LITMIR.BIZ

      INTRODUCTION

      History moves in cycles. The plague of political correctness and assaults on free speech that erupted in the 1980s and were beaten back in the 1990s have returned with a vengeance. In the United States, the universities as well as the mainstream media are currently patrolled by well-meaning but ruthless thought police, as dogmatic in their views as agents of the Spanish Inquisition. We are plunged once again into an ethical chaos where intolerance masquerades as tolerance and where individual liberty is crushed by the tyranny of the group.

      The premier principles of this book are free thought and free speech—open, mobile, and unconstrained by either liberal or conservative ideology. The liberal versus conservative dichotomy, dating from the split between left and right following the French Revolution, is hopelessly outmoded for our far more complex era of expansive technology and global politics. A bitter polarization of liberal and conservative has become so extreme and strident in both the Americas and Europe that it sometimes resembles mental illness, severed from the common sense realities of everyday life.

      Our understanding of sexuality, a paradigmatic theme and indeed obsession of modern culture, has been clouded by its current politicization. Sex and gender have been redefined by ill-informed academic theorists as superficial, fictive phenomena produced by oppressive social forces, disconnected from biology. This hallucination has sowed confusion among young people and seriously damaged feminism. A gender theory without reference to biology is absurd on its face. But as a proponent of dynamic free will, I certainly do not subscribe to a wholesale biological determinism. As I wrote on the very first page of Sexual Personae, “Sexuality and eroticism are the intricate intersection of nature and culture.” Furthermore, my key idea is that art itself is a line drawn against nature.

      My dissident brand of feminism is grounded in my own childhood experience as a fractious rebel against the suffocating conformism of the 1950s, when Americans, exhausted by two decades of economic instability and war, reverted to a Victorian cult of domesticity that limited young girls’ aspirations and confined them (in my jaundiced view) to a simpering, saccharine femininity. I have written elsewhere about my eccentric symbols of gender protest via transvestite Halloween costumes: Robin Hood at age five; the toreador from Carmen at six; a Roman soldier at seven; Napoleon at eight; Hamlet at nine. I took inspiration from wherever I could find it—from Classics Illustrated comic books and Courvoisier ads for Napoleon Cognac to the local church’s Stations of the Cross and my parents’ worn copy of Stories from the Great Metropolitan Operas.

      But never in my passionate identification with heroic male figures was I encouraged by concerned but misguided adults to believe that I actually was a boy and that medical interventions could bring that hidden truth to life. On the contrary, by being forced to learn coping strategies for surviving in society, I was freed to develop my talents in other ways that have proved invaluable over time. When recently asked how I “identify” or describe myself, I replied, “Non-gendered entity.” However, except in very rare conditions of true hermaphroditism (a congenital disorder), the DNA of every cell of the human body is inflexibly coded as male or female from birth to death. While respect and legal protection are owed to anyone who for whatever reason seeks to shift positions along the intricate spectrum of sexual personae (the Latin word for theater masks), changing sex is scientifically impossible.

      Social

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