LITMIR.BIZ

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ways, among which is the barbarity of rape.

      The latent metaphors of the body guarantee the survival of rape, which is a development in degree of intensity alone of the basic movements of sex. A girl’s loss of virginity is always in some sense a violation of sanctity, an invasion of her integrity and identity. Defloration is destruction. But nature creates by violence and destruction. The commonest violence in the world is childbirth, with its appalling pain and gore. Nature gives males infusions of hormones for dominance in order to hurl them against the paralyzing mystery of woman, from whom they would otherwise shrink. Her power as mistress of birth is already too extreme. Lust and aggression are fused in male hormones. Anyone who doubts this has probably never spent much time around horses. Stallions are so dangerous they must be caged in barred stalls; once gelded, they are docile enough to serve as children’s mounts. The hormonal disparity in humans is not so gross, but it is grosser than Rousseauists like to think. The more testosterone, the more elevated the libido. The more dominant the male, the more frequent his contributions to the genetic pool. Even on the microscopic level, male fertility is a function not only of number of sperm but of their motility, that is, their restless movement, which increases the chance of conception. Sperm are miniature assault troops, and the ovum is a solitary citadel that must be breached. Weak or passive sperm just sit there like dead ducks. Nature rewards energy and aggression.

      Profanation and violation are part of the perversity of sex, which never will conform to liberal theories of benevolence. Every model of morally or politically correct sexual behavior will be subverted, by nature’s daemonic law. Every hour of every day, some horror is being committed somewhere. Feminism, arguing from the milder woman’s view, completely misses the blood-lust in rape, the joy of violation and destruction. An aesthetics and erotics of profanation—evil for the sake of evil, the sharpening of the senses by cruelty and torture—have been documented in Sade, Baudelaire, and Huysmans. Women may be less prone to such fantasies because they physically lack the equipment for sexual violence. They do not know the temptation of forcibly invading the sanctuary of another body.

      Our knowledge of these fantasies is expanded by pornography, which is why pornography should be tolerated, though its public display may reasonably be restricted. The imagination cannot and must not be policed. Pornography shows us nature’s daemonic heart, those eternal forces at work beneath and beyond social convention. Pornography cannot be separated from art; the two interpenetrate each other, far more than humanistic criticism has admitted. Geoffrey Hartman rightly says, “Great art is always flanked by its dark sisters, blasphemy and pornography.”⁶ Hamlet itself, the cardinal Western work, is full of lewdness. Criminals through history, from Nero and Caligula to Gilles de Rais and the Nazi commandants, have never needed pornography to stimulate their exquisite, gruesome inventiveness. The diabolic human mind is quite enough.

      1. The Anxiety of Influence: A Theory of Poetry (New York, 1973), 94.

      2. Sexual Deviation (Harmondsworth, Middlesex, 1964), 63.

      3. “The Analytic Conception of the Psycho-Neuroses” (1908), in Further Contributions to the Theory and Technique of Psycho-analysis, ed. John Rickman, trans. Jane Isabel Suttie et al. (New York, 1926), 25.

      4. Lord Byron’s Marriage (London, 1957), 261.

      5. “On the Genesis of the Castration Complex in Women,” International Journal of Psychoanalysis 5 (1924): 53.

      6. Beyond Formalism: Literary Essays 1958–1970 (New Haven, 1970), 23.

      2

       THE VENUS OF WILLENDORF

      Our first exhibit from Western art is the so-called Venus of Willendorf, a tiny statuette (height 4⅜") from the Old Stone Age found in Austria. In it we see all the strange laws of primitive earth-cult. Woman is idol and object, goddess and prisoner. She is buried in the bulging mass of her own fecund body.

