What Was I Thinking? (29 April)

Images used for the posts published on this date in 

2013, 2018, and 2022

 

 

Sometimes - especially those times when, like today, I can't think of anything else to write about - it's convenient to be able to look back and see what one was thinking on this date in years gone by; voyeurs, naughty nurses, female nipples, and circus elephants, apparently ... 

 

 

The Voyeur / Ooh Matron!

 

I suspect that way back on 29 April 2013, I was also stuck for new ideas, because both of these posts on Torpedo the Ark were essentially lifted from the queer little book Whores Don't Fuck between the Bed-Sheets: Fragments from an Illicit Lover's Discourse (Blind Cupid Press, 2010). 

 

I assembled this text after finishing my PhD in 2000, but it has it's origins in work that can be traced back to the the late 1980s, when I first began to collect the cards left by prostitutes in London phone boxes and was concerned with issues to do with sexuality and the subject [1]. 

 

In the first of these fragments, I examined the way in which the imperial male gaze is taken to its erotic conclusion by the voyeur: By watching others fuck, he exercises his power to probe and master bodies, assigning meaning to otherwise insignificant sexual activity.

 

An often solitary figure, the true voyeur crucially has no desire to join in: For his pleasure derives exclusively from the fact that, like a god, he has mastered the art of immaculate perception. In other words, he can look at life and love without his tongue lolling out. 

 

In the second of these fragments, meanwhile, I disussed how the figure of the nurse plays an important role within the pornographic imagination, where she is usually conceived either as a kindly angel who administers some form of erotic relief, or as the cruel representative of strict and punishing authority delighting in needles and cold latex gloves. 

 

For the British, however, reared as they have been within a Carry On culture, the figure of the nurse also plays an important role within the comic imagination and so it's virtually impossible to take the sexual stereotype seriously for long: fetishistic medical fantasies are invariably undermined by fond memories of Hattie Jacques. 

 

 

On the Politics of the Female Nipple 

 

Five years later, and I was now concerned with the female nipple as the site of socially constructed meaning and a politics of desire: 

 

For whilst the male nipple is just as sensitive to certain stimuli and can also be erotically aroused, it isn't subject to the same pornographic fascination or taboo within our culture and so can be freely displayed in a way that the female nipple cannot. 

 

However, if I was sceptical with the Free the Nipple campaign back in 2018, I'm still not on board with it here in 2024. For it seems to me that what I wrote then is still a valid reason for concern now; there's a naivety in this campaign which fails to consider the law of unintended (or unforeseen) consequences:

 

Consider, for example, what happens when famous singers, actresses and models jump on board and start posting images of their perfect breasts and super-perky nipples. It doesn't result in a great leap forward for womankind; it leads, unfortunately, to greater insecurity and a new trend in plastic surgery - so-called designer nipples. 

 

For it turns out that many women don't want to free their nipples; at least not straight away. They want first to have botox fillers injected into their areola so that their nipples might look like those of their favourite celebrities. Only when they have permanently erect-looking and symmetrical on-trend nipples do they feel confident enough to wear sheer dresses or see-through tops and make themselves subject to the world's gaze. 

 

Thus, ironically, an attempt to emancipate women, make them proud of their bodies and further equality, ends in lining the pockets of already very rich and invariably male cosmetic surgeons. Idealism, it seems, always collapses into gross materialism; for such is the evil genius of the world. 

 

 

On D. H. Lawrence and Circus Elephants 

 

There's a number of elephants lumbering throughout Torpedo the Ark, with posts on wild elephants, zoo elephants, ceremonial elephants, and, as in this post from 2022, circus elephants, as poetically imagined by D. H. Lawrence.

 

For Lawrence, it wasn't the clowns, the acrobats, or the showgirls on horseback wearing their sparkling costumes and feathers that most thrilled him when he went with Frieda to the circus in Toulon (France) in December 1928: it was the elephants. 

 

Whilst the magnificent tusker elephants in Kandy certainly left their impression on Lawrence, it was the circus elephants plodding around the ring and performing their tricks that inspired a series of short verses that he termed pansies. 

