Men with a history of sexual violence and domestic abuse joined Islamic State because of the organisation’s systemic use of rape and slavery as a form of terrorism, according to new analysis.
The promotion and sanctioning of sexual violence by the extremist group was a pivotal means of “attracting, retaining, mobilising and rewarding fighters” as well as punishing kaffir, or disbelievers, says a report to be released by the Henry Jackson Society.
Enshrining a theology of rape, the sexual exploitation of women alongside trafficking helped fund the caliphate and was used to lure men from deeply conservative Muslim societies, where casual sex is taboo and dating prohibited.
In addition, forced inseminations and forced pregnancies – along with forced conversions – were officially endorsed to help secure the next generation of jihadis, a tactic also replicated by Nigeria’s militant Islamist group Boko Haram.
Analysis of ISIS members from Europe and the US found that a cohort had a history of domestic and sexual violence, suggesting a “relationship between committing terrorist attacks and having a history of physical and/or sexual violence”.
One Briton, Ondogo Ahmed, from north London, was given an eight-year custodial sentence for raping a 16-year-old girl in the UK but fled to Syria while out of prison on licence in 2013.
Another was Siddhartha Dhar, a father of four from London, who has been described as a central player in Isis’s brutal persecution of the Yazidis, a religious minority whose followers the group permitted its members to rape.
Testimony from one victim, Nihad Barakat, 18, revealed how Dhar, a former bouncy castle salesman from Walthamstow, east London, routinely participated in the group’s systemic trafficking and abuse of Yazidi teenage girls and enslaved some himself. “These cases indicate an existence of a type of terrorism that is sexually motivated, in which individuals with prior records of sexual violence are attracted by the sexual brutality carried out by members of Islamic State,” said Nikita Malik, the report’s author.
Although Malik said more work was required to establish a definitive link between an individual’s history of domestic violence and subsequent involvement in terrorism, evidence existed to indicate a potential correlation. One of the men involved in July’s London Bridge attack, Rachid Redouane, 30, was reportedly abusive and controlling, and his girlfriend eventually fled to a unit for victims of domestic violence. The Westminster attacker Khalid Masood, 52, is another who has been described as violent and controlling, this time towards his second wife.
ISIS has repeatedly promoted and attempted to legitimise a theology of rape, occasionally through its Dabiq magazine and Al Hayat media channel. One edition of Dabiq justified the rape of Yazidi women in Iraq by dismissing them as “pagans”. The extremist group also set up a department dedicated to “war spoils” and issued guidelines to codify slavery.
Markets selling sex slaves were relatively common in territory controlled by Islamic State in Iraq and Syria at the calpihate’s height, while the group’s franchise in Libya has also played a role in human trafficking. One account contained in the report describes how Isis members would touch the chests of girls to see whether they had grown breasts. If they had done so they could be raped, according to the report – which will be released in parliament – and if not they would be examined three months later. Among a number of harrowing case studies are accounts of how a 10-year-old Libyan child was raped by traffickers linked to ISIS.
Apart from subjugation and spreading terror, another key reason for Isis exploiting sex trafficking is financial gain. Ransom payments directly linked to the threat or use of sexual violence and paid out by governments and individuals earned, according to the report, between £7.7m and £23m last year, at a time of lowering revenues for the group.
It’s unsurprising to note that the report (or the article on it at least), makes the link to “deeply conservative Muslim societies”, but not to our own, western, misogyny. Hardcore pornography was easily available to any ISIS fighter who grew up in the west, plus bootleg pornography is available throughout the global south.
And as Namia Akhtar reported, Al-Qaeda and Osama bin Laden were porn users:
Nonetheless, Sexlamists in their private lives are obsessed with pornography (in a February 17, 2015 article, New York Post reported that Navy SEALs who killed Osama bin Laden found a fairly extensive stash of modern pornography in his possession), they communicate through it (media sources reported that terrorist cells embedded secret coded messages into shared pornography and onto pedophile websites) and justify their own salacious carnal practices on religious grounds. Al-Qaeda leaders, such as Osama Bin Laden and Anwar Al-waki, had also indulged in notorious promiscuity. Adultery and fornication are strictly prohibited in Islam, but in terror groups abhorrent sexual practices reign supreme. Daesh, for instance, has issued fatwas justifying rapes of Yazidi women to make them Muslims. Rape is the mechanism of Daesh to achieve their strategic objectives, since it humiliates and shames respective communities.
