory experience during the night. This occurs as Laura begins to succumb to Carmilla’s predation, her strength waning and her dreams growing more disturbing. In this scene, Laura awakens to what she believes is a nightmare. She describes a vague, oppressive presence creeping around her bed. “I had a dream of something black coming round my bed,” she recounts, capturing both the surreal quality of the experience and her growing fear. The image of this shadowy force, indistinct and formless, prefigures Carmilla’s vampiric visitations, where her attacks leave no physical wounds at first, only an unexplained exhaustion and dread. Friston’s illustration emphasizes the psychological terror of the moment. Laura lies in bed, her eyes wide with terror, as a black shape looms at the edge of her mattress. The form is deliberately ambiguous—neither clearly human nor animal—evoking the shapeshifting lore of vampires in European folklore, where they often appear as shadows, mists, or predatory animals. The stark interplay of light and shadow creates a claustrophobic atmosphere, with Laura isolated in the small pool of light, while darkness presses in on all sides. This moment marks the transition from Laura’s innocent affection for Carmilla to an unconscious recognition of the danger she faces. Friston captures the shift from Gothic romance to psychological horror, where the boundary between dream and reality begins to erode. "Carmilla" by David Henry Friston (1872) "I saw a large black object, very ill-defined, crawl, as it seemed to me, over the foot of the bed, and swiftly spread itself up to the poor girl's throat, where it swelled, in a moment, into a great, palpitating..." Friston’s second illustration, titled simply Carmilla , is the most iconic and reproduced of the three orginal illustrations. It accompanies one of the novella’s climactic revelations. Here, Laura witnesses—or dreams she witnesses—a horrific vision of Carmilla’s true nature. She describes seeing a dark, amorphous shape creeping up over her bed, spreading itself across her throat, and swelling into a great, palpitating mass. This ghastly description comes after Laura has become increasingly debilitated. Her dreams have grown more vivid, and her sense of reality is slipping away. In this vision, the vampire’s predation is finally depicted in its monstrous form. Gone is the beautiful, languid Carmilla; in her place is an undulating shape that suggests something both animalistic and parasitic. Friston’s illustration distills this moment into a tableau of Gothic horror. The darkness of the figure contrasts with Laura’s pale, partially nude, defenseless body, drawing the viewer’s eye to the point of contact at her throat—the site of both vampiric feeding and erotic intimacy. The “palpitating” mass that Le Fanu describes becomes a visual manifestation of Carmilla’s suppressed monstrousness, hinting at the grotesque reality beneath her beautiful exterior. This scene in the novella marks the beginning of Laura’s awakening to the truth of Carmilla’s identity and the mortal danger she faces. Friston’s depiction echoes the era’s fascination with the dual nature of the vampire as both alluring and abject. As Georg Müller observes in Vampires and the Visual Imagination  (2020), late 19th-century vampire iconography often dwelled on the transformation from seductress to predator, capturing the horror of desire turned fatal. Restoring the Gothic Erotic Aesthetic The Restored Edition  does more than present the original illustrations; it places them within a broader visual context, assembling a gallery of Gothic and erotic art from the same period. In curating the visual gallery that accompanies Carmilla, I was faced a delicate task: selecting artwork that would not only enhance the reader’s experience but also deepen the thematic resonance of Le Fanu’s novella. While a vast body of Gothic and erotic artwork was considered, only a select few were ultimately included. The goal was not to overwhelm the text with unrelated images, but to curate an exhibition that would illuminate Carmilla ’s atmosphere of death, seduction, and taboo desire. Among the chosen artists, three stand out for their iconic status and the controversy that still surrounds their work: Martin van Maele , Louis Brougham , and Charles Allan Gilbert . Each of these artists was selected because their work speaks directly to Carmilla ’s central preoccupations—erotic control, hidden identities, and the inescapability of death. Their art is provocative, layered, and reflective of the shifting moral anxieties that defined the Gothic imagination at the turn of the 20th century. Martin van Maele: The Master of Erotic Subversion Martin van Maele (born Maurice François Alfred Martin van Miële, 1863–1926) is arguably one of the most provocative illustrators of fin-de-siècle Europe. Best known for his illustrations of erotic literature—often clandestinely published—van Maele’s work walks the fine line between decadent sensuality and outright pornography. His precise, almost clinical linework, paired with a sense of playfulness, makes his work at once shocking and darkly humorous. In Carmilla: Restored Edition , van Maele’s illustrations feature prominently: La Comtesse au fouet  (1926), La Grande Danse macabre des vifs  (1905), and Of Crime and Criminals  (1908). These images were chosen not simply for their eroticism but for how they resonate with Carmilla’s character: a noblewoman who dominates, seduces, and destroys. La Comtesse au fouet , in particular, presents an image of aristocratic female power that is simultaneously alluring and terrifying. It captures the aspect of Carmilla as both a lover and a predator—a theme at the very heart of Le Fanu’s novella. Van Maele’s La Grande Danse macabre des vifs  takes the medieval dance of death motif and injects it with eroticism and black humor. This perfectly complements the Gothic undertones of Carmilla , where the seductions of the vampire are laced with inevitability and doom. His ability to render death as a macabre seduction underscores the vampiric themes in Le Fanu’s work, where eroticism and mortality are hopelessly entwined. Van Maele’s inclusion in this edition was not without controversy. His illustrations were often banned or censored in his time, and even now, his frank depictions of sexuality can unsettle modern audiences. Yet it is precisely this fearless confrontation with taboo that makes van Maele essential to understanding Carmilla ’s complex erotic charge. Louis Brougham: The Femme Fatale as Monster Louis Brougham’s La Femme Chauve-Souris  (c. 1890), or The Bat Woman , is another striking inclusion. Brougham is a relatively obscure figure in the history of fin-de-siècle art, yet this singular image has garnered significant attention for its provocative symbolism. The woman depicted in bat-winged garb—part masquerade, part monstrous hybrid—stands as a literal personification of the vampire myth. Her costume suggests both allure and danger, the bat wings highlighting her connection to the nocturnal and the supernatural. Brougham’s Bat Woman  embodies the duality of Carmilla herself. Outwardly beautiful and seductive, Carmilla masks her predatory nature beneath layers of charm and cultivated innocence. The image plays with the trope of the masked woman, a common device in decadent art, representing hidden desires and concealed threats. In the Gothic tradition, as scholars like Christine Murray argue in Decadent Illustration and the Female Vampire  (2014), the masked female figure is often used to symbolize anxieties about women’s growing autonomy and power. Brougham’s illustration plays directly into these fears—casting woman not as victim, but as predator. The decision to include La Femme Chauve-Souris  was deliberate. While many other images of vampires and bat-women exist, few so effectively capture the unsettling power dynamics of Carmilla’s seduction. Brougham’s work was included for its boldness, its ability to simultaneously attract and repel, and its uncanny encapsulation of the story’s themes. Charles Allan Gilbert: The Illusion of Beauty and Death Charles Allan Gilbert (1873–1929) is best known for his memento mori illustration All is Vanity  (1892), included in Carmilla: Restored Edition . At first glance, the image shows a woman seated at her vanity, admiring herself in a mirror. But when viewed from a distance, the composition forms the shape of a human skull. This double image encapsulates the Victorian obsession with death and beauty—the idea that beneath the surface glamour lies the rot of mortality. In Le Fanu’s novella, Carmilla’s beauty is seductive, but