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Tagged: the monthly 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 (2), sex (2), the monthly, the pregnant widow (2), virginity   

     

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  • on June 18, 2009 Permalink | Reply

    Leigh Sales on doubt 

    There is certainty. Then there is doubt. There is opinion. Then there is objective truth. There is faith. Then there is trust.

    It is a strange state of affairs when we have a journalist, such as Leigh Sales, telling us all about doubt. Journalists might practice doubt, but they certainly don’t produce it, package it, and push it to the public. Journalists peddle certainty, not doubt. This happened. That happened. This person’s an expert. That person’s a victim. Never does a ‘maybe’ or a ‘might’ make the front page headlines. But maybe that’s just a matter of news style and form. Maybe that’s why Leigh Sales wrote an essay on the subject rather than put together a Lateline news bulletin. A news report that could have been followed by an interview with an expert on doubt. An expert that would probably be Leigh Sales now, she has, after-all, produced a book on the subject, albeit a very little book.

    Leigh Sales on doubt

    For Leigh Sales, doubt is instinctive, a natural state of being. She is uneasy about those who don’t doubt. According to her, people like Sarah Palin, with their “unwavering certainty in themselves and their beliefs and opinions,” suffer from a form of “moral vanity.” But Sales isn’t certain about this. If Sales was certain, she would fall into league with the rest of Australia’s high-profile commentators. That obnoxious bunch of people “who act – in public at least – as if they have never experienced a second of self-doubt or entertained the thought that they might be wrong.” So Sales might be wrong about doubt, but that doesn’t mean we should disregard her 10,000 word essay. It is after-all an essay. On doubt. Which is what the essay form is all about. Doubt.

    According to Sales, most contemporary commentary stinks of certainty. Yet she has a nostalgia for journalists such as Walter Cronkite, Edward R Murrow and Walter Lippman who “were the voices of reason and cool authority”. Surely a writer with a voice of authority would also stink of certainty. But possibly the difference here is a matter of hot authority versus cool authority. Sales infers that the hot authority of the contemporary commentator is achieved by shouting “more inflammatory invective louder than anybody else”.

    Cool authority is probably accomplished by following the sage advice of 12th century French philosopher Pierre Abelard, a man that would be the doubt expert sitting opposite Sales in a Lateline interview, that is of course if he wasn’t long dead. The philosophy of Abelard informs much of Sales’ ideas ‘on doubt,’ she even chooses to open the book with a quote from him:

    The beginning of wisdom is found in doubting; by doubting we come to the question, and by seeking we may come upon the truth.

    Sales shares the view of the former face of Meet the Press, Tim Russert, who says that he tries “very, very hard not to tell people, ‘This is what I believe’, or ‘This is good’, or ‘This is bad’. But rather, ‘This is what I’m learning in my reporting’.” So cool authority comes from learning, not necessarily from what you have learnt, but rather from acknowledging that you are still learning. Sales writes that the “application of a doubtful mind is the best way to wisdom and insight” and that doubt is “is enshrined in journalism‘s foundations – objectivity and balance”.

    But objectivity is a tricky concept, especially for the doubtful mind, and Sales acknowledges this. Sales writes that “no reporter can be perfectly objective – every day every story involves subjective judgments – but if we give up striving for objectivity, if we stop examining ourselves for closed mindedness, then all is lost”. Striving, learning, seeking, and most significantly trying or trialling, these are the tenets of a doubtful mind, but these are also the functions of the essay form.

    The word essay was born from the French essayer, to try or to attempt. Sales is in a sense arguing for the essay form. The doubtful mind attempts to understand, or to know. But the doubtful mind never knows, the doubtful mind always has another question to ask, and the doubtful mind is always ready and willing to hear another’s answer.

    Sales mentions the recent dispute between Robert Manne and Gerard Henderson. Manne had written an article for the Monthly about radical journalist Wilfred Burchett and Gerard Henderson disagreed with some of what was written. Henderson and Manne debated the topic via email, and then decided to publish all of their email correspondence through their respective journals, the Sydney Institute Quarterly and the Monthly. Sales couldn’t comprehend how each could have such an immovable sense of rightness:

    I can’t understand how each could have felt so certain of his own rightness and of the value of his own opinion that he was prepared to move so many pages of an argument from the private inbox to the public domain.

    A true essay expresses no illusion of rightness. An essay is an exploration, an attempt. An essay doubts. An essay writer doubts themselves. Sales writes that this is the problem of contemporary commentary. Not enough doubters. I would argue that the problem is that there are not enough essayists. Essayists who write that they lived, they experienced this and they think that. They think. They consider. But most of all: they try. This is the beauty of Melbourne University Press’ Little Books on Big Themes, of which ‘On doubt’ is a part of. Writers are invited to choose a topic, and write a 10,000 word essay on it. They try the topic out. Sales chose doubt. Her second choice was embarrassment. The Little Books bring essays onto the bookshelves and out of the journals. The independent publication of each essay, in its own little book, also seems to withdraw the writer from any particular scene or sphere of influence. There are no battle lines drawn, no binaries, and the culture wars seem to be far off in some distant land.

    The Monthly, under Sally Warhaft, was one of the few regular publications that was beginning to foster an essay culture in Australia, but that too, under the influence of Robert Manne, began to regress into the kind of commentary that Sales describes as “more concerned with point-scoring than with educating audiences,” a commentary that plays to its ‘own cliques, neglecting the wider public’. The Monthly’s downfall commenced when Manne stonewalled a decision by Warhaft to publish an article by Peter Costello.

    According to Gideon Haigh, “Manne stated weightily that The Monthly was a ‘social democrat’ magazine,” and that Warhaft was wrong in believing The Monthly to be independent of any cultural or political bias. It is probably naive to expect any publication to be completely independent in the same way it is naive to expect any journalist to be completely objective, but the Monthly under Warhaft strived to be such a publication.

    The Monthly doubted itself, it never seemed to be sure of what it was; was it a political journal, was it a cultural magazine, was it a literary review? The Monthly experimented and meandered. It was a publication that always seemed to be attempting to be something, and because of this, it was a publication of doubt. It could have been the journal of essays this country needs, a journal that documents people trying to work things out, a journal where we could read about what people are learning, not what people know. Instead it’s a social democrat magazine.

    After reading ‘On doubt,’ I have become a certainty sceptic and a doubt seeker. Sales writes of the culture of certainty in the Bush administration, where Bush told his advisors ‘I don’t need people around me who are not steady… And if there’s a kind of hand-wringing attitude going on when time’s are tough, I don’t like it’. People want certainty in their leaders. We never hear the Prime Minister say “It might work, it might not work, but goddamn-it, we’re going to bloody try”. Rudd can’t even admit that the treasury projections are only a possibility, and he doesn’t want to doubt his treasury, they’re experts, and he is a man of faith. In a culture of getting-things-done, doubters aren’t doers, but as Sales writes doubts “prevent us from acting recklessly without regards for consequences.” The world would probably be in a little less trouble if we had a few more doubters, but what do I know, I’m just trying things out.


    Tags: book review (3), certainty, doubt, essay, gerard henderson, gideon haigh, journalism, leigh sales, Pierre Abelard, robert manne, sally warhaft, the monthly   

     

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