Pete Hamill - Piecework

One minor problem with this theory of human behavior concerns MacKinnon and Dworkin. They’ve obviously pored over more pornography than the ordinary man sees in a lifetime. “Look closely sometime,” MacKinnon writes, “for the skinned knees, the bruises, the welts from the whippings, the scratches, the gashes.” If human beings are so weak and pornography so powerful, why aren’t MacKinnon and Dworkin playing the Krafft-Ebing Music Hall with the rest of the perverts? There are two possible answers. The first is that MacKinnon and Dworkin (and other researchers for the New Victorians) are morally superior to all men and most women and are thus beyond contamination. The second is more likely: The material is so vile that it is a psychological turnoff to all human beings except those with a preexisting condition. Those people do exist. They have been shaped by many variables, none of which are excuses for what they do. But from the experience of the Victorian era, we know that if such people can’t find their preferred reading at adult bookstores, they will not give up their sexual fantasies. The fantasies will simply fester in the dark. And they will use what such people use in countries where pornography is now banned — their imaginations.

In such countries — say, Saudi Arabia, Ireland or Iran — the equality of women hasn’t been established by banning pornography, but I’m certain that the sexual impulse, and the instinct to dominate, remains alive. Those instincts are part of human nature, and in spite of centuries of effort by archbishops and commissars and even a few philosophers, they are not truly alterable by the power of the state. The sexual impulse, including sexual fantasy, is not subject to the force of reason. Recent history teaches us that most tyrannies have a puritanical nature. The sexual restrictions of Stalin’s Soviet Union, Hitler’s Germany and Mao’s China would have gladdened the hearts of those Americans who fear sexual images and literature. Their iron-fisted puritanism wasn’t motivated by a need to erase sexual inequality. They wanted to smother the personal chaos that can accompany sexual freedom and subordinate it to the granite face of the state. Every tyrant knows that if he can control human sexuality, he can control life. In the end, every tyrant fails.

MacKinnon, Dworkin and their allies in the American right insist that they speak for freedom, for the liberation of women from the demeaning or disgusting images of pornography that motivate the male ruling class. They would not be the first human beings who limited freedom while proclaiming allegiance to its virtues. All of these Utopians would benefit from a study of the first Victorian era. There was a legal ban on pornography, but women had no rights at all (they were later won by a coalition of brave suffragist women and liberal men). Pornography certainly existed, but it was rarefied, expensive and available only to rich “gentlemen.” Official London adhered to the supermoral antisexual codes, but in real London syphilis and gonorrhea were rampant. Some 80,000 women were engaged in prostitution, virgins were sold to the highest bidders and the most infamous character of the era rose from the festering sexual underground and called himself Jack the Ripper. What reasonable man or woman would go back to that future?

In a way, the work of MacKinnon and Dworkin is some of the saddest writing I’ve ever read. It’s narrow and sectarian, often vicious and totalitarian in its insistence on submission by other feminists. But it is also thoroughly without joy or wonder. In this bleak house, nothing else matters except the cruelties of sex and power. Not laughter. Not love. Not the simple luminous pleasure of a summer afternoon. There is no room in this dark vision for Fred Astaire or Buster Keaton, for Lucille Ball or Maria Callas, for Betty Comden or Willie Mays. There is no fantasy or magic, no awe in the presence of human beauty, no desire for spiritual or carnal union. Nobody closes the door for a night of joyous, heart-busting, time-bending, mind-obliterating full-out human fucking. Nobody goes to the racetrack, either. Nobody dances at the midnight hour. Nobody plays the blues. In this airless, sunless world, we don’t encounter the glorious moment when a child learns to walk or to read. We hear nothing of decent husbands and loving fathers, of families that have triumphed over poverty, or mothers who have lived hard lives with their intelligence, heart, sensuality and pride intact. Such people exist, in the millions, but they are not in this fiercely correct world of rules and anathemas. Above all, in the sad and bitter world of Catharine MacKinnon, there is no wide tolerant understanding of a species capable of forgiving our endless gift for human folly. There are only the lacerated and the harmed and the odor of the charnel house. I don’t envy their dreams. And I hope I’m never forced to live in their fearful new world.

PLAYBOY,

January 1993

As this dreadful century winds down, its history heavy with gulags and concentration camps and atom bombs, the country that was its brightest hope seems to be breaking apart.

All the moves toward decency, excellence, maturity, and compassion have been made. They seem to have come to nothing. Everyone talks and nobody listens. Boneheaded vulgarians are honored for their stupidity. The bitterly partisan debate on the crime bill in the U.S. Senate is remembered only for Al D’Amato’s rendition of “Old MacDonald Had a Farm.” The Christian Coalition commandeers the Republican state convention in Virginia, and among the slogans on the wall is one that says WHERE IS LEE HARVEY OSWALD WHEN AMERICA REALLY NEEDS HIM? The American social and political style has been reduced to the complexity of a T-shirt. Outta the way, asshole: Give us gridlock, give us Beavis and Butt-head, give us room, man, give us respect, and get outta my fuckin’ face!

We are approaching Endgame, the moment when the chessboard is clear and victory is certain. Victory over everybody. The reduction of the opposition to rubble.

American civil society, long founded on the notion of “from many, one,” e pluribus unum, is being swept away by a poisonous flood tide of negation, sectarianism, self-pity, confrontation, vulgarity, and flat-out, old-fashioned hatred. Politics is an ice jam of accusation and obstruction, the hardest vulgarians honored for their cynicism, its good men fleeing to tend private gardens. Pop culture both feeds and reflects the larger society, and as evidence of collapse, it is chilling. Snoop Doggy Dogg and Al D’Amato have triumphed over Wynton Marsalis and George Mitchell. Good taste lies up the block with an ax in its back.

Day and night, from millions of car stereos and boom boxes, gangsta rappers and skinhead semi-demi-quasi-neo-Nazis give the nation its most persistent, defining soundtrack. Some call for the killing of cops, the raping and abandonment of ho’s and bitches, the battering of whites or blacks or one another. Rob the weak, they croon. Stomp the soft. Rap videos are pathetic fantasies of force and power, visual tributes to the cult of the Big Gun and the Big Dick. There is no past and no future, only the eternal American present tense. Suburban white kids happily buy the CDs and lean into the lash. There is no room in the music for lyricism, melody, or wit. The only acceptable human emotion is rage.

The fake, the illusion, the performance, are everything. The truth? Hey, buddy, I got your truth, right here. At The 1994 MTV Video Music Awards, Michael Jackson walks on with his bride, the daughter of Elvis Presley. They hit their marks. They engage in a rehearsed kiss. Jackson whispers some clumsy joke about how nobody thought this would last: marriage as Special Material. They get a standing O. Of course. Nobody mentions that Jackson had to pay an estimated $20 million to settle a child-molestation rap in California. Hey, man, lighten up. The man’s got a multimillion-dollar career to save! Who cares if we’re watching a big press-agented lie? He paid for his sins. Cold cash. Now he’s redeeming himself with access. And if he acts as if he wants redemption, that is redemption.