Space Monkey, 2001 by Walton Ford (b. 1960). From Pancha Tantra, Taschen Books, 2009.
There are a number of difficulties with dirty words, the first of which is that there aren’t nearly enough of them; the second is that the people who use them are normally numskulls and prudes; the third is that in general they’re not at all sexy, and the main reason for this is that no one loves them enough. Contrary to those romantic myths which glorify the speech of mountain men and working people, Irish elves and Phoenician sailors, the words which in our language are worst off are the ones which the worst-off use. Poverty and isolation produce impoverished and isolated minds, small vocabularies, a real but fickle passion for slang, most of which is like the stuff which Woolworths sells for ashtrays, words swung at random, wildly, as though one were clubbing rats, or words misused in an honest but hopeless attempt to make do, like attacking tins with toothpicks; there is a dominance of cliché and verbal stereotype, an abundance of expletives and stammer words: you know, man, like wow! neat, fabulous, far-out, sensaysh. I am firmly of the opinion that people who can’t speak have nothing to say. It’s one more thing we do to the poor, the deprived: cut out their tongues . . . allow them a language as lousy as their lives.
Thin in content, few in number, constantly abused: what chance do the unspeakables have? Change is resisted fiercely, additions are denied. I have introduced ‘squeer,’ ‘crott,’ ‘kotswinkling,’ and ‘papdapper,’ with no success. Sometimes obvious substitutes, like ‘socksucker,’ catch on, but not for long. What we need, of course, is a language which will allow us to distinguish the normal or routine fuck from the glorious, the rare, or the lousy one—a fack from a fick, a fick from a fock—but we have more names for parts of horses than we have for kinds of kisses, and our earthy words are all . . . well . . . ‘dirty.’ It says something dirty about us, no doubt, because in a society which had a mind for the body and other similarly vital things, there would be a word for coming down, or going up, words for nibbles on the bias, earlobe loving, and every variety of tongue track. After all, how many kinds of birds do we distinguish?
We have a name for the Second Coming but none for a second coming. In fact our entire vocabulary for states of consciousness is critically impoverished.
From William H. Gass’s On Being Blue.
Sex. The difficulty of writing about sex, for women, is that sex is best when not thought about, not analysed. Women deliberately choose not to think about technical sex. They get irritable when men talk technically, it’s out of self-preservation: they want to preserve the spontaneous emotion that is essential for their satisfaction.
Sex is essentially emotional for women. How many times has that been written? And yet there’s always a point even with the most perceptive and intelligent man, when a woman looks at him across a gulf: he hasn’t understood; she suddenly feels alone; hastens to forget the moment, because if she doesn’t she would have to think. Julia, myself and Bob sitting in her kitchen gossiping. Bob telling a story about the breakup of a marriage. He says: ‘The trouble was sex. Poor bastard, he’s got a prick the size of a needle.’ Julia: ‘I always thought she didn’t love him.’ Bob, thinking she hadn’t heard”
“heard: ‘No, it’s always worried him stiff, he’s just got a small one.’ Julia: ‘But she never did love him, anyone could see that just by looking at them together.’ Bob, a bit impatient now: ‘It’s not their fault, poor idiots, nature was against the whole thing from the start.’ Julia: ‘Of course it’s her fault. She should never have married him if she didn’t love him.’ Bob, irritated because of her stupidity, begins a long technical explanation, while she looks at me, sighs, smiles, and shrugs. A few minutes later, as he persists, she cuts him off short with a bad-tempered joke, won’t let him go on.
I started reading Lessing’s book after finishing Alasdair Gray’s novel Lanark. Gray’s novel was published in 1981 nineteen years after The Golden Notebook, but he was writing it for at least three decades before its publication, and the structural features of the two books are similar: both novels self-deconstruct, self-criticize, and rely on fragmentation and juxtaposition to evoke their themes. The themes are fairly different, I suppose, although not really. It’s all sex and death, yes?
