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Tagged: martin amis RSS

  • on April 7, 2010 Permalink | Reply

    Like a Virgin by Emily Maguire 

    the-monthly-virgin

    ‘What is it about being the first man to vaginally penetrate a woman that is so appealing?’ Emily Maguire asks in her essay on virginity in The Monthly. She describes ‘virgin porn’ websites that feature videos of women being ‘deflowered’. She writes that ‘the porn sites tell us that virgins are precious, rare and worth 30 bucks a month.’ Thirty-bucks too much as a quick Google of ‘virgin porn’ can unveil free ‘defloration’ videos such as ‘The Defloration of Melinda Kiszner’.

    Virgin porn rates quite well on the porn sites, with Melinda Kiszner’s defloration receiving 7750 votes of support, and only 623 against. Yet the authenticity of the video is quickly dismissed. One commenter says ‘fake cause’ when I fucked to my girl she scream so different, painful, almost cry, also, she move so natural, totally fake,’ and another writes ‘what a piece of crap.. showing hole with NO hymen and then the magic gushing blood fountain.. for retarded teens at best.’ I assume that by ‘retarded teens’ the commenter is referring to virginal teens who don’t have the experience nor knowledge to assess the authenticity of a true deflowering. But why do these ‘more experienced’ men (I assume men) fetishise the act of sex with a virgin so much? Maguire proposes that the ‘attraction has to do with pain and power.’

    The erotic thrill, it seems, is in the fantasy of breaking a girl down (“It took us months to talk this virgin into showing us her cherry.”) and then making her bleed (“You have to be gentle with them, the first time hurts!”).

    Pain and power. The two pillars of masculinity that continue to corrupt the burgeoning gender identities of many a young lad. From Rugby League stars pummelling into each other, to the conquering heros of Hollywood blockbusters, such as Sam Worthington in the upcoming ‘Clash of the Titans,’ power and pain go in hand in hand with the idealised narrative of masculinity. Yet this masculinity myth that pervades the media has moved from the more traditional idea that power comes from inflicting pain, to the more current concept that power comes from enduring pain. Russell Crowe in Gladiator. Mel Gibson in Braveheart. Extreme injuries in extreme sports. Fetishising the infliction of pain is almost taboo outside of Tarantino flicks. Yet the virginity porn demonstrates that fetishisation of the infliction of pain, especially on women, still holds currency, albeit not in the mainstream.

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    I want to uncover where all this stems from. The masculine as “conquering man” because surely that is why fetishisation of virginity persists. It is the act of invasion of claiming new land, of puncturing the earth with a flag pole. To where no man has gone before. All that bullshit.

    In Martin Amis’ The Pregnant Widow, he talks about women becoming cocks. It is supposed to be his feminist novel, a story that recounts the sexual revolution, where ‘the girls become boys’. In the novel the girls want to become boys, and to become boys means to become sexual conquerers. The act of sex, it seems even after the sexual revolution, still has the narrative of violence, of war, of conquering. The sexual revolution just meant that women could be recruited into the conquering forces. He writes about adapting to the sexual revolution:

    It was already obvious that every hard and demanding adaptation would be falling to the girls. Not to the boys – who were all like that anyway. The boys could just go on being boys. It was the girls who had to choose. And ingenuousness was probably over. Maybe, in this new age, the girls needed designs.

    The women needed designs. Designs to conquer. But conquering women are ridiculed, as is evident in the Cougar phenomenon. Phenomenon. Fad. The problem is that the whole act of love. Act of sex. Is that it is all framed culturally and historically as an act of power play. I am consumed by love. I am made loved to. I fucked you. Something submits. Maybe we need to lay off the verb for a while and just have sex or make love. Think of it as an abstract noun, as I have written earlier:

    I. It is I. And you, the other. In-between, is that void, shaped by language, the word love. Here, outside of ourselves and outside the other do we fulfill that myth of oneness. Here is the intimacy of the remote. I am absent from you. You are absent from I. Yet we are intimate. We both project ourselves onto that word love, like light and shadows projected onto the cinema screen. Here does love become some thing.

