This chapter is a comprehensive history of sexually-explicit literature drawn from books banned and prosecuted in Asia and Europe, sixteenth to twentieth centuries. The prurient treatment of sexual violence and the lewd mockery of authority form part of this discourse, yet law and censorship denied its literary value, reduced all erotica to the most basic “obscenity” or mere “pornography” (literally, “whore-writing”), and sometimes put the author to death. (Paradoxically the cultures richest in sex-writing also suppressed it most fiercely.) Here is a more complex history, hybridizing multiple genres: manuals of sexual positions, courtesans” autobiography, satire against hypocrisy and repression, philosophies of mind, body, and desire – normally homoerotic, though in China and the West true knowledge of sexuality is represented as female, passed down by mistresses of the secret arts providing instructions for the wedding night (and beyond). The phallus was even gendered female. Libertinism continued to explore same-sex desire (especially in Italy and Japan), while its heteronormative branch dissociated sexuality from procreation, insisting that biological sex should be transformed into an art of aesthetic “transmutation”, urging women to pursue erotic pleasure as a supreme end in itself – centuries before contraception made this realistic. Feminocentric and masculinist perspectives intertwine.

By the early eighteenth century Edo (present-day Tokyo) was one of the largest cities in the world. Sex and erotic allure could be found in many guises in this commercialized urban setting, both in the city’s streets and in print. This chapter sets out to argue that sex assumed a multiplicity of meanings in this context that ranged from pleasure and procreation to potential pathology. To this purpose, it begins by tracing various discourses surrounding the three phenomena that have arguably received the most sustained attention in research to date, namely the sex trade, male same-sex desire, and the erotically explicit materials known as ‘spring pictures’ (Japanese shunga 春画/ shunpon 春本). The final sections aim to move beyond the standard narrative of the Edo period’s flourishing erotic culture by focusing on the female reproductive body, as well as medical and health discourses, thus aspiring to unsettle the paradigmatic character of this (male) pleasure-centred mode of sex and repudiate the monolithic view of early modern Japanese sexuality as unregulated.