„Be seductive“ / „Pedomom“ – Sexual interests of the mother / Sexualized environment / Early infatuation / „Exacerbations“ / First nude recordings published / Polanski – Spermula – Bourboulon / Maladolescenza / The first boyfriend.
Erotic images of children are about as old as photography. Especially in the early days, when this young art was looking for orientation, children were a popular subject, often more or less naked. In the Victorian era, when this phase of self-discovery took place, ‚innocence‚ was a dominant concept, and a quality thought to be inherent in children. [1] Children remained innocent even when they flirted with the viewer. Such was the case with a famous representative of this art movement named Charles Dodgson, who became famous under the pseudonym Lewis Carroll as the author of Alice in Wonderland, as well as the photographer of the real Alice, who was his muse. [2] This ambivalent concept of innocence and coquetry still drove the lively child star Shirley Temple in the 1920s and 1930s; [3] then got more complicated with Lolita; gave way to sheer triviality in the German film „The Young Seducers“ [„Blutjunge Verführerinnen“] and to a tension-free „beauty for its own sake“ in Hamilton.
As a contemporary of Hamilton, a woman named Irina Ionesco (known as Irène) entered the stage in the early 1970s. Coming from the Parisian milieu, equipped with a keen photographic eye, solid knowledge of image composition, and the good fortune of having a young daughter named Eva, she has taken the ambivalence to new limits. She planted the child’s innocence in an often clearly pornographically presented body, and slightly sharpened its gaze into the satanic (in which one can see affinities with the goth movement). With that she polarized.
Decades later, this daughter – her mother’s muse for eight years – caused a stir by lawsuits against her. The other side was thus opened. In 2011, she crafted this view into an autobiographically based film, where she attacked the radical images of her mother with a subtle pictorial narrative. Eva later in interviews: in reality everything was much worse than shown in the film. Visualization problems with a girl of the questionable age prevented her from „… telling the story of the disgust and also the joy that some children have when they expose themselves.“ [4] In 2017, she consequently submitted the autobiographical novel «Innocence», [5] where she didn’t have to put herself under any pressure (although the novel shows even less joy in exposing). In fact, when reading many passages, it becomes drastically clear that an adequate cinematic implementation was out of the question. The reader of this blog can convince himself of this in the next section. Even the most talented child actress would never have been able to pull off such scenes, and she should not have been subjected to this.
Cover to Eva’s autobiography. The photo was taken by Eva’s mother. In the back on the left Eva’s father, who was very important to Eva, but who was separated from her at an early age by her mother’s dishonest machinations.
One more word on the actual content: Even an autobiographical novel allows for fiction. At least atmospherically, in the language style of the mother-daughter couple, as well as in the poses described and in the content of the written dialogues, one can rely on the author. In addition, some of the events told just seem too crass, too bizarre, too strange to be made up, and I can’t think of any motivation for it either. And now „shut up“ for a peek into the workshop of the (sometimes) obscene.
„Soi plus séductrice !“
[„Be more seductive !“]
»I undressed completely, lightly creamed my body, applied pan cake to my face [a make-up technique known from the theater; mb.], it smelled like wet chalk. The tub was dirty… I had a big belly from dinner, I didn’t like that at all. I checked myself in the mirror with my kissable lip blush and eyeshadow. I looked like a monster at the fair.«
– Are you ready?
– I can’t pose, I have a big belly.
– What stupid stuff are you talking about?? That’s pretty, the belly a little round!
– No, that’s ugly, I don’t like it!
– Ah non, you don’t have the right to do this to me… Make a hollow cross so we can see…
»I stretched my stomach out wide and put my hands on the edge of my hairless sexe, I gave the temptress. She went into ecstasy, she couldn’t keep still, so I took a plastic hydrangea like they have in a cemetery… I stuck it between my legs like I had an overdeveloped pussy, an ultra-inflated pussy.« [p.169]
[With this idea of the hydrangea in front of the vulva, Eva contributed to the creation of one of her most famous paintings. A copy can be found under ‚Palais de Mucha Prague‘. Some viewers generally attribute the special quality of Irina’s Eva series, the defiant eroticism, to the headstrong creative contribution of her daughter. Little Eva only „sold“ her likeness with an unasked-for personal stamp].
After praising her for the good idea, Irène took a crown from her props closet. Eva threw it to the ground.
– I do not feel like!
– You are nothing more than a little aggressive girl!
Irène then instructed her daughter to pose as in a painting by Cranach (a late medieval painter who probably meant little to Eva).
»Arch your chest! Arch them stronger! And the eyes like a cat! Show your vulva, the seductress, the great lover, your head leaning back!«
Eva wasn’t six years old.
At the end of the session, she removed her makeup and took a bath. In the tub she closed her eyes and fantasized about her father’s presence. Then she left her mother’s apartment and climbed into the annex to „Mamie“, her great-grandmother and caregiver with whom she lived. Irène, on the other hand, lived alone in a larger apartment in another part of the building on Avenue Soult, while Eva had to sleep on a camp bed in the living room of the small „maid’s apartment“ until she was 12.
Theda Bara
The above scene is typical. It gives an idea of the mother’s erratic upbringing style, who alternately praises and accuses her child according to rules that are difficult for the child to recognize. Her reference to Cranach is also typical. Such instructions – fais Cranach! Position yourself like the characters in Cranach! – she gave frequently, referring to changing artists. Irène was ambitious. No doubt she was trying to make a comfortable living by selling the daring pictures. But she was also driven by the ambition to join the established artistic circles in Paris. She mainly found her stylistic inspiration in Theda Bara, a character from early Hollywood. One of the instructions on posture and facial expressions that Eva often heard was: Fais Theda Bara!
Irène took out the skull and crossbones, which was almost never missing. Eva held her head close to him. Then Irène:
– Not bad, spread your legs a bit, not too much. The butt is pretty, even prettier now.
I arched my torso as far as I could.
– Imagine it’s your fiancé and pretend you’re looking into hell.
I kissed the skull and looked at the ground.
– Be more seductive… eyes like the girl you like well, you know..
– Theda Bara?
– Yes. Theda Bara….
I rolled my eyes up and crossed one leg over the other.
– Is that okay, or do you want me to open my legs more?
– Open them completely. [p.120]
I raised my thigh all the way up, I saw my bare pubic mound, I checked myself in the mirror and she turned to me with a child’s face. She didn’t stop taking pictures of me.
I paused in posing for a few moments, then took a large metal crucifix which I placed on my sexe and made a hollow cross with a finger in my mouth.
– La vache! That is beautiful! That’s strong! Don’t move!
Irène had stolen the cross from the cemetery. A lot was stolen from the mother and from the daughter.
The session was over, I was naked and in garter belts, on high heels, with boas of all colors around my neck… the skull next to me…
– 36 poses, that’s not much. Next time we’ll do double. [p.120ff.]
