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Free Women, Free Men

Format: Hardcover, 352 pages
Publisher: Pantheon
On Sale: 03/14/2017
Price: $26.95
ISBN: 978-0-375-42477-9
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open close ABOUT THE BOOK
From the fiery intellectual provocateur— and one of our most fearless advocates of gender equality—a brilliant, urgent essay collection that both celebrates modern feminism and challenges us to build an alliance of strong women and strong men. 

Ever since the release of her seminal first book, Sexual Personae, Camille Paglia has remained one of feminism’s most outspoken, independent, and searingly intelligent voices. Now, for the first time, her best essays on the subject are gathered together in one concise volume. Whether she’s calling for equal opportunity for American women (years before the founding of the National Organization for Women), championing a more discerning standard of beauty that goes beyond plastic surgery’s quest for eternal youth, lauding the liberating force of rock and roll, or demanding free and unfettered speech on university campuses and beyond, Paglia can always be counted on to get to the heart of matters large and small. At once illuminating, witty, and inspiring, these essays are essential reading that affirm the power of men and women and what we can accomplish together.
CAMILLE PAGLIA is the University Professor of Humanities and Media Studies at the University of the Arts in Philadelphia. A regular contributor to, she is the author of Glittering Images; Break, Blow, Burn; Vamps & Tramps; Sex, Art, and American Culture; and Sexual Personae. 
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Sex and Violence, or Nature and Art

In the beginning was nature. The background from which and against which our ideas of God were formed, nature remains the supreme moral problem. We cannot hope to understand sex and gender until we clarify our attitude toward nature. Sex is a subset to nature. Sex is the natural in man.

Society is an artificial construction, a defense against nature’s power. Without society, we would be storm-tossed on the barbarous sea that is nature. Society is a system of inherited forms reducing our humiliating passivity to nature. We may alter these forms, slowly or suddenly, but no change in society will change nature. Human beings are not nature’s favorites. We are merely one of a multitude of species upon which nature indiscriminately exerts its force. Nature has a master agenda we can only dimly know.

Human life began in flight and fear. Religion rose from rituals of propitiation, spells to lull the punishing elements. To this day, communities are few in regions scorched by heat or shackled by ice. Civilized man conceals from himself the extent of his subordination to nature. The grandeur of culture, the consolation of religion absorb his attention and win his faith. But let nature shrug, and all is in ruin. Fire, flood, lightning, tornado, hurricane, volcano, earthquake—anywhere at any time. Disaster falls upon the good and bad. Civilized life requires a state of illusion. The idea of the ultimate benevolence of nature and God is the most potent of man’s survival mechanisms. Without it, culture would revert to fear and despair.

Sexuality and eroticism are the intricate intersection of nature and culture. Feminists grossly oversimplify the problem of sex when they reduce it to a matter of social convention: readjust society, eliminate sexual inequality, purify sex roles, and happiness and harmony will reign. Here feminism, like all liberal movements of the past two hundred years, is heir to Rousseau. The Social Contract (1762) begins: “Man is born free, and everywhere he is in chains.” Pitting benign Romantic nature against corrupt society, Rousseau produced the progressivist strain in nineteenth-century culture, for which social reform was the means to achieve paradise on earth. The bubble of these hopes was burst by the catastrophes of two world wars. But Rousseauism was reborn in the postwar generation of the Sixties, from which contemporary feminism developed.

Rousseau rejects original sin, Christianity’s pessimistic view of man born unclean, with a propensity for evil. Rousseau’s idea, derived from Locke, of man’s innate goodness led to social environmentalism, now the dominant ethic of American human services, penal codes, and behaviorist therapies. It assumes that aggression, violence, and crime come from social deprivation—a poor neighborhood, a bad home. Thus feminism blames rape on pornography and, by a smug circularity of reasoning, interprets outbreaks of sadism as a backlash to itself. But rape and sadism have been evident throughout history and, at some moment, in all cultures.

