Oliver Reed as Gerald and Glenda Jackson as Gudrun in
Women in Love (dir. Ken Russell, 1969)
Women in Love (dir. Ken Russell, 1969)
I. Asphyxiophilia
As someone who has always had trouble swallowing and breathing, I've no practical interest in the subject of erotic asphyxiation (or asphyxiophilia as it's also known). That anyone should wish to strangle the object of their affection, or intentionally restrict their own supply of oxygen - even for the purposes of sexual stimulation - is a disconcerting thought.
However, it seems that a lot of people are aroused (or at least intrigued) by the prospect of gasping or making gasp; they long to induce and/or experience the delirious, semi-hallucinogenic state known as hypoxia (a state that intensifies orgasm). This can be achieved via various methods, including hanging, suffocation, or strangulation.
Obviously, the practice can be dangerous and there have been a number of well-documented fatalities resulting from erotic asphyxiation (particularly when engaged in as a solosexual activity). Thus, as in so many other things, caution is highly recommended (one of the key words in Deleuze and Guattari's lexicon that is often overlooked); living dangerously doesn't mean dying stupidly.
II. Strangulation
Strangulation accounts for a small but significant number of murders. It can involve the use of a ligature, such as a rope or an electric cord, or it can be accomplished manually for a more intimate and truly hands on experience.
Research on homicidal strangulation suggests that most of the victims are female and that in the majority of cases the perpetrator and the victim are known to one another, often having a family relationship. Studies also show that men who strangle women frequently do so in order to facilitate rape or to express violent sexual emotions such as jealousy.
III. The Case of Gerald and Gudrun
As a murderous motif, we might say that strangulation is the perfect coming together of sex and violence. No wonder then that it attracted the attention of D. H. Lawrence whose erotic vision is often tied closely to his thanatological musings (i.e., shot through with death). This is well illustrated in what I believe to be his finest novel, Women in Love (1920).
Gudrun and Gerald have travelled to the Alps in order to meet their fate: only one of them will leave the mountains alive. Initially, they are accompanied by Ursula and Birkin, but this latter couple soon leave, finding the malevolent whiteness and silence of the snow unbearable.
The relationship between Gudrun and Gerald becomes increasingly frosty, to say the least. His heart turns to ice at the sound of her voice; she chills whenever he physically comes close. Even for psychrophiles, this is not a good sign. As Gudrun says, their attempt to be lovers has been a failure.
It's not long before Gerald's cold passion of anger induces murderous thoughts and Gudrun is rightly afraid that he will kill her: "But she did not intend to be killed. A fine thread still united her to him. It should not be her death which broke it."
Gerald's snow-estrangement continues until, finally, he snaps and Lawrence writes a disturbing scene that must surely delight readers with a penchant for erotic asphyxiation:
"He took the throat of Gudrun between his hands, that were hard and indomitably powerful. And her throat was beautifully, so beautifully soft. Save that, within, he could feel the slippery chords of her life. And this he crushed, this he could crush. What bliss! Oh what bliss, at last, what satisfaction, at last! The pure zest of satisfaction filled his soul. He was watching the unconsciousness come into her swollen face, watching her eyes roll back. How ugly she was! What a fulfilment, what a satisfaction! How good this was, oh how good it was, what a god-given gratification, at last! He was unconscious of her fighting and struggling. That struggling was her reciprocal lustful passion in this embrace, the more violent it became, the greater the frenzy of delight, till the zenith was reached, the crisis, the struggle was overborne, her movement became softer, appeased."
Gudrun, however, isn't dead. At the last moment, full of self-disgust, Gerald releases his grip and then drifts off, unconsciously, into the snow, where he lies down to sleep and to die (perchance to dream).
The next day, Gudrun is pale-faced and impassive: unwilling to speak; unable to shed a tear ...
Obviously, the practice can be dangerous and there have been a number of well-documented fatalities resulting from erotic asphyxiation (particularly when engaged in as a solosexual activity). Thus, as in so many other things, caution is highly recommended (one of the key words in Deleuze and Guattari's lexicon that is often overlooked); living dangerously doesn't mean dying stupidly.