QotD: “Hefner operated in a country where if you film any act of humiliation or torture – and if the victim is a woman – the film is both entertainment and it is protected speech”
On hearing that the pimp and pornographer Hugh Hefner had died this morning, I wished I believed in hell.
“The notion that Playboy turns women into sex objects is ridiculous,” said the sadistic pimp in 2010. “Women are sex objects… It’s the attraction between the sexes that makes the world go ‘round. That’s why women wear lipstick and short skirts.”
Hefner was responsible for turning porn into an industry. As Gail Dines writes in her searing expose of the porn industry, he took it from the back street to Wall Street and, thanks in large part to him, it is now a multibillion dollar a year industry. Hefner operated in a country where if you film any act of humiliation or torture – and if the victim is a woman – the film is both entertainment and it is protected speech.
He caused immeasurable damage by turning porn – and therefore the buying and selling of women’s bodies – into a legitimate business. Hefner hated women and referred to them as “dogs”.
In 1963, Gloria Steinem (then a freelance journalist) decided to go undercover as a Bunny Girl, spending two weeks in the role at the Playboy Mansion. What Steinem found was that the women working there were treated like dirt. Bunnies had to wear heels at least three inches high and corsets at least two inches too small everywhere except the bust, which came only with D-cups. Steinem described it as a form of torture. A sneeze could break the zip, and when peeled off their torsos were bright red and swollen.
Steinem found grotesque misogyny towards the women, and commented that they were “dehumanised” by the punters – who were, after all, following Hefner’s lead.
“These chicks [feminists] are our natural enemy. It is time to do battle with them,” wrote Hefner in a secret memo leaked to feminists by secretaries at Playboy. “It is time we do battle with them… What I want is a devastating piece that takes the militant feminists apart.” As a response, feminists began picketing his businesses.
Admitting that he could only orgasm by masturbating to pornography, Hefner was a sexual predator. The young women who worked at the Playboy Mansion have spoken of their disgust in having sex with him, but said it was, “part of the unspoken rules”. “It was almost as if we had to do it in return for all the things we had,” said one.
Described as “modern, trustworthy, clean, respectable” by Time magazine in March 1963, Hefner has been regularly rebranded as a type of cultural attache rather than the woman-hating sleazebag he was.
To claim that Hefner was a sexual liberationist or free speech idol is like suggesting that Roman Polanski has contributed to child protection.
I would imagine that silk pyjama manufacturers are mourning Hefner, but no feminist anywhere will shed a tear at his death. And the liberal leftists that wax lyrical about how Hefner was a supporter of anti-racist struggles should perhaps ask themselves how such a civil rights champion squared this with the millions he made from selling the most vile racism in much of his pornography.
As I was writing this, a flagship news programme asked if I would take part this evening in an item in Hefner’s legacy. “We’re looking to discuss whether he was a force for good or bad. Did Hefner revolutionise feminine sexuality, or encourage the degradation of women by constructing them merely as objects of desire?”
Now he is dead I would imagine the scores of women he abused will come forward and force his liberal supporters to see him for what he really was – sexist scum of the lowest order.
‘Making Sense of Modern Pornography’ by Katrina Forrester, is a long, fairly well balanced (with a few exceptions, see below) article published by The New Yorker in September last year, about the current state of the porn industry, and also a review of a book called The Pornography Industry: What Everyone Needs to Know, by Shira Tarrant, I would recommend reading the whole article.
Pornography has changed unrecognizably from its so-called golden age – the period, in the sixties and seventies, when adult movies had theatrical releases and seemed in step with the wider moment of sexual liberation, and before V.H.S. drove down production quality, in the eighties. Today’s films are often short and nearly always hard-core; that is, they show penetrative sex. Among the most popular search terms in 2015 were “anal,” “amateur,” “teen,” and – one that would surely have made Freud smile – “mom and son.” Viewing figures are on a scale that golden-age moguls never dreamed of: in 2014, Pornhub alone had seventy-eight billion page views, and XVideos is the fifty-sixth most popular Web site in the world. Some porn sites get more traffic than news sites like CNN, and less only than platforms such as Google, Facebook, Amazon, and PayPal.
