Rose Solari Describes Her Favorite Erotic Literary Scene in WIRoB Article
E.A Aymar's latest article in the Washington Independent Review of Books asks popular authors to review their favorite erotic scenes in novels. As Aymar puts it, "I want something more than 'romantic.'" Fortunately, ASP's own Rose Solari was around to answer the call. her selection: a scene in A.S. Byatt's Possession. Below is an excerpt, but you can read the entire article on the WIRoB site here
“We’re in England in the 1860s. Cristabel LaMotte is a poet of modest reputation and hermit-like tendencies, living with a female companion who is secretly her lover. Randolph Ash is a renowned poet stuck in a sexless marriage with a loving but frigid wife. What begins as a chance meeting develops into an increasingly passionate epistolary relationship. By the time they consummate their love — on a stolen seaside trip — their hunger for each other is at its peak boiling point, fierce and frightening for them and for the reader. A.S. Byatt might not be the first writer to come to mind for hot sex scenes, but in Possession, the repressions of time and circumstance explode with a dazzling erotic force.”
– Rose Solari, author of A Secret Woman
Beginning May 1st, Reuben will begin as host of DC radio channel WPFW’s “The Sound of Surprise.” The show runs from 4 to 6pm and Reuben will be alternating every other Sunday with the program’s creator, Larry Appelbaum.
Rose Solari’s latest review column for Washington Independent Review of Books tackles two stellar new collections by established small-press poets, Terry Ellen Cross Davis and Dan Beachy-Quick. As with all her reviews, Rose uses a common theme to link the subject matter of the books she is reviewing. This month, she explores how the cover design is mirrored by the poetry and vice versa.
In Lannie Stabile’s new review of Elizabeth Hazen’s second collection Girls Like Us, she raves about the effect of Hazen’s “last lines.” Girls Like Us, she says, is “bulging with debilitating last lines.” Like this one in the opening poem “Devices,” that Stabile points to as like a “hook,” “We’ve been called so many things that we are not, we startle at the sound of our own names.”