II. Strangulation
Strangulation accounts for a small but significant number of murders. It can involve the use of a ligature, such as a rope or an electric cord, or it can be accomplished manually for a more intimate and truly hands on experience.
Research on homicidal strangulation suggests that most of the victims are female and that in the majority of cases the perpetrator and the victim are known to one another, often having a family relationship. Studies also show that men who strangle women frequently do so in order to facilitate rape or to express violent sexual emotions such as jealousy.
III. The Case of Gerald and Gudrun
As a murderous motif, we might say that strangulation is the perfect coming together of sex and violence. No wonder then that it attracted the attention of D. H. Lawrence whose erotic vision is often tied closely to his thanatological musings (i.e., shot through with death). This is well illustrated in what I believe to be his finest novel, Women in Love (1920).
Gudrun and Gerald have travelled to the Alps in order to meet their fate: only one of them will leave the mountains alive. Initially, they are accompanied by Ursula and Birkin, but this latter couple soon leave, finding the malevolent whiteness and silence of the snow unbearable.
The relationship between Gudrun and Gerald becomes increasingly frosty, to say the least. His heart turns to ice at the sound of her voice; she chills whenever he physically comes close. Even for psychrophiles, this is not a good sign. As Gudrun says, their attempt to be lovers has been a failure.
It's not long before Gerald's cold passion of anger induces murderous thoughts and Gudrun is rightly afraid that he will kill her: "But she did not intend to be killed. A fine thread still united her to him. It should not be her death which broke it."
Gerald's snow-estrangement continues until, finally, he snaps and Lawrence writes a disturbing scene that must surely delight readers with a penchant for erotic asphyxiation:
"He took the throat of Gudrun between his hands, that were hard and indomitably powerful. And her throat was beautifully, so beautifully soft. Save that, within, he could feel the slippery chords of her life. And this he crushed, this he could crush. What bliss! Oh what bliss, at last, what satisfaction, at last! The pure zest of satisfaction filled his soul. He was watching the unconsciousness come into her swollen face, watching her eyes roll back. How ugly she was! What a fulfilment, what a satisfaction! How good this was, oh how good it was, what a god-given gratification, at last! He was unconscious of her fighting and struggling. That struggling was her reciprocal lustful passion in this embrace, the more violent it became, the greater the frenzy of delight, till the zenith was reached, the crisis, the struggle was overborne, her movement became softer, appeased."
Gudrun, however, isn't dead. At the last moment, full of self-disgust, Gerald releases his grip and then drifts off, unconsciously, into the snow, where he lies down to sleep and to die (perchance to dream).
The next day, Gudrun is pale-faced and impassive: unwilling to speak; unable to shed a tear ...
Notes
D. H. Lawrence, Women in Love, ed. David Farmer, John Worthen and Lindeth Vasey (Cambridge University Press, 1987), pp. 452, 471-72.
Helinä Häkkänen, 'Murder by Manual and Ligature Strangulation', Ch. 4 of Criminal Profiling: International Theory, Research, and Practice, ed. R. N. Kocsis (Humana Press Inc., 2006). Click here to read as an online pdf.
For a related post on psychrophilia, out of which this one emerged, click here.
Surprise musical bonus (a classic slice of late '70s punk): click here.
Surprise comedy bonus (a darkly hilarious clip from an '80s TV classic): click here.
D. H. Lawrence, Women in Love, ed. David Farmer, John Worthen and Lindeth Vasey (Cambridge University Press, 1987), pp. 452, 471-72.
Helinä Häkkänen, 'Murder by Manual and Ligature Strangulation', Ch. 4 of Criminal Profiling: International Theory, Research, and Practice, ed. R. N. Kocsis (Humana Press Inc., 2006). Click here to read as an online pdf.
For a related post on psychrophilia, out of which this one emerged, click here.
Surprise musical bonus (a classic slice of late '70s punk): click here.
Surprise comedy bonus (a darkly hilarious clip from an '80s TV classic): click here.
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