Thursday, 28 October 2010
She was young. She was beautiful. And she was a slave. Not just any slave; a willing sex slave.
Vanessa Duriès, also known as Katia Lamara (1972 - December 13, 1993) wrote of her experiences as a slave in the French BDSM novel “Le lien.” Translated into English as “The Ties that Bind.”
She created quite a stir in France at the time of the release of the novel, due to her youth and beauty, and appeared on national television, in particular in the show of Bernard Pivot. She also appeared in a pictorial and an interview of the May 1993 issue of the French edition of Penthouse magazine.
Vanessa died in a car crash on December 13, 1993 in the South of France at age 21. Because of her early death, she has achieved a cult status for some BDSM communities. In 2007, five chapters of her second novel L'Étudiante, left unfinished due to her death, were published in France.
Here is a review of her book, from Amazon, UK
“After enduring years of corporal punishment by her father, a young and very much beautiful Vanessa realizes that `Not having the nature of an Amazon, not knowing how to oppose violence with cruelty, I learnt to dominate those who used me by making the offering of my submission both mystical and ambiguous' ...... and thus is born a female slave into the somewhat secretive world of S&M in France in the 1990's.
Right from the first chapter, `The Revelation' , the author introduces us to Pierre, her much `loved' master whom she meets at the age of twenty. In the book, without delving into any of the details of their introduction we find a young Vanessa, although apprehensive about her secret feelings, completely accept and resign herself to her `slave' state of mind and body when she visits Pierre at his countryside mansion. Although Pierre is her master, the author maintains an absolute dedication to her feelings, emotions, thrills and fears, as she is introduced and educated into the true and dedicated sadomasochistic lifestyle of a slave master relationship.
This is, in effect, the mastery of this wonderful young author and the point at which other S&M books totally fall apart since it's pretty well impossible for either the master or the slave to completely comprehend and, honestly write about, the erotic mindset of the other. With the precision of a whip Vanessa intricately describes her slave education in the hands of not only her master but also, of course, a small and very much secretive group of other masters and slaves, both male and female.
Vanessa unabashedly describes her relationship with an awe that she is living the life of total sexual and physical abandon with her much loved master. In her own words, `Pierre is an organizer beyond compare. Since sharing his life, we schedule usually quite eventful weekends throughout the year. When we return, on Sunday evenings, I often find myself in a state close to exhaustion. Pierre is no less tired than me. The role of the master is exhausting, because, while the slave only submits, the master must decide, organize, prepare and take action, all the while watching over the physical and psychic state of the slave that he has decided to honour through tests and humiliation.'
One very sad note, unfortunately, Vanessa Duriès died in a traffic accident in 1993 about seven months after the publishing of this masterwork, truly a loss from a very much talented writer.
Finally, the book has an introduction by Marie Isabel Pita one of today's hottest writers of contemporary erotica, and an afterword by Maxim Jakubowski where he briefly describes the discovery of the lost French edition of this book and his investigation into the last years of life of the author.
Thanks to Jan Vander Laenen, because he told me about the enigmatic Vanessa Duriès.
Friday, 22 October 2010
Countess Elizabeth Báthory de Ecsed (Alžbeta Bátoriová in Slovak, Báthory Erzsébet in Hungarian, 7 August 1560 – 21 August 1614) was a countess from the renowned Báthory family. Although in modern times she has been labelled the most prolific female serial killer in history, evidence of her alleged crimes is scant and her guilt is debated. She is nevertheless remembered as the "Blood Countess" or "Bloody Lady of Čachtice", after the castle near Trenčín in Slovakia (formerly the Kingdom of Hungary) where she spent most of her adult life.
She has been the inspiration for horror films, and has been the force behind numerous stories during the eighteenth and 19th centuries. The most common motif of these works was that of the countess bathing in her victims' blood, in order to retain beauty or youth.
This legend appeared in print for the first time in 1729, in the Jesuit scholar László Turóczi’s Tragica Historia, the first written account of the Báthory case. At the beginning of the 19th century, this certainty was questioned, and sadistic pleasure was considered a far more plausible motive for Elizabeth Báthory's crimes. In 1817, the witness accounts (which had surfaced in 1765) were published for the first time, suggesting that the bloodbaths were legend.
The legend nonetheless persisted in the popular imagination. Some versions of the story were told with the purpose of denouncing female vanity, while other versions aimed to entertain or thrill their audience.
