From Gia's Hat: Act 1°-Lesbian Eros from the chat

THE NOVEL DEALS WITH EXPLICIT SEXUAL CONTENTS, and hence its sale and reading are addressed only to adult people.
These are pages of fanciful, however improbable, lesbian Eros shameless, recounted fluently and powerfully intriguing, constantly topped off by the scorching flogging “non-destructive” that the protagonists love to inflict one to the other. Accompanied by frequent cultural references, the novel is, here and there, interspersed with steps outraged about issues that nothing, or little, have to do with the sex.
Its protagonist Gia Van Rollenoof, a fascinating and exuberant young Venetian woman who, from modest means, makes her way in life by becoming a psychologist, photographer and, most importantly, an one affirmed writer of erotic novels.
Disciple of Sappho and, as a good Venetian, also of Epicurus, the eclectic protagonist is constantly striving to the satisfaction of her own emotional and sexual impulses. However, behind her hedonism lies a soul full of good feelings and intentions that makes her sweet and altruistic towards those who, according to her, deserves them.
Proudly lesbian, in order to establish “affectionate” feminine friendships, she is devoted to chatting on the web and it is precisely from the chat that amazing amorous affairs will emerge and that later will be developed in a remote oasis of an Arab country.
Visionary, of a disturbing femininity, even wanton in her sexual mores, actually precise moral contours are present in her, not tainted by prejudice: in fact, to the apparent dissolution, opposes an inner torment of the soul and a craving towards the transcendent.
In the novel, all the characters – women – move in the rhetoric invention of a Sapphic Empyrean dotted by exciting games S & M of a powerful erotic profile, never too violent, though consensual and shared, where every wish is granted in a thick layer of bliss where there has never encomium of suffering or the violence. This invention is nothing more than a metaphor to tell about something else that goes on beyond the actual story: a big part of the novel, through the images of pain turned into sexual pleasure, takes place, in fact, in a paradox. As to say: to vindicate the libido at the expense of the Freudian Destrudo.
It's clearly a flight of exaggerated and exasperated fantasy, where the female body is idealized as an inexhaustible source of sexual delight, of a superhuman resistance to repeated intercourses. But it is a fairy tale: they are essentially inventions with a cathartic function.
In defining the novel briefly, one could say it is a chimera where love and sex, unrealistically, are laid bare to their own purely instinctual dimension, deliberately stripped of all pseudo seductive psychological intrigue and told explicitly in their rewarding erotic essentiality. Stripped of introspective sophistry, it is, therefore, an adult's fairy tale with a happy outcome and constantly imbued by impulses of women towards other women.