LITMIR.BIZ

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products, has distanced and sanitized these primitive mysteries, just as it has done with death, which used to be a grueling at-home affair. An awful lot is being swept under the rug: the awe and terror that are our lot.

      The wound-like rawness of female genitals is a symbol of the unredeemability of chthonian nature. In aesthetic terms, female genitals are lurid in color, vagrant in contour, and architecturally incoherent. Male genitals, on the other hand, though they risk ludicrousness by their rubbery indecisiveness (a Sylvia Plath heroine memorably thinks of “turkey neck and turkey gizzards”), have a rational mathematical design, a syntax. This is no absolute virtue, however, since it may tend to confirm the male in his abundant misperceptions of reality. Aesthetics stop where sex begins. G. Wilson Knight declares, “All physical love is, in its way, a victory over physical secrecies and physical repulsions.”⁴ Sex is sloppy and untidy, a return to what Freud calls the infant’s polymorphous perversity, a zestful rolling around in every body fluid. St. Augustine says, “We are born between feces and urine.” This misogynistic view of the infant’s sin-stained emergence from the birth canal is close to the chthonian truth. But excretion, through which nature for once acts upon the sexes equally, can be saved by comedy, as we see in Aristophanes, Rabelais, Pope, and Joyce. Excretion has found a place in high culture. Menstruation and childbirth are too barbaric for comedy. Their ugliness has produced the giant displacement of women’s historical status as sex object, whose beauty is endlessly discussed and modified. Woman’s beauty is a compromise with her dangerous archetypal allure. It gives the eye the comforting illusion of intellectual control over nature.

      My explanation for the male domination of art, science, and politics, an indisputable fact of history, is based on an analogy between sexual physiology and aesthetics. I will argue that all cultural achievement is a projection, a swerve into Apollonian transcendence, and that men are anatomically destined to be projectors. But as with Oedipus, destiny may be a curse.

      How we know the world and how it knows us are underlain by shadow patterns of sexual biography and sexual geography. What breaks into consciousness is shaped in advance by the daemonism of the senses. Mind is a captive of the body. Perfect objectivity does not exist. Every thought bears some emotional burden. Had we time or energy to pursue it, each random choice, from the color of a toothbrush to a decision over a menu, could be made to yield its secret meaning in the inner drama of our lives. But in exhaustion, we shut out this psychic supersaturation. The realm of number, the crystalline mathematic of Apollonian purity, was invented early on by Western man as a refuge from the soggy emotionalism and bristling disorder of woman and nature. Women who excel in mathematics do so in a system devised by men for the mastery of nature. Number is the most imposing and least creaturely of pacifiers, man’s yearning hope for objectivity. It is to number that he—and now she—withdraws to escape from the chthonian mire of love, hate, and family romance.

      Even now, it is usually men rather than women who claim logic’s superiority to emotion. This they comically tend to do at moments of maximum emotional chaos, which they may have incited and are helpless to stem. Male artists and actors have a cultural function in keeping the line of emotion open from the female to male realms. Every man harbors an inner female territory ruled by his mother, from whom he can never entirely break free. Since Romanticism, art and the study of art have become vehicles for exploring the West’s repressed emotional life, though one would never know it from half the deadening scholarship that has sprung up around them. Poetry is the connecting link between body and mind. Every idea in poetry is grounded in emotion. Every word is a palpation of the body. The multiplicity of interpretation surrounding a poem mirrors the stormy uncontrollability of emotion, where nature works her will. Emotion is chaos. Every benign emotion has a flip side of negativity. Thus the flight from emotion to number is another crucial strategy of the Apollonian West in its long struggle with Dionysus.

      Emotion is passion, a continuum of eroticism and aggression. Love and hate are not opposites: there is only more passion and less passion, a difference of quantity and not of kind. To live in love and peace is one of the outstanding contradictions that Christianity has imposed on its followers, an ideal impossible and unnatural. Since Romanticism, artists and intellectuals have complained about the church’s sex rules, but these are just one small part of the Christian war with pagan nature. Only a saint could sustain the Christian code of love. And saints are ruthless in their exclusions: they must shut out an enormous amount of reality, the reality of sexual personae and the reality of nature. Love for all means coldness to something or someone. Even Jesus, let us recall, was unnecessarily rude to his mother at Cana.

      The chthonian superflux of emotion is a male problem. A man must do battle with that enormity, which resides in woman and nature. He can attain selfhood only by beating back the daemonic cloud that would swallow him up: mother-love, which we may just as well call mother-hate. Mother-love, mother-hate, for her or from her, one huge conglomerate of natural power. Political equality for women will make very little difference in this emotional turmoil that is going on above and below politics, outside the scheme of social life. Not until all babies are born from glass jars will the combat cease between mother and son. But in a totalitarian future that has removed procreation from woman’s hands, there will also be no affect and no art. Men will be machines, without pain but also without pleasure. Imagination has a price, which we are paying every day. There is no escape from the biologic chains that bind us.

      What has nature given man to defend himself against woman? Here we come to the source of man’s cultural achievements, which follow so directly from his singular anatomy. Our lives as physical beings give rise to basic metaphors of apprehension, which vary greatly between the sexes. Here there can be no equality. Man is sexually compartmentalized. Genitally, he is condemned to a perpetual pattern of linearity, focus, aim, directedness. He must learn to aim. Without aim, urination and ejaculation end in infantile soiling of self or surroundings. Woman’s eroticism is diffused throughout her body. Her desire for foreplay remains a notorious area of miscommunication between the sexes. Man’s genital concentration is a reduction but also an intensification. He is a victim of unruly ups and downs. Male sexuality is inherently manic-depressive. Estrogen tranquilizes, but androgen agitates. Men are in a constant state of sexual anxiety, living on the pins and needles of their hormones. In sex as in life they are driven beyond—beyond the self, beyond the body. Even in the womb this rule applies. Every fetus becomes female unless it is steeped in male hormone, produced by a signal from the testes. Before birth, therefore, a male is already beyond the female. But to be beyond is to be exiled from the center of life. Men know they are sexual exiles. They wander the earth seeking satisfaction, craving and despising, never content. There is nothing in that anguished motion for women to envy.

      The male genital metaphor is concentration and projection. Nature gives concentration to man to help him overcome his fear. Man approaches woman in bursts of spasmodic concentration. This gives him the delusion of temporary control of the archetypal mysteries that brought him forth. It gives him the courage to return. Sex is metaphysical for men, as it is not for women. Women have no problem to solve by sex. Physically and psychologically, they are serenely self-contained. They may choose to achieve, but they do not need it. They are not thrust into the beyond by their own fractious bodies. But men are out of balance. They must quest, pursue, court, or seize. Pigeons on the grass, alas: in such parkside rituals we may savor the comic pathos of sex. How often one spots a male pigeon making desperate, self-inflating sallies toward the female, as again and again she turns her back on him and nonchalantly marches away. But by concentration and insistence he may carry the day. Nature has blessed him with obliviousness to his own absurdity. His purposiveness is both a gift and a burden. In human beings, sexual concentration is the male’s instrument for gathering together and forcibly fixing the dangerous chthonian superflux of emotion and energy that I identify with woman and nature. In sex, man is driven into the very abyss which he flees. He makes a voyage to non-being and back.

      Through concentration to projection into the beyond. The male projection of erection and ejaculation is the paradigm for all cultural projection and conceptualization—from art and philosophy to fantasy, hallucination, and obsession. Women have conceptualized less in history not because men have kept them from doing so but because women do not need to conceptualize in order to exist. I leave open the question of brain differences. Conceptualization and sexual mania may issue

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