The millions of people using these sites probably don’t care much about who produces their content. But those who work in porn in the United States tend to draw a firm line between the “amateur” porn that now proliferates online and the legal adult-film industry that took shape after the California Supreme Court ruled, in California v. Freeman (1989), that filmed sex did not count as prostitution. Since then, the industry has been based in Los Angeles County’s San Fernando Valley, where its professional norms and regulations have mimicked its more respectable Hollywood neighbors. In “The Pornography Industry: What Everyone Needs to Know” (Oxford), Shira Tarrant explains how that industry works in the new age of Internet porn, and sets out to provide neutral, “even-handed” information about its production and consumption.
It’s not an easy task. Since the “porn wars” of the seventies and eighties, when feminists campaigned against the expanding pornography industry (and other feminists sided with Hustler to defend it), talking about pornography in terms of mere facts has seemed impossible. The atmosphere of controversy makes it hard to avoid moral positions. Even to suspend judgment may be to take sides.
Linda Lovelace’s performance in “Deep Throat,” in 1972, made porn mainstream; later, her denunciation of the movie, which she characterized as filmed rape, made the idea of the porn star as victim mainstream, too. In the mid-eighties, the revelation that Traci Lords had been underage in her most famous films led to the prosecution of producers, agents, and distributors under child-pornography statutes, and new legislation resulted in stricter age-verification requirements for porn actors. But by the time [Jenna] Jameson arrived on the scene the industry had become an efficient star-making machine. It had distributors and advertisers, production teams and industry magazines, shoots requiring permits, agents who sold the talent and trade associations who represented them. Jameson quickly achieved her ambition, becoming the industry’s biggest star and most reliable brand. By 2005, her company, ClubJenna, had an annual revenue of thirty million dollars.
Things are different now. Much online porn is amateur and unregulated. It’s hard to tell how much, because there’s little data, and even larger studios now ape the amateur aesthetic, but applications for porn-shoot permits in Los Angeles County reportedly fell by ninety-five per cent between 2012 and 2015. Now most films have low production values, and they are often unscripted. Sometimes you can hear the director’s voice; apparently, many viewers can make do without the old fictional tropes of doctors and nurses, schoolgirls, and so on—the porn industry itself having become the locus of fantasy. Where performers like Jameson had multi-film contracts with studios like Wicked or Vivid Entertainment, such deals are now rare, and most performers are independent contractors who get paid per sex act.
Tarrant’s book sheds useful light on the bargain-basement world of contemporary porn. In 2012, one agent claimed that the actresses he represented received eight hundred dollars for lesbian scenes, a thousand for ones with a man, twelve hundred or more for anal sex, and four thousand for double penetration, but there’s reason to think that these figures are inflated. Stoya, a well-known performer who has written about her life in the industry, has cited a rate of just twelve to fourteen hundred dollars for double penetration. Wages have declined across the board. Tarrant estimates that a female performer filming three anal scenes a month would make forty thousand dollars a year.
Riskier acts are incentivized. According to one analysis of an industry talent database, women entering the business now will do more, and more quickly, than they once did: in the nineteen-eighties, they would wait an average of two years before a first anal scene; now it’s six months. Jameson famously never did anal (though one of her most viewed Pornhub clips is “Jenna Jameson accidental anal,” which shows, in slow motion, that on the Internet there’s no such thing as never). From 2000 on, she had only one onscreen male partner—her husband. “I look at these new girls today and I think, What the hell are they doing?” she said in 2004. “These girls don’t know that you have to start slow, baby, and make them pay you more for each thing you do.”
Today, most porn actresses don’t stick around long enough to start slow. The average career is between four and six months. Performers work long hours with no benefits and they have to cover significant out-of-pocket costs. Tests for S.T.D.s can be as much as two hundred dollars a month. Add to this grooming, travel, and the usual freelancer expenses and it costs a lot to be legal in the porn industry.
In a context of declining wages and rising costs, attempts at regulation are unpopular. In 2012, Los Angeles County passed Measure B, a law mandating condom use in porn shoots there. Advocacy organizations for performers have resisted the measure, saying that it ignores the preferences of their workforce and would compel performers to use not only condoms but also safety goggles and dental dams. More important, perhaps, it also ignores consumer preferences: in an age when few pay for porn, producers don’t want to alienate those who do. The regulated industry has developed other ways to avoid condoms—preëxposure treatments, production moratoriums when infections are detected, and, in some gay studios, a working assumption that performers are H.I.V. positive. Other producers, rather than comply, have left California for Nevada or Florida. The industry may have created the norms that dominate online porn, but it’s being squeezed into irrelevance, and preferences have taken on a life of their own.