 

As verses go, they're amusing enough. But I was rather surprised that Lawrence wasn't more sympathetic to these ancient pig-tailed monsters; that he seemed to be of the view that elephants not only look old and worn out, but belong to a prehistoric world or time gone by, as if they were relics or living fossils, who have nothing more to offer than entertainment value (and ivory). 

 

And I was disappointed that he would suggest that performing beasts are having fun:

 

For whilst I'm not an expert in elephant psychology and welfare, I very much doubt they enjoy exposing their vast bellies or find it amusing to balance on a ball or drum. Nor - I imagine - do they want to plod or shuffle around a ring, or crawl on their knees in utmost caution. Does anyone really believe that the strange postures and poses they are forced to take up come naturally? Or that training doesn't involve cruelty and the brutal use of bull-hooks, whips, and electric prods? And let's not even mention the physical and emotional abuse these poor creatures are subjected to when they are not in the spotlight; confined and chained for hours on end, or transported from town to town in the back of trucks and boxcars.  

 

I would conclude now as I concluded two years ago: 

 

Even if Lawrence was writing a hundred years ago and so can't be expected to share a contemporary view of zoos and circuses in terms of so-called animal rights, it's strange that a writer who was acutely sensitive to animals in all their wild otherness or mystery - and who hated the attempt by mankind to impose its will over the natural world - should have not been angered or outraged by the indecent sight of an elephant performing on command. 

 

Notes

 

[1] I reflect on this book - its aims and necessity, etc. - in a post published on 1 October 2018: click here. 

 

 

On Philosophy and Prostitution (Reflections on An Illicit Lover's Discourse)

Everything I know I learned in the School of Vice!

I.

Reading a fragment by Cioran in which he advises the philosopher who is "disappointed with systems and superstitions" to imitate the street savvy scepticism of that "least dogmatic of creatures: the prostitute", reminded me of my own musings from long ago on this topic, collected as An Illicit Lover's Discourse ...    

II.

The aim of this short work, written many years ago and privately published (with a revised title) by Blind Cupid Press in 2010, was not to describe in detail the world of the Prostitute, but to examine the nature of the love affair that exists between her and her clients; for in this relation we discover much of the violence, obscenity, and poignancy of modern life.

The necessity for the book lay in the following consideration: the discourse of the Prostitute and her Illicit Lover was at that time openly displayed in every other central London phone box. This discourse, spoken and shared by thousands of amorous subjects, had received very little attention, scorned as it is by the languages of authority which, nevertheless, often share in its image-repertoire and sustain its stereotypes.

Essentially, I was hoping to indicate the manner in which some of the more frequently occurring myths upon which the pornographic imagination is founded are circulated by and within wider culture and reveal how legitimate discourses - of literature, fashion, and advertising, for example - frequently feed off and into the writings and images of the Prostitute.

The short fragments were written in relation to a large number of cards collected casually over a two-year period from phone boxes mostly in the Paddington and Soho areas of London, where they'd been conveniently placed by the Prostitute. To my mind, these cards constituted a populist and promiscuous medium and could be thought of as an obscene form of folk-art. Mushrooming in the fetid, urine-soaked environment of the phone box, they represented the public face of prostitution and were an affirmation of the Prostitute’s right to self-expression and self-promotion.

I made no attempt to establish any unity or development between the fragments. In fact, the only link between them was one of insistence and repetition; qualities which are of course inherent to pornography as a genre. Thus, as in the cards upon which they were based, the same words would appear over and over in the text, constructing the Prostitute not as a woman like any other, but as a symptomal subject of the pornographic imagination.

Some fragments broke off short; others contradicted something that had already been said elsewhere in the text. Ultimately, however, this was unimportant: the fragments were not meant to be taken too seriously and the success or otherwise of each depended on whether the reader was able to relate it to some aspect of their own experience and in this way be able to declare its truth.

