#301390 - Fellowes 2 and 8 Frank Campbell J Ashely

Lady Emily's Dilemma
Fellowes 2
by Frank E. Campbell
illustrated by J. Ashely
House of Milan Corp.
Los Angeles, California
1978

optimized for ebook viewing

Arcadian Agony
Fellowes 8
by Frank E. Campbell
illustrated by J. Ashely
House of Milan Corp.
Los Angeles, California
1978

optimized for ebook viewing

Lady Emily's Dilemma
and
Arcadian Agony

pictures-only optimized version

a customer comments

I just downloaded the Fellowes ebooks
that you published yesterday.
While there are several sets of Fellowes
pictures around on the internet, it is
not easy to get the story texts.

And again, the detail [optimized]
pictures are a great bonus since they
point to parts of the complete
pictures that are easily overlooked.

I enjoyed the ebooks very much and
I hope that you can publish more
from the Fellowes series . . . .

Thank you again for this nice set of ebooks . . . .

— 032318, Germany

In the late 1970s, House of Milan produced 16 numbered booklets featuring stories written by Frank E. Campbell and illustrated by J. Ashely. The setting is Britain at the turn of the last century on the estate of a wealthy peer.

In episodes 2 and 8, Lord Halibut's young granddaughter, Lady Emily Halibut, gets into mischief involving a young man's trousers and Lady Tushington's sense of decorum. A continuous appetite for “nooky” and her vulgar remarks about it render Lady Emily a frequent beneficiary of crops, canes, whips, and complex bondage assemblies.

Jovial Lord Halibut authorizes his granddaughter's discipline, but it's exacted by Fellowes, who's described as the family butler. Most butlers and valets we've seen in movies wear black suits and shined shoes. Possibly to reflect the wanton wildness of Lady Emily, Fellowes appears dressed for the outdoors, possibly to go hunting, in jodhpurs, riding boots and a shooting jacket. His costume reminds us of Sir Clifford Chatterley's gamekeeper, Oliver Mellors, who's similarly attired when he attends to his master's indigenous fowl and wife (Lady Chatterley).

Fellowes and his lord discuss Lady Emily's misdemeanors and the butler proposes courses of punishment that are measured yet purposeful. Lord Halibut compares his youthful kin to other promiscuous women he's known or heard about. He likes to look at her lovely body, especially when naked and restrained.

The author wants us to believe that he captures the diction of a British aristocrat in conversation with a trusted servant. Much of the narrative occurs in dialog between Lord Halibut and individuals who reside in his domain. The measured understatement and rigorous deference expressed and implied in Fellowes' conversation with the old man revisits the regimented (if not military) respect a butler (or valet) shows his employer, as Mr. Wodehouse's Jeeves shows his daft Wooster. Like him, Lord Halibut knows little of what happens on his estate or who's there.

In the opening scene of Lady Emily's Dilemma, Halibut, Fellowes and Emily discuss her recent trespass and retribution options.

"Shouldn't you say you're sorry or something?" Lord Halibut suggested tentatively. He was always at a loss when faced with decisions.
"Of course I'm sorry. He's quite nice and it was one of the best I've seen . . . another ten minutes and — "
"His Lordship expects your regret to reflect quite different sentiments, M'Lady." Fellowes still sounded pained.
"I'm certainly sorry you were looking, Grandpa," Emily rattled her handcuffs as evidence of her dolor.
"Well, that's all right then." Lord Halibut hurriedly accepted his grandchild's intransigence. "Thing now, Fellowes old chap, is what we're going to do with the gel."
"I don't see why you have to do anything to me," Emily clinked her handcuffs in vexation. "I hadn't even got his trousers off and I hadn't laid down and I'd only just got one good look. . . ."
"Oh, I say. Hard lines that, Emily, m'gel!" It was as though Lord Halibut himself had sustained the loss.
"The intent is inherent in the act, M'Lord. It should govern the penalty."
"Suppose you're right," Lord Halibut agreed regretfully. "Looks as though your bottom's in for another dose with the cane, Emily m'gel. When was your last?"
"Her Ladyship received corporal correction last Tuesday, M'Lord. On that occasion it was the matter of the surveyer on the Home Farm boundary."
"He looked so lonely out there with his silly tripod thing," Emily interjected righteously. "You ought to be charitable."
"Charity begins at home." Lord Halibut felt he had said something clever. He beamed.
"Oh Grandpa! I can't do it with you!" Emily was shocked.
"Ah! See what you mean!" Lord Halibut searched for a second cliche to rescue him from the inadequacy of his first. "Bird in the hand's worth two in the bush, what!"
"Well, everybody says I have a lovely lot of pussy hair. . . ." Emily herself was striving to glimpse a far from obvious corollary.
Fellowes coughed discreetly. "I fear we digress, M'Lord. The matter before us is to implement Lady Emily's penance for a quite grievous lapse from grace."
"Cane her rump, what!" Lord Halibut felt on firmer ground. . . .
The postman, a youngish and personable newcomer to the Village, had delivered his mail and was slowly pedaling his bike along a short-cut to the main gates of Bondsleigh Castle. Lord Halibut quivered. If it happened it would be somewhere in the next hundred yards. He held his breath as the junior member of Her Majesty's Post Office braked to a halt and sent a startled gaze toward one of the larger rhododendron bushes that flanked the path. For a moment he had the pose of a pointing dog who scents the sitting bird. The watching nobleman observed an agitation within the shrubbery. The postman wheeled his bike cautiously toward the heavy foliage. . . .