But what of her life, her real life? What do we actually know about the Countess? Elizabeth was engaged to Ferenc Nádasdy, in what was probably a political arrangement within the circles of the aristocracy. The couple married on 8 May 1575, in the little palace of Varannó. There were approximately 4,500 guests at the wedding. Elizabeth moved to Nádasdy Castle in Sárvár and spent much time on her own, while her husband studied in Vienna.
There was considerable intermarriage amongst the Báthory family, with some of the usual problems of this practice produced as a result. Unfortunately, beyond the 'usual problems' some extraordinary difficulties arose (namely hideous psychoses) and several "evil geniuses" appeared, the notorious and sadistic Elizabeth, the most prominent of them.
But she was an intelligent, educated woman who could read and write in four languages. There were several instances where she intervened on behalf of destitute women, including a woman whose husband was captured by the Turks and a woman whose daughter was raped and impregnated.
In 1585, Elizabeth gave birth to a daughter, Anna. A second daughter, Ursula, and her first son, Andrew, both died at an early age. After this, Elizabeth had three more children, Katherine (born in 1594), Paul (born around 1597) and Miklós. All of her children were cared for by governesses as Elizabeth had been.
Elizabeth's husband died in 1604 at the age of 47, reportedly due to an injury sustained in battle. The couple had been married for 29 years.
After her husband's death, the Countess, and four collaborators were accused of torturing and killing hundreds of girls and young women, with one witness attributing to them over 600 victims, though the number for which they were convicted was 80.
Between 1602 and 1604, Lutheran minister István Magyari complained about atrocities both publicly and with the court in Vienna, after rumours had spread.
The Hungarian authorities took some time to respond to Magyari's complaints. Finally, in 1610, King Matthias assigned György Thurzo, the Palatine of Hungary, to investigate. Thurzo ordered two notaries to collect evidence in March 1610. Even before obtaining the results, Thurzó debated further proceedings with Elizabeth's son Paul and two of her sons-in-law. A trial and execution would have caused a public scandal and disgraced a noble and influential family (which at the time ruled Transylvania), and Elizabeth's considerable property would have been seized by the crown. Thurzo, along with Paul and her two sons-in-law, originally planned for Elizabeth to be spirited away to a nunnery, but as accounts of her murder of the daughters of lesser nobility spread, it was agreed that Elizabeth Báthory should be kept under strict house arrest, but that further punishment should be avoided.
Elizabeth herself was neither tried nor convicted. In 1610, however, she was imprisoned in the Čachtice Castle, where she remained bricked in a set of rooms until her death four years later.
In 1610 and 1611, the notaries collected testimony from more than 300 witnesses. The trial records include the testimony of the four defendants, as well as thirteen witnesses. Priests, noblemen and commoners were questioned. Witnesses included the castellan and other personnel of Sárvár castle.
According to all this testimony, her initial victims were the adolescent daughters of local peasants, many of whom were lured to Čachtice by offers of well-paid work as maidservants in the castle. Later, she is said to have begun to kill daughters of the lesser gentry, who were sent to her gynaeceum by their parents to learn courtly etiquette. Abductions were said to have occurred as well.
The descriptions of torture that emerged during the trials were often based on hearsay. The atrocities described most consistently included:
severe beatings over extended periods of time, often leading to death.
burning or mutilation of hands, sometimes also of faces and genitalia
biting the flesh off the faces, arms and other bodily parts.
freezing to death.
surgery on victims, often fatal.
starving of victims.
The use of needles was also mentioned by the collaborators in court.
Some witnesses named relatives who died while at the gynaeceum. Others reported having seen traces of torture on dead bodies, some of which were buried in graveyards,
Later writings about the case have led to legendary accounts of the Countess bathing in the blood of virgins in order to retain her youth and subsequently also to comparisons with Vlad III the Impaler of Wallachia, on whom the fictional Count Dracula is partly based, and to modern nicknames of the Blood Countess and Countess Dracula.
The truth of whether she was a model for the Count will remain known only to Stoker, but certainly in the years since Dracula was published, the Blood Countess has exercised a powerful fascination on many writers and film-makers.
Friday, 15 October 2010
Martin Van Maele. 1863-1926
From Wikipedia, the free encyclopaedia.
