LETTERS FROM A WAR ZONE Notes 1. Giacomo Casanova, History of My Life, trans. Willard R. Trask (New York: Harcourt Brace Jovanovich, 1971), Vol. 11, p. 15. 2. Jean Cox Penn and Jill Barber, "The New Draculas Become the Kinkiest Sex Symbols Ever," Us, Vol. Ill, No. 7, p. 27. 3. Hannah Arendt, Men in Dark Times (New York: Harcourt, Brace & World, Inc., 1968), p. 9. 4. Maria Isabel Barreno, Maria Teresa Horta, and Maria Velhoda Costa, The Three Marias: New Portuguese Letters, trans. Helen R, Lane {New York: Bantam Books, 1976), p 275. 18 Pornography and Grief 1978 Pornography and Grief was written as a speech for a Take Back the Night March that was part of the first feminist conference on pornography in the United States in San Francisco, November 1978. Organized by the now defunct Women Against Violence in Pornography and Media (WAVPM), over 5000 women from thirty states participated and we shut down San Francisco's pornography district for one night. The ground was taken but not held. I searched for something to say here today quite different from what I am going to say. I wanted to come here militant and proud and angry as hell. But more and more, I find that anger is a pale shadow next to the grief I feel. If a woman has any sense of her own intrinsic worth, seeing pornography in small bits and pieces can bring her to a useful rage. Studying pornography in quantity and depth, as I have been doing for more months than I care to remember, will turn that same woman into a mourner. The pornography itself is vile. To characterize it any other way would be to lie. No plague of male intellectualisms and sophistries can change or hide that simple fact. Georges Bataiile, a philosopher of pornography (which he calls "eroticism"), puts it clearly: "In essence, the domain of eroticism is the domain of violence, of violation."1 Mr Bataiile, unlike so many of his peers, is good enough to make explicit that the whole idea is to violate the female. Using the language of grand euphemism so popular with male intellectuals who write on the subject of pornography, Bataiile informs us that "[t]he passive, female side is essentially the one that is dissolved as a separate entity."2 To be "dissolved"—by any means necessary—is the role of 19 LETTERS FROM A WAR ZONE women in pornography. The great male scientists and philosophers of sexuality, including Kinsey, Havelock Ellis, Wilhelm Reich, and Freud, uphold this view of our purpose and destiny. The great male writers use language more or less beautifully to create us in self-serving fragments, half-"dissolved" as it were, and then proceed to "dissolve" us all the way, by any means necessary. The biographers of the great male artists celebrate the real life atrocities those men have committed against us, as if those atrocities are central to the making of art. And in history, as men have lived it, they have "dissolved" us—by any means necessary. The slicing of our skins and the rattling of our bones are the energizing sources of male-defined art and science, as they are the essential content of pornography. The visceral experience of a hatred of women that literally knows no bounds has put me beyond anger and beyond tears; I can only speak to you from grief. We all expected the world to be different than it is, didn't we? No matter what material or emotional deprivation we have experienced as chiidren or as adults, no matter what we understood from history or from the testimonies of living persons about how people suffer and why, we all believed, however privately, in human possibility. Some of us believed in art, or literature, or music, or religion, or revolution, or in children, or in the redeeming potential of eroticism or affection. No matter what we knew of cruelty, we all believed in kindness; and no matter what we knew of hatred, we all believed in friendship or love. Not one of us could have imagined or would have believed the simple facts of life as we have come to know them: the rapacity of male greed for dominance; the malignancy of male supremacy; the virulent contempt for women that is the very foundation of the culture in which we live. The Women's Movement has forced us all to face the facts, but no matter how brave and ciear-sighted we are, no matter how far we are willing to go or are forced to go in viewing reality without romance or illusion, we are simply overwhelmed by the male hatred of our kind, its morbidity, its compulsiveness, its obsessiveness, its celebration of itself in every detail of life and culture. We think that we have grasped this hatred once and for all, seen it in its spectacular cruelty, learned its every secret, got used to it or risen above it or organized against it so as to be protected from its worst excesses. We think that we know all there is to know about 20 Pornography and Grief what men do to women, even if we cannot imagine why they do what they do, when something happens that