It would have been good to point out that these ‘advocacy organisations’ are representing the interests of the porn companies over the interests of the porn performers, that porn performers have nothing remotely resembling a real union to protect them at ‘work’, and that in any other industry, bosses arguing that workers ‘don’t want’ Personal Protective Equipment would be seen as exercising unequal power compared to non-unionised gig-economy workers. There is also no other industry were frequent, deliberate contact with another person’s body fluids is seen as just part of the job.
Whether you see porn as just another sector disrupted by the Internet or as a still powerful engine of profit-driven exploitation depends on a thornier set of debates that shape how pornography is understood. To talk about porn purely in terms of costs and incentives is not, as Tarrant suggests, neutral. Even to stress the work involved is a political move.
When America’s pornographic secrets have been publicly aired, they have usually taken the form of First Amendment issues. In 1988, the Supreme Court overturned a ruling against Hustler that had awarded damages to the evangelical pastor Jerry Falwell, the founder of the conservative organization the Moral Majority. (The magazine had published a satirical ad in which Falwell described his “first time” with his mother.) Flynt became an unlikely liberal hero, cementing a coalition between free-speech defenders and pornographers. After California v. Freeman, the Adult Film and Video Association of America renamed itself the Free Speech Legal Defense Fund, and, later, the Free Speech Coalition.
Remember, the ‘Free Speech Coalition’ is the organisation portraying itself as a grass-roots movement by and for porn performers.
But, in the famous phrase of the legal scholar and anti-pornography campaigner Catherine MacKinnon, pornography is not “only words.” The feminist campaigns of the seventies against rape and violence against women condemned pornography not on the ground of obscenity but on the ground of harm. It wasn’t a private matter but a political expression of male power. As MacKinnon wrote, with the anti-pornography feminist Andrea Dworkin, pornography was “the graphic sexually explicit subordination of women.” Dworkin described it as a form of sexual slavery.
Thirty years later, porn is more pervasive than ever, but it’s also more diffuse—and so are the debates. There are new organizations like Stop Porn Culture, led by the feminist Gail Dines, which campaign for porn’s abolition, and against the industry’s hypersexualization of women and the “pornification” of culture. Old coalitions have reappeared, deploying new rhetoric: in April, Dines supported a Republican bill in Utah that declared pornography not a moral threat but a “public health hazard.” Critics worry as much about men’s health—porn addiction, erectile dysfunction—as they do about violence against women.
Ah yes, the old you’re in league with religious fundamentalists! argument. Coalition building on single issues is a normal part of mainstream politics; nobody would complain about, say, an environmental protection bill supported by Republicans/Conservatives, nor do pro-sex industry advocates balk at working with the right when it suits their aims, it’s only radical/abolitionist feminists who are expected to meet such an unrealistic level of ideological ‘purity’.
Pornography’s defenders still lean on ideas of sexual freedom and empowerment. “I am a pervert,” Sasha Grey—the only recent star to rise anywhere near Jameson’s heights—declared in a 2009 interview. “I want to tell young women that sex is O.K. It’s O.K. to be a slut. You don’t have to be ashamed.” In a “mission statement” she wrote when she entered the industry, at eighteen, Grey said that she was “determined and ready to be a commodity that fulfills everyone’s fantasies.” She was no Lovelace: “If I am working out any issues through porn, it’s anger at society for not being open about sex.”
It would have been a good idea to mention that, it turned out Sasha Grey was being violently controlled by a much older boyfriend/pimp when she entered the sex industry.
Performers now often defend porn using the language not of freedom but of work, and begin with the idea that [prostitution] is a form of work like many others. Sure, working in the sex industry is exploitative and precarious, but so is work in other industries. The porn workers who do their jobs well enough that you buy their performance are giving their consent, but they likely do so only as other precarious workers do: they need the money and have limited choices. To an older generation of feminists, this defense sounds hollow: it concedes that sex and intimacy can be bought and sold. For a younger generation, the idea that they can’t is a misunderstanding: sex has long been monetized, and today there’s nowhere that the market doesn’t go. To reflect this, many younger feminists want a sexual politics that restores a tradition of labor organizing predating the porn wars (when even Playboy bunnies had a union), and seek to protect performers from profit-seeking managers.