Theda Bara was the first silent film sex symbol (wiki), a femme fatale of early Hollywood. “In photos she was often seen half-naked in erotic poses and/or with magical symbols such as skulls, skeletons and ravens. Their film costumes could hardly be surpassed in terms of clarity.“ (Wiki)
“Because film censorship didn’t become stricter until the mid-1920s, suggestive get-ups and sexually provocative scenes were possible. The vamp role type was established.“ (Wiki) An interesting parallel: It also took a long time for Eva’s pictures to be censored.
The five-year-old Eva Ionesco is then the first child vamp.
A typical shot of Theda Bara.There is at least one shot of Eva, shot by her mother, where Eva looks like Theda Bara and is made up like her.
The mother’s goal was to develop her daughter as such and to become famous herself through the career of her living art product. The effect of the images was reinforced by the gloomy black-and-white photography, in the totality of which the black dominated. In the middle stood the mostly lonely posing, erotically attractive, often strange to not at all dressed and provided with mysterious props, heavily made-up child, whose body was only slightly modeled by artificial light. The pose itself, as well as the objects surrounding the child, seemed to suggest a deeper meaning. As with Theda Bara, the skull was part of it, held in the hand by the naked child who looked „deadly serious“. This gave it an aura as if it came from another universe and drew mysterious power from it. The erotic stimuli that flashed seemed to be under high tension, so to speak, and additionally armored by the „cat’s look“. Whoever should desire the child would be struck by lightning. In fact, however, everything was done to make it as desirable as possible, indeed, it virtually cried out to be desired.
Little Eva with cat’s eye, modeled on Theda Bara.
You can interpret it that way if you want – although Irène herself probably didn’t think much about the depth of her statement. The main thing was that the picture was attractive, seemed to make a statement and looked like art. She never saw this as a danger to the child herself, since she was convinced that his innocence would remain untouched. Hence the title „Innocence“ for Eva’s childhood novel. Innocence is at the same time the label that the mother put on her, no matter what the picture just showed, and what Eva would have liked to have really felt. Eva, imitating her mother’s speech:
„You know, she poses like that, but she doesn’t know anything about sex, about men, it doesn’t mean much to her to spread her legs…“ [6]
What else Eva said: that she had never understood at that time what her mother actually wanted from her. [p.223] This seems to explain some of Eva’s stubbornness and the notorious irritation between mother and child to a certain extent in terms of the situation.
Sexual interests of her mother (in her daughter)
Photographing her daughter posing provocatively may also have offered immediate gratification to the mother, or corresponded to a complicated sexual interest. Eva:
„From my earliest age, she has taken a strong interest in my childhood sexuality, but also in her having the power to do with me as she pleases.“ [p.18]
As a former nude dancer, the erotic display of her own body may have meant something to her. Now perhaps she was satisfying that interest with her daughter, her mini-me, her younger and prettier self. For her, the child was object and representative subject at the same time. Eva reproduces several such dialogues in the book, which always revolve around one point: the highlighting of the childish sexe. Irène seems to have only ever really praised the little girl when her „petit minou“ had taken center stage:
„In the evening… one of the nightly sessions took place and I again showed her my sexe [= genital; I prefer the french expression here and below; mb], which she said was «so beautiful and smooth, a wild, domed and splendid flower, a poisonous and so innocent flower; the bald mountain, the little piggy bank, an absolute marvel, a true surreal kitty! A unique kitten; his mama’s kitten, oh yes! „
Le soir… eut lieu une des séances nocturnes, je lui ai encore montré mon sexe dont elle disait, qu’il était «si beau et lisse, und fleur sauvage, bombée et proéminente, une fleur vénéneuse et si innocente, le mont chauve, la petite tirelire, une merveille absolue, un vrai minou surréaliste !! un minou unique, le minou à sa maman oh oui ! » [S.151]
…le minou à sa maman – The French particle ‚à‘ here may express different relations: the kitten that belongs to its mama; is there for her; is to their liking; is shaped after her. In her other works, Irène actually always photographed women, almost always naked, in poses that were as sexual as they were narcissistic. Who or what exactly is meant by „kitten“?
Proéminente – arched, out-standing. When Eva is supposed to lie down on the beach, the mother’s praise becomes even more „exaggerated“ – and the „kitten“ (i.e. le minou) more clearly assumes its meaning:
– Joli joli fais le minou pointu ! Allez Bibou soi gentille ! [S.147]
Translation by Reverso Traduction:
– Pretty, pretty, make the pussy pointy! Come on, Bibou, be nice !
Google translation:
– Play the pointy kitten!
My translation suggestion: Do the pointy pussy!
A passage will follow below that reveals something like Eva fighting back with the same means (if you think of “pointu” = „pointy“).
I also felt like abusing her in her sleep…
Eva Ionesco [see here below]
The mother’s own sexual “horniness”, which she felt while photographing her naked daughter, is marked in the film by the actress with a low moan that continuously accompanies the shots. [11]
London and the other passion
Irène’s work with Eva seems to have quickly led to initial successes. An antiques dealer or publisher from London invited the two over for a few days. This gave mother and daughter the opportunity to indulge in a passion that united them: fashion. For hours they rummaged through the relevant treasure troves for extravagant and expensive items. Eva later said that one often hardly had the necessary money for food, but always for clothes. Irène was in a generous mood towards Eva, not without thinking about future photo opportunities:
– Les vêtements… c’est pour les photos d’abord…[The dresses are mainly for the photos]
– You are disgusting !
– Not at all.. I take you with me into my life as a woman. Count yourself lucky and tell you I’m under no obligation, no other girl has that big a chance, believe me!
In addition, in the London of the rock era, Eva admired gangs of teddy girls who promenaded with bicycle chains around their necks as fierce ornaments. She also admired the slightly older son of a family friend of the porn publisher. As he looked at her from head to toe in the mirror while she was putting on her make-up, she noticed how her body tensed, „although I was not seven years old.“ [p.213]
Eva and Irène were later guests again at the London address. In the book, Eva dedicates a fictitious letter to the boy who died in an accident at the age of 13, in which she writes: „I’ve always regretted that we never kissed.“ She was thirteen and he was fifteen, took heroin. It is the earliest and probably only mention of her addiction in the book, which ends around the time she is 11 years old. [p.216] What is certain is that she took heroin for the first time when she was 10, [7] and after 11 she frequently injected herself, e.g. in the toilet of the Lycée, whose first class she attended at the time. She never tells how she got there. She later gives hints about the financing of the addiction, based on the age of 12-13. It looks very simple: she resold smaller portions.
Money
When Eva, back from London, was sitting at Mamie’s (her grand-grandmother) table, Irène asked to be let in at the apartment door. Eva begged Mamie not to let her in. Irène then pushes a written sheet of paper under the door:– My daughter, I miss you, you are the star, come try your clothes, I need you badly, I love you !!! Eva to Mamie: „I despise her. You are my mom.” Then she asked about dessert. „There is no.– Your mother hasn’t given me any money since England. Now I’m waiting for Margareth’s mandate.“
Margareth was Irène’s mother and also her half-sister. Irène Ionesco was an incest child, begotten by her mother’s father when Margareth was 14. Margareth lived in San Francisco and committed suicide in 1976. [p.222]
The sessions went longer and longer. Irène photographed Eva in bondage; as Alice, as Lolita chérie; with a chalice or a crucifix. Eva came down to Mamie later and later and after the photo sessions, she didn’t even take her make-up off because she was tired and weary. Eva was never allowed to tell Mamie what was going on in Irène’s apartment. Mamie thought Irène was possessed by the devil.
