From Library Journal
Louys's Aphrodite (1896) and Songs of Bilitis (1893) would now be termed "soft porn." The earlier anonymous translation of 1913 retained Louys's archaic lexicon, but the present translation is unambiguous and should have the intended effect on responsive readers. Louys himself was an ambiguous character, as editor Kavka points out in her cogent introduction. Remembered now chiefly for his friendship with Gide and Wilde (with whom Louys broke at the time of Wilde's trial), Louys was simultaneously pro-lesbian and homophobic. In these pseudo-Greek works, phenomenal best sellers at the time of publication, he exploits lesbianism as a pornographic strategy. For eclectic literary collections.
Marilyn Gaddis Rose, Binghamton Univ., N.Y.Copyright 1994 Reed Business Information, Inc.
Louys was one of the most notorious writers of 1890s France. A friend of the famous, including Oscar Wilde, Claude Debussy, Sarah Bernhardt, Colette, and Rodin, his elegant, classical tales of sensuous love were originally banned in the U.S. There have been several English editions of
Aphrodite and
The Songs of Bilitis; however, because the English translations were done in the 1900s through the 1930s, sexual and social standards prevented accurate translation. The new translations were made directly from the French texts and reflect the spirit of the original.
Aphrodite, based on Louys' interpretation of
Pygmalion, is the tale of a sculptor who has created a statue of Aphrodite, with which he falls in love. He becomes obsessed with a beautiful courtesan, but finds that she can never quite measure up to the statue of Aphrodite. In
The Songs of Bilitis, Louys weaves a series of epic poems into a story. Based loosely on Louys' knowledge of
Sappho, the story tells of the amorous life of Bilitis, including her stay on the Isle of Lesbos and her life as a courtesan devoted to the goddess Aphrodite. These sumptuous stories reveal passionate writing that emphasized sexual freedom. A member of the French symbolist writing movement, Louys captured in these tales a rhythmic, lyrical, aesthetic principle that was intended to be a revolt against bourgeois life in 1890s France.
Kathleen Hughes