Are they really? When sex industry advocates are happy calling bosses ‘sex workers’ and trafficked women ‘migrant sex workers’, and hardly ever criticize any aspect of porn production, I’m dubious about ‘younger feminists’ commitment to real change in the sex industry, beyond ‘centering alternative voices’ (whatever that actually means), and harassing lesbian pornographers for refusing to work with pre-op trans women. Also, let’s be realistic here, the Playboy bunnies were not being subjected to double-anals in front of a camera – any real workers rights in the modern porn industry would render porn production impossible.
At the fringes of the industry, performers are trying to change it from the inside, in the name of fair pay, better conditions, and more enjoyable sex. The aim of companies like Pink and White Productions and TrenchcoatX is to challenge the tube sites’ monopoly and to overthrow the racist, sexist categories that silently shape preferences. Their hope is that making inclusive, diverse porn—in which the performers’ pleasure is authentic and the orgasms real—will change sex for the better. The defense of this artisanal approach to porn pulls in contradictory directions: it at once argues that porn is work and not pleasure, and also that the pleasure it captures is authentic. Tarrant, despite claiming neutrality, is subtly allied with this view, and compares campaigns for ethical porn to those for organic, fair-trade food. In reality, it’s a harder sell. Few people want ethics with their porn.
When it comes to sexual practices, too, statistics are open to interpretation. Anti-pornography campaigners frequently cite the widely reported increase in the practice of anal sex among heterosexuals as evidence of porn’s influence. (In a 2014 study of anal sex among young British heterosexuals, a majority of young men surveyed – described as “teen-age boys” by the anti-porn camp, and “emerging adults” by the pro – admitted “persuading” their female partners to try it, with reluctant or little consent.) The campaigners insist that teen-agers are reënacting humiliations they’ve learned online. But that assumption leaves out other explanations. The British study suggested that the rise of premarital sex has meant that “conquest” narratives, which once fetishized the taking of virginity, now require a new focus. Equally, it might indicate a severance between reproduction and sex, or a straight acceptance of gay sexuality.
This last argument makes no sense whatsoever, anal sex is not ‘gay sex’, sex between two or more men is gay sex. Anal sex is not compulsory, even for gay men, and before the 1970s, it was not even a widespread practice among gay men. If the increase in heterosexual anal sex was about an acceptance of ‘gay sexuality’, why the coercion and lack of enthusiasm among the teen-aged girls? If it’s really about an acceptance of ‘gay sexuality’, why are we not hearing about an increase in heterosexual teen-age boys being anally penetrated by their girlfriends using strap-ons?
Sometimes, though, porn’s defenders overcompensate. They are too ready to interpret the lack of unequivocal data about porn’s impact as unequivocal proof that there is no impact. In a field as hard to measure as sexual behavior, this seems unwise. Pornography may be more likely to turn us into solipsistic masturbators than violent rapists, but it’s hard to imagine that it has no effect at all. The pro-porn argument, which insists that pornography is changing but denies that it changes us, appears contradictory. It inverts the anti-porn mistake of seeing porn as the key engine of transformation, instead giving it no power whatsoever. But sex is always changing, and, though porn can’t explain it all, its role can’t be ruled out, either.
Kitty Stryker is a phoney and a fake radical who has co-opted the language of radical feminism, and shills for the sex industry while providing a fig-leaf for the BDSM ‘community’.
On twitter a few days ago, she said “I swear to god I wish we could just put the TERFs and Nazis on a goddamn boat together and send them into the sea.”
When someone else added “or we could put them in concentration camps? Maybe before they went into ovens? Lol” Stryker merely complained that that was “in bad taste”.
Sryker has changed her twitter handle to “Punch Nazis”, and added a later tweet about ‘terfs’ drowning, so it’s clear she has no problem with violence against women, when they are women she disagrees with politically.
This isn’t the first time Stryker has demonstrated that she sees women she doesn’t like as not fully human, in this tweet I screen capped a while back, we can see her wondering if radical feminists are actually real people, the ‘kill all terfs’ rhetoric follows on easily.
Stryker is also an intellectual coward, who ran away from conversations on this blog she wasn’t winning, and now won’t even engage, but she does keep an eye on me, as she tweeted about my previous post more than once.
Here’s a clue for you Stryker, ‘terfs’ don’t exist, there are no ‘terf’ organisations, there are no ‘terf’ leaders, there are no women calling themselves ‘terfs’ except ironically, it’s a term trans activists made up in order to intimidate women into unquestioning silence and obedience.