Eva no longer wanted to go to school, she never wanted to pose for Irène again. At one point she hit her mother. Irène:
– You are of the worst kind like your father, it is because of the degenerate genes of the Nazis that he is! [p.252 ]
Papa
Eva’s father had lived with Irène and her for the first three years of her life. At that time, Irène was still running the Rose d’Ispahan, a restaurant with an Iranian touch. Irène is said not to have wanted him to recognize Eva as his child because he was reluctant to separate from his wife. In an interview from 2017, Eva says she would have preferred to live with her dad a thousand times over, he would have been a protector. [8] He is said to have been a representative at IBM at the time. He later moved to L’Orient, a small Breton port town, where he worked as a laborer on military ships. Contacts became rarer and more chaotic. One of the last encounters took place when Eva was seven. Running ahead of her mother, she found her dad in a dingy dockside bar, in a blue work robe, playing the dice and having an Anise schnapps.
After a stormy greeting, he found that Eva smelled bad when he got to his apartment and said he wanted to shower her. Irène: „You have no right.“ [Interesting point: to have showers with one’s child as a right.] Then he slammed the door to the bathroom in front of her, they laughed together, he undressed Eva, then himself down to his panties. Then they stood together under the jet of water. Eva describes in the book how she had daddy’s body close to her eyes, noticed new scars etc.
The next day dad did not show up for the agreed meeting. The mother later gave Eva a gift from him: a lithograph by Picasso depicting a dove. Below it was written by hand:
Ma fille je t’aimerai même au-delà, même au-delà s’il t’advient de te souvenir de moi. Ton père Nicolas. [S.148]
(„My daughter, I will love you even beyond that, even beyond that, if you happen to remember me. Your father, Nicolas.“
Other possible translation: „I will love you even more.“)
The small gift accompanied Eva for years. She is still puzzling over the meaning of the dedication, especially the double même au delà. The last encounter was then only brief, Dad was visibly drunk. [p.262] Then she completely lost contact with him, the mother stopped all meetings. Eva later found letters addressed to her, in which he wrote: „I hope Mama will allow me to see you.“ Instead, she was lucky to find at least photographs of the two of them. She describes her father as handsome, blond with gray-green eyes, resembling Clark Gable.
The Context
Eva grew up in a sexualized world. What she heard and observed were always signals of the sexual, from the adult world, which she wanted to conquer as quickly as possible despite or because of it. Her mother surrounded herself with friends from her days as a nude dancer at Tabarin, a well-known establishment on Place Pigalle. She met them and other people from the Parisian half-world, often in the presence of Eva, who early on acquired an openly sexual and also coarse jargon. She recruited young dancers, often very young, and had them pose for photos in pornographic poses. This caused a stir before the first photos of Eva appeared. Eva would occasionally attend sessions with other models, overhearing mother’s comments, and was reassured that this was also about the game of cloaking and showing the sexe, or more likely just the latter. She became a witness when appointments for photo sessions were arranged by telephone: at this time at that place, „le sexe rasé“, and she watched secretly as a model held the Fifi, Irène’s important skull prop with which Eva was familiar, in front of her belly button, above her hairy vulva.
In the film, Eva’s early sexual initiation is portrayed in the scene where she attends a meal with people from the Parisian art world, peering under the table to confirm her prior knowledge: guests‘ hands and feet are playing an underground sexual game.
Once, when she was rummaging through a box of photographs in her mother’s apartment, she came across a picture that shows her with Gabor, a photographer friend of Irène’s. Irène tried more and more to include him in the pictures, in more and more daring poses. In one of the pictures, dressed entirely in black leather, he presses the upper body of the naked Eva to himself and lets his hand slide over her vulva. A hint of actions that Eva must have tried out herself early on – or got to know in the process. At the time, Irène wanted to go even further, she said it would be a great show, black humor, „just for us, let yourself be pampered, Eva!“ Eva was around seven. To Gabor, this went too far, he didn’t want to go any further. [p.247] Meanwhile, his own apartment was decorated with photos of naked boys. [p. 242]
Ibiza I
After the visit to England, the number of orders for the photos swelled, which allowed Irène to take a holiday together in Ibiza. In the book, Eva describes her Ibiza as a space flooded with sexual signs, which she experienced with heightened awareness of such; not always completely passive. She correctly recognized an ordinary looking house as a brothel because of the kind of activity around it. On this holiday island, too, she almost always wore make-up, with high platform soles, so that she looked like she was at least ten. She was seven then.
Once, as they were walking across the village square, she felt someone watching her from behind the fly curtains of a hotel kitchen. She couldn’t help but glance at „him.“ „He was tall, at least twelve years old, blond, with light eyes, it couldn’t be a Spanish, and he didn’t have the dark skin of the Gitanes from the port.“ She later recognized him, sitting on a scooter, with which he overtook her. „My heart started beating so hard that I had to put my hand on my chest.“ She heard his friends call him: Alvaro.
When entering a boutique, Irène’s eyes fell on a photo book by Hamilton. She dismissed his soft eroticism as shit. Eva was finally able to try on the bikini that had been made to measure for her. It didn’t fit. Then they visited Xaviera, according to Irène a former brothel keeper, according to Eva’s observation a current brothel keeper, who according to Irène was now writing novels about her sex life. Her much younger boyfriend measured the seven-year-old with dim eyes:
– She has a superb body !
– But shure! said my mother.
– A body to make love, she will have a lot of fun with it!
Xaviera gave Eva a dirty look.
– Has she already made love? the boyfriend interjects in a cutting tone.
– (Irène) She is innocent…
Later, as she was leaving, Irène reproached her:
– You could have taken a boat tour on her boat if you weren’t so difficult Eva.
Back in the boutique, Irène flopped down on the sofa, in front of the fan, her skirt was lifted, you could see her shaved sexe and caesarean section – “sewn in the Frankenstein style.” Eva preferred to watch a fat woman rummaging around in size 36 skirts .
