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Susie Bright (editor) · 2001
The Best American Erotica 2001, edited by Susie Bright, is an annual anthology of literary erotica, and Vela holds it for the editorial claim the series was built on: that desire is precise, embodied, and worthy of serious craft — that a sex scene can carry the same attention as any other writing.
Sequence ladder
Narrative Intelligence sources live outside the figurative image sequence ladder. Adaptive placement applies to image sequences, not this reading library.
Appears in
What this book knows
Erotic fiction at its literary best insists that desire is precise, embodied, and worthy of serious craft.
desire
It doesn't matter if it's good or sincere; what matters is that you touch the familiar keys, press the prurient buttons—leaving you hungry again ten minutes later.
BAEROT01-RC-004It's a feeling so pure that he wants to cry. How terribly unfair that his whole self aches because of the shape of a shoulder.
BAEROT01-RC-024embodiment
You made the noise, and my clit throbbed in sympathy—your cry sounds like some fantastic bird, from the sudden realization that the plumes of sensation are not enough.
BAEROT01-RC-106I've been working out and I can watch my body developing. Rubbing my hand down over my abs, feeling the hills and valleys as I move from one muscle to another.
BAEROT01-RC-019erotic-as-power
Pinned to the tile, I'm up against the ropes, and he continues to pump me harder and harder. I hold my arms up to defend myself.
BAEROT01-RC-099Long after this lover was gone from her life, she continued to fall in love with whatever man could fill her up most—it seemed all men were big dicks.
BAEROT01-RC-062Illuminates
Editor’s framing
Bright edited the series for years as an argument against the assumption that erotica must be either purple or perfunctory, gathering writers who treated desire with the full resources of the short story. The anthology format means the quality varies, but the editorial intent is consistent and is the reason the corpus holds it: a yearly demonstration that the erotic is a legitimate literary subject, not a lesser genre. Read it as a sampler of a contemporary tradition rather than as a single sustained work.
What to attend to: the range — the anthology spans registers, orientations, and tones, which is part of the editorial argument that desire is plural. The craft, where it is present: the stories that work treat the body with specificity rather than euphemism. The editorial frame, which is doing the load-bearing work; Bright's selections are themselves a statement about what erotic writing can be.
In Vela's reading this anthology is a contemporary-tradition marker rather than a keystone — useful for the breadth it samples and the editorial claim it stands for. We read it on the desire axis, beside the single-author collections (Nin foremost) where the same conviction — that desire deserves craft — gets worked out at book length.
Featured passage
When the first girl looks at Allen he feels unworthy to watch. He can hardly bear having her acknowledge him. He wants to ask her what she is staring at. “Can I help you?” he would have said if they were anywhere else. The girl is perfection and Allen wants her desperately. It’s a feeling so pure that he wants to cry. How terribly unfair that his whole self aches because of the shape of a shoulder, the soft lines of a hip. Allen stares at the girl’s legs, a deep black against the whiteness of the chair, and then up at the trained beckoning in her face. There is the glow of real personality behind the staged. “Touch,” she says. And Allen wants to touch her—to see if she is real. But he hasn’t yet responded, and the girl is moving toward him, long and graceful, the woman of his dreams. Allen is shaking again, as he did when he was a boy. And why shouldn’t he? A loyal husband, who, reaching out, touch ing, had always honored his vows. He does not move his hands or his fingers, just holds them against her wonderful skin, so warm, almost hot. The girl takes Allen’s hands in her own, presses them to her chest, and massages. It calms him. She does this like an expert, a masseuse, someone trained in an art. Allen hasn’t been so aroused in years. He wants to climb through the small window to be with this woman. But the partition starts to come down. His time has run out. In the split second that he has to make his choice, Allen takes back his hands. Leaning up against the wall in a panic, Allen tells himself that the fondling of this woman was an aberration, just like his coming up those stairs. He had only wanted a peep. He’d gone up the stairs a loyal husband and lover, a working man on his way home to the ’burbs. And now, minutes later, a different man emerges: a violator of girls and wives and matrimonial bonds. Allen con siders leaving the booth, though his legs feel hollow and un steady. And there is also his erection, diabolically hard, bringing to mind all the basest descriptions in pornographic magazines. Allen is so close to climax that he is afraid to move. He wants to get away without having to face the enormity of his pleasure. He remains still, his hand clutched tightly around the tokens, and thinks of Claire waiting at the bus stop, the
When the first girl looks at Allen he feels unworthy to watch. He can hardly bear having her acknowledge him. He wants to ask her what she is staring at.
Read alongside · the magazine
The anthology's best stories make the essay's case — that desire treated with specificity, not euphemism, recovers what the loud miss.
6 published passages · book excerpt · research analysis
Reader resonance signals for text sources are not wired to this view yet.
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