Stryker also likes lying about the Nordic (Abolitionist) Model, claiming that it made it easier for the police to arrest her – tell me Stryker, how does decriminalising ‘sex workers’ make it easier for the police to arrest them?
She’s doing this still, implying that under the Nordic Model, the police are more dangerous to ‘sex workers’, deliberately and cynically obscuring the fact that the Nordic Model means decriminalising the prostitute her (or him) self.
[EDIT 19/Feb/17: If decriminalising ‘sex workers’ under the Nordic Model doesn’t make the police ‘safe’, then how will decriminalising the whole of the sex industry make the police ‘safe’?]
The first loyalty of sex industry advocates is to the sex industry itself, always.
QotD: “No law gives men the right to rape women. This has not been necessary, since no rape law has ever seriously undermined the terms of men’s entitlement to sexual access to women”
No law gives men the right to rape women. This has not been necessary, since no rape law has ever seriously undermined the terms of men’s entitlement to sexual access to women.
Catharine A. MacKinnon, Towards a Feminist Theory of State (Cambridge: Harvard University Press, 1989), 239.
6) everything is rape culture except porn and sex work, even though most women in those fields are repeatedly raped. “baby it’s cold outside” and “blurred lines” are rape culture but rape porn is empowering.
Men do not believe that rape or battery are violations of female will in part because men of influence have consumed pornography in the private world of men for centuries. Men of sensibility and intelligence and cultural achievement have always incorporated its values into their mainstream cultural work in art, religion, law, literature, philosophy, and now psychology, films, and so forth. In many cases, these otherwise thoughtful men have been educated about women and sex through pornography, which they see as hidden, forbidden sexual truth. The most enduring sexual truth in pornography—widely articulated by men to the utter bewilderment of women throughout the ages—is that sexual violence is desired by the normal female, needed by her, suggested or demanded by her. She—perpetually coy or repressed— denies the truth that pornography reveals. It is either/or. Either the truth is in the pornography or she tells the truth. But men are the tellers of truth and men are the creators of and believers in pornography. She is silenced altogether—she is not a voice in the cultural dialogue, except as an annoying or exceptional whisper—and when she speaks, she lies. She hides and denies what pornography reveals and affirms: that she wants it, they all do. He has the power of naming and in pornography he uses it to name her slut: a lewd, dissolute, brazen thing, a whore always soliciting—begging or demanding to be used for what she is. Women, for centuries not having access to pornography and now unable to bear looking at the muck on the supermarket shelves, are astonished. Women do not believe that men believe what pornography says about women. But they do. From the worst to the best of them, they do.
Andrea Dworkin, Pornography: Men Possessing Women
Male perceptions of women are askew, wild, inept. Male renderings of women in art, literature, psychology, religious discourses, philosophy, and in the common wisdom of the day, whatever the day, are bizarre, distorted, fragmented at best, demented in the main.
Andrea Dworkin, Pornography: Men Possessing Women
I think it is most appropriate to make the first post of 2017 a call for female, feminist solidarity, please read Sarah Ditum’s article in full here.
There are females, of course […], but “female” is not counted as a gender identity. Female is written out. Inside the magazine, you’ll find features which reveal that, actually, femaleness is a highly pertinent characteristic: you can read about the poverty and violence inflicted on girls in developing nations, the pressures of bullying and body-shaming on girls in America, and how the two-tiered market in children’s toys might be harming girls through pinkification. Being female is a matter of life and death, but, per the cover, “female” is not a label under which people may gather.
Here I suppose I should concede National Geographic’s good intentions. National Geographic did not, I assume, deliberately set out to produce an issue showing that female people are exploited and abused for being female, while also announcing that “female” does not exist. Nor is National Geographic doing anything particularly new or shocking by deleting women as a class: reproductive rights organisations now talk about “pregnant people” rather than women in order to be “inclusive”, and even references to vaginas can be damned as transphobic. But if it the express motivation of this cover had been to tauntingly depoliticise everything the inside pages have to tell about the place of women and girls in the world, the patriarchy would give it a 10/10 for threat neutralisation.