The following night it happened that Irène fell asleep before Eva. Her book slipped from her hand. Its title: Le Nécrophile by Gabrielle Wittkop. Eva read without really understanding:
„I spread my legs to view the narrow vulva with transparent lips of a pale violet color. But I still have to wait a few hours, because at the moment the whole body is still a bit rigid… I’ll wait for it. This little girl is worth the trouble. It really is a very beautiful dead.“ [p.288]
The next day, back on the beach, behind the dunes as always, in front of the nudists. An ominous club of beauties from the USA, who called themselves Rudolph Valentino de Service, also met there regularly. They were naked, in thongs, or in pants. Some used Eva’s suntan oil and rubbed it on her as a thank you, one sat down on her bath towel. „They looked at me and pinched my butt.“
„Lolita!…What a Lolita!“
On the journey home, in the streets of Barcelona, where passers-by whispered dirty words to her, Eva became melancholic. She had no desire to go back to school and her „maid’s apartment“ in Paris. She dropped onto the sidewalk and her mother sat down next to her. „“She forced me to smile, she couldn’t take me in her arms, to comfort me… She never did that“ But she bought her a parrot, which Eva christened Alvaro. And she would fantasize about her father, dreaming about how he would hug her. „He was omnipresent.“ [p.294]
– Why can’t I talk to dad?
– Because that doesn’t lead to anything, he’s not well, and it’s better the way it is.
– What does “as it is” mean? You and I, we are not family.
– We are better than a family, we are not like the others, what more do you want – you are exaggerating!
Aggravations
At the end of the day something extraordinary happened, almost bizarre. [Minou pointu comes to my mind. I don’t know of ever having heard or read of anything of the sort. mb] In Eva’s words:
»Back at the hotel… She had been drinking the Parfait Amour liqueur we found at Ibiza airport, the special elixir the publisher’s manager in London had told us about. She was drunk, which didn’t happen often to her, and lay half asleep in bed. I also felt like abusing her in her sleep. I took off my panties, lifted my dress and put my sexe on the face. She didn’t open her eyes, I sat on her nose, she gagged quickly and pushed me away in a panic. I saw in her eyes that she would forget, she turned around. I finished the sweetened purple liqueur and then went to bed.«
»We didn’t talk about it the next day, nor the day after that, nor at some point.« [p.298,9]
…alors j’ai eu envie moi aussi d’abuser d’elle dans son sommeil. J’ai retiré ma culotte, relevé ma robe et lui ai mis mon sexe sur la figure, elle n’a pas ouvert les yeux, je me suis collée sur son nez, très vite elle a étouffé et m’a poussée, paniquée, j’ai vue dans ses yeux qu’elle allait oublier, elle s’est retournée.
Back home, Eva hoped to get sick to avoid going to school, where she would be called pute à sa maman [her mother’s hooker], and to avoid the weekly sessions at her mother’s house, which were becoming more and more demanding.
First exhibition – public
In April 1974, when Eva was nine, the first public exploitation of Irène’s work with her daughter took place at the Nikon Gallery in Paris. Eva saw the nude photos of her hanging in a public exhibition. The event is not mentioned in the book, but it was included in the film. Eva allowed herself an artistic trick there, probably to tighten up the story. You can see the talented Anamaria Vartolomei tearing down a picture in the role of little Eva (called Violetta in the film). A 13-year-old watches her. This boy, who was unknown to her, actually only appeared in an exhibition about two years later – and in Eva’s life. She dedicated the film „My Little Princess“ to him.
The next important step soon followed:
Someone had introduced Irène to the editor-in-chief of PHOTO, a magazine that reached nearly 200,000 readers a month and was a veritable stepping stone to helping her use me more.
Eva with her beloved golden boots, out and about in Paris.
“The editor of PHOTO didn’t always accept Irène’s pictures and we [we!] often had to redo them to stand out from other photographers and keep that macabre, dreamlike, scandalous, demonic and pornographic style. She had been taught that by constantly repeating similar images, she had a better chance of being recognized.” In one of the paintings shown, she imitated Goya’s famous work, La maya desnuda. But her sprouting pubic hair embarrassed Eva. She was humiliated by the fact that there was still no real hair cover. Irène laughed in her dissonant way:
– Are you inhibited, my daughter? And why, tell me? Open those thighs, show your slit, you’ll see, that looks great!
Then she makes a telling comment:
– If you could stay like this all your life… but you will grow, what a pity, now you are interesting if you knew!
[A woman can say something like that, yes. A man would be looked at obliquely.]
Irène and Eva also met the famous Alain Robbe-Grillet, one of the fathers of the „Nouveau Roman“ and screenwriter of L’Année dernière à Marienbad [Last Year at Marienbad], one of the most beautiful films ever. As Robbe-Grillet’s career progressed, his novels became more and more sadistic-pedophilic fantasies, and his wife is said to have looked like a 12-year-old. He told Eva that he was thinking of a screenplay starring her. She would appear naked in it. Eva categorically refused. Robbe-Grillet gave her a fountain pen. Irène: „What a chance you have! A beautiful Montblanc, and not given by anyone!” Eva kissed him, but nothing came of the film. Robbe-Grillet had to content himself with writing the accompanying text for Irène’s next (fourth) photo book. It was published in 1977 under the title Temple aux miroirs [Temple of mirrors], with pictures of Eva and others.
Eva’s relationship with the well-known writer Gabriel Matzneff was particularly close. „Gabriel would invite himself to Irene’s house, pull out his stiff pink penis, which I stroked, and surreptitiously insert his index finger between my labia…. Gabriel frequently spoke of his sexual experiences with children and demanded that Irene lend me to him for group meetings.“ [Eva Ionesco, Grand amour, p. 69] The following can be found in Wikipedia about Matzneff: „At least since the publication of his 1974 work Les moins de seize ans („The Under-16s“), Matzneff addressed his sexual preference for young girls and boys up to childhood in his works and defended sexual affairs with children even in public appearances, especially on television.“ [see Wikipedia, Gabriel Matzneff]
Another everyday scene – with Eva at a great distance from her mother.
The meeting with Jacques Bourboulon, the nude photographer of young girls
The next time they checked PHOTO, Irène presented her Allô la jungle [Hello Jungle] series, a Tarzan-style series with Eva in a panther shirt. Later, when they were queuing in the tobacco shop next door, Eva noticed him and hoped he wouldn’t see her: Jacques, the camera dangling around his neck. He had already been talked about on Ibiza: Jacques Bourboulon. He will shoot the nude series with her that will appear in Playboy. [And that in Marbella, not on Ibiza, as is often claimed.]
He came over to tickle her neck.
– How sweet she is! Salute!
Eva didn’t answer. Irène greeted him. Jacques asked her if they could see each other.
– And why that?
– She has to pose for me once, one day.
– And why should I lend it to you, hein?
School, girlfriends
When Eva wanted a new blouse because she didn’t have one that suited her to go to school, Irène gave her one made of silk, with countless buttons on the back, style 1900. Mamie had to help her button it. When she entered the schoolyard, the girls pounced on her: „Who do you think you are?“, „Are you playing the interesting one?“ The headmistress came out, yelled at Eva and dragged her by the ears into her office. The blouse was torn. As punishment, Eva had to stay at home for two days and was never allowed to appear in the building in this blouse again. Irène came to pick her up at school because a child was never allowed to go home alone. She wore a panther-patterned coat that she had bought from a junk shop in exchange for three photos from the Maya Desnuda series. She led Eva away to the laughter of the students. Eva was sure that Irène had chosen this blouse with the intention of having her appear in it in a later photo series. [p.325]
Eva’s integration into school and her circle of friends was perhaps somehow precarious from an early age. The fact that she only went to kindergarten with lipstick made up didn’t make it any easier. But she did make friends, such as Amélie, who welcomed her at home with her Barbie doll under her arm. Irène later forbade her contact, which was never allowed to take place at Eva’s house anyway, and dismissed these people as ploucs [backwoods]. After all, she gave Eva a record player as a reward for her limited social life.