Erotic asphyxiation is the intentional restriction of oxygen to the brain for sexual arousal. It is also called asphyxiophilia, autoerotic asphyxia, hypoxyphilia, or breath control play. Colloquially, a person engaging in the activity is sometimes called a gasper. The erotic interest in asphyxiation is classified as a paraphilia in the Diagnostic and Statistical Manual of the American Psychiatric Association. Psychiatrist Joseph Merlino stated that it meets the criteria for a disorder "because it has the potential for lethality or serious injury."
"The carotid arteries (on either side of the neck) carry oxygen-rich blood from the heart to the brain. When these are compressed, as in strangulation or hanging, the sudden loss of oxygen to the brain and the accumulation of carbon dioxide can increase feelings of giddiness, light-headedness, and pleasure, all of which will heighten masturbatory sensations."
Author George Shuman describes the effect as such "When the brain is deprived of oxygen, it induces a lucid, semi-hallucinogenic state called hypoxia. Combined with orgasm, the rush is said to be no less powerful than cocaine, and highly addictive".
Concerning hallucinogenic states brought about by chronic hypoxia, Dr. E L Lloyd notes that they may be similar to the hallucinations experienced by climbers at altitude. He further notes that no such state occurs in hypoxia brought about by sudden aircraft decompression at altitude. These findings suggest to him that they do not arrive purely from a lack of oxygen. Upon examining the studies on hypoxia he found that "abnormalities in the cerebral neurochemistry involving one or more of the interconnected neurotransmitters, dopamine, 5-hydroxytryptamine, and β-endorphin had been reported in all the conditions associated with hallucinations."
Historically, the practice of autoerotic asphyxiation has been documented since the early 17th century. It was first used as a treatment for erectile dysfunction. The idea for this most likely came from subjects who were executed by hanging. Observers at public hangings noted male victims developed an erection, sometimes remaining after death (death erection), and occasionally ejaculated when being hanged. Note that, however, ejaculation occurs in hanging victims after death because of disseminated muscle relaxation; this is a different mechanism from that sought by AEA (autoerotic asphyxiation) practitioners.
Various methods are used to achieve the level of oxygen depletion needed, such as a hanging, suffocation with a plastic bag over the head, self-strangulation such as with a ligature, gas or volatile solvents, chest compression, or some combination of these. Sometimes, complicated devices are used to produce the desired effects. The practice can be dangerous even if performed with care and has resulted in a significant number of accidental deaths. Uva (1995) writes “Estimates of the mortality rate range of autoerotic asphyxia between 250 to 1000 deaths per year in the United States.” Cases have also been reported in Scandinavia and in Germany.
Deaths often occur when the loss of consciousness caused by partial asphyxia leads to loss of control over the means of strangulation, resulting in continued asphyxia and death. While often asphyxiophilia is incorporated into sex with a partner, others enjoy this behaviour by themselves, making it potentially more difficult to get out of dangerous situations. Victims are often found to have rigged some sort of "rescue mechanism" that has not worked in the way they anticipated as they lost consciousness.
In some fatality cases, the body of the asphyxiophilic individual is discovered naked or with genitalia in hand, with pornographic magazines nearby, with dildos or other sex toys present, or with evidence of having orgasmed prior to death. Bodies found at the scene of an accidental death often show evidence of other paraphilic activities, such as fetishistic cross-dressing and masochism. In cases involving teenagers at home, families may disturb the scene by "sanitizing" it, removing evidence of paraphilic activity.
The great majority of known erotic asphyxial deaths are male; among all known cases in Ontario and Alberta from 1974 to 1987, only one out of 117 cases was female. Some individual cases of women with erotic asphyxia have been reported. The typical age of accidental death is mid-20s, but deaths have been reported in adolescents and in men in their 70s.
Autoerotic asphyxiation has at times been incorrectly diagnosed as murder and especially so when a partner is present. Some hospitals have teaching units specifically designed to educate doctors in the correct diagnosis of the condition.
Lawyers and insurance companies have brought cases to the attention of clinicians because some life insurance claims are payable in the event of accidental death, but not suicide.
Frantisek Kotzwara, composer, died from erotic asphyxiation in 1791, which is probably
the first recorded case.
Sada Abe killed her lover, Kichizo Ishida, through erotic asphyxiation in 1936,
proceeding to cut off his penis and testicles and carry them around with her in her
handbag for a number of days. The case caused a sensation in 1930s Japan and has
remained one of the most famous Japanese murder cases of all time.
Albert Dekker, stage and screen actor, was found in 1968 with his body graffitized
and a noose around his neck in his bathroom.