If there was anything central to my assemblage of fragments, then, I suppose, it was the body of the Prostitute - although whether we can actually locate and reveal such is debatable. For the body of the Prostitute must not be thought of as a natural object just waiting to be discovered, but rather as a cultural construction in which is encoded a whole set of values: the shape, size, colour, age and all the ornamental attributes of the Prostitute’s body signify what we imagine illicit sexual desire and femininity to be. Thus the body of the Prostitute exposes our own fantasies.

Wishing neither to celebrate nor condemn the Prostitute, my affection for the figure as a woman who denies nothing and no one and lives beyond judgement, was fairly obvious throughout the text. Found in all places, all cultures, and all ages, the Prostitute is, paradoxically, someone who is forever at the margins of society and has abolished all history in her person. She is, in this manner, untimely.

And if this makes her philosophically interesting, then the manner in which she silently accepts the abuse of those who speak against her and call for her punishment makes her lovable in my eyes.

Notes

E. Cioran, A Short History of Decay, trans. Richard Howard, (Penguin Books, 2018). See the section 'Philosophy and Prostitution' in chapter 1: 'Directions for Decomposition', pp. 81-82.

If I'd known of this text at the time of writing, I almost certainly would have referred to it. For what Cioran writes here is very close to my own position. I agree, for example, that the prostitute offers us a mode of behaviour which philosophers would do well to consider; detached and yet open to everything; lacking moral convictions and prejudices; quick to change position, etc. And, crucially, whores don't fuck between the bed-sheets ...   

Stephen Alexander, Whores Don't Fuck between the Bed-Sheets: Fragments from an Illicit Lover's Discourse, (Blind Cupid Press, 2010). 

Capnolagnia (Fragment from an Illicit Lover's Discourse)

Jennifer Lawrence in an ad for Dior Addict Lipstick (2015)

Prior to the 20th century, smoking cigarettes was not something that respectable women did. And, even now, there's still an association within the pornographic imagination between women smoking and vice. For whilst there's nothing sexy about lung cancer, there is something erotic and aesthetically pleasing about a beautiful woman holding a cigarette and blowing smoke in your face (and I say that as a non-smoker).

I'm not sure this is due to advertising by the tobacco companies, who preferred female smokers to be perceived as modern independent women, rather than prone to immoral behaviour; a cigarette was meant to be a sign of freedom and equality, not deviance and depravity. 

Probably Hollywood is more responsible for advancing the idea that sex and smoking belong in dangerous combination and for creating the seductive figure of a femme fatale who is always looking for some poor sap to provide her with a light.

Of course, the golden age of smoking in movies belongs to the distant past. In the puritanical 21st century, studios have surrendered to pressure from anti-smoking groups and the health lobby. In 2015, for example, Disney - the studio that gave us one of the silver screen's great female smokers, Cruella De Vil - issued a total ban on smoking imagery in all its films.

Nevertheless, despite censorship and campaigns to stub out smoking once and for all - campaigns based upon overwhelming medical evidence showing a clear link between tobacco and a whole host of horrible diseases - the mythology of cigarettes and their sexiness refuses to die. 

Thus it is that, in the same year as the Disney ban, Dior launched a campaign for its new range of Addict lipstick (available in 35 shades), featuring the American actress Jennifer Lawrence as seen above. Smoking in public may no longer be socially sanctioned behaviour, but I have to admit that even the suggestion of a woman holding a cigarette is still enough to excite my fetishistic interest.       

Infrathin Erotica (Fragment from an Illicit Lover's Discourse)

 

The blissful feeling that the Illicit Lover experiences when he sits in a seat on the Tube vacated by a young woman and her body heat is transferred unto him is heightened by his knowledge that this is not merely a consequence of the second law of thermodynamics, but an example also of Duchamp's ambiguous concept of the infrathin - a concept which refers to (amongst other things):

(i) those fleeting sensory experiences whose pleasure escapes any form of rational explanation  ...

(ii) that intangible fourth dimensional state that transcends mundane existence ... 

(iii) the almost imperceptible difference that exists between two seemingly identical objects ...  

Later, he notices how the perfume of the Prostitute marries with the scent of her flesh into an intoxicating cassolette. And he delights also in the way that her cigarette smoke smells of the mouth that exhales it (the same mouth that fellates him with such consummate ease).