it masks the inevitability of death. Laura is drawn in by Carmilla’s charm, her seeming vulnerability, and her tender affection. But this intimacy leads not to romantic fulfillment, but to slow destruction. Gilbert’s All is Vanity  speaks to this experience: the realization that what appears beautiful and life-giving is, in fact, hollowed out by death. Gilbert’s image was included over many other memento mori works because of its enduring power and subtlety. While many similar pieces rely on overt morbidity, All is Vanity  offers a quiet, creeping realization—the same realization that dawns on Laura as she uncovers Carmilla’s true nature. The duality of life and death, beauty and decay, is central to both the image and the novella. Other Artists Included in the Edition In addition to the restored original illustrations and the more controversial works by Martin van Maele, Louis Brougham, and Charles Allan Gilbert, Carmilla: Restored Edition  features a carefully curated selection of Gothic and decadent artwork by other notable artists of the late 19th and early 20th centuries. Among them is Nelly Littlehale Umbstaetter Lindsay, whose series This Shrine  (1874) graces the edition’s cover, title page, and interior. Lindsay’s refined line work and ethereal imagery establish a tone of reverence tinged with melancholy, drawing the reader into Laura’s solitary world before Carmilla’s arrival. Her quiet, introspective female figures evoke themes of longing, innocence, and loss, framing the novella as both a personal tragedy and a meditation on desire. These pieces were chosen for their subtle ability to evoke the emotional isolation and yearning at the heart of Laura’s narrative, lending a delicate, haunting beauty to the opening pages. Other featured works deepen the story’s exploration of eroticism and mortality. Philip Burne-Jones’ iconic painting The Vampire  (1897) depicts a femme fatale bending over her pale, lifeless victim. While Burne-Jones’ vampire preys on a man, the image resonates with Carmilla’s predation, embodying the femme fatale archetype that haunted the Victorian imagination. Similarly, Antoine Penot’s Trilogie érotique  (1905) and Abandon  (c. 1890) present scenes of erotic surrender and transgression. Penot’s figures, languid and exposed, reflect the psychological state of Laura, who finds herself both entranced by Carmilla’s attentions and unable to resist them. These works were chosen for their emphasis on power dynamics and the sensual pleasure laced with danger that defines Le Fanu’s vampire. Together, they reinforce the novella’s central tension between eroticism and annihilation. Rounding out the selection are works that highlight themes of deception, vanity, and hidden identities. Frederik Kaemmerer’s Woman in a Masquerade Costume Looking in a Mirror  (1892) offers a symbolic reflection on Carmilla’s duplicitous nature—her mask of innocence concealing monstrous intent. Likewise, C. Glibert’s All is Vanity  (1892), in which a woman’s vanity transforms into a memento mori, perfectly captures the novella’s preoccupation with the fleeting nature of beauty and the ever-present shadow of death. Paul Grabwinkler’s illustration from Die Muskete  (1928), though more playful in tone, provides a modern echo of Gothic eroticism, bridging the fin-de-siècle sensibilities of Carmilla  with the libertine decadence of the Weimar era. Each of these works was carefully selected to enrich the text’s atmosphere, emphasizing the psychological complexity and the fatal allure that make Carmilla  an enduring masterpiece of Gothic literature. A Visual Resurrection Carmilla: Restored Edition  is both a literary restoration and an artistic resurrection. For the first time, readers encounter Le Fanu’s text as it was first imagined by its illustrators—a world of shadowed forests, decaying castles, and intimate terror. By reuniting Friston and Fitzgerald’s original illustrations and presenting them within a gallery of Gothic eroticism, this Black Fern publication restores Carmilla ’s place not only as a landmark of vampire fiction but as a key text in the visual culture of the Gothic. Carmilla, Restored Edition from Black Fern. The Restored Edition   invites readers to linger over the details: the fine line work of Friston’s bedroom seduction, the symbolic solemnity of Fitzgerald’s funeral scene, and the claustrophobic embrace of Carmilla’s whispered promise. These images reveal the psycho-sexual complexities at the heart of the story, reminding us that Gothic terror often wears the face of love. In bringing together text and image, Le Fanu’s Carmilla  emerges anew—a story of forbidden love, erotic possession, and the eternal return of the repressed. As Laura herself reflects in the novella, “You are mine, you shall be mine”—a line that echoes not only Carmilla’s obsessive claim over Laura but the enduring grip of this haunting tale over readers for more than 150 years. Dante Remy ©️2025 Explore Carmilla, Restored Edition exclusively from Black Fern, an imprint of Erosetti Press . Available in hardcover and paperback here and at Amazon .

Dante Remy | Carmilla, Restored Edition, uncensored and featuring a forward and the original and period erotic illustrations, available from Black Fern, an Imprint of Erosetti Press . Joseph Sheridan Le Fanu's  Carmilla  stands as one of the most enduring and provocative pieces of gothic literature, particularly in the vampire genre. Written in 1872, Carmilla  predates Bram Stoker’s Dracula  by over two decades, establishing many of the conventions that would later define erotic vampire fiction. This article delves into the controversial history of Carmilla , the erotic vampire tale's groundbreaking impact on gothic literature, the psycho-sexual themes that permeate the narrative, and why this restored edition is a must-have for any personal library. Carmilla: The Controversial Erotic Vampire Tale of Its Time Carmilla   was published during a period when Victorian society was characterized by strict moral codes, particularly regarding sexuality and the role of women. In this context, Carmilla  was nothing short of revolutionary. The story explores themes of female sexuality, lesbian desire, and the power dynamics in intimate relationships, all through the lens of a gothic horror narrative. Victorian readers would have found Carmilla  erotic and unsettling not only because of its supernatural elements but also because of its exploration of taboo subjects. The intense, almost predatory relationship between Carmilla and the protagonist, Laura, challenges the era’s norms surrounding female friendships and relationships, pushing the boundaries of what was considered acceptable literature. The erotic undertones and the subversion of traditional gender roles marked Carmilla  as a work of significant controversy. Groundbreaking in the Vampire Genre Carmilla  broke new ground in the portrayal of vampires, moving away from the monstrous, folkloric representations of the past. Le Fanu's vampire is not a grotesque creature of the night, but a beautiful, seductive woman who embodies both terror and allure. This duality would become a defining characteristic of vampires in popular culture, influencing countless works that followed. Page from Carmilla, Restored Edition , available from Black Fern, an Imprint of Erosetti Press . Le Fanu’s narrative also introduced the concept of the vampire as a tragic, almost sympathetic figure. Carmilla is both predator and victim, a character who evokes both fear and pity. Her relationships are complex, marked by tenderness and manipulation, love and death. This nuanced portrayal added layers of depth to the vampire mythos, paving the way for future explorations of the vampire as a symbol of forbidden desire and the darker aspects of human nature. Psycho-Sexual Themes: Unveiling the Depths of Human Desire and Fear Carmilla is a masterful exploration of the human psyche, weaving together a complex tapestry of psycho-sexual themes that resonate not just within the confines of its gothic narrative, but also within the broader context of psychological and literary theory. These themes invite readers to delve into the interplay between desire, fear, and the unknown, revealing universal truths about human nature within an erotic undertone that continue to captivate audiences over a century after the story was first published. Seduction and Power, Control and Submission At the heart of Carmilla  lies a profound exploration of the dynamics of seduction and power, a theme that transcends the specific context of the story and speaks to universal aspects of human relationships. In the story, the