Intercourse
Andrea Dworkin
Language: English
Pages: 352
ISBN: 0465017525
Format: PDF / Kindle (mobi) / ePub
Sex, Art, and American Culture: Essays
Jacob's Room (Oxford World's Classics)
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A contemporary feminist critique of psychoanalysis through Gilles Deleuze and Felix Guatarri
Long before he had touched a woman, this depravity, this exploitation, was rooted in his mind, a form of torment. He was tormented by '''woman, not some particular woman but woman as something to be desired, woman, every woman, woman's nudity ... ",j. This impersonal something was at the heart of his desire: objectlike, not human and individual; not someone in particular but a body, perhaps a symbol, a configuration of flesh; something to have. The first time he had sex was '''something special
lessened by distraction, unreached by normalcy-nearly an amputation, the skin hacked off, slashed open; violent hurt. "My heart was open to you," says a man obsessively in love in The Face ofAnother by Kobo Abe, "quite as if the front of it had been sliced away.''' This skinless sex is a fever, but fever is too small. It is obsession, but obsession is too psychological. It becomes life; and as such, it is a state of being, a metaphysical reality for those in it, for whom no one else exists. It
about the nature of fucking as such. It is strictly about whether or not this good thing is good outside marrijlge or between persons of the same gender (however they manage it). "In other words," writes Marabel Morgan, interpreting Scripture no less, "sex is for the marriage relationship only, but within those bounds, anything goes. Sex is as clean and pure as eating cottage cheese."! Marabel Morgan's The Total Woman (a manual for wives who want to get their husbands to fuck them and maintain a
1966 by Regine Pemoud, reprinted with permission of Stein and Day Publishers; Isaac Bashevis Singer, Satan ;n Garay, copyright © 1955 by Isaac Bashevis Singer, copyright renewed 1983 by Isaac Bashevis Singer, reprinted by permission of Farrar, Straus, and Giroux, Inc.; Leo Tolstoy, The Kreutur Sonata, in The Great Short Works of Leo Tolstoy, trans. Louise and Ayler Maude, copyright © 1924 Oxford University Press (Oxford, England); Tennessee Williams, The Rose Tattoo, copyright © 1950, 1951 by
us through and through. We hear something, a dim whisper, barely audible, somewhere at the back of the brain; there is some other word, and we think, some of us, sometimes, that once it belonged to us. There are female-supremacist models for intercourse that try to make us the masters of this language that we speak that is not ours. They evade some fundamental questions about the act itself and acknowledge others. They have in common a glorious ambition to see women self-determining, vigorous and