      The Venus of Willendorf is comically named, for she is unbeautiful by every standard. But beauty has not yet emerged as a criterion for art. In the Old Stone Age, art is magic, a ritual re-creation of what-is-desired. Cave paintings were not meant to be seen. Their beauty for us is incidental. Bison and reindeer crowd the walls, following rock ridges and grooves. Art was invocation, a summoning: mother nature, let herds return that man might eat. Caves were the bowels of the goddess, and art was a sexual scribbling, an impregnation. It had rhythm and vitality but no visual status. The Venus of Willendorf, a cult-image half-molded from a rough stone, is unbeautiful because art has not yet found its relation to the eye. Her fat is a symbol of abundance in an age of famine. She is the too-muchness of nature, which man longs to direct to his salvation.

      [Sexual Personae, 1990, Chapter 2, “The Birth of the Western Eye”]

      Venus of Willendorf carries her cave with her. She is blind, masked. Her ropes of corn-row hair look forward to the invention of agriculture. She has a furrowed brow. Her facelessness is the impersonality of primitive sex and religion. There is no psychology or identity yet, because there is no society, no cohesion. Men cower and scatter at the blast of the elements. Venus of Willendorf is eyeless because nature can be seen but not known. She is remote even as she kills and creates. The statuette, so overflowing and protuberant, is ritually invisible. She stifles the eye. She is the cloud of archaic night.

      Venus of Willendorf, ca. 30,000 B.C. (Bridgeman-Giraudon/Art Resource, N.Y.)

      Bulging, bulbous, bubbling. Venus of Willendorf, bent over her own belly, tends the hot pot of nature. She is eternally pregnant. She broods, in all senses. She is hen, nest, egg. The Latin mater and materia, mother and matter, are etymologically connected. Venus of Willendorf is the nature-mother as primeval muck, oozing into infant forms. She is female but not feminine. She is turgid with primal force, swollen with great expectations. She has no feet. Placed on end, she would topple over. Woman is immobile, weighed down by her inflated mounds of breast, belly, and buttock. Like Venus de Milo, Venus of Willendorf has no arms. They are flat flippers scratched on the stone, unevolved, useless. She has no thumbs and therefore no tools. Unlike man, she can neither roam nor build. She is a mountain that can be climbed but can never move.

      Venus is a solipsist, navel-gazing. Femaleness is self-referential and self-replicating. Delphi was called the omphalos or navel of the world, marked by a shapeless holy stone. A black meteorite, a primitive image of Cybele, was brought to Rome from Phrygia to save the city in the last Punic War. The Palladium, a Zeus-sent image of Athena upon which Troy’s fate depended, was probably such a meteorite. Today, the Kaaba, the inner sanctuary of the Great Mosque of Mecca, enshrines a meteorite, the Black Stone, as the holiest relic of Islam. The Venus of Willendorf is a kind of meteorite, a quirky found object, lumpish and mystic. The Delphic omphalos-stone was cone, womb, and beehive. The braided cap of Venus of Willendorf is hive-like—prefiguring the provocative beehives of French court wigs and shellacked swinging-Sixties towers. Venus buzzes to herself, queen for all days, woman for all seasons. She sleeps. She is hibernation and harvest, the turning wheel of the year. The egg-shaped Venus thinks in circles. Mind under matter.

      Sex, I said, is a descent to the nether realms, a daily sinking from sky-cult to earth-cult. It is abdominal, abominable, daemonic. Venus of Willendorf is going down, disappearing into her own labyrinth. She is a tuber, rooted from a pocket of earth. Kenneth Clark divides female nudes into the Vegetable and the Crystalline Aphrodite. Inert and self-communing, Venus of Willendorf represents the obstacle of sex and vegetable nature. It is at her shrine that we worship in oral sex. In the bowels of the earth mother, we feel but do not think or see. Venus dwindles to a double pubic delta, knees clamped and cramped in the sharp pelvic angle of the wide-hipped child-bearing woman, which prevents her from running with ease. Female jiggle is the duck-like waddle of our wallowing Willendorf, who swims in the underground river of liquid nature. Sex is probings, plumbing, secretions, gushings. Venus is drowsing and dowsing, hearkening to the stirring in her sac of waters.

      Is the Venus of Willendorf just to female experience?

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