This book takes the point of view of Sade, the most unread major writer in Western literature. Sade’s work is a comprehensive satiric critique of Rousseau, written in the decade after the first failed Rousseauist experiment, the French Revolution, which ended not in political paradise but in the hell of the Reign of Terror. Sade follows Hobbes rather than Locke. Aggression comes from nature; it is what Nietzsche is to call the will-to-power. For Sade, getting back to nature (the Romantic imperative that still permeates our culture from sex counseling to cereal commercials) would be to give free rein to violence and lust. I agree. Society is not the criminal but the force which keeps crime in check. When social controls weaken, man’s innate cruelty bursts forth. The rapist is created not by bad social influences but by a failure of social conditioning. Feminists, seeking to drive power relations out of sex, have set themselves against nature. Sex is power. Identity is power. In Western culture, there are no nonexploitative relationships. Everyone has killed in order to live. Nature’s universal law of creation from destruction operates in mind as in matter. As Freud, Nietzsche’s heir, asserts, identity is conflict. Each generation drives its plow over the bones of the dead.

Modern liberalism suffers unresolved contradictions. It exalts individualism and freedom and, on its radical wing, condemns social orders as oppressive. On the other hand, it expects government to provide materially for all, a feat manageable only by an expansion of authority and a swollen bureaucracy. In other words, liberalism defines government as tyrant father but demands it behave as nurturant mother. Feminism has inherited these contradictions. It sees every hierarchy as repressive, a social fiction; every negative about woman is a male lie designed to keep her in her place. Feminism has exceeded its proper mission of seeking political equality for women and has ended by rejecting contingency, that is, human limitation by nature or fate.

Sexual freedom, sexual liberation. A modern delusion. We are hierarchical animals. Sweep one hierarchy away, and another will take its place, perhaps less palatable than the first. There are hierarchies in nature and alternate hierarchies in society. In nature, brute force is often the law. In society, there are protections for the weak. Society is our frail barrier against nature. When the prestige of state and religion is low, men are free, but they find freedom intolerable and seek new ways to enslave themselves, through drugs or depression. My theory is that whenever sexual freedom is sought or achieved, sadomasochism will not be far behind. Romanticism always turns into decadence. Nature is a hard taskmaster. It is the hammer and the anvil, crushing individuality. Perfect freedom would be to die by earth, air, water, and fire.

Sex is a far darker power than feminism has admitted. Behaviorist sex therapies believe guiltless, no-fault sex is possible. But sex has always been girt round with taboo, irrespective of culture. Sex is the point of contact between man and nature, where morality and good intentions fall to primitive urges. I called it an intersection. This intersection is the uncanny crossroads of Hecate, where all things return in the night. Eroticism is a realm stalked by ghosts. It is the place beyond the pale, both cursed and enchanted.

This book shows how much in culture goes against our best wishes. Integration of man’s body and mind is a profound problem that is not about to be solved by recreational sex or an expansion of women’s civil rights. Incarnation, the limitation of mind by matter, is an outrage to imagination. Equally outrageous is gender, which we have not chosen but which nature has imposed upon us. Our physicality is torment, our body the tree of nature on which Blake sees us crucified.

Sex is daemonic. This term, current in Romantic studies of the past twenty-five years, derives from the Greek daimon, meaning a spirit of lower divinity than the Olympian gods (hence my pronunciation “daimonic”). The outcast Oedipus becomes a daemon at Colonus. The word came to mean a man’s guardian shadow. Christianity turned the daemonic into the demonic. The Greek daemons were not evil—or rather they were both good and evil, like nature itself, in which they dwelled. Freud’s unconscious is a daemonic realm. In the day we are social creatures, but at night we descend to the dream world where nature reigns, where there is no law but sex, cruelty, and metamorphosis. Day itself is invaded by daemonic night. Moment by moment, night flickers in the imagination, in eroticism, subverting our strivings for virtue and order, giving an uncanny aura to objects and persons, revealed to us through the eyes of the artist.

The ghost-ridden character of sex is implicit in Freud’s brilliant theory of “family romance.” We each have an incestuous constellation of sexual personae that we carry from childhood to the grave and that determines whom and how we love or hate. Every encounter with friend or foe, every clash with or submission to authority bears the perverse traces of family romance. Love is a crowded theater, for as Harold Bloom remarks, “We can never embrace (sexually or otherwise) a single person, but embrace the whole of her or his family romance.”1 We still know next to nothing of the mystery of cathexis, the investment of libido in certain people or things. The element of free will in sex and emotion is slight. As poets know, falling in love is irrational.