    But why do men fetishise virginity? The main character in The Pregnant Widow keeps on referring to himself as ‘the incredible shrinking man’ during the sexual revolution. Virginity is something dim-witted men still consider as something that they alone can conquer. Women don’t conquer virginity. The whole myth that women don’t rape. The dumbfounded responses to female teachers raping school students. ‘Oooh he’s a lucky guy.’ Men fetishise virginity, because they believe it something that they can take from women, that women can’t take from them. As Maguire writes in The Monthly:

    Boys are not taught to think of themselves or their virginity as something to be offered up, unwrapped and enjoyed… the virginity of men has never mattered very much outside specific religious contexts.

    Even in religious contexts, the virginity of men doesn’t really matter. A man’s virginity isn’t taken, but he can take a woman’s. As evident in this extract from Maguire’s essay:

    ‘It’s hard because everybody at our church is waiting for marriage and we pretend that we are too. Every time I hear someone say ‘true love waits’, I cringe. They talk like it’s so degrading to have sex. We had this guest speaker and she told us to imagine if on our wedding night the handprints of every man who’d ever touched us appeared on our bodies – how ashamed we’d be for our husband to see these dirty handprints all over us. Anyway, Paul said that the boys’ talk was the same, except they were told to imagine the wife’s body, to imagine their handprints on someone else’s wife.’ A 16-year-old girl quoted in ‘Like a Virgin’ by Emily Maguire, The Monthly April 2010.

    I can imagine that the religious man who lost his chastity with countless women would probably get off thinking about his hand prints all over someone else’s wife. Virginity shouldn’t matter, but it does, and because it does it continues to promote the idea of ‘power’ in sexual relationships. As Maguire writes:

    It all adds up to a society in which teenage girls are treated as delicate halfwits, so vulnerable that sex with a man causes their hot, sexy bodies to bleed and break, and their soft, squishy hearts to be forever changed.

    Sex should be about mutual pleasure. Not about conquering. Not about power. It reminds of me of a comment by Lauren Hendry-Parsons during an Insight program on the issue of consent.

    I’m finding it interesting that the first thing we’re thinking about sounds like blame who should have done what and where. When I think about sex, I think about being with somebody and it being about mutual pleasure. So if you’re in a room with a pack of guys and they’re having sex with you, at what point are they thinking this person’s having a good time with me?

    Sex is too often framed as a transaction, yet virginity is always framed as a transaction, as Tony Abbot put it, virginity is about giving. So do we need to stop talking about virginity, or stop talking about sex as transaction. Let’s lose the verb for a while. Let’s make sex an abstract noun, like love, let’s mutually participate in sex, in love, let’s stop being fucked.

    Elsewhere: Read Rachel Hills response to the Monthly essay at her blog Musings of an Inappropriate Woman


    Tags: martin amis, sex (2), the monthly (2), the pregnant widow (2), virginity   

     

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  • on April 6, 2010 Permalink | Reply

    The Pregnant Widow by Martin Amis 

    The Pregnant Widow by Martin Amis

    Life consists of waiting to fuck, fucking, and then remembering when you fucked. When you die, you think about how the fucks went. When you grow old and stare vacantly into the mirror, your ‘bald patch receding into infinity’, you say to yourself, ‘Fuck, I rememember when I used to fuck, what happened to all those fucks.’

    This is the impression of life I get from The Pregnant Widow, Martin Amis’ latest novel. The book was originally planned to be an autobiographical account of Amis’ sex life, but Amis canned that concept as he found the prospect ‘sort of disgusting, really… icky’. Instead Amis bent the truth a bit, and told us the story of Keith Nearing, a 20-year-old trying to come to grips with the sexual revolution, where girls are trying to act like boys, while boys are trying to get into the ‘cool pants’ of the girls.

    Unusually for a 20-year-old … Keith was aware that he was going to die. More than that, he knew that when the process began, the only thing that would matter was how it had gone with women. As he lies dying, the man will search his past for love and life.

    The Pregnant Widow is Martin Amis’ search through his past for ‘love and life’ and what it all meant. It can read at times like the gruff memories of an ageing man, with the ‘when I was young’ stories.

