“Proserpine” or Jane Morris & the Pomegranate by Dante Gabriel Rossetti (1847)
I’ve been sick the past few days, which has given me an unusual amount of time for listless thinking and wool gathering. In and amongst the drift of fairly useless thoughts came the realization that, for me, there are two kinds of erotic reading – stories that focus on sex, and stories that achieve a raw, nearly sexual intimacy, despite the absence (or near absence) of sex.
The first sort of reading is pretty obvious. It’s best characterized by stories like this and this. In fact, a lot of what I write for this site would fall into that category. The other kind of eroticism is harder to qualify, but it shows up in pieces like this, as well as in many of my non-erotic stories, which is why they’re often read with a sexual undercurrent, even when there’s no sex in them.
Instead of being expressed in an overtly sexual way, the intimacy in those stories comes out as a sort of shared ache – a sympathy between characters that is, hopefully, transferred to the reader. That affinity triggers something like an erotic response, one that’s subtly sexual and emotionally intimate. The latent sexuality in that response is what comprises the second sort of eroticism – one that’s emotionally sexual and not obvious in the text, but simmering beneath it.
“Goblin Market”, by Christina Rossetti, drips with limpid, super sensual imagery and includes a final scene that could be a portrait of sexual ecstasy, except it isn’t. The ecstasy isn’t sexual. It’s the culmination of devotion, sacrifice, and love between two sisters whose affinity is so strong it pushes their bond to lover-like levels of intimacy while remaining uncompromisingly platonic.
How Rossetti managed to blend the sensual with the sisterly is a bit of a mystery to me, even now. There’s nothing concrete that I can point to in the poem, no line on a map marking the territory between sexuality and emotionality, but it exists all the same, which is why I think of that shared territory as the goblin market. The goblin market in narrative creates a tension that works on the reader without any conscious effect, yet you put the book down feeling lush and keenly aware, like Persephone when she finally gives in and eats the pomegranate’s seeds.
For me, one author achieves the goblin market better than anyone else. If you read anything by Angela Carter you’ll feel it, but it’s especially effective in her collection, The Bloody Chamber, which I’ve
pushed mentioned before. The title story is fantastic I’ve already fangirled all over it so I’ll focus on a different story from the same collection – “The Tiger’s Bride”.
“The Tiger’s Bride” is one of the sexiest stories I’ve ever read, yet it contains no sex. What it does have is massive amounts of emotionally charged intimacy unpinning a story in which masks and identities are stripped away. It isn’t until a tacit understanding is reached between the tiger and his captive that a shared ache develops, but when it does, it makes something that should have been ghastly, (the tiger licks her human skin away, revealing golden fur), unbelievably erotic.
The narrator’s affinity for her captor can’t be expressed in words (he speaks in low growls, translated by a simian valet), which is just as well. It’s the silence of their understanding that transforms what could have been yet another variation on “Beauty and the Beast” into a story steeped in animal sexuality. Its lack of obvious eroticism heightens, pretty fantastically, the latent eroticism of the text.
I’m finding more and more that I need this second, more subtle, emotional component for the erotic aspects of a story to work for me. While I still love straight up filth, it doesn’t tend to stay with me. It’s the stories that weave tapestries of sex and emotional intimacy that I come back to again and again, whether they’re called erotica or something else.
This shift in my reading is something relatively new. While I appreciated the goblin market from an intellectual perspective when I was younger, it never touched me the way that raw sex did. Now it’s quite the opposite. It would be easy to say that this shift is the result of getting older, but I suspect it has less to with age and more to do with me. I’ve always had an emotional intensity that I was never completely comfortable with, especially in conjunction with sex. I suspect that my growing attraction to stories steeped in this kind of emotional sexuality is, more than anything else, a sign that I’m finally comfortable with my own goblin market.
Here’s a list of some of my favorite goblin market stories, along with links to where you can find them (some for free!). And if you have any books you love for this kind of read, tweet me or leave them in the comments!
“Goblin Market” by Christina Rossetti
Winter’s Tales by Isak Dinesen – “The Invincible Slave Owners” and “The Heroine”
The Bloody Chamber by Angela Carter – “The Tiger’s Bride” and “The Bloody Chamber” (and most of the others, to be honest).
Lips Touch Three Times by Laini Taylor (The first story is a really subtle, really sexy adaptation of Rossetti’s “Goblin Market”).
The Lure of Dangerous Women by Shanna Germain
Kissing the Witch by Emma Donoghue
Atonement & The Cement Garden by Ian McEwan
The Shadow of the Wind by Carlos Ruiz Zafon
The Magic Toyshop by Angela Carter
The English Patient by Michael Ondaatje (I fangirled the film here. And to be fair, there is fairly explicit sex in this book, but its punch lies in the emotional intensity behind it).
Affinity by Sarah Waters
Angels and Insects & The Game by A.S. Byatt
A Severed Head by Iris Murdoch
The Griffin & Sabine Trilogy by Nick Bantock
The Vintner’s Luck by Elizabeth Knox (courtesy of Tamsin Flowers, who was lovely enough to give me a copy!)