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Juliette’s story-telling function is itself part of her whoreishness. She is a perfect whore, like the whores in The Hundred and Twenty Days at Sodom. In the book, four libertines take four of the most brilliant and distinguished prostitutes in Paris for a holiday off to the remote and isolated Castle of Silling, besides a numerous complement of wives, servants, and victims. These four women survive the ensuing holocaust: they will all return home safe and sound, not only because they are consummately wicked, but because, like Scheherazade, they know how to utilize the power of the word, of narrative, to save their lives. The continuity of their narratives protects them from the discontinuity of death. These women, like Juliette, tell the stories of their lives. Their sexual anecdotes determine the form of the orgies in the castle so they can ensure they themselves will not be sacrificed during any of them. Juliette, the personification of whore as story-teller, often breaks off her narrative for sexual encounters with her listeners, who are all old friends and occasionally appear as actors in it. She leaves a pornographic hole in the text on purpose for them.