relationship between Carmilla and Laura is one of intense attraction, but it is also marked by a complex power dynamic where Carmilla exerts a hypnotic control over Laura. Page from Carmilla, Restored Edition , available from Black Fern, an Imprint of Erosetti Press . This dynamic can be understood through the lens of psychoanalytic theory, particularly Sigmund Freud's concept of the libidinal economy , where power and desire are intertwined. Carmilla's dominance over Laura represents the seductive power of the id , the primal aspect of the human psyche that seeks immediate gratification. Laura, on the other hand, embodies the ego , struggling to mediate between the unconscious desires awakened by Carmilla and the moral constraints imposed by society. In the narrative, Laura's internal conflict is vividly depicted in her own words: “I experienced a strange tumultuous excitement that was pleasurable ever and anon mingled with a vague sense of fear and disgust” ( Chapter IV ). This quote encapsulates the dual nature of Carmilla's influence, where pleasure and fear are inextricably linked, reflecting the Freudian notion that the forbidden is often the most alluring. The power dynamics in Carmilla  also resonate with Michel Foucault's ideas on power and sexuality. Foucault argued that power is not merely repressive but also productive, shaping desires and identities. In Carmilla , the vampire's seductive power over Laura can be seen as a form of social control, where Laura's burgeoning sexual consciousness is both awakened and constrained by Carmilla's influence. This dynamic reflects the gothic tradition's preoccupation with the darker aspects of human nature, where the boundaries between affection and obsession, love and domination, are continually blurred. These themes of seduction and power dynamics are not confined to the Victorian era but are timeless elements of human relationships. The tension between control and submission, attraction and repulsion, is a universal aspect of eroticism that continues to resonate with readers today. Carmilla  captures these dynamics with a sensuality that transcends its historical context, making it a work that speaks to the enduring complexities of human desire. Lesbian Desire: Familiar and Unsettling Lesbian desire in Carmilla   is a central theme that challenges the heteronormative expectations of its time, offering a subversive exploration of female sexuality. The relationship between Carmilla and Laura is marked by an intense, almost predatory attraction, where the lines between love and consumption are continually blurred. This theme can be understood through the concept of the uncanny  as articulated by Freud, where the familiar becomes strange and frightening. Carmilla's affection for Laura is both deeply intimate and profoundly unsettling, embodying the uncanny nature of forbidden desire. The erotic tension between the two women is palpable, creating a sense of unease that permeates the narrative. Freud's theory of the Oedipal complex  also provides insight into the dynamics of lesbian desire in Carmilla . While traditionally applied to heterosexual relationships, the Oedipal complex can be reinterpreted in the context of same-sex desire, where Carmilla represents both a maternal figure and a sexual partner. This duality is evident in the way Carmilla's affection oscillates between nurturing and predatory, reflecting the ambivalence that often characterizes forbidden desire. Page from Carmilla, Restored Edition , available from Black Fern, an Imprint of Erosetti Press . The eroticism of lesbian desire in Carmilla  is not merely a matter of physical attraction but is deeply psychological, exploring the complexities of female identity and sexual awakening. Carmilla's love for Laura is possessive and consuming, as seen in her declaration: “You are mine, you shall be mine, and you and I are one for ever” ( Chapter IV ). This possessiveness speaks to the fear of loss and the desire for complete union, themes that resonate with the broader gothic exploration of love and death. Judith Butler's theory of gender performativity  further enriches the understanding of lesbian desire in Carmilla . Butler argued that gender is not a fixed identity but a performance, shaped by cultural norms and expectations. In Carmilla , the fluidity of gender roles and the subversion of traditional femininity challenge the rigid binaries of Victorian society. Carmilla's androgynous allure and her refusal to conform to conventional gender roles make her a symbol of sexual and psychological freedom, albeit one that comes at a cost. The themes of lesbian desire and gender fluidity in Carmilla  are not confined to the historical context of the story but are universal explorations of the complexities of human sexuality. The sensuality and eroticism in Carmilla  transcend its time, making it a timeless work that continues to resonate with readers who are drawn to the deeper, often unsettling aspects of desire and identity. Dark Mirrors of the Double: Self and the Other The theme of the double  in Carmilla  is a powerful exploration of the uncanny, where the self is confronted with its dark reflection. This theme is rooted in the gothic tradition of doppelgängers and split identities, where characters are haunted by their own repressed desires and fears. In Carmilla , the protagonist Laura and the vampire Carmilla are doubles of each other, reflecting the duality of human nature. Carmilla represents the darker, unconscious aspects of Laura's psyche, embodying the desires and fears that Laura cannot fully acknowledge. This doubling is evident in the way Laura is simultaneously drawn to and repelled by Carmilla, as she struggles to reconcile her attraction with her moral and social conditioning. This theme resonates with the Jungian  concept of the shadow , where the double represents the repressed aspects of the self that must be confronted in order to achieve psychological wholeness. Carmilla, as Laura's shadow, forces her to confront her own forbidden desires, leading to a profound psychological transformation. This process of integration is painful and terrifying, reflecting the gothic tradition's focus on the darker aspects of the human psyche. Page from Carmilla, Restored Edition , available from Black Fern, an Imprint of Erosetti Press . The uncanny nature of the double in Carmilla  is also reflected in the story's setting, where the decaying schloss and the shadowy forest serve as external manifestations of Laura's internal turmoil. The gothic landscape mirrors the characters' psychological states, creating an atmosphere of dread and fascination. As Laura herself notes, “I felt my heart grow sick and faint, and I cried aloud in a sudden agony of terror” ( Chapter XI ). This quote captures the terror of confronting the unknown aspects of the self, a theme that is central to both gothic literature and psychoanalytic theory. The double in Carmilla  also speaks to the theme of identity and alienation , where the self is fragmented and estranged from its own desires. This theme resonates with existentialist ideas, particularly those of Jean-Paul Sartre, who argued that identity is fluid and constructed through the gaze of the Other. In Carmilla , Laura's identity is shaped by her relationship with Carmilla, who serves as both a mirror and a distortion of her own self-image. This interplay between self and Other creates a sense of alienation and dislocation, reflecting the gothic tradition's exploration of identity and madness. The exploration of the double and the uncanny in Carmilla  taps into universal fears and desires, making it a timeless reflection on the human condition. The sensual and erotic elements of this theme enhance its appeal, drawing readers into a world where the boundaries between self and other, attraction and repulsion, are continually blurred. Fear of the Unknown: The Abyss of the Unconscious Fear of the unknown is a driving force in Carmilla , reflecting the gothic tradition's fascination with the mysterious and the supernatural. This theme is not just about the fear of the external world but also about the fear of the unknown depths of the human psyche. In the story, Laura's descent into the mystery of Carmilla's true nature is a metaphor for the exploration of the unconscious mind. This journey is both terrifying and exhilarating, as Laura confronts the forbidden desires and impulses that Carmilla awakens within her. The fear of the unknown is not just about the supernatural but about the fear of one's own hidden desires and fears. Freud's theory of the unconscious  provides a framework for understanding