Vaughn Bodé, artist, died from this cause in 1975.
Stephen Milligan, a British Conservative MP for Eastleigh, died from autoerotic
asphyxiation combined with self-bondage in 1994.
Kevin Gilbert, a songwriter, musician, composer, producer and collaborator, died
of apparent autoerotic asphyxiation in 1996.
Kristian Etchells, British National Front party member, in 2005.
In Herceg v. Hustler, Diane Herceg sued Hustler magazine for the death of her
14-year-old son, Troy D., who had experimented with autoerotic asphyxia after
reading about it in that publication.
David Carradine died on June 4, 2009 from accidental asphyxiation, according to the medical examiner who performed a private autopsy on the actor. His body was found hanging by a rope in a closet in his room in Thailand, and there was evidence of a recent orgasm; two autopsies were conducted and concluded that his death was not caused by suicide, and the Thai forensic pathologist who examined the body stated that his death may have been due to autoerotic asphyxiation. Two of Carradine's ex-wives, Gail Jensen and Marina Anderson, stated publicly that his sexual interests included the practice of self-bondage.
The introductory scene of The Ruling Class shows the death of Ralph Gurney, the 13th Earl of Gurney (portrayed by Harry Andrews), from accidental auto-erotic asphyxiation. Autoerotic death was also used in the Robin Williams movie World's Greatest Dad.
Cross posted to Frequently Felt.
Thursday, 14 October 2010
Friday, 8 October 2010
It seems a strange notion; a link between sex and death. I think most people would agree, that life's greatest drives are to reproduce and to avoid death. The Austrian psychoanalyst Sigmund Freud and the French social theorist Michel Foucault argued that the two are fused, that the death instinct pervades sexual activity. I’m not sure whom came up with the idea; Eros and Thanatos, Freud or Foucault, but that is the term generally used to demonstrate the concept. Sex and death are inextricably linked.
Our lives seem to be governed by polar opposites. I think it is helpful to think of Thanatos (death) in these terms suggested by my friend Stephen.
“But Thanatos (death) is often overlooked. I think of it as the desire for zero excitation - total non desire (which of course is death)."
And, of course, the French have given us the concept of “La petite mort”; “the little death.” A wonderful metaphor for the orgasm.”
In the Encyclopaedia of Death and Dying, the writer suggests that;
“…with the AIDS epidemic their (Freud and Foucault’s) view has become particularly poignant. A 1992 study from Amsterdam, for instance, found that about one in six U.S. soldiers surveyed said that sex without condoms was worth the risk of getting the AIDS virus. A year later a story released by Planned Parenthood counsellor offices in San Antonio, Texas, explained how teenage girls were demonstrating their toughness by having unprotected sex with an HIV-infected gang member. It seems that, for some, sexual desire is intensified in the presence of taboos and boundaries, even deadly ones."
On television, I heard Stephen Fry tell the tale of a young, gay man, being “gifted”. He had anal sex with as many HIV positive men in one night as he could; hoping to get the virus.
Are human beings inexorably drawn to what can damage, or even kill them? Is there really a pleasure in dicing with death?
The Encyclopaedia of Death and Dying again;
“Attempts to enhance one's sexual experiences can be deadly as well. In 1998 the Food and Drug Administration reported the deaths of several men taking the highly popular Viagra impotence pill. Each year, attempts at sexual self-gratification accidentally kill between 500 and 1,000 individuals, predominantly men, because of autoerotic asphyxia. To heighten their sexual orgasm during masturbation, these individuals cut off the supply of oxygen and blood to their head, often by tying a belt or rope around their neck. Consciousness may be lost, and the individual dies by strangulation.”
It seems that the sex drive and the death drive are powerful forces. But hang on a minute, we don’t all take dangerous risks, do we? Surely, most of us live quite sedentary lives. Sometimes life has a way of tripping us up. Someone lets us down, badly. Love may be unrequited. Our own bodies might betray us
From the web:
“To be betrayed feels like surrendering to a painful process of death, like being forced to experience the pain of abandonment and loss. Each death, however, seems to be a “sacred” process of transferring to new forms of existence. As Carl Jung reminds, the development of personality almost always passes from a deathly sacrifice, and if we manage to process the experience of betrayal and mourning, the result may be transformation.