So I shall, keeping one in each of my four pockets while one is in my mouth, describe five common methods by which sex gains an entrance into literature . . . as through French doors and jimmied windows thieves break in upon our dreams to rape our women, steal our power tools, and vandalize our dreams. The commonest, of course, is the most brazen: the direct depiction of sexual material— thoughts, acts, wishes; the second involves the use of sexual words of various sorts, and I shall pour one of each vile kind into the appropriate porches of your ears , for pronounc-ing and praising print to the ear is what the decently encouraged eye does happily. The third can be considered, in a sense, the very heart of indirection, and thus the essence of the artist’s art— displacement: the passage of the mind with all its blue elastic ditty bags and airline luggage f r o m steamy sexual scenes and sweaty bodies to bedrooms with their bedsteads, nightstands, water-glasses, manuals of instruction, thence to sheets and pillowcases, hence to dents in these, and creases, stains and other cries of passion which have left their prints , and finally to the painted chalk-white oriental face of amorously handled air and mountains,, lewdly entered lakes. The fourth I shall simply refer to now as the skyblue eye (somewhere, it seems to me, there should be a brief pinch of suspense), and the fifth, well, it’s really what I’m running into all my inks about, so I had better mention it: the use of language like a lover . . . not the language of love, but the love of language, not matter, but meaning, not what the tongue touches, but what it forms, not lips and nipples, but nouns and verbs.
From William H. Gass’s essay-novel On Being Blue: A Philosophical Inquiry.
Henry walked home with his suit in a plastic bag. He had been washing the buildings. But something was stirring in him, a wrinkle in the groin. He was carrying his bucket too, and his ropes. But the wrinkle in his groin was monstrous. “Now it is necessary to court her, and win her, and put on this clean suit, and cut my various nails, and drink something that will kill the millions of germs in my mouth, and say something flattering, and be witty and bonny, and hale and kinky, and pay her a thousand dollars, all just to ease this wrinkle in the groin. It seems a high price.” Henry let his mind stray to his groin. Then he let his mind stray to her groin. Do girls have groins? The wrinkle was still there. “The remedy of Origen. That is still open to one. That door, at least, has not been shut.”
From Donald Barthelme’s novel Snow White.
From William S. Burroughs’s 1972 interview with Penthouse magazine.
I hate to be anti-book—any book, really, even awful ones—but Fifty Shades of Grey barely qualifies as a book, and it’s utterly dreadful to think that a Twilight knockoff that started as Twilight fanfiction (!) is now sold in bulk across the world when there are so many good books out there—salacious, sexy, erotic books at that. But, like I said, I hate to knock on something when it’s more productive to offer an alternative. So: a list.
This list is subjective, occasionally weird, and hardly complete (feel free to point out what I’ve left off). I’ve only included works that I’ve read in part or in whole. I’m clearly aware that certain stuff like D.H. Lawrence, much of Updike, and infamous classics like Walter’s My Secret Life are not on here—if it’s not on here, I haven’t read any of it. I vouch for everything else.
- Song of Songs (Old Testament)
- Juliette, Marquis de Sade
- Justine, Marquis de Sade
- The 120 Days of Sodom, Marquis de Sade
- The Pearl, William Lazenby (ed.)
- The Story of O, Pauline Réage
- Delta of Venus, Anaïs Nin
- Little Birds, Anaïs Nin
- Lost Girls, Alan Moore and Melinda Gebbie
- The Soft Machine, William Burroughs
- Story of the Eye, Georges Bataille
- The Garden of Eden, Ernest Hemingway
- Ada, or Ador, Vladimir Nabokov
- Fanny Hill, John Cleland
- Poems of Sappho
- Crash, J.G. Ballard
- Their Eyes Were Watching God, Zora Neale Hurston
- House of Holes, Nicolson Baker
- Blood and Guts in High School, Kathy Acker
- Satyricon, Petronius Arbiter
- “Penelope”/Molly’s monologue from Ulysses, James Joyce
- “Nausicaa” from Ulysses, James Joyce
- “Circe” from Ulysses, James Joyce
- Boccaccio’s Decameron
- Tropic of Cancer, Henry Miller
- Tropic of Capricorn, Henry Miller
- Women, Charles Bukowski
- Poems of Catullus
- A Midsummer Night’s Dream, William Shakespeare
- Kama Sutra
- Naked Lunch, William Burroughs
- The Ways, Caracci and Aretino
- Vox, Nicholson Baker
- Ars Amatoria, Ovid
- A Feast of Snakes, Harry Crews
- Casanova’s letters and memoirs
- Chaucer’s The Canterbury Tales
- Snow White, Donald Barthelme
- Brave New World, Aldous Huxley
- Briar Rose, Robert Coover
- Frisk, Dennis Cooper
- Song of Myself, Walt Whitman
- Hotel Iris, Yoko Ogawa
- “Wild nights! Wild nights!”, Emily Dickinson
- Various selections of Robert Crumb
- Dream Story, Arthur Schnitzler
- A few choice passages from Roberto Bolaño’s The Savage Detectives
- Venus in Furs, Leopold von Sacher-Masoch
- The Bloody Chamber, Angela Carter
- “I started Early – Took my Dog -“, Emily Dickinson