    When I was young, old people looked like old people, slowly growing into their masks of bark and walnut. People aged differently now. They looked like young people who had been around for too long. Time moved past them but they dreamed they stayed the same.

    The story itself can neatly be separated by a fuck. There is before the fuck, and after the fuck. The ‘before-the-fuck’ occurs in the confines of a castle in Italy in 1970, while the ‘after-the-fuck’ meanders slowly (and awkwardly) through a couple of decades in London and into the present day, or at least 2009.

    The ‘before-the-fuck’ period reads like an old English novel (Amis references Austen, Bronte, Lawrence, Dickens and others throughout the novel). According to Keith Nearing, who is an aspiring critic, the English novel consists of the ‘anticipation’ of waiting for the woman to fall. In Amis’ retake of the English the novel, we are waiting for the man to fall, and then during the ‘after-the-fuck’ period we see the consequences of that fall, and exactly how far he fell.

    Amis posits that the sexual revolution has left us detached from ourselves and the other. During the featured fuck of the novel, Keith Nearing describes the sensation of experience as unreal, where the colours were ‘wrong – all Day-Glo and wax museum,’ with hopeless acoustics and hopeless continuity.

    One moment the thunder felt no louder than a plastic dustbin being dragged across the courtyard; the next, it was all over you like a detonation. And the human figures – him, her? She was much better at it than he was, naturally (she played the lead); but he kept having his doubts about the quality of the acting.

    Keith watched the whole fuck take place in the mirror, and it ‘seemed to make sense only when you watched it in the mirror. Something had been separated out. He did know that.’

    Yes, it was good in the mirror, realer in the mirror. You could see what was happening very clearly. Uncluttered, unsullied by the other dimensions, which were those of depth and time.

    The revolution of the fuck sought to smooth things over. Things being depth and time. The glossy images of pornographic magazine. Still. Depth and time are relegated to the place of bookends, the before-the-fuck and the after-the-fuck.

    The future Keith, the ‘after-the-fuck’ Keith, reflects on this new condition. where ‘something’ had been separated out.

    Surface will start tending to supersede essence. As the self becomes postmodern, how things look will become at least as important as how things are. Essences are hearts, surfaces are sensations.

    Was post-modernism born then out of the fuck, out of the sexual revolution? Post-modernism is the condition of the pregnant widow, the real bastard child of the revolution has yet to be born.

    What do you do in a revolution? This. You grieve for what goes, you grant what stays, and greet what comes.

    So we shoud greet this surface, this detachment, this separation. Amis writes that in the 17th century poets lost the ability to both think and feel, he says that during the sexual revolution we lost the ability to both feel and fuck. This is what is left. The unfeeling fuck. Greet it, but grieve for what is gone, grieve for the poets who could both feel and fuck, because Amis cannot.

    Last Words to Miriam

    D.H. Lawrence (1885-1930)

    Yours is the shame and sorrow
    But the disgrace is mine;
    Your love was dark and thorough,
    Mine was the love of the sun for a flower
    He creates with his shine.

    I was diligent to explore you,
    Blossom you stalk by stalk,
    Till my fire of creation bore you
    Shrivelling down in the final dour
    Anguish–then I suffered a balk.

    I knew your pain, and it broke
    My fine, craftsman’s nerve;
    Your body quailed at my stroke,
    And my courage failed to give you the last
    Fine torture you did deserve.

    You are shapely, you are adorned,
    But opaque and dull in the flesh,
    Who, had I but pierced with the thorned
    Fire-threshing anguish, were fused and cast
    In a lovely illumined mesh.

    Like a painted window: the best
    Suffering burnt through your flesh,
    Undrossed it and left it blest
    With a quivering sweet wisdom of grace: but now
    Who shall take you afresh?

    Now who will burn you free
    From your body’s terrors and dross,
    Since the fire has failed in me?
    What man will stoop in your flesh to plough
    The shrieking cross?

    A mute, nearly beautiful thing
    Is your face, that fills me with shame
    As I see it hardening,
    Warping the perfect image of God,
    And darkening my eternal fame.


    Tags: love (5), martin amis, revolution, sex (2), the pregnant widow (2)   

    Like a Virgin by Emily Maguire | The Jackette is discussing. Toggle Comments

     

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