In its widest sense, erotic literature includes all writing that deals to a conspicuous degree with sex and love. Under this norm, there is a vast body of literature that treats these themes from an integral human point of view; that is, sex and love are conceived not merely in terms of their physical aspects, but also as manifestations of the spirit. In this type of literature, the physical is generally quite subordinate to the spiritual aspect. Even when physical details are quite frankly portrayed, they are nevertheless caught up in a total atmosphere that provides aesthetic pleasure, and not sensual titillation.
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But whatever term is used, it is unarguable that the long 18th century—roughly, the period from to —saw the emergence and consolidation of a canon of sexually explicit texts in Western Europe, and that this canon of erotic literature formed the basis for the proliferation of pornography in the 19th and 20th centuries. The same period is often seen as the era when certain essential features of modernity were consolidated: notably, the redefinition and reorganization of sexual and gender categories, a new emphasis on interiority and the individual subject, and new understandings of the division between public and private experience. Just as literary critics have linked the development of the novel to these broader cultural changes, so might one think of erotic narratives of sexual education and danger as a vehicle that allowed authors and readers to imaginatively engage with new ways of feeling or thinking about sex and power, masculinity and femininity, privacy and public life.
T here is a widely held belief, among English-language writers, that sex is impossible to write about well — or at least much harder to write about well than anything else. One of the glories of being a writer in English is that two of our earliest geniuses, Chaucer and Shakespeare, wrote of the sexual body so exuberantly, claiming it for literature and bringing its vocabulary — including all those wonderful four-letter words — into the texture of our literary language. More than this, surely it is absurd to claim that a central activity of human life, a territory of feeling and drama, is off-limits to art.