this theme. The unconscious mind, according to Freud, is the repository of repressed desires, fears, and memories that shape our behavior and perceptions. In Carmilla , the vampire serves as a manifestation of the unconscious, embodying the desires and fears that Laura cannot fully acknowledge. This fear is evident in Laura's reflections: “I was now for the first time frightened, and I yelled with all my might and main” ( Chapter I ). This quote captures the terror of confronting the unknown aspects of the self, a theme that is central to both gothic literature and psychoanalytic theory. The fear of the unknown in Carmilla  also resonates with existentialist ideas, particularly those of Søren Kierkegaard, who explored the concept of angst  or existential dread. Kierkegaard argued that fear of the unknown is a fundamental aspect of the human condition, reflecting our awareness of the vast, incomprehensible aspects of existence. In Carmilla , Laura's fear is not just of Carmilla herself but of the unknown, the abyss that lies beyond the boundaries of rational understanding. The story's gothic setting amplifies this fear, with the decaying mansion and shadowy forest serving as symbols of the unknown and the uncanny. These settings create an atmosphere of dread and anticipation, where the boundaries between reality and fantasy, the known and the unknown, are continually blurred. This blending of the familiar and the strange is a hallmark of the gothic tradition, reflecting the psychological tension between order and chaos, reason and madness. Page from Carmilla, Restored Edition , available from Black Fern, an Imprint of Erosetti Press . The theme of fear of the unknown in Carmilla  is a timeless exploration of the human psyche, where the terror of the unfamiliar is intertwined with the allure of the forbidden. The sensuality and eroticism that pervade this theme make it a compelling and universal reflection on the darker aspects of desire and fear. Death and the Erotic: The Dance of Eros and Thanatos The intertwining of death and eroticism is a central theme in Carmilla , reflecting the gothic tradition's fascination with the macabre and the seductive. In the story, the vampire's kiss is both a seduction and a death sentence, blurring the lines between love and destruction. This theme can be understood through Freud's concept of Eros  and Thanatos , the life and death drives that shape human behavior. Eros represents the drive for life, love, and creativity, while Thanatos represents the drive for death, destruction, and entropy. In Carmilla , these drives are intricately linked, with the vampire's love for Laura embodying both the desire to possess and the impulse to destroy. Carmilla's affection for Laura is marked by a predatory intensity, where the act of seduction becomes a form of psychological manipulation. This dynamic reflects the gothic tradition's exploration of the darker aspects of love, where the boundaries between pleasure and pain, attraction and repulsion, are continually blurred. As Laura notes, “Her murmur had hardly ceased when I heard one of those horrible long hisses that ran through every nerve in my body” ( Chapter XI ). This quote captures the fear that underlies their love, a fear that is inextricably linked to the danger Carmilla represents. The eroticism of death in Carmilla  also resonates with Georges Bataille's ideas on eroticism and transgression . Bataille argued that eroticism is inherently linked to death and the transgression of social boundaries, where the experience of pleasure is intensified by the proximity to danger and destruction. In Carmilla , the vampire's love is both beautiful and terrifying, embodying the paradoxical nature of erotic desire, where the drive for life is inseparable from the drive for death. The theme of death and the erotic in Carmilla  also speaks to the gothic tradition's exploration of mortality and the sublime . The vampire, as a creature that exists on the boundary between life and death, embodies the tension between the temporal and the eternal, the corporeal and the spiritual. This tension is evident in Carmilla's interactions with Laura, where love is portrayed as both a transcendent experience and a descent into the abyss. Laura's reflections on death are poignant: “Girls are caterpillars while they live in the world, to be finally butterflies when the summer comes; but in the meantime there are grubs and larvae—don’t you see—each with their peculiar propensities, necessities, and structure” ( Chapter VIII ). This metaphor captures the transformation that death brings, a theme central to the gothic exploration of mortality. The combination of death and the erotic in Carmilla  creates a narrative that is both seductive and horrifying, drawing readers into a world where love, fear, and death are eternally intertwined. This theme resonates with the broader human experience, where the desire for connection is often shadowed by the fear of loss, and where the pursuit of pleasure is haunted by the specter of death. The exploration of death and eroticism in Carmilla  is a timeless reflection on the human condition, where the sensuality of desire is inextricably linked to the inevitability of mortality. The erotic power of this theme continues to captivate readers, making Carmilla  a work that transcends its historical context to speak to universal aspects of love, fear, and death. The Awakening: Laura’s Journey into Darkness Carmilla  can also be seen as a story of awakening, where Laura’s journey mirrors a descent into the darker aspects of her own psyche. Throughout the narrative, Laura grapples with her attraction to Carmilla, her fear of the unknown, and the realization of the true nature of her feelings. This awakening is both sexual and psychological, marking a loss of innocence and a confrontation with the darker sides of desire and identity. Laura’s journey is one of self-discovery, where she must come to terms with the forbidden desires that Carmilla awakens within her. This process is both terrifying and exhilarating, reflecting the gothic tradition of exploring the limits of human experience. Laura’s awakening is not just about her relationship with Carmilla, but about her own transformation into a more complex, self-aware individual. The theme of awakening in Carmilla  is a timeless exploration of the human psyche, where the sensual and erotic aspects of desire are intertwined with the journey of self-discovery. This theme continues to resonate with readers who are drawn to the deeper, often unsettling aspects of personal transformation. The Restored Edition from Black Fern This restored edition of Carmilla , complete with original and period illustrations, offers a unique and immersive experience for readers. The carefully curated artwork enhances the gothic ambiance of the story, providing visual context to Le Fanu’s haunting prose. Each illustration captures the eerie beauty of the settings and characters, drawing the reader deeper into the shadowy world of Styria. Carmilla, Restored Edition , available from Black Fern, an Imprint of Erosetti Press . This edition is more than just a reproduction; it is a masterpiece that offers a richer, more immersive reading experience. The combination of text and imagery allows readers to engage with the story on multiple levels, making it a must-have for any lover of gothic literature or vampire fiction. The restored edition of Carmilla  is a testament to the enduring power of Le Fanu’s work, offering insights as profound today as they were over a century ago. Black Fern is an imprint of Erosetti Press . Timeless Erotic Exploration of Love, Fear, and Death Carmilla remains one of the most powerful and provocative erotic works in gothic literature, offering a timeless exploration of the human psyche, the complexities of desire, and the dark allure of the supernatural within the vampire genre. Its groundbreaking portrayal of lesbian attraction and its innovative approach to vampire lore make it a cornerstone of the genre, influencing countless works that followed. Welcome to the world of... Carmilla, A world where love, fear, and death are eternally intertwined. This restored edition of Carmilla  is a treasure for any personal library, a work of art that captures the haunting beauty and psychological depth of Le Fanu’s masterpiece. Whether you are a longtime fan of gothic literature or new to the genre, Carmilla  is a story that will captivate, disturb, and linger in your mind long after the final page is turned. ©️ Dante Remy 2024 Learn more: Carmilla , Restore Edition published by Black Fern, an imprint of Erosetti Press .