What she was also allowed to do: go swimming in the nearby outdoor pool, and that often. Whether accompanied or unaccompanied, she does not write. But she enjoyed showing off in a bikini in front of bigger boys, she writes.
The destructive child
Tensions between Eva and her mother continued to mount. The reason for this was not only what Irène asked Eva to do when she was modelling. There was also a source of conflict in Eva’s separation from her father. Eva thought she had found a notebook at Irène’s that belonged to Papa. When she was about to hand it over, Irène pulled her arm away and sent her home to Mamie.
– What are you imagining, you think he can see you, your papa? This is a scumbag of the worst kind…
Thereupon Eva slapped her mother in the face. Multiple times. Her lips were bleeding. [p.331]
She later explained to her that she never wanted to pose again. Irène’s answer: „You are just a mad and destructive child! I won’t let you destroy me. Gabor and I will have you taken to Sainte-Anne [a psychiatric clinic] where specialists will attend to you!‘ [p.334] Gabor, who had once posed in obscene positions with Eva, was asked by Irène to take on the role of the father. He accused Eva of just being jealous of her mother. Then Eva threw a vase in the mirror.
– Monster !!! scream Gabor and Irène.
Irène tried a different strategy. She claimed that there were enough girls who were happy to have their picture taken with her, even naked. „They’re just ambitious. Even parents would call her to offer her their daughter.“ Alternatively, she also tried compliments: „You don’t have to be ashamed! You are great. You are adored at the editorial office [of PHOTO].” Eva:
– Will you give me money if I pose for you again?
– Everything that belongs to me belongs to you too!
– liar! [p.345]
L’enfant du scandale
In May 1974, Irène’s first series of pictures with Eva was published in No. 80 of PHOTO magazine. In the book, Eva claims that the title was L’enfant du scandale . However, PHOTO No. 80 contains only one contribution by Irina Ionesco entitled Eva au pays des merveilles [Eva in Wonderland]. Perhaps Eva has again merged two events here. In January 1978 another work by Irène appeared in PHOTO, number 124, and it was entitled L’enfant du scandale. This time as one of the three main contributions.
Either way: It was not the first contribution by Irène in a well-known magazine, but the first to show Eva naked. And this magazine was sold over the counter at many kiosks. Another breakthrough for Irène, a dubious success if not a catastrophe for Eva.
Eva: „The scandal put Irène in a euphoric state. She forgot about her personal effects several times, instead affording a vinyl raincoat, a dildo, and a whip.”
This series may have only become a scandal because of what happened afterwards. Eva: „A photo reporter from a sensational magazine [probably the Spanish magazine Siesta] came to her apartment to photograph us and he wanted to take a picture of Irène photographing me.“
– Stand naked in front of the Lord.
– No.
She told Eva to put a picture of Marilyn [assuming: Monroe] between her lips. The photographer asked if Eva, who was standing there in panties, couldn’t pose a little more erotic. Then Irène:
– Pull on your panties. Come on!
I pulled it down, the lips of my vulva sticking out, I bit down on the picture of Marilyn, and my hands held the hair high above my head. She kept her eye on her device, he stood behind her to get me in his corner.
– Come on, Eva, show yourself to him!
I posed, I felt like dirt.
– Do you have tics?
[There is a picture of this scene where you can see Eva laughing.]
First engagements – the Polanski thing – Spermula.
In 1974 or early in 1975 Eva took part in the shooting of two full-length feature films, one of which was to become famous – it was by Polanski, who was now filming in Paris after his scandalous escape. The film will be called Le Locatère [The Tenant]. Eva appears two times in it for together only two minutes, in a silent extra role, not a bit naked. Nevertheless, the significance of this brief appearance was played up as if it had been a scandalous role. Perhaps there would be more to see in an uncut version.
But there are also rumors about a deeper involvement of Eva. For a long time it was claimed that Eva would have had to be available to Polanski for more than just acting tasks. What actually happened, she now reports in her second book. It’s called Children of the Night, and chronicles perhaps Eva’s most turbulent time, namely when she was between 11 and 13. In a short review at the beginning of the book, Eva now describes in her own words:
«One evening after the shooting, she [Eva’s mother] had set up an impromptu dinner at Roman’s apartment on Avenue Montaigne. Without my knowledge, a deal had been struck, of which I was the object: I was to sleep with Roman Polanski, my director. But when I was in his room, sitting next to him on his bed, he thought I was too young and, bored, asked Irene, with his Polish accent, to take me home.« [p.15 in Les enfants de la nuit –> see my Part II of E.I.]
»Un soir après le tournage, elle avait manigancé un dîner improvisé chez Roman dans son appartement de l’avenue Montaigne. Une tractation,dont j’étais l’objet avait eu lieu sans que je le sache: je devais coucher avec Roman Polanski, mon metteur en scène. Mais une foie dans sa chambre, assise près de lui sur son lit, il me trouva trop jeune et, ennuyé, pria Irène avec son accent polonais de me ramener à la maison.« [S.15]
The second performance was already a bit more significant, although also silent. And it was to be performed naked. The film was called Spermula and found its way into the cinema in 1976. In the second book, Eva lets herself as a 10, 11 year old think uncomfortable thoughts before its release:
»Secretly, I was afraid of the release of Spermula, a film in which I play a novice who has come from a distant planet to kill men by swallowing their sperm, and who can’t stop masturbating from excitement, and [of] Maladolescenza*, in which three children have sex.« [p. 21 in Les enfants de la nuit.]
Concerning Spemula, Eva would have had nothing to fear. What was actually shown in the cinema at the time was probably a severely trimmed version, in which precisely the sequences with the ten-year-old Eva were missing. What remained were some meaningless pictures of her. In the credits, one looks for her name in vain, even in all three versions that are supposed to be available today. There are still some pictures circulating in antiquarian erotic postals of the 70s that show her naked, but not involved in any discernible action. The masturbation scenes were perhaps even in the adult roles more implied than palpably demonstrated. Concerning her own role, Eva said years later in an Interview:
“It was censorship that erased me. I have to say that I was acting in a very erotic scene in which I was masturbating. But it was fake.”
„C’est la censure qui m’a effacée. Il faut dire que je jouais une scène très érotique dans laquelle je me masturbais. Mais pour de faux.“
[See Clovis Gou, Comme si c’était du cinéma. In: Vice, 30. June, 2014]
[For more information on the original content and what has survived, see Eva Ionesco: la spermulite disparue].