Like art, sex is fraught with symbols. Family romance means that adult sex is always representation, ritualistic acting out of vanished realities. A perfectly humane eroticism may be impossible. Somewhere in every family romance is hostility and aggression, the homicidal wishes of the unconscious. Children are monsters of unbridled egotism and will, for they spring directly from nature, hostile intimations of immorality. We carry that daemonic will within us forever. Most people conceal it with acquired ethical precepts and meet it only in their dreams, which they hastily forget upon waking. The will-to-power is innate, but the sexual scripts of family romance are learned. Human beings are the only creatures in whom consciousness is so entangled with animal instinct. In Western culture, there can never be a purely physical or anxiety-free sexual encounter. Every attraction, every pattern of touch, every orgasm is shaped by psychic shadows.

The search for freedom through sex is doomed to failure. In sex, compulsion and ancient Necessity rule. The sexual personae of family romance are obliterated by the tidal force of regression, the backwards movement toward primeval dissolution, which Ferenczi identifies with ocean. An orgasm is a domination, a surrender, or a breaking through. Nature is no respecter of human identity. This is why so many men turn away or flee after sex, for they have sensed the annihilation of the daemonic. Western love is a displacement of cosmic realities. It is a defense mechanism rationalizing forces ungoverned and ungovernable. Like early religion, it is a device enabling us to control our primal fear.

Sex cannot be understood because nature cannot be understood. Science is a method of logical analysis of nature’s operations. It has lessened human anxiety about the cosmos by demonstrating the materiality of nature’s forces, and their frequent predictability. But science is always playing catch-up ball. Nature breaks its own rules whenever it wants. Science cannot avert a single thunderbolt. Western science is a product of the Apollonian mind: its hope is that by naming and classification, by the cold light of intellect, archaic night can be pushed back and defeated.

Name and person are part of the West’s quest for form. The West insists on the discrete identity of objects. To name is to know; to know is to control. I will demonstrate that the West’s greatness arises from this delusional certitude. Far Eastern culture has never striven against nature in this way. Compliance, not confrontation is its rule. Buddhist meditation seeks the unity and harmony of reality. Twentieth-century physics, going full circle back to Heracleitus, postulates that all matter is in motion. In other words, there is no thing, only energy. But this perception has not been imaginatively absorbed, for it cancels the West’s intellectual and moral assumptions.

The Westerner knows by seeing. Perceptual relations are at the heart of our culture, and they have produced our titanic contributions to art. Walking in nature, we see, identify, name, recognize. This recognition is our apotropaion, that is, our warding off of fear. Recognition is ritual cognition, a repetition-compulsion. We say that nature is beautiful. But this aesthetic judgment, which not all peoples have shared, is another defense formation, woefully inadequate for encompassing nature’s totality. What is pretty in nature is confined to the thin skin of the globe upon which we huddle. Scratch that skin, and nature’s daemonic ugliness will erupt.

Our focus on the pretty is an Apollonian strategy. The leaves and flowers, the birds, the hills are a patchwork pattern by which we map the known. What the West represses in its view of nature is the chthonian, which means “of the earth”—but earth’s bowels, not its surface. Jane Harrison uses the term for pre-Olympian Greek religion, and I adopt it as a substitute for Dionysian, which has become contaminated with vulgar pleasantries. The Dionysian is no picnic. It is the chthonian realities which Apollo evades, the blind grinding of subterranean force, the long slow suck, the murk and ooze. It is the dehumanizing brutality of biology and geology, the Darwinian waste and bloodshed, the squalor and rot we must block from consciousness to retain our Apollonian integrity as persons. Western science and aesthetics are attempts to revise this horror into imaginatively palatable form.

The daemonism of chthonian nature is the West’s dirty secret. Modern humanists made the “tragic sense of life” the touchstone of mature understanding. They defined man’s mortality and the transience of time as literature’s supreme subjects. In this I again see evasion and even sentimentality. The tragic sense of life is a partial response to experience. It is a reflex of the West’s resistance to and misapprehension of nature, compounded by the errors of liberalism, which in its Romantic nature-philosophy has followed the Rousseauist Wordsworth rather than the daemonic Coleridge.