Dante Remy | Desire needs a structure. Passion needs a container. Without them, both dissipate into nothing. Every third Wednesday, a couple meets in the space between the known and the unknown, between structure and spontaneity. They plan, meticulously clearing their schedules, ensuring that nothing interferes. They have only one rule: it must be something they’ve never tried before. What happens next is not chaos—it is ritual. In Date Night , I set out to explore something fundamental about human nature: our need for both boundaries and freedom, our craving for both power and surrender. In the realm of the sexuality, these dualities are often misunderstood, reduced to tropes, feared as taboos. But in truth, they are the scaffolding of our deepest desires. The story unfolds in a deliberately poetic, minimalist style—a form dictated by its subject. Short, clipped lines, rhythmic and pulsing, mirror the ebb and flow of tension and release. The prose is stripped down, leaving only what matters, much like desire itself. And accompanying the story are the illustrations of Reina Canalla—stark, provocative, dripping with shadows and intimacy. Each line she draws captures more than just bodies in motion; they capture the psychology of the moment, the unspoken power exchanges, the delicious uncertainty of trust placed in another’s hands. This is not just a story of sex. It is a story of trust. Ritual of An Erotic Date Night: Pathway to Liberation At first glance, the idea of a scheduled, structured erotic encounter might seem counterintuitive. Shouldn’t passion be wild, spontaneous, uncontained? Yet, paradoxically, it is within structure that true freedom emerges. For the couple in Date Night , ritual is not a constraint; it is an opening. It allows them to step outside of societal norms, to explore fantasies that, in the absence of structure, might feel too dangerous, too exposed. The rule that every encounter must be new forces them into continual reinvention. It ensures that neither partner ever grows complacent, that desire remains a living thing—an animal to be fed, nurtured, and sometimes, unleashed. "You made me wait, and that meant you were going to give me an experience." Anticipation is its own form of seduction. It heightens sensation, rewires the mind to focus not on what is  but on what is about to be.  Neuroscientists have long understood that the brain craves novelty, that anticipation itself releases dopamine, the neurotransmitter of pleasure. And so, the characters wait. They tease. They plant objects like talismans—symbols of what is to come. A rope, a cock ring, a set of sharpened nails painted red. These are not just tools of pleasure; they are harbingers of transformation. The Psychological Dance of Power and Surrender "Last month, it was your turn: Restraint and deprivation. You took the lead. You didn’t have to." Desire is often about power—not in the way society narrowly defines it, but in the way it exists within the intimacy of trust. To surrender to another person is not weakness; it is an act of strength. It is to say: I trust you with my body, with my limits, with the boundaries I don’t yet know I have.  It is an offering, a deliberate relinquishing of control, which paradoxically requires more agency than simply taking what one wants. And in turn, to take control—mindfully, responsibly—is an act of care. It requires deep listening, a heightened awareness of the other person’s body, breath, responses. The words and Canalla’s illustrations are an attempt to capture this duality. Words and art commingle to portray dominance not for its own sake, nor submission as mere passivity. It is about the tension between the two, the way bodies yield and push back, the silent conversation happening beneath the surface of touch. The Role of Sensory Deprivation and Focus "You tied me to the dining room table. You blindfolded me. You played soft classical music in my ears, severing me from the outside world." Sensory deprivation is not just a technique; it is a gateway. By removing one sense, the others become sharper. Deprived of sight, the protagonist’s body turns inward, attuned only to the sensations playing across her skin. The music isolates her further, trapping her in the moment, in the rising crescendo of her own need. This is not just about physical pleasure. It is about mindfulness, about being entirely present in a way modern life rarely allows. How often do we truly inhabit our bodies? How often do we feel without distraction? In a world of endless notifications, of screens and scrolling, this kind of embodied awareness is an act of defiance. Erotic Creativity and the Infinite Game of Desire What makes desire last? What prevents intimacy from fading into routine? The answer is creativity. Date Night is not just about sex; it is about storytelling. Each encounter is a scene, carefully crafted, with its own arc, its own symbols and motifs. The objects left out before the night begins are more than props; they are foreshadowing. The withholding of release is not just teasing; it is narrative suspense. The characters are, in a sense, authors of each other’s pleasure. They do not simply act; they create . They use anticipation, suggestion, even denial as tools—not to withhold pleasure, but to expand it. As the story builds to its climax, the power shifts, reverses, loops back again. And by the end, both characters are transformed, not just by the acts themselves, but by the psychological terrain they have traversed together. Why We Read Erotica (and Why We Need It) What draws us to erotic stories? Is it voyeurism? Escapism? Fantasy? Or is it something deeper? Erotica, I believe, is not just about titillation. It is about unveiling something raw, something true. It speaks to the parts of ourselves we keep hidden, the desires we struggle to name. It asks us to confront what we want—and why. In Date Night , the prose is sparse, the details distilled to their essence. This is deliberate. Just as the characters focus only on what is happening in the moment , the reader is given only what they need. There is no clutter, no excess. Only sensation. Only need. And in that simplicity, the story becomes universal. Because Date Night   is not just about this couple. It is about all of us. It is about the choices we make—whether to settle into routine or to push the boundaries of pleasure. Whether to speak our desires or keep them locked away. Whether to surrender, fully, to the moment—or let it slip by. This is the question at the heart of the story: What would you do, if you had one night a month to explore the limits of your desire? An erotic date night. And more importantly— What are you waiting for? ©️ 2024 Dante Remy Explore this book and more at Erosetti Press .

