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This work offers bibliographical descriptions of all printings of erotic fiction in English issued clandestinely during the period 1800-1930. By 'clandestine' is meant books whose publishers and printers attempt to hide their identities, usually by offering title pages whose misleading places and dates of publication may shock and amuse, but which always aim to mystify. Using internal and external evidence, an attempt is made to establish who were the printers, booksellers and publishers, English and Continental, involved in this trade. The printing families or 'groups' into which a large percentage of the material falls are classified, accompanied by illustrations which identify the main printing characteristics ('house styles') of the groups. Bibliographical descriptions follow a checklist of clandestine catalogues; these provide valuable evidence for dating, pricing and 'sales pitch' and information on items of which no copies can now be traced. The work concludes with a series of appendices which provide significant external evidence, and three indexes: of themes, titles and names. Peter Mendes' original research builds on and significantly extends the essential pioneer work of the Victorian collector and bibliographer H.S. Ashbee ('Pisanus Fraxi').
The present work fills a gap as it attempts to offer a history of erotic literature published in the United Kingdom. The word Study in the title is perhaps a bit exaggerated as the material is largely taken from the now well known bibliographies by Pisanus Fraxi (Henry Spencer Ashbee) and quotations from the books themselves. The time line is WW II. Who was the author? He may have been Charles Reginald Dawes (1879-1964) who is supposed to have written (but not published) a text of this or a similar title. His profession or his activities are not known - he once called himself a writer but library catalogues credit him only with two publications: The Marquis de Sade (Paris 1927) and Retif de la Bretonne (London 1946, privately printed). He may have been a popular writer under pseudonyms, though. Dawes owned a good erotica collection which he willed to the British Museum Library; that would explain why the author of this Study - if he was Dawes - could quote freely from erotic texts which only few of his contemporaries would have had available. The main merits of this book are that the author was thoroughly familiar with English (and French) erotic literature and that he put his material in chronological order and in context. The editor added a number of references, illustrations and indices of personal names and titles to facilitate navigation.
Selected by a poll of more than 180 Gothic specialists (creative writers, professors, critics, and Gothic Studies program developers at universities), the fifty-three original works discussed in 21st-Century Gothic represent the most impressive Gothic novels written around the world between 2000-2010. The essays in this volume discuss the merits of these novels, highlighting the influences and key components that make them worthy of inclusion. Many of the pioneer voices of Gothic Studies, as well as other key critics of the field, have all contributed new essays to this volume, including David Punter, Jerrold Hogle, Karen F. Stein, Marie Mulvey-Roberts, Mary Ellen Snodgrass, Tony Magistrale, Don D'Ammassa, Mavis Haut, Walter Rankin, James Doig, Laurence A. Rickels, Douglass H. Thomson, Sue Zlosnik, Carol Margaret Davision, Ruth Bienstock Anolik, Glennis Byron, Judith Wilt, Bernice Murphy, Darrell Schweitzer, and June Pulliam. The guide includes a preface by one of the world's leading authorities on the weird and fantastic, S. T. Joshi. Sharing their knowledge of how traditional Gothic elements and tensions surface in a changed way within a contemporary novel, the contributors enhance the reader's dark enjoyment, emotional involvement, and appreciation of these works. These essays show not only how each of these novels are Gothic but also how they advance or change Gothicism, making the works both irresistible for readers and establishing their place in the Gothic canon.
When young Harry gallantly comes to the rescue of two woman, helpless at the hands of two ruffians intent on plundering and ravaging their persons, daughter Rose and mother Ethel are only too willing to invite their young hero back to their redbrick mansion for a grand display of gratitude. Much to his surprise, Harry soon finds his personage wedged between the two globes of Ethel's substantial bosom, with Rose's tongue in his mouth, and a dainty finger in his... oh my. What follows is a two day display of Bacchanalian proportions as Harry is made "to spend" numerously and variously for mistress, maiden, and even maids. This raucous tale of revelry and debauchery tips a fine hat to the excesses of the enlightened sexual freedom and abandon of post-Victorian England's high society, far from prudish and further from proper. Written by the pseudonymous "Ramrod", published in 1911, and containing graphic descriptions of all manner of deed and device, 'My Lustful Adventures' will be sure to titillate and tantalise today as it did over 100 years ago.
Typescript, incomplete, of a bibliography of the Private Case Erotica Collection at the British Library (then Museum); typescript includes manuscript revisions and extensive manuscript instructions to the typesetter. Also includes page proofs of the title, pre-title, and contents pages and page makeups for the contents, introduction, preface, and authorities consulted pages.