Tragedy is the most Western literary genre. It did not appear in Japan until the late nineteenth century. The Western will, setting itself up against nature, dramatized its own inevitable fall as a human universal, which it is not. An irony of literary history is the birth of tragedy in the cult of Dionysus. The protagonist’s destruction recalls the slaughter of animals and, even earlier, of real human beings in archaic ritual. It is no accident that tragedy as we know it dates from the Apollonian fifth century of Athens’s greatness, whose cardinal work is Aeschylus’s Oresteia, a celebration of the defeat of chthonian power. Drama, a Dionysian mode, turned against Dionysus in making the passage from ritual to mimesis, that is, from action to representation. Aristotle’s “pity and fear” is a broken promise, a plea for vision without horror.

Few Greek tragedies fully conform to the humanist commentary on them. Their barbaric residue will not come unglued. Even in the fifth century, as we shall see, a satiric response to Apollonianized theater came in Euripides’s decadent plays. Problems in accurate assessment of Greek tragedy include not only the loss of three-quarters of the original body of work but the lack of survival of any complete satyr-play. This was the finale to the classic trilogy, an obscene comic burlesque. In Greek tragedy, comedy always had the last word. Modern criticism has projected a Victorian and, I feel, Protestant high seriousness upon pagan culture that still blankets teaching of the humanities. Paradoxically, assent to savage chthonian realities leads not to gloom but to humor. Hence Sade’s strange laughter, his wit amid the most fantastic cruelties. For life is not a tragedy but a comedy. Comedy is born of the clash between Apollo and Dionysus. Nature is always pulling the rug out from under our pompous ideals.
Introduction ix

1 Sex and Violence, or Nature and Art 3
2 The Venus of Willendorf 38
3 Nefertiti 42
4 Madonna: Animality and Artifice 49
5 Rape and Modern Sex War 52
6 Junk Bonds and Corporate Raiders: Academe in the Hour of the Wolf 58
7 The MIT Lecture: Crisis in the American Universities 62
8 The Strange Case of Clarence Thomas and Anita Hill 75
9 The Nursery School Campus: The Corrupting of the Humanities in the U.S. 78
10 The Return of Carry Nation: Catharine MacKinnon and Andrea Dworkin 85
11 A White Liberal Women’s Conference 92
12 Loose Canons: Review of Germaine Greer, Slip-Shod Sibyls 96
13 Men’s Sports Vanishing 102
14 Coddling Won’t Elect Women, Toughening Will 105
15 Academic Feminists Must Begin to Fulfill Their Noble, Animating Ideal 109
16 Gridiron Feminism 118
17 The Modern Battle of the Sexes 122
18 American Gender Studies Today 144
19 The Cruel Mirror: Body Type and Body Image as Reflected in Art 148
20 The Pitfalls of Plastic Surgery 159
21 Feminism Past and Present: Ideology, Action, and Reform 164
22 No Sex Please, We’re Middle Class 183
23 The Stiletto Heel 187
24 Scholars in Bondage: Review of Margot Weiss, Techniques of Pleasure; Staci 
     Newmahr, Playing on the Edge; and Danielle J. Lindemann, Dominatrix 191
25 Gender Roles: Nature or Nurture 211
26 Are Men Obsolete? 222
27 Put the Sex Back in Sex Ed 226
28 It’s Time to Let Teenagers Drink Again 229
29 Cliquish, Tunnel-Vision Intolerance Afflicts Too Many Feminists: Interview with
     Deborah Coughlin, Feminist Times 232
30 Southern Women: Old Myths and New Frontiers 239
31 The Modern Campus Cannot Comprehend Evil 259
32 Why I Love The Real Housewives 262
33 What a Woman President Should Be Like 265
34 Feminist Trouble: Interview with Ella Whelan, Spiked Review 269
35 On Abortion 277
36 What’s in a Picture: Robert Mapplethorpe’s Portrait of Patti Smith for Horses 285

Illustrations 287
Acknowledgments 299
Index 301
Previous Publication Information 311
Illustration Credits 317