The third performance would have been truly significant if it had taken place. But Eva rejected it. It would have been the lead role in Louis Malle’s Pretty Baby, which, as is well known, went to Brooke Shields. The film was released in 1978, so it must have been shot in 1977. Eva was 12 then. She was probably asked when she was 11.
Self-destruction, virginity
Eva introduces a particularly dark event of her childhood in the book by saying that Irène showed her some of the upcoming publication in PHOTO. Eva saw herself completely naked on several double pages. The mother claimed that she had already seen them, but Eva could not remember. That night, as she fell asleep, she was troubled by the fact that she could forget that, and she feared forgetting the thought of her virginity as well. [More likely that one could also take this away from her. Given her mother’s visitors, this could easily have happened to her, perhaps by drugging her.] [7]
Eva crept into the bathroom in the corridor in the dark and sat down on the water container. „I grabbed the old wooden toilet broom and quickly shoved it up my sexe, a few back and forth movements, there was a thin white membrane on the handle… It was the hymen… It was done. [p.367] [8]
Marbella – Bourboulon II – Playboy
Eva in the car with Jacques Bourboulon and Irène:
– So Eva will come to Spain with me this summer?
– How long?
– One month…
– that is to long…
…
– Will she be naked in the photos?
– Yes
– You know that Eva is not yet ten years old?
– She is developing into a woman, I like that…
– [to Eva] You are a beautiful girl and I only photograph beautiful girls.
…
– [Irène to Eva] Happy holidays on the Costa del Sol and you pose naked for him in his big house…
Then Irène moves on to the business negotiations:
– She has a name. I made it. If I lend her to you, what will you give me in return?
___________
»I didn’t want to go to Marbella. I screamed, I cried. She countered with arrogance and determination that I was the last person in the world who would stop her from her work and that there was no way I could stay in Paris.« She herself disappeared with an advance payment for Eva’s posing for some days to New York.
A second girl was on the plane with Eva, a taciturn 13-year-old Danish girl, called Caroline. Bourboulon promised them they would see girls, that was close to Miami… Arriving at the apparently rented house, the tanning began immediately. Eva brought some of that with her, so it was her turn to pose first – natural and without inhibition, as Irène had negotiated with Jacques. [How did Eva get into seamless full body tanning before Marbella? Probably not at the Paris swimming pool, and her apartment didn’t have a balcony.]
»With four paws, as cat on the marble table, with back hollow in the caramel living room, leaning against the hibiscus with wet ass, perched on his bed, astride a moto, spread-eagled on the grill, naked in the dunes peeing bucking a cactus, touching me in his bed, dozing on an air mattress with the thong in my mouth… then it was up to Caroline and then to both of us, her lengthwise on top of me, caressing me; me on her and so on, day after day… I did not manage to become aware of what I was doing, it could have happened to me anywhere, naked in the great outdoors…«
Between the sessions, she was nowhere. She couldn’t focus on anything, her judgment fizzing. She stayed in her room and watched TV, or sprawled lengthways on her bed and let her gaze wander through the crack in the door and rest on the large tree that stood in the white-painted yard outside.
On the last day, Eva asked Jacques if he would take her out at least once to have a glass. She had on her black shorts, her golden Yves Saint Laurant boots and a gold lurex top. She wore makeup, red lip gloss, and eyelids painted blue. She felt she had gone too far, but she couldn’t turn back, the 4×4 was waiting. Jacques smiled at her, „I could smell his soap as we climbed into the car, I kissed him, I don’t know why.“
Two men approached them in the bar and mocked Eva. One touched her top.
– That’s gold, uh…
– Eh Jacques, you know what…? She must have been beautiful when she was young!
– Are you ten? Honestly… you wouldn’t believe it, hein, Jacques? continued his colleague.
They got closer.
– Do you make up yourself, ma poule ? [my chicken/my hook]
Jacques got up abruptly, we had to leave.
Eva should have boarded the plane two days later. But Irène, in a sudden rush of responsibility, had wanted to see her daughter immediately after initially enjoying New York. After a fast ride in Jacques‘ car, she received them in Paris with the usual questions about their well-being and announced the next holiday in Ibiza.
Bourboulon photographed Eva very differently than Irène did, but there were also similarities. At that time, Irène was still faithful to black and white, while for Bourboulon color was essential, since this had to make the brown of the skin and the blue of the sky tangible. It was part of Playboy’s sun, sand and sex style. But in a sense his paintings were more honest. He didn’t prop them up into art, there was nothing symbolic about them, they were straight out sexual. And there lay their dishonesty, as Bourboulon did not simply reveal the qualities of this girl’s body, but arranged it in poses in such a way that a strong sexual desire seemed to speak from it. However: as different as their pictures were, they also had something in common: both benefited from the erotic charms of the child, but realized this photographically like an adult.
Pictures from the series appeared in the October 1976 issue of Italian Playboy. Eva adorned the centerfold in it. At the age of 11, she was the youngest nude model ever to appear in a Playboy number, and she has remained so. Nothing is known of any contemporary police action against this number. It was only in recent years that it arguably fell under the child pornography condemnation. Used copies, however, are traded on ebay to this day for well over €300.
Foreign-language press titles probably acquired the rights for their territories, and Bourboulon exploited some pictorial material in his own book productions from, or licensed it for all sorts of ever new collective editions of other publishers.
Pictures of Eva taken by her mother or Bourboulon (or other photographers, as it turned out later) appeared in all kinds of press titles around the world, but also in various own book productions of Bourboulon, who sometimes mixed them with pictures of other models. They are still traded today, for prices as high as $400, Japanese productions are a success story in themselves. Eva’s mother had an exhibition there in the noughties. On this occasion, a thick anthology of her works was published („Eva Pan Exotica“, for over 300€ „used“). Also Eva’s own film „I’m Not A F*king Princess“ is offered in Japanese (ca.65€).
Of Eva’s true inclinations.
Once more the kiss for Bourboulon. She hadn’t liked the man the first time they met. So how did this surprising sign of affection come about? Out of relief because the photo sessions were over? Or was it a reward for the invitation to the café? The quick response to her proposal probably gave her the feeling that she had finally regained control of events. The kiss was then the self-confident response. Either way, it shows a different side to Eva, not that stubborn one we know towards her mother.
Then there is the long episode with the young English dandy, which takes up a lot of space in the movie. It takes place in an old villa with a decadent interior, very much to Irène’s taste. Director Eva lets the pubescent beauty’s admirer work his androgynous charm on the receptive Violetta (= little Eva in the film) as soon as he greets her.
In the following night she sneaks out of the room which she shares with her mother and appears in a negligee in front of the young man who has been waiting to teach her how to smoke opium. Violetta slides onto his lap as if by itself. A kissing scene follows between the two, who are resting meanwhile under the night sky. Violetta reacts more uninhibitedly than the next day, when she has to act out an analog scene in front of her mother’s camera. That says a lot. Then they lie scantily clad, nestled close together, hand in hand, playing the eye game of young people who have just found each other. Friends of the dandy set the mood with psychedelic music. The director [adult Eva] captures the course of the tête-à-tête into the night in such a way that Violetta visually disappears behind the dandy’s back. This is one of the few moments in which the director leaves the interesting details to the viewer’s imagination.