Betrayal might seem abhorring to our conscienceNevertheless, without maturation deriving from the experience of betrayal, we remain trapped in the unconscious, repeated questing of a merger with another person. We remain out of the mystery of life forever. If we never change direction, we refuse to undertake the responsibility of existence as unique and separate entity, because the repetition of the miraculous discovery of the ego, according to Jung, is possible only if rupture takes place in its temporal consistency and in its beliefs.”
In other words, we have to allow ourselves to experience rupture in order to mature and grow. If we don’t we remain as children for ever.
The Eros/Thanatos equation has not been unnoticed by Artists.
Aubrey Beardsley’s ink drawing of Salome, conveys the pivotal moment of the Biblical tale in all its gruesome detail. In a rapture that is indecent in its intensity, Salome gazes at John’s severed head with glutinous glee. Beardsley’s line is perfection. Over a blank white paper he gives us a story that is grotesque, weird, macabre, sinister, in a perverse and playfully theatrical style. Salome clutches at John’s decapitated head, as if she is about to devour it. Beardsley has conveyed the tale in all its erotic glory. Salome is sex personified: John’s death is down to her lust. The viewer is repulsed, feeling that Salome is about to burst with terrible laughter.
Here is the story of Salome from the Bible. Mark 6:21-29:
“And when a convenient day was come, that Herod on his birthday made a supper to his lords, high captains, and chief estates of Galilee; And when the daughter of the said Herodias came in, and danced, and pleased Herod and them that sat with him, the king said unto the damsel, Ask of me whatsoever thou wilt, and I will give it thee. And he sware unto her, Whatsoever thou shalt ask of me, I will give it thee, unto the half of my kingdom. And she went forth, and said unto her mother, What shall I ask? And she said, The head of John the Baptist.
And she came in straightway with haste unto the king, and asked, saying, I will that thou give me by and by in a charger the head of John the Baptist. And
the king was exceeding sorry; yet for his oath's sake, and for their sakes which sat with him, he would not reject her. And immediately the king sent an executioner, and commanded his head to be brought: and he went and beheaded him in the prison, and brought his head in a charger, and gave it to the damsel: and the damsel gave it to her mother.
And when his disciples heard of it, they came and took up his corpse, and laid it in a tomb.”
The Belgian artist, Antoine Joseph Wiertz painted a confrontation of Beauty and Death, Deux jeunes filles—La Belle Rosine in 1847. You can see it at the Musée Wiertz, Brussels.
It’s a hauntingly beautiful painting. A lovely, almost naked, nubile young woman stands before a skeleton. The young woman is not daunted by this presentation. Is it a confrontation, or is there a narrative of which the viewer is unaware? I don’t know any stories in mythology that this could have been drawn from; Wiertz is weaving a tale, but I don’t know how to read it. I have the feeling that there is more to this painting than meets the eye. Wiertz’ pictorial language is enigmatic, perhaps hinting at the Surrealist movement that was not to show its face until the following century.
Dissatisfied with the shiny effect of oil painting, Wiertz developed a new technique combining the smoothness of oil painting with the speed of execution and the dullness of painting in fresco. He has used this to effect, in this painting. It gives the work a sombre feel, even ominous. Something is about to happen to disturb the woman’s quiet contemplation. Her head is very slightly tilted, as if acknowledging the skeleton. She could be looking into a mirror, maybe admiring what she will one day become. You would expect her to recoil, yet there is no horror in the young woman’s face, there is even a hint of a small smile.
The Pre-Raphaelite painter, John Everett Millais, gives us the doomed maiden, “Ophelia.” Millais painted the picture in 1852; you can see it in the Tate Gallery, London.
Franny Moyle talks about the painting. “The model is dressed up in Shakespearean reference, it is nevertheless the depiction of a woman committing suicide and an exploration of female sexuality. Ophelia is ecstatic at the moment her life expires. The sexual charge in the picture is heightened by the abundant, competing natural world of the river bank that, portrayed with almost photographic faithfulness, surrounds this woman not only resigned to but aroused by her fate. The depiction of an offering to a greater natural order.
Franny Moyle commentating again. "The Lady of Shalott by John William Waterhouse, draws from Tennyson’s poem, a mythical lady, cursed never to look out of her window, chooses to sacrifice her life for a glimpse of Lancelot and then float to Camelot in a barge to face her doom.
In an allegory of sexual longing and capitulation, Waterhouse freezes Tennyson’s story at the moment the lady is about to release the chain that ties her barge. And so he anticipates the abandonment of the rational self to subconscious sexual impulses."