Emily receives the benefit of multiple spankings with varied implements. Bondage arrays affix her to ceilings, walls, beds, floors, planks and The Rack, administered by vengeful Lady Tushington. Steel leg spreaders and buckled leather cuffs connect with rope and chain to ensure Lady Emily receives the best of Victorian discipline. Fellowes sometimes apologizes to the girl for the “discomfort” he delivers.

As she repeatedly asks to be touched and nookied, Fellowes sometimes succumbs to her sincere entreaties and allows himself the pleasures of her womanhood, a respite from discipline they have agreed to call “an intermission.”

The two booklets used as source material for this product introduce us to the art of J. Ashely. Her (or his) willowy damsels seem anguished or frightened most of the time, which differs somewhat from the character drawn in prose. That Emily is outraged by the amount of punishment she receives while her whippings and confinement incite lust and arousal.

Ashely's slender heroine looks lovely from all directions. Graceful curves, tapering limbs and alluring roundness of bottom and bosom assemble in a nearly athletic figure, but we're not distracted by muscles. Pencil shading suggests smooth, feminine contours, sometimes compressed by straps.

Fellowes is indicated as a silhouette or shadow or from the waist down standing behind Emily, showing only trousers or boots. No male faces appear.

Illustrations provide precise details about chains, hooks, wall mountings, bedposts, collars, belts and buckles, whips, crops, and canes. Lady Emily enjoys a wardrobe of gags and plugs held in place by narrow leather straps. That hairstyles and bondage gear mirror contemporary (not pre-WWI) models, will trouble only the most fastidious obsessives. Despite the mix of anachronistic styles, the work works.

The product includes three optimized ebooks. Two contain the covers, optimized pictures, prose and advertising that's in the booklets. A third ebook presents only Ashely's art, optimized on 80 pages.

The text has been re-set for the ebook iterations. Few changes were made to Mr. Campbell's excellent writing. His narrative benefits from a consistency of tone and rhetoric that creates an opulent atmosphere of aristocracy in which a promiscuous young woman [a playgirl] endures ingenious punishment rituals at the hands of her grandfather's surrogate. Each story is about 7000 words.

Brightness, contrast and levels of pictures were adjusted. Images transposed to ebook format with clarity. Many show the texture of pencil lead on paper.

Optimized illustrations repeat fetish details as virtual enlargements on separate pages, showing faces, gags, figure features and bondage equipment. Pictures appear in ebooks in the sequence of the originals. As possible, optimized images are placed near correlating text. In Fellowes 8, one picture appears twice.

Even without precise alignment of the two narrative elements, pictures of beauties in distress illuminate the stories. Someone deserves recognition and thanks for orchestrating the collaboration of Campbell and Ashely.

Not all pictures are described in the text. Not all story scenes appear in illustrations.

All new scans. Female nudity.

NOTE
Although some parts of pictures are obscured on this page, the ebook shows everything that's in the original.

Three optimized ebooks, delivered by download from your 30th Street Graphics account.