'The bestselling erotic classic Quiver is twelve interlinked short stories that explore lust and human sexuality in all their sensual manifestations. Tobsha Learner transports us into a world of love, power and obsession, often blurring the line between reality and fantasy, bringing us face-to-face with delicately observed passion and pain Experience the angry fearlessness of youth, the pleasure of the new, sexual friction at its most primal, and the lingering fingers of a past that refuses to let go. Witty and provocative, Quiver explores desire in all its complexity. 'Taking in the panoply of sexual desire, each tale shudders with full-frontal detail in a style that is both lyrical and forensically accurate.' Vogue 'A deliciously horny read, inventive and sexy.' Linda Jaivin 'Fairy tales for the modern upmarket urban female.' Janine Burke 'Each tale shudders with full-frontal detail in a style that is both lyrical and forensically accurate.' Megan Le Masurier" --Website.'
'All serious art breaks the rules-there can be no innovation without some form of transgression. Yet the breaking of rules is not enough to produce serious art, and while the very focus of erotic writing seems to invite transgressions, these are not necessarily liberating or creative. When transgressions lie for the most part in the subject-matter, their translation into literary break-throughs is problematic, and they can in fact be undermined by writing that is bland, conventional and predictable. Literature, it bears perhaps repeating, is not the thing itself but a representation and thus a re-creation of it. Modes of representations are always ideologically loaded and, while the contemporary period has invented very little in terms of sexual practices, it has been able to innovate significantly in terms of representational practices. It remains to be seen what kind of articulation can be found between the two.' (p 39)
'All serious art breaks the rules-there can be no innovation without some form of transgression. Yet the breaking of rules is not enough to produce serious art, and while the very focus of erotic writing seems to invite transgressions, these are not necessarily liberating or creative. When transgressions lie for the most part in the subject-matter, their translation into literary break-throughs is problematic, and they can in fact be undermined by writing that is bland, conventional and predictable. Literature, it bears perhaps repeating, is not the thing itself but a representation and thus a re-creation of it. Modes of representations are always ideologically loaded and, while the contemporary period has invented very little in terms of sexual practices, it has been able to innovate significantly in terms of representational practices. It remains to be seen what kind of articulation can be found between the two.' (p 39)