Dante Remy | Reina Canalla’s newest erotic comic, Mademoiselle D’Artagnan: One For All and All For Me, Book I , has burst onto the scene as a trailblazing addition to the erotic comic genre. Canalla reimagines Alexandre Dumas’ classic The Three Musketeers  with an audacious, sensual twist, bringing to life Mlle. D’Artagnan—a fearless libertine heroine who unapologetically challenges societal norms. This work is not just a retelling; it’s a revolutionary exploration of passion, freedom, and female empowerment through the lens of erotic art. A Libertine Lens on a Classic Drawing inspiration from Dumas’ legendary tale of camaraderie, honor, and personal sacrifice, Canalla crafts a narrative that explores themes of liberation and forbidden desire. In The Three Musketeers , Dumas presented characters who were defined by their loyalty, their ambitions, and their deep flaws. Mlle. D’Artagnan embodies these very traits, but through a uniquely feminine and sensual perspective. Her daring exploits echo the musketeers’ boldness, but her quest for pleasure and freedom adds a compelling layer of complexity to her character. The adventures of Mlle. D’Artagnan are steeped in sensuality, blending the musketeers’ camaraderie with moments of intense, erotic connection. Just as Dumas’ characters often found themselves caught between duty and personal desire, Mlle. D’Artagnan navigates a world where societal expectations clash with her pursuit of autonomy and fulfillment. This bold reinterpretation emphasizes the often-overlooked emotional and physical desires of women, transforming a traditionally male-dominated narrative into a celebration of feminine strength and sexuality. Introducing “Sapphotica”: A New Feminine Defiance Reina Canalla’s work is a cornerstone of a burgeoning movement championed by Erosetti Press: Sapphotica . This category celebrates art and literature that unapologetically depicts women as central, sensually and erotically free, and gloriously defiant. Mlle. D’Artagnan embodies this ethos, standing as a testament to Canalla’s commitment to portraying women as complex, empowered beings. In the context of Sapphotica , Mlle. D’Artagnan’s escapades are more than erotic interludes; they’re acts of rebellion against societal constraints. Her experiences highlight the beauty and complexity of feminine desire, embracing the “forbidden” fantasies that many women harbor but rarely see reflected in art. This bold approach not only redefines erotic storytelling but also champions a more inclusive and authentic portrayal of women’s sexuality. A Personal Touch: The Fantasies Behind the Story Canalla’s creative process is deeply personal, as she draws from her own fantasies and explores themes that resonate with women everywhere. Her vision of Mlle. D’Artagnan—a young libertine in Baroque Paris—is rooted in the universal yearning for freedom and self-discovery. By separating sex from love and then intertwining them in unexpected ways, Canalla crafts scenarios that challenge conventions and ignite the imagination. Just as Dumas’ musketeers were driven by ideals of justice and loyalty, Mlle. D’Artagnan is propelled by her own ideals: the pursuit of pleasure, independence, and authenticity. Her escapades reflect the internal struggles and triumphs of those who dare to break free from societal norms. By incorporating elements such as open relationships, polyamory, domination, and even the allure of impossible relationships, Canalla’s storytelling taps into the forbidden desires that society often compels women to suppress. This sincerity and authenticity make Mademoiselle D’Artagnan   a groundbreaking work in the realm of erotic comics. Why Mademoiselle D'Artagnan  Matters The importance of Canalla’s work extends beyond its erotic appeal. In a genre often dominated by male creators and perspectives, Mademoiselle D’Artagnan  offers a refreshing and empowering alternative. Canalla’s ability to weave humor, intrigue, and sensuality into her narratives elevates erotic comics to a new level, making them accessible, thought-provoking, and deeply satisfying. Mlle. D’Artagnan is a heroine for our times—fearless, seductive, and utterly captivating. Her story invites readers to embrace their own desires, to defy societal constraints, and to revel in the joy of being unapologetically themselves. Much like Dumas’ musketeers, she is flawed but noble in her pursuit of a life defined on her own terms. Canalla’s audacious vision ensures that her work will be celebrated not just as erotic art but as a powerful statement about the beauty of feminine defiance and freedom. Experience the Magic of Reina Canalla Step into the world of Mademoiselle D’Artagnan  and discover a tale that will ignite your imagination and awaken your desires. Mademoiselle D’Artagnan: One For All and All For Me, Books I is available now at Erosetti Press , the home of Sapphotica  and other groundbreaking works by Reina Canalla, including her celebrated Anne-Marie  series. Learn more about Reina Canalla and explore her provocative art and storytelling at her official website . Dare to indulge in the forbidden—your journey begins here. ©️ 2025 Dante Remy

| Dante Remy "Fetishism, far from being a perversion, reveals the interplay of the symbolic and the imaginary." — Jacques Lacan Bear X’s Bound by Shadows , a new art book published by Erosetti Press , is far more than a coffee table book—it is an evocative journey into the beautifully strange and erotic recesses of human imagination. This 96-page collection is a visual feast, embracing themes of sensuality, fetish, and fantasy through a masterful use of mixed media, bold colors, and intricate detail. For anyone intrigued by the intersection of art, psychology, and the taboo, this book is a must-have. A Symphony of Colors and Mediums From the moment you open Bound by Shadows , you are struck by Bear X’s use of vibrant red as a dominant motif, offset by stark blacks and whites. These colors evoke a visceral response, symbolizing passion, power, and vulnerability in a way that feels both primal and sophisticated. The artist’s skillful blend of pencil, ink, watercolor, and acrylic brings texture and depth to each piece, making every page feel alive with emotion. The bold use of color contrasts with the fine, almost delicate line work, creating a tension that mirrors the themes of power dynamics, submission, and liberation explored in the art. This interplay of soft and strong, light and shadow, draws the viewer into a deeper contemplation of the imagery and its underlying meanings. Themes That Liberate and Challenge At its core, Bound by Shadows is about exploring the boundaries of human desire. The images depict moments of intimacy, vulnerability, and power, often inspired by mythology, literature, and fetish culture. Through these works, Bear X invites viewers to confront their own perceptions of sexuality and the taboos surrounding it. The psychological impact of the art cannot be understated. By presenting themes of dominance, submission, and fantasy in such a visually compelling way, the book challenges viewers to consider their own relationships with control, desire, and identity. It’s not just about looking at the images; it’s about feeling them—and perhaps, seeing yourself in them. The Liberating Power of Art Bound by Shadows doesn’t merely showcase fetish and fantasy—it elevates them. Each piece speaks to the universality of human desires while celebrating individuality. The art doesn’t shy away from vulnerability or strength; instead, it revels in the tension between them. For the viewer, this creates a liberating experience, one that encourages self-reflection and the embracing of one’s own complexities. Bear X’s inspirations, ranging from mythology to pop culture, bring a timeless quality to the work. These elements remind us that the exploration of eroticism and fantasy has long been part of human expression, and that embracing these themes is not only natural but profoundly human. A Conversation Starter As a coffee table art book, Bound by Shadows is the ultimate conversation piece. Its provocative imagery is sure to ignite discussions about art, society, and the ways we express and understand human desire. Bear X’s art is both accessible and daring, making it a perfect entry point for those new to exploring these themes, as well as a rich source of inspiration for longtime enthusiasts. The book’s blend of bold visuals and psychological depth makes it more than just a collection of images—it’s an invitation to question, to feel, and to connect. Whether it sparks debates or quiet moments of introspection, Bound by Shadows ensures that it will not go unnoticed. Why You Need This Book Whether you’re a collector, an art enthusiast, or someone looking to deepen your understanding of erotic art and its psychological layers, Bound by Shadows is a worthy investment. It’s not just a book—it’s an experience, a challenge, and an invitation to embrace the beautifully strange facets of human nature. Place this book on your coffee table and let it do what great art does best: provoke thought, stir emotion, and inspire conversation. In the hands of Bear X, the erotic becomes elevated to something transcendent—an exploration of the shadows where desire and fantasy meet, and where imagination knows no bounds. Look inside the book and explore Bound by Shadows: The Fetish & Fantasy Art of Bear X at Erosetti Press . ©️ 2024 Dante Remy

