性爱是既不好也不坏,但写作使得它如​​此

性爱是既不好也不坏,但写作使得它如​​此

不良性行为。 是不是足够有它,而不必阅读呢? 一个写得不好的床戏可以发自内心地可怕。 虽然色情片 从根本不现实在散文性不好,这不是明确的可以难以忍受。

昨天,英国文学评论照聚光灯下的可怕性写作时,它授予前史密斯的主唱和小说家处女作莫里西其年度 在小说奖坏性别失落的名单 (2015), 真正可怕的写作是.

赢得Morrisey该奖项不仅是为了模仿紧迫感堆在一起条款一堆的通道,这也是不合语法:

跨以斯拉的嚎叫嘴艾丽莎的乳房的性暴力旋转过山车线圈桶滚

当然,这应该是:

跨以斯拉的嚎叫口艾丽莎的乳房桶滚动。

你可以阅读这篇文章的其余部分 - 与其他被提名 - 在一个幻灯片 这里.

这也是具有挑战性的跟随之中混合隐喻的动作。 隐喻可以成为作家来管理一个真正的鸡奸。 这只是太容易得意忘形。 Morrisey的“过山车”可能意味着恐惧和恶心对一些读者。

“线圈”,自然让我想起绳子,蛇; 眼看着后 指环王系列电影的主“桶滚”让我想起了无论是弹跳哈比人倒在啤酒桶湍急,或男性长围裙滚动向当地酒吧的地下室孵化小桶的。

那么,什么是它的性写作这是这么难吗? 还有避免把你的过火的做爱到嬉戏无意tragi喜剧两个基本要素:比喻和典故。

艺术的隐喻

隐喻,这是在糟糕的性爱写作的症结所在,可以去错了。 文学和口语的隐喻一样,有效的时候,通过创造意想不到的现象无关或图像汇集了具体的上下文,瞬间相似。

这意味着H A字用于建议十,有效的比喻罢工记为读者和合意的或揭示“真相”大约十一个很好的比喻意外又立即识别的丰富X的想法

Of course, for the metaphor to work, the reader needs to understand and agree with it to some extent. Much bad sex writing is bad because the metaphors send the wrong message. More than not suggesting anything physically or emotionally erotic and sexy, the metaphors are ludicrous, even nonsensical.

The dead, or over-used and over-familiar, metaphor is responsible for a great deal of bad sex writing. No-one can accuse Morrisey of using “dead metaphors”; they’re startlingly original. Unfortunately, this means there’s no common ground that lets the reader understand what’s happening when:

Eliza and Ezra rolled together into the one giggling snowball of full-figured copulation, screaming and shouting as they playfully bit and pulled at each other in a dangerous and clamorous rollercoaster coil of sexually violent rotation

On the other hand, Ben Okri, the 2014 Award winner, deployed quite a few dead metaphors in his bad sex writing. You might recognise:

When his hand brushed her nipple it tripped a switch and she came alight.

Notice the try-hard exaggeration. Her nipple isn’t really a switch. She didn’t really come alight. Well, we hope not.

A further element common to bad sex writing, is this tendency to exaggeration and bragging. Not only the hand gestures (just one brush and she’s alight), the adverbs and adjectives strain for effect, as in Christos Tsolkas’s 巴掌 (2008), nominated in 2010 for the award. The man “crowing out his rapture” tipped that particular passage into hyperbole.

Describing action is also a challenge. How much to leave in, what to leave unsaid? The Slap was criticised for simply having too much repetitively explicit sex.

Alluding To The Unmentionable

What to call those private parts? Bad sex writing makes this other big mistake: the characters are not in character, they are not themselves. They don’t do what they’d normally do, they don’t speak as themselves.

In terms of characterisation, a sex scene should be no different than any other scene that involves action and dialogue, emotion and intellect.

This explains some of the appeal of Elena Ferrante’s novels: their veracity. In the internationally acclaimed 遗弃的日子 (2002) there are a few scenes that describe bad sex – but it is very good writing.

Ferrante’s description of the sex that takes place between Olga and her neighbour Cerrano focuses on the small actions that take place, of whose hand does what when, and so forth. This is because Olga is in that frame of mind: she is unhappy and has no particular desire for Cerrano. Cerrano is an experiment.

She notices what he does and what she is doing because she’s not feeling passionate, and is watching herself and him:

Cerrano had just raised my skirt and now was caressing the crotch of my underpants with the palm of his hand, and then he ran his fingers over the material pressing, pushing it deep into the fold of my sex.

British novelist and critic, David Lodge, in The Art of Fiction (2011), writes about the importance of implication in narrative, the suggestion of meaning rather than the stating of it.

Many of the writers of bad sex could learn from his brief essay which uses as an example a scene from William Cooper’s Scenes From Provincial Life (1950), in which a woman gestures to her lover to come closer.

It’s clear enough to an attentive reader with some experience of the world that fellatio takes place, but it’s not explicit. The scene is erotic and playful as the meaning is there in the gaps; it had to get past the censors and could not be graphic.

It’s exactly the kind of writing that frustrates the naive reader. (I remember reading The French Lieutenant’s Woman, 1969, in my early teens hoping to learn a few things. I did, but not what I was searching for.)

The annual Award isn’t just a bit of a lark. Past nominees and winners such as Christos Tsiolkas, Richard Flanagan, 迈克尔·坎宁安Ben Okri are serious writers, produced by serious publishing houses.

That the writing identified is so very bad tells us something about how uncomfortable our culture is about sexuality, language, and masculinity.

关于作者谈话谈话

messer janeJane Messer, Senior Lecturer in Creative Writing. She is a former judge of the Australian/Vogel Literary Award and former board member of the Australian Society of Authors.

本文最初发表于 谈话。 阅读 原创文章.


相关图书:

The Joy of Writing Sex: A Guide for Fiction Writers

作者: Elizabeth Benedict
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