According to Simon Liberati, Eva’s second husband, she later confessed to him “that as an eleven-year-old, after her first dose of opium, she had great difficulty ‘keeping the girl’.” [12]
So much for Eva’s spontaneous moments when she slipped out of her mother’s control. However, commentators on the film also saw clear evidence of little Eva’s lustful participation in the cinematic re-enactments of maternal photo sessions. One German author writes about how Eva had to be a seductive beauty. „And sometimes wanted to be one.” She considers the “most oppressive moments of the movie to be those in which the child is shown playing the evil game. How she becomes aware of her erotic power, how she lures and beguiles men and lolls lasciviously in front of the camera. Her mother [Irina Ionesco] now says publicly that Eva even came up with ideas for photo essays back then. The said autor then asks the interviewee if this is true? Eva’s answer: “Of course. I rebelled far too late.” [11]
Ibiza II
For the second time on the island, Irène came back to the sessions with Bourboulon, which presumably made the vacation possible for her, and wanted to know from Eva – out of a sense of responsibility or sexual curiosity (or to forestall any reproaches):
– Did Jacques touch your pussy, tell me?
I didn’t manage to express myself.
– Did he touch your pussy or not? Answer me, answer your mother.
– Leave me in peace.
– If he touched your pussy, that’s bad… if he did, I’ll smack his face!
People turned or stood still to watch us. She didn’t speak, she screamed.
– I don’t think he did what you want me to believe!
– He photographed me… the sexe and me when I was about to touch me, and… and…
– So nothing! … Come on, I hear you ? You see, you have nothing to say to me! Nothing but annoying me. [p.424]
Eva was confused. Irène:
– These are healthy and natural holiday photos… you are talking nonsense. Do you wanna break everything ? … Say to yourself that it has taught you to live with a man, since among us there has never been one !!! Where you may be right is that this is a very bad photographer. But well…
Eva:
– Why did you send me to this guy?
– One must live well…
– I wish that there were bad people who would beat your dirty snout in… [p.426]
She knocked over the bamboo table and the parasol. The wind carried them towards the water. One of the Gitanos boys with blond hair ran over and wanted to steal the umbrella. When he handed it to Eve at her call, he „dipped his blue eyes into mine.“ For a moment, without believing it, she hoped to see Alvaro again. Instead, another encounter ensued.
Alone, Eva approached an old beach cabin from which she heard the gitanos laughing. They smoked fags, sitting one on top of the other, and greeted her; they asked where she was going. „Vien con nosotros“ [Come with us]. The blond gypsy who had tried to steal her parasol combed her hair. The toothless comb running through her hair made her shiver. They laughed. Then they invited Eva to go with them. „Dònde??“ laughter. „Where? Ah ah ah…” They waved their hands as if they were going to jerk off somewhere. Then they ran away.
Eva wanted to go dancing at Pacha, the hip spot on the island. Irène had promised her, but then backtracked because Eva was barely eleven. „I wore my rouge tomate, put on the white baggy top that gave me boobs and a long skirt that hid the heels of my gold Yves Saint Laurent boots.“ She looked about thirteen.
Irène wanted to go out to eat instead, and an argument ensued. Eva:
– Are you crying because you don’t have a husband and you feel bad about saying it?
– Not at all. I wanted to talk to you about your dad.
That was the worst moment to do it. Eva didn’t feel like it right now and escaped her mother in the direction of the dance floor. The mother caught up with her, spoke to her on the edge of the dance floor:
– Eva, you must know now. Your father is dead.
I didn’t think it was possible that she was telling me this on the last night of the vacation.
– I do not believe you…
– It’s the truth. He is dead.
– Dead from what?
– One does not know. They found him dead in front of the fridge.
I cried and she took out her handkerchief at the same moment as I did, imitating me.
– I didn’t tell you earlier because you were too young.
Eva found the solution for herself: „He is not dead because I was not at his funeral.“ [p.445]
Then she danced into the night, slightly intoxicated by the remains of schnapps that she had stolen from various glasses in passing. She is said to have felt like showing herself to men. At least that’s what Simon Liberati, to whom Eva married in 2013, wrote in his book, which he called „Eva“. [10]
Then, things are getting ahead of themselves:
Maladolescenza / boy lovers / a beloved boy.
Already in late summer after the Bourboulon series and hardly back from Ibiza, Eva had an appointment in Carinthia [Austria’s southernmost province, bordering Italy and Slovenia]. From mid-August to mid-September the shooting for „Puppy Love“ [„Playing with Love“ / „Maladolescenza“] took place there, where Eva had to play exactly that in a leading role: love (physical), and that completely naked, shown very freely and already played somewhat skillfully, with a 17-year-old boy unknown to her. This, however, with limited physical commitment. The men behind the film probably thought they could save themselves trouble with the censorship authorities by merely simulating the sex scenes. But secondly, the opposite was then the case (the film was banned by the courts as soon as it was released in Munich), and firstly, we may ask ourselves whether the concrete arrangements made to make the „as-if“ character of the scenes clear removed any inhibition for Eva or any feelings of shame or revulsion afterwards. After all, the boy was lying on top of Eva with enough weight that her legs were jerked back and forth. So there was physical contact.
By the way, Eva never complained about the psychological discomfort or damage caused by this very early imposition of sexuality. All she was concerned about was the bad reputation she might have acquired.
As for any discomfort during filming, a reaction shown by both girls during the promotional tour may be illuminating. They made disparaging remarks about Martin Loeb, the male lover, because he allegedly never wanted to undress before the sex scenes. The girls themselves apparently managed this with ease. [And a few months after the end of filming, Eva was looking for a “real” – and somewhat older – man who not only showed no inhibitions about taking his clothes off, but… but you can read more about that in Part II.]
As if that were not enough, Eva was also re-enrolled in school that same fall. As an 11 year old, she was now ready to attend the Lyceum. There began a friendship that strongly marked Eva’s time from 11-13 and continues to this day. The trigger for this, however, was found on a date of a completely different kind; a photo exhibition that Eva visited with her mother. It also showed naked children and adolescents, only it was exclusively boys. The gallery owners, a gay photographer-couple known to Eva, had specialized in L’art pédéraste – still possible at the time. Eva’s attention, however, was not attracted by the photographed boys, but by a 13-year-old physically present boy, a visitor, who also noticed her. The two then recognized each other at the Lyceum, where the boy henceforth assumed the role of protector for Eva, who was badly bullied (due to made-up lips, „impossible“ clothes). He introduced the eleven-year-old to Parisian nightlife (Eva: „He got me to Paris“), and to the Palace (disco) gang with its 20-30 year old men, where she became the queen of the night; to semi-criminal actions and demi-monde-like spheres. Likewise into first sexual coitus attempts, where it became undeniable what had been the reason for the boy’s visit to the exhibition: he was definitely gay, and enthusiastically and intensely so. It was Christian Louboutin, the now famous designer of women’s shoes (the ones with the red soles).