Dante Remy | When The Convent School was first published in 1898, it sent shockwaves through Victorian society. Written by Rosa Belinda Coote, this provocative and unapologetically explicit tale was more than just a work of erotica—it was a bold challenge to the rigid moral codes of the time, introducing fetish and BDSM at the hands of nuns and the sacred convent. For over a century, this story has continued to captivate readers, not just for its sensual content, but for its daring exploration of power dynamics, sexuality, and the darker sides of human desire. Now, with the release of The Convent School: The Restored Edition , complete with a foreword by Dante Remy and twenty original period illustrations, we have the chance to revisit this seminal work and examine its lasting impact on the genre of erotic literature. A Controversial Beginning: The Shock of Publication At the time of its release, The Convent School  was privately printed, a common practice for works that skirted the boundaries of acceptability. Victorian society was outwardly conservative, with strict rules governing not just public behavior but the very thoughts and desires that people were allowed to entertain. Against this backdrop, T he Convent School   emerged as a stark and unflinching examination of the very taboos society sought to suppress. The story of Lucille—a young girl subjected to harsh discipline, sexual awakening, and the abuses of power—was not just shocking; it was revolutionary. The narrative broke down the walls of societal repression, exposing the raw and unfiltered desires that lay just beneath the surface. It dared to suggest that beneath the veneer of morality, there existed a complex web of power, pain, and pleasure that drove human behavior in ways that society was unwilling to acknowledge. Themes of Eroticism: A Psycho-Sexual Exploration At its core, The Convent School   explores five central themes of eroticism, each interwoven with the psycho-sexual dynamics that make the story as relevant today as it was over a century ago. These themes—discipline and submission, the power of the forbidden, the awakening of sexual identity, the intersection of pain and pleasure, and the subversion of authority—are not just narrative elements; they are the very essence of what makes this work a masterpiece of erotic literature. The first and most prominent theme is discipline and submission . From the very beginning, Lucille is subjected to strict and often brutal forms of discipline, particularly at the hands of her governess, Miss Birch. The ritualistic use of corporal punishment is portrayed not just as a means of correction, but as a method of controlling and shaping desire. Lucille’s submission is not merely imposed upon her—it is something she internalizes and, over time, comes to crave. This dynamic reflects a deep psycho-sexual process where control and punishment become intertwined with arousal and desire. In Lucille’s world, the anticipation of pain heightens the pleasure of submission, creating a complex and often contradictory emotional experience that drives much of the narrative. The power of the forbidden  is another theme that resonates throughout the story. The convent, ostensibly a place of sanctity and purity, becomes the setting for the most illicit acts of sexual exploration and punishment. The psycho-sexual charge of engaging in forbidden acts—whether they are sexual encounters with other girls or the enforced punishments by the nuns—creates an erotic tension that is both thrilling and terrifying. The allure of the forbidden lies in its very nature; what is socially or morally off-limits becomes all the more desirable. This tension between repression and desire is a key element of the story’s eroticism, drawing readers into a world where boundaries are constantly pushed and transgressed. As Lucille navigates this world, she undergoes the awakening of her sexual identity . Her journey from a naïve girl to a woman fully aware of her desires is central to the narrative. Each encounter, whether it is the harsh punishment from Miss Birch or the seductive manipulations of the Lady Superior, brings Lucille closer to an understanding of her own sexuality. This awakening is fraught with both fear and excitement, as Lucille learns to reconcile her emerging desires with the strictures of the society that seeks to control her. The process of discovering and embracing her sexual identity is not just a physical journey, but a psychological one as well, reflecting the complex interplay between power, submission, and the body’s responses to these forces. Perhaps the most provocative theme in the story is the intersection of pain and pleasure . Throughout The Convent School , pain is not simply a negative force; it is an integral part of the erotic experience. The vivid depictions of corporal punishment—whether it is the stinging cuts of the birch rod or the humiliation of exposure—serve to blur the lines between pain and pleasure. This theme speaks to the psycho-sexual dynamics of masochism, where pain is not just endured, but is transformed into a source of intense pleasure. Lucille’s reaction to her punishment—both dreading and longing for it—captures the essence of this dynamic, where suffering becomes a pathway to erotic fulfillment. Finally, the subversion of authority  emerges as a powerful and often disturbing theme. The authority figures in Lucille’s life—her father, Miss Birch, and the Lady Superior—use their positions not to protect or guide her, but to fulfill their own desires. The psycho-sexual dynamics at play here involve the eroticization of power, where those in control derive pleasure from dominating and exploiting those under their care. Lucille’s experiences in the convent, where the Lady Superior’s advances are both seductive and predatory, reveal the dark undercurrents of power and control that drive the narrative. This theme is a stark commentary on the ways in which authority can be twisted and perverted, turning institutions of care into arenas of exploitation and abuse. The Enduring Impact of The Convent School What makes The Convent School   such an enduring work of erotic literature is its unflinching exploration of these themes, all of which remain relevant in contemporary discussions of sexuality and power. The story forces readers to confront the uncomfortable truth that desire is often complex, contradictory, and driven by forces that lie beyond the control of societal norms. The narrative challenges the notion that sexuality can be neatly categorized or contained, instead presenting it as a force that is as dark and dangerous as it is liberating and pleasurable. In one of the most telling quotes from the story, Lucille reflects on her experiences: I was choked and remember no more except that on recovering consciousness, the supposed Confessor Francisco was dressed as a gentleman, and I immediately recognized him as my husband as at the same instant he exclaimed, "Woman, my revenge is complete." This moment of brutal revelation encapsulates the depth of betrayal and the perverse intertwining of power, control, and sexuality that defines her tragic journey. Lucille’s suffering is not just physical but deeply psychological, as those she once trusted manipulate her vulnerabilities, turning what should be acts of care into acts of domination and degradation. As we revisit T he Convent School  in this Restored Edition, complete with its original period illustrations, we are invited not only to experience the raw eroticism of Lucille’s journey but also to reflect on the deeper questions it raises about the nature of desire, control, and the human psyche. This work remains a landmark in the genre of erotic literature, not just for its explicit content, but for its daring exploration of the darker sides of human nature. In a world that continues to grapple with issues of power, repression, and sexual expression, The Convent School  stands as a powerful reminder of the complexities and contradictions that define our most intimate experiences. The legacy of The Convent School   is a testament to its ability to shock, seduce, and provoke thought. It is a work that compels us to look beyond the surface of erotic desire and into the depths of what drives us, challenges us, and, ultimately, reveals the most hidden aspects of our humanity. As a final meditation on the story of Lucille, we are left with a powerful message: Between power and desire, Pleasure and pain, Desire and fulfillment, Lies the true essence Of our erotic selves. Dante Remy ---- ©️ 2024 Dante Remy Explore The Convent School , Restored Edition and more classic and contemporary erotica from Black Fern, an imprint of Erosstti Press on its website .