I think that “The Lady of Shalott,” is also at the Tate Gallery, London.
The encyclopaedia of Death and Dying.
“In a 1992 book, Camille Paglia claimed that it was in the West that sex, violence, and aggression are major motivations for artistic creativity and human relationships. There is little doubt that these are qualities of audience appeal. Hollywood has long known of the attractions to the erotic and the violent, which is why 60 percent of R-rated movies and nearly half of X-rated movies contain violence. The long-term success of the James Bond movie series derives from its fusion of sex and death.
"According to Geoffrey Gorer, such seductions derive from cultural pruderies to matters of sex and death. William May observed that as sex becomes pornographic when divorced from its natural human emotions of love and affection, so death becomes pornographic when divorced from its natural emotion, which is grief. Perhaps the pornographic connotation is why designer Christian Dior chose in the 1990s to label one of its perfumes "Poison."”
Thanks to Jan Vander Laenen, Fulani and Dr. Stephen Farrier, for helping me put this essay together. And, of course, sources from the Web.
Friday, 1 October 2010
Yes, I’ve stolen the title from Mike Leigh’s great film. It seemed appropriate. If you haven’t seen it -- you really should.
Infidelity; Integrity. Two little words packed with meaning. We all like to think that we behave in an honourable manner; but often we don’t. We all have stories to tell, of friends who have broken the code of honour. We may even be guilty ourselves of behaviour, that is often despicable; lying, cheating. Carefully laid out plans, that are a calculated means to an end; folk who get what they want, by any means possible. We hold onto their secrets with them. Never dreaming of telling. The emotional and often, financial, fall out would be too great.
Long ago now, a friend of mine -- let’s call her Susan -- had an affair. Not a one night stand, not a quick fumble, a full blown, falling in love, the love of her life affair. Susan, was married to Edmund. They’d been trying hard to get pregnant; but no babies came. They stopped sleeping together, the emotional trauma of constant disappointment was too much to bear.
Susan had known David a long time. He was a colleague of Edmund’s. I don’t know when their secret liaisons started, but it seemed everyone knew, except Edmund. Susan’s co-workers had noticed the lingering glances, the brush of the hands. Perhaps Edmund didn’t want to notice. Perhaps he didn’t care. Perhaps he really was oblivious…perhaps….perhaps.
Then, it happened, Susan was pregnant. What did she do? Confess all to Edmund? No, she started sleeping with Edmund again. Edmund was delighted that they had at last conceived. They would move to a bigger house more suited to children. They started talking about having a large family. A place filled with children. At least Edmund did. Susan was having a difficult pregnancy; she vowed that she would never become pregnant again.
Then an opportunity occurred. A job for Edmund on the other side of the world. Emigration. They left and have never been back. To this day, thirty years on, Edmund believes his son is his. I don’t think it has occurred to him otherwise. They did try for more babies, but the babies didn’t happen. Susan’s body has had every investigative procedure known put upon it. She’s had her tubes blown out, she’s had her hormones tested. She can’t for a moment allow Edmund to think that the babies don’t come because of a problem with his sperm count. And Edmund has never thought to have his sperm count checked. Susan has convinced him that the problem is hers. The results of all the procedures? Of course, there is no reason why Susan cannot become pregnant. She did before and she could again.
The doctors put it down to stress.
Again, rewinding thirty years or so. I’d known Gillian a long time; since we were kids. Then we lost touch. I bumped into her at an antiques fair. She was holding the most adorable, tiny baby girl wrapped in a white lace shawl. Gillian with her huge dark eyes, porcelain skin and long dark hair. They made a beautiful image, mother and daughter.
We drank tea from paper cups. Gillian told me she’d been desperate for a child. She’d reached twenty seven. A series of failed relationships. And no partner, no baby. Gillian made a list of what she wanted from a father. He must be handsome, intelligent and healthy; preferably a sportsman. Money didn’t matter; the father would never know her secret.
Gillian found her ideal candidate. Nigel was a lawyer, extremely good looking and he played Rugby football. She’d found her ideal man and she set about seducing him. A few drinks at a party, stuff happens. And Gillian discovered that she was pregnant.
She never told Nigel, and as he left the area soon afterwards, he never knew. Gillian was financially secure; she would cope.
I’m not condoning what Susan and Gillian did. I’m not judging them either. Every generation has its secrets and lies. Some get found out; It seems Susan and Gillian got away with it.
I'll be cross posting this to Frequently Felt.