The gay photographer couple (who became known as „Pierre et Gilles“), later came forward with their own photos of Eva. Famous was the allusion to paradise („Adam and Eve„) of 1981, which today, as an icon of its era, can be seen in the V&A (Victoria and Albert Museum) in London. This is just one example of how Eva kept herself available for nude photography even later.
_________________________________
PART II – THE CHILDREN OF THE NIGHT.
So here is the CONNECTION to the NEW PART II of my story of Eva Ionesco, which I wrote to do justice to HER SECOND BOOK (Les enfants de la nuit), which reveals NEW DETAILS ABOUT THE SPAN FROM 11-13, which I could not yet include in my previously published Part II
=====> Eva Ionesco II – „The Children of the Night“. News from her wildest years (11-13).
Part II is about Eva’s „FIRST TIME“ (with a grown up man picked out by Eva; before she was 12), then about her first time OF THE „OTHER“ (lesbian) KIND, about PROSTITUTION, the SEX WITH CHRISTIAN, her gay friend, the MEDIA EVENT about the film MALADOLESCENZA (Puppy Love) and Eva’s participation in it, about the INTERVENTION OF THE YOUTH OFFICE. All this finally ends with the 13 year old ending up in the arms of the then 28 year old Charles Serruya.
=====> Eva Ionesco II – „The Children of the Night“. News from her wildest years (11-13)
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*) The film Maladolescenza (or Let’s Play Love, or Puppy Love) can be accessed at the following URL:
multi-sub.com/Video/Watch?id=08d6b51a-64fb-0928-a6e7-2ac87c073df2.
You can also go to multi-sub.com. Then type the film title into the search box. Please note: Three windows will appear one below the other. The entire film can only be played in the bottom window. A English-language version can be selected. You may need to disable VPN or to select a different server.
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You may also like:
The Traunreut Man – or: the case of the JM Girl.
A seven-year-old as a substitute for the ex-wife. The accused is said to have practiced all possible forms of sexuality with the young girl. No violence was ever involved.
»Everything that happened was very pleasant. I enjoyed it.«
This girl also had sex very early; with her father. Unlike the JM Girl, she later says, as a twenty-year-old, that she enjoyed everything back then. However –>
LS – The dark story of the 1,500 child models who became erotic myths
Probably the largest Child Erotica project ever undertaken. The once world-famous girls are now adults, the agency called LS closed, and the whole story lies in the shadow of the current events in Kyiv and Ukraine. At least Maya Poprotskaya, alias Dasha, probably the most beloved model of them all, can still be found active on the Internet.
Little Girls and Sex: A Glimpse at the World of the Child Prostitution.*
They take part in videos that their parents make, they work in massage parlors, their career starts at 9, or even earlier. Here, for once, interviews with children in their active phase, not later, when they sue their parents.
Seductive nannies and the fight against masturbation.
A Viennese nanny from the Orient passes the little girl around in his circle of acquaintances, where women are eager to introduce the child to „their“ sexual practices. Unimaginable today, unless you see something similar re-emerging in the form of „pedomoms“. The case was reported at a psychiatrists‘ congress in Vienna in 1903.
New –> SONYAGATE – or: The end of LoLand.
Here’s another story of a girl who appeared in nude scenes early on and became very well known, but only in “relevant” circles, and about the efforts of the Anonymous hackers that led to this studio being taken off the net.
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Sources:
1 Siehe James Kincaid: Child-Loving: the Erotic Child and Victorian Culture (New York and London: Routledge, 1992), Cristine Roth: Cherry Ripe: „Cult of the little Girl.“ Narratives in Late-Victorian Britain. https://ufdcimages.uflib.ufl.edu/AA/00/04/05/14/00001/cherryripecultof00roth.pdf Claudia Nelson: Precocious Children and Childish Adults:Age Inversion in Victorian Literature. Baltimore 2012 (Johns Hopkins). https://muse.jhu.edu/book/14635
2 Siehe z.B. Charles Dodgsons zur Ikone gewordenes Bild „Alice-Liddell-Beggar-Girl.“
3 „Shirley Temple, als Prototyp des kleinen Mädchens, wird in den 1930er Jahren sowohl als unschuldig und schutzbedürftig wie auch als lockend-verführerisch und sexuell stimulierend präsentiert.“ Aus: Christof Decker, Projektionen des Kindlichen. Shirley Temple und die Repräsentation von Kinderfiguren im amerikanischen Film. S.124. https://www.en.amerikanistik.uni-muenchen.de/personen/professoren/decker/decker_publications/files/decker_lwu_medien_2009_1-2.pdf . Jen Baker, Shirley Temple: The Unwitting Coquette. https://notchesblog.com/2014/02/17/shirley-temple-the-unwitting-coquette/ Lantz, Susan Jennings, „America’s Lollipop Licking Tease: The Eroticization of the Female Child in 1930s Film“ (2014). Graduate Theses, Dissertations, and Problem Reports. 461. https://researchrepository.wvu.edu/etd/461
4 Les parents terribles d’Eva Ionesco. In: https://www.elle.fr/Loisirs/Livres/News/Les-parents-terribles-d-Eva-Ionesco-3522098
5 Eva Ionesco, Innocence. Paris 2017 (Grasset).
6 Eva Ionesco et la quête du père. In: LEDEVOIR, 9.9.2017. https://www.ledevoir.com/lire/507522/eva-ionesco-et-la-quete-du-pere
7 Liberation 28.8.2017 https://www.liberation.fr/livres/2017/08/28/eva-ionesco-l-innocence-retrouvee_1592523/
8 Eva bestätigte den Vorfall 2017 in einem Interview mit der Zeitschrift Elle. Dabei setzte sie jedoch das Alter höher an: „J’avais peur que l’on me prenne ma virginité. Je devais avoir 11 ans et je ne voulais pas que l’on me vole cela aussi.“ In „Les parents terribles d’Eva Ionesco.“ Elle, 25.August 2017. https://www.elle.fr/Loisirs/Livres/News/Les-parents-terribles-d-Eva-Ionesco-3522098
9 Eva Ionesco et les fragments d’un père inconnu. In: Marie-Claire 7.9.2017. https://www.pressreader.com/
10 Simon Liberati, Eva. Paros 2015 (Stock) S.190
11 Frankfurter Rundschau. Mama macht Kunst mit mir. 21.01.2019.
12 Charlotte Frank, Lebensgeschichte der Regisseurin Eva Ionesco: Von der nackten Prinzessin. Süddeutsche Zeitung. 29.10.2011. https://www.sueddeutsche.de/leben/lebensgeschichte-der-regisseurin-eva-ionesco-von-der-nackten-prinzessin-1.1176396?ns_campaign=plista&ns_mchannel=rss
Furthermore (added after completion of the text):
Eva Ionesco, Grand amour. Paris 2025 (Robert Laffont)
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