Dante Remy | “Rope. You chose it for me so carefully. Thoughtfully. Even its color. You love the look of its deep red, Against my skin.” When writing " Rope ," I sought to explore the psychological landscape of desire, submission, and release in the context of a consensual, deeply intimate relationship. This story is a study in contrasts—of freedom within restraint, of finding oneself in the act of being bound, and of the profound depths of connection that can be achieved through surrender and control. Rope as a Symbol of Submission, Desire, and Control The story begins with the rope itself, a seemingly simple object imbued with layers of meaning. "Rope. You chose it for me so carefully. Thoughtfully." Here, the rope represents more than just a tool of restraint—it is a conduit for trust, intimacy, and mutual understanding. The care with which it was chosen speaks to the underlying respect and attention to detail that defines the relationship between the partners. The color of the rope—deep red—evokes feelings of passion, danger, and intensity. It is thick and soft, simultaneously offering comfort and restriction. As I wrote, “Its braids hold me tightly, firmly. Turns of the rope press into my skin, but never hurt.” This balance reflects the complex interplay between pleasure and pain, between the yearning for control and the desire to be controlled. From a psychoanalytic perspective, the rope symbolizes the tension between autonomy and submission that exists in every human relationship. The narrator's yearning to be bound is a manifestation of a deeper psychological need to surrender to the other, to feel safe within the boundaries set by a trusted partner. This surrender is not passive; it is an active choice, a gift of vulnerability that invites the partner to take control. The Need for Submission: A Desire for Release Throughout the story, the narrator's need for submission is palpable. "I need you to own me, And to give me everything I deserve." This statement reflects a profound psychological truth: the desire to be claimed, to be possessed, to be understood completely. In a world that often demands constant control, submission offers an escape—a way to relinquish the burdens of decision-making and responsibility. The narrator’s anticipation builds while waiting for the partner's return, fixated on the rope, the symbol of her desire. "I’ve stared at the bottom drawer for hours. That’s where the rope sits." The drawer becomes a symbol of her inner world, where desires and fantasies lie in wait, begging to be realized. The simple act of opening the drawer to retrieve the rope becomes a ritual in itself, a way of engaging with her longing. The rope’s presence and the act of placing it on the kitchen island demonstrate a subconscious plea for attention, a cry to be seen and taken. This longing reflects the universal human desire for connection and intimacy. The narrator does not want to simply satisfy herself; she craves an experience that transcends mere release. "I could touch myself and cum instantly, Thinking about the pleasure you give me, But it wouldn’t satisfy me." She needs something more profound—something only her partner can give her. This need speaks to the inherent human desire to be fully understood and met in our most vulnerable states. The Dance of Power and the Ritual of Restraint " Rope " is a story about the intricate dance of power that unfolds between the narrator and her partner. The narrator gives herself over to her partner's control, craving both the physical restraint of the rope and the psychological restraint of her partner's commands. When her partner finally arrives, she is greeted with calmness, a stark contrast to her own heightened anticipation. "I am always bewildered by your way. So relaxed. So warm." This moment captures the duality of their dynamic—her partner’s ability to switch between roles, from the mundane routines of everyday life to the intense focus of the erotic encounter. This duality is essential; it reflects the complexity of human relationships, where individuals are constantly navigating between different roles and identities. As the partner begins to bind her with the rope, the narrator's internal monologue reveals the depth of her submission: "Being bound by this rope, Held in place by it, releases me. When you take me this way, I find my inner voice. It’s primal. It’s loud." Here, the act of being bound becomes paradoxically freeing. In psychoanalytic terms, this release can be seen as a form of catharsis—a purging of pent-up emotions and desires. The rope not only binds her body but also her mind, allowing her to let go of the societal expectations and norms that govern her public existence. "All norms of behavior are removed. The public life of decency and respect, And the expectations of others, That monitor my existence, Fade away." The act of restraint becomes a path to a deeper form of liberation, one that allows her to explore the primal aspects of her identity. Pain and Pleasure: The Threshold of Ecstasy The story does not shy away from the interplay between pain and pleasure, a central theme in the exploration of erotic desire. "You put pressure on the chain, Just light enough, To send a throbbing mix of pain and pleasure, From my nipples, To my clenching pussy." The narrator's body becomes a canvas upon which sensations of pain and pleasure are painted in bold strokes. The pain is not gratuitous; it is purposeful, serving to heighten her awareness of her body and deepen her sense of submission. The desire for pain is not about suffering; it is about transcendence. "The longer you draw this out, This pain and pleasure, The deeper I fall into myself." The narrator's experience of pain serves as a gateway to a higher state of consciousness, where the boundaries between body and mind blur, and she is transported into a realm of pure sensation. From a psychological perspective, this dynamic can be understood as a form of boundary play. By experiencing pain in a controlled environment, the narrator explores the edges of her physical and emotional limits. This exploration of boundaries is not only erotic but also profoundly empowering. It allows her to redefine her relationship with her body and her desires, to take ownership of sensations that might otherwise be seen as taboo. Aftercare and the Return to Reality As the encounter progresses, the intensity builds to a crescendo of orgasms, followed by a period of aftercare and reconnection. "Your arms envelop me. I am led to the edge of the bed… Your hands on my hips." The narrator’s surrender is met with her partner’s care, as they guide her back from the brink of ecstasy. This is the space where erotic and emotional intimacy intersect. Aftercare is essential in any exploration of intense desire. It is a way for the couple to reaffirm their connection and process the emotions that have surfaced during their encounter. "Your hands grasp my arms at the shoulders, And pull downwards, To my wrists, Bringing a warm and inviting bliss, Through my arms." The touch of the partner becomes a lifeline, grounding her back into reality, reestablishing the balance after a period of intense exploration. Aftercare is also about validation. The partner’s actions convey that her desires are not only acceptable but cherished. This mutual validation strengthens their bond and ensures that their exploration is always rooted in trust and respect. The Role of Anticipation and Memory " Rope " closes with a reflection on memory and anticipation. "I will carry this glow for days… The red, thick, soft rope, Will sit in the bottom drawer, Waiting patiently, Until I cannot." The rope remains a constant symbol of her desires, lying in wait for the next encounter. It is a reminder of what has transpired and a promise of what is to come. Anticipation plays a critical role in the psychology of desire. It is the fuel that keeps the fire burning between encounters. The narrator's longing for the rope, her fixation on it even when it is out of sight, demonstrates how desire is sustained not only through action but also through thought and memory. The rope becomes a talisman of their shared intimacy, a physical reminder of the emotional and erotic journey they embark on together. Conclusion: The Paradox of Freedom in Restraint In " Rope ," I sought to explore the paradox of finding freedom within restraint, the ways in which surrender can lead to a deeper understanding of the self. The story is not just about the physical act of being tied up; it is about the psychological liberation that comes from embracing one's desires fully and without shame. Through the interplay of power, pain, pleasure, and surrender, the characters navigate the complexities of their relationship, building trust and intimacy with each encounter. "Rope" is a testament to the power of consensual exploration, a celebration of the ways in which we can find ourselves in the act of giving ourselves over to another. It is a reminder that the bonds we form with those we trust are not chains but lifelines, connecting us to our truest selves. ©️ 2024 Dante Remy Learn more about the pillow book " Erosetti VI Rope ," including a look inside the book, at the Erosetti Press website .