By Susan Griffin
From an Amazon overview: "Griffin is a grasp with phrases. much less prose-like than her renowned vintage girl and Nature, Pornography and Silence is one other try and unearth the pathological brain that divides women and men, tradition and nature. i wouldn't suggest this e-book for these first exploring the difficulty of (anti-)pornography (look as an alternative for Gail Dines's "Pornland" or Robert Jensen's "Getting Off"). these good learn in or conversant in the final centuries of Western literature and paintings, notwithstanding, will locate this e-book stimulating. Griffin makes use of the six lives of Franz Marc, Kate Chopin, the Marquis de Sade, Marilyn Monroe, Lawrence Singleton, and Anne Frank to navigate via 200 years of silence and violence in Western tradition. additionally attention-grabbing is her problem to the common declare that pornographers are leaders within the liberation of the physique and sexuality from Victorian-like repression. She makes a powerful argument that, whereas it seems that antithetical, the complete demolition of borders present in pornography and the suppression of human sexuality came upon inherited from the spiritual culture of the West percentage an invisible alliance.
"These pages will argue that pornography is an expression no longer of human erotic feeling and hope, and never of a love of the lifetime of the physique, yet of an apprehension of physically wisdom, and a wish to silence eros." (p. 1)"
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Extra resources for Pornography and silence: Culture's revenge against nature
H e would let his body speak; he would let the knowledge of the body in himself live; and yet this is also precisely the knowledge of which he is terrified. And so he tries to resolve this conflict by depicting the body without a spirit. H e tries to separate culture from nature. H e would have what is natural in him b e mute. But what is natural speaks in him. Therefore, he gives " w o m a n " a voice in pornography, but h e gives her this voice only in order to silence her. And finally, most ironically, the pornographer, afraid of the implications of reality, would abandon reality and replace this with cultural images.
But this is a part of himself which has a will to live, a will to expression, to being. This part of himself returns, and threatens to destroy his illusion of himself. If he is to entertain the existence of desire at all in his mind, desire must c o m e to him in a form that he can control. Yet desire always transforms us. W e are enchanted by beauty. W e are indeed overwhelmed by feeling. T h e mind'a attempt to silence the soul must have another effect than silence. Part of the pornographer's mind r e m e m b e r s what the pornographic mind would forget.
He puts the body of a woman on a pack of playing cards, for example. nd thus he can handle her with ease. He can put her in his pocket. \nd he is the dealer. In his hands, fate is decided. H e has reversed natural order. H e reprints millions of copies of photographs of women's bodies and distributes these all over the world. And he exerts his power in other ways too. In a centerfold depicting the bodies of nude women which he calls " B e a v e r H u n t , " he displays these photographs on pink tiles, and places a man's foot next to them, so that the foot on the page looks like the foot of the man who looks at the pictures, and the toe of this foot alone is larger than each woman's whole body, but as if this display of power through size is not enough, he humiliates these images further by surrounding them with cigarette ash and stamped-out cigarettes.