simply drives us mad, out of our minds, so that we are again imprisoned like caged animals in the numbing reality of male control, male revenge against no one knows what, male hatred of our very being. One can know everything and still not imagine snuff rums. One can know everything and still be shocked and terrified when a man who attempted to make snuff films is released, despite the testimony of the women undercover agents whom he wanted to torture, murder, and, of course, film. One can know everything and still be stunned and paralyzed when one meets a child who is being continuously raped by her father or some close male relative. One can know everything and still be reduced to sputtering like an idiot when a woman is prosecuted for attempting to abort herself with knitting needles, or when a woman is imprisoned for killing a man who has raped or tortured her, or is raping or torturing her. One can know everything and still want to kill and be dead simultaneously when one sees a celebratory picture of a woman being ground up in a meat grinder on the cover of a national magazine, no matter how putrid the magazine. One can know everything and still somewhere inside refuse to believe that the personal, social, culturally sanctioned violence against women is unlimited, unpredictable, pervasive, constant, ruthless, and happily and unselfconsciously sadistic. One can know everything and still be unable to accept the fact that sex and murder are fused in the male consciousness, so that the one without the imminent possibility of the other is unthinkable and impossible. One can know everything and still, at bottom, refuse to accept that the annihilation of women is the source of meaning and identity for men. One can know everything and still want desperately to know nothing because to face what we know is to question whether life is worth anything at all. The pornographers, modern and ancient, visual and literary, vulgar and aristocratic, put forth one consistent proposition: erotic pleasure for men is derived from and predicated on the savage destruction of women. As the world's most honored pornographer, the Marquis de Sade (called by male scholars "The Divine Marquis"), wrote in one of his more restrained and civil moments: "There's not a woman on earth who'd ever have had cause to complain of my services if I'd been 21 LETTERS FROM A WAR ZONE sure of being able to kill her afterward."3 The eroticization of murder is the essence of pornography, as it is the essence or life. The torturer may be a policeman tearing the fingernails off a victim in a prison cell or a so-called normal man engaged in the project of attempting to fuck a woman to death. The fact is that the process of killing—and both rape and battery are steps in that process—is the prime sexual act for men in reality and/or in imagination. Women as a class must remain in bondage, subject to the sexual will of men, because the knowledge of an imperial right to kill, whether exercised to the fullest extent or just part way, is necessary to fuel sexual appetite and behavior. Without women as potential or actual victims, men are, in the current sanitized jargon, "sexually dysfunctional." This same motif also operates among male homosexuals, where force and/or convention designate some males as female or feminized. The plethora of leather and chains among male homosexuals, and the newly fashionable defenses of organized rings of boy prostitution by supposedly radical gay men, are testimony to the fixedness of the male compulsion to dominate and destroy that is the source of sexual pleasure for men. The most terrible thing about pornography is that it tells male truth. The most insidious thing about pornography is that it tells male truth as if it were universal truth. Those depictions of women in chains being tortured are supposed to represent our deepest erotic aspirations. And some of us believe it, don't we? The most important thing about pornography is that the values in it are the common values of men. This is the crucial fact that both the male Right and the male Left, in their differing but mutually reinforcing ways, want to keep hidden from women. The male Right wants to hide the pornography, and the male Left wants to hide its meaning. Both want access to pornography so that men can be encouraged and energized by it. The Right wants secret access; the Left wants public access. But whether we see the pornography or not, the values expressed in it are the values expressed in the acts of rape and wife-beating, in the legal system, in religion, in art and in literature, in systematic economic discrimination against women, in the moribund academies, and by the good and wise and kind and enlightened in all of these fields and areas. Pornography is not a genre of expression separate and different from the rest of life; it is a genre of expression fully in 22 Pornography and Grief harmony with any culture