In the circumstances, wanting out of the class “woman” is eminently rational. And being a woman is only going to get rougher in Trump’s America. Michelle Goldberg is correct in her bleak, eloquent Slate column when she writes that Trump’s presidency means the backlash is on. Abortion rights, protections against sexual discrimination, action against sexual violence – these things will be the first to go. Even if you don’t “feel female”, you will be exposed by being female. A label is no defense against male violence. You can disown your body, but your body is too valuable a commodity to be left alone. It can make babies. It can make dinners, mop floors. It can make a man orgasm. You are a resource to be colonised, and simply stating that you are not one by refusing the title “woman” will never function as a “keep out” sign.
To survive, to resist, we need to organise. To organise, we need to acknowledge what we hold in common. Throughout feminism’s waves and wanings, that’s been the basis of every success: identifying the oppressions imposed on us as women, and working together as women against them. Our female bodies are the battleground, and we can’t escape that even if we deny it by claiming some variant identity such as “non-binary” or “bi-gender”. We need a women’s movement. Even those of us who think we don’t need it, will need it. And for that, we need to call ourselves – our female selves – women, without compromise or qualification.
Woman on the Edge of Time was first published 40 years ago and begun three-and-a-half years before that.The early 1970s were a time of great political ferment and optimism among those of us who longed for change, for a more just and egalitarian society with more opportunities for all the people, not just some of them. Since then, inequality has greatly increased.
At the time I wrote this novel, women were making huge gains in control of their bodies and their lives. Not only has that momentum been lost, but many of the rights we worked so hard to secure are being taken from us by Congress and state legislatures every year.
But we must also understand that the attempt to take away a woman’s control over her body is part of a larger attempt to take away any real control from most of the population. Now, corporations and the very wealthy 1% control elections. Now, the media are propaganda machines and the only investigative reporting is on Comedy Central, HBO, or the web.
The powers that be have allowed for certain social rather than economic gains. We’ll soon finally have legalised marijuana and gay marriage in every state – but unions are being crushed and the safety net of the New Deal and the Johnson era is being abolished one law at a time, while women are forced into the back-alley abortions that once killed so many. We have made some social gains and many economic losses. The real earning power of working people diminishes every year.
During the heyday of the second wave of the women’s movement, a number of utopias were created (Joanna Russ’s The Female Man, James Tiptree’s Houston, Houston Do You Read?, Ursula K Le Guin’s The Dispossessed, Elisabeth Mann Borgese’s My Own Utopia from The Ascent of Woman, and Sally Miller Gearhart’s The Wanderground among them) and now they aren’t. Why? Feminist utopias were created out of a hunger for what we didn’t have, at a time when change felt not only possible but probable. Utopias came from the desire to imagine a better society when we dared to do so. When our political energy goes into defending rights, and projects we won and created are now under attack, there is far less energy for imagining fully drawn future societies we might wish to live in.
Writing about a strong community that socialises children and integrates old people is a response to women living in a society where a mother is often alone with her children and old women are treated just a step better than the excess pets executed daily in pounds and shelters.
We are ever more isolated from truly intimate contact with one another. Many men prefer pornography to actual sex, where they have to please a woman or must at least pretend to try.
I also wanted Woman on the Edge of Time to show an ecologically sound society. The lives and institutions and rituals of Mattapoisett all stress being a part of nature and responsible for the natural world. In imagining the good society, I borrowed from all the progressive movements of that time. Like most women’s utopias, the novel is profoundly anarchist and aimed at integrating people back into the natural world and eliminating power relationships. The nuclear family is rare in feminist utopias and banished from this novel.
I projected a society in which sex was available, accepted and non-hierarchical – and totally divorced from income, social status, power. No trophy wives, no closeting, no punishment or ostracism for preferring one kind of lover to another. No need to sell sex or buy it. No being stuck like my own mother in a loveless marriage to support yourself. In the dystopia in Woman on the Edge of Time, women are commodified, genetically modified and powerless.
I am also very interested in the socialising and interpersonal mechanisms of a society. How is conflict dealt with? Again, who gets to decide, and upon whose head and back are those decisions visited? How does that society deal with loneliness and alienation? How does it deal with getting born, growing up and learning, having sex, making babies, becoming sick and healing, dying and being disposed of? How do we deal with collective memories – our history – that we are constantly reshaping?
Utopia is born of the hunger for something better, but it relies on hope as the engine for imagining such a future. I wanted to take what I considered the most fruitful ideas of the various movements for social change and make them vivid and concrete – that was the real genesis of Woman on the Edge of Time.
Marge Piercy, from her introduction to the new edition of Women on the Edge of Time (longer version here)