The Dish

Frances Wilson reviews a pair of new books about sexual perversion: Julie Peakman’s The Pleasure’s All Mine: a History of Perverse Sex and Jesse Bering’s Perv: the Sexual Deviant in All of Us:

The difference between Peakman and Bering is one of position. While Bering uses humour to take a vertical plunge into the depths of the psyche, Peakman stays horizontal, giving an overview of all the nonsense that has been written about sex from the ancient to the modern worlds, and adding some of her own: “It is not so much that the internet has contributed to sex in the 21st century; to a large extent it is sex.” Neither book makes easy reading: Peakman’s because it is lazily written and she has no rapport with the reader, and Bering’s because he takes us into the worlds of those who have not so much been hiding in the closet as quivering in the panic room of a building in a David Lynch film.

But the reader faces other challenges too.

Some of us (or all, if Bering has his way) might feel uncomfortable stirrings of desire as we recognise our secret selves on the page; most will feel disgust or the urge to laugh. Once “the disgust factor” kicks in, Bering argues, social intelligence disappears. Desire and disgust are antagonists but they are also bedroom playmates; disgust towards the object of desire is a not uncommon post-coital reaction. As de Sade wrote, “Many men look upon the sleeping woman at their side with whom they have just had intercourse with a feeling as if they could at least thrash [her].” The secret to our success as a species, for Bering, is the way we have kept our disgust under control in the face of bodies that snore, smell, leak, swell and sprout unsightly hairs. As the open-minded millionaire Osgood Fielding III puts it in Some Like It Hot, when told he has mistakenly proposed to a man, “Well, nobody’s perfect.”

In a 1924 essay from TNR‘s archives, Virginia Woolf ponders what might have awaited the novelist had she lived past the age of 42:

She would have stayed in London, dined out, lunched out, met famous people, made new friends, read, travelled, and carried back to the quiet country cottage a hoard of observations to feast upon at leisure. And what effect would all this have had upon the six novels that Jane Austen did not write?

She would not have written of crime, of passion, or of adventure. She would not have been rushed by the importunity of publishers or the Battery of friends into slovenliness or insincerity. But she would have known more. Her sense of security would have been shaken. Her comedy would have suffered. She would have trusted less (this is already perceptible in Persuasion) to dialogue and more to reflection to give us a knowledge of her characters. Those marvelous little speeches which sum up in a few minutes’ chatter all that we need in order to know an Admiral Croft or a Mrs. Musgrove forever, that shorthand, hit-or-miss method which contains chapters of analysis and psychology, would have become too crude to hold all that she now perceived of the complexity of human nature. She would have devised a method, clear and composed as ever, but deeper and more suggestive, for conveying not only what people say, but what they leave unsaid; not only what they are, but (if we may be pardoned the vagueness of the expression) what life is. She would have stood further away from her characters, and seen them more as a group, less as individuals. Her satire, while it played less incessantly, would have been more stringent and severe. She would have been the forerunner of Henry James and of Proust—but enough. Vain are these speculations: she died “just as she was beginning to feel confidence in her own success.”

Previous Dish on Jane Austen here.

A poet? A rock star? Something else entirely? Dana Stevens argues (NYT) that “creative activity at a certain level renders genre categorization moot”:

Dylan’s songs at their best seem to originate from some primal foundry of creation, a Devil’s crossroads where Delta blues, British folk ballads, French Symbolism and Beat poetry (to name only a few of his early influences) converge and fuse. But his music reaches forward in time, toward more modern art forms, as well. There’s something distinctly cinematic, for example, in the crosscutting and temporal leaps of a narrative ballad like “Tangled Up in Blue,” which compresses a feature film’s worth of images, locations and encounters into four and a half minutes of bravura storytelling. If it’s a kind of sung movie, “Tangled Up in Blue” is one that, like so many Dylan compositions, consciously aspires to the condition of literature. In one verse, an erudite topless-bar waitress hands the first-person narrator — or in some versions of the song, a third-person stand-in — a life-changing volume of verse by “an Italian poet / From the 13th century.”

Francine Prose likewise emphasizes Dylan’s category-defying art:

The Dylan songs I keep returning to are the ones that spin out images like a surrealist or expressionist film, like Buñuel’s “Andalusian Dog” crossed with “The Cabinet of Dr. Caligari.” Something is happening here, but you don’t know what it is, do you, Mister Jones? “Visions of Johanna” may be our most accurate, haunting evocation of the semi-hallucinatory insomnia that can be an unfortunate side effect of love. Perhaps I have a weakness for songs about the apocalypse (another favorite is Exuma’s “22nd Century,” performed by Nina Simone), but I’ve always admired “A Hard Rain’s a-Gonna Fall,” Dylan’s images cascading in the cadence of a children’s rhyming game: a partridge in a pear tree in a post-nuclear hell. Dylan is a master not only at translating rage into song (“Positively 4th Street” and “Idiot Wind” come to mind), but also at convincing us we’ve felt exactly the same kind of anger he’s describing.

He’s the heir, the unlikely offspring of Arthur Rimbaud and Walt Whitman. But he’s neither Rimbaud nor Whitman. He’s Bob Dylan. Is he a poet or a songwriter? The same answer applies: He’s Bob Dylan. I find myself falling back (again!) on Emily Dickinson’s remark: “If I feel physically as if the top of my head were taken off, I know that is poetry.” Dylan’s songs can make us feel that pleasurable shock of being partially decapitated by beauty.