in which it flourishes. This is so whether it is legal or illegal. And, in either case, pornography functions to perpetuate male supremacy and crimes of violence against women because it conditions, trains, educates, and inspires men to despise women, to use women, to hurt women. Pornography exists because men despise women, and men despise women in part because pornography exists. For myself, pornography has defeated me in a way that, at least so far, life has not. Whatever struggles and difficulties I have had in my life, I have always wanted to find a way to go on even if I did not know how, to live through one more day, to learn one more thing, to take one more walk, to read one more book, to write one more paragraph, to see one more friend, to love one more time. When I read or see pornography, I want everything to stop. Why, I ask, why are they so damned cruel and so damned proud of it? Sometimes, a detail drives me mad. There is a series of photographs: a woman slicing her breasts with a knife, smearing her own blood on her own body, sticking a sword up her vagina. Andské is smiling. And it is the smile that drives me mad. There is a record album plastered all over a huge display window. The picture on the album is a profile view of a woman's thighs. Her crotch is suggested because we know it is there; it is not shown. The title of the album is "Plug Me to Death." And it is the use of the first person that drives me mad. "Plug Me to Death." The arrogance. The cold-blooded arrogance. And how can it go on like this, senseless, entirely brutal, inane, day after day and year after year, these images and ideas and values pouring out, packaged, bought and sold, promoted, enduring on and on, and no one stops it, and our darling boy intellectuals defend it, and elegant radical lawyers argue for it, and men of every sort cannot and will not live without it. And life, which means everything to me, becomes meaningless, because these celebrations of cruelty destroy my very capacity to feel and to care and to hope. J hate the pompgraphers most of all for depriving me of hope. The psychic violence in pornography is unbearable in and of itself. It acts on one like a bludgeon until one's sensibility is pummelled flat and one's heart goes dead. One becomes numb. Everything stops, and one looks at the pages or pictures and knows: this is what men want, and this is what men have had, and this is what men will not give up. LETTERS FROM A WAR ZONE As lesbian-feminist Karla Jay pointed out in an article called "Pot, Porn, and the Politics of Pleasure," men will give up grapes and lettuce and orange juice and Portuguese wine and tuna fish, but men will not give up pornography. And yes, one wants to take it from them, to burn it, to rip it up, bomb it, ra2e their theaters and publishing houses to the ground. One can be part of a revolutionary movement or one can mourn. Perhaps I have found the real source of my grief: we have not yet become a revolutionary movement. Tonight we are going to walk together, all of us, to take back the night, as women have in cities all over the world, because in every sense none of us can waik alone. Every woman walking alone is a target. Every woman walking alone is hunted, harassed, time after time harmed by psychic or physical violence. Only by walking together can we walk at all with any sense of safety, dignity, or freedom. Tonight, walking together, we will proclaim to the rapists and pornographers and woman-batterers that their days are numbered and our time has come. And tomorrow, what will we do tomorrow? Because, sisters, the truth is that we have to take back the night every night, or the night will never be ours. And once we have conquered the dark, we have to reach for the light, to take the day and make it ours. This is our choice, and this is our necessity. It is a revolutionary choice, and it is a revolutionary necessity. For us, the two are indivisible, as we must be indivisible in our fight for freedom. Many of us have walked many miles already—brave, hard miles—but we have not gone far enough. Tonight, with every breath and every step, we must commit ourselves to going the distance: to transforming this earth on which we walk from prison and tomb into our rightful and joyous home. This we must do and this we will do, for our own sakes and for the sake of every woman who has ever lived. Notes 1. Georges Bataille, Death and Sensuality (New York: Ballantine Books, Inc., 1969), p. 10. 2. Bataille, Death and Sensuality, p. 11. 3. Donatien-Alphonse-Francois de Sade, Juliette, trans, Austryn Wainhouse (New York: Grove Press, Inc., 1976), p. 404. 24 II WORDS Live as domestic a life as possible. Have your child with you all the time----Lie down an hour after each meal. Have but two hours' intellectual life a day. And never touch pen, brush or pencil as long as you live. Dr S, Weir Mitchell's prescription for Charlotte Perkins Gilman