The Case Against the Sexual Revolution. Louise Perry

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СКАЧАТЬ intellectual climate of our own age and the assumption that whatever has gone out of date is on that count discredited.’³⁰

      Older people are dismissed by snobbish twenty-first-century liberals as not only foolish and uninteresting but also (far worse) as ‘problematic’. While in most cultures the elderly are regarded as sources of wisdom, and thus granted particular respect, in the modern West they are more likely to be disregarded and condescended to, shut away in nursing homes and assumed to be of no use to anyone.

At the end of every year, a rush of articles in liberal publications advise twenty-somethings on how best to withstand the problematic opinions voiced by older relatives over Thanksgiving or Christmas dinner (‘It’s your responsibility to challenge bigoted relatives over the holidays’, advised Teen Vogue, for instance, in 2019). The fetishisation of youth in our culture has given us the false idea that it is young people who are best placed to provide moral guidance to their elders, despite their obvious lack of experience. And for anyone nudging forty, be assured that the ‘problematic’ bell also tolls for thee. The articles that have appeared regularly since 2018 on the ‘homophobia, sexism and fat-shaming’ in the sitcom Friends prove the need for constant renewal within the progress model.³¹ When popular culture less than three decades old is already condemned as unacceptable, what hope have people who are more than three decades old of keeping pace? They can’t, that’s the point – the model demands that we reject them.

      Within living memory, we have witnessed a very sudden break with the norms of the past, and the necessity of this break is constantly justified in the liberal media through reference to the bad old days. This kind of present-centrism is parodied beautifully in a 2020 TV adaptation of Aldous Huxley’s Brave New World in which the ‘Savage Lands’ – more like an Indian reservation in the novel – are reimagined as a theme park devoted to twenty-first-century American decline. Twenty-sixth-century New London visitors load onto a tour bus and gawp at the ‘house of correction’ (a prison) and the ‘house of monogamy’ (a church), and witness a re-enactment of what is presented as the most important event in the savages’ calendar, ‘the annual day of black’ (Black Friday), in which shoppers tear each other to pieces in their lust for bargains.

A tour guide informs visitors cheerfully that the key elements of savage culture included ‘jealousy, competition, greed and strife.’ She’s not wrong, of course. The Savage Lands theme park is designed to demonstrate to New Londoners the perils of the old way of life, and its inclusion in the drama is designed to show us how tempting the twenty-sixth century could seem when set beside the twenty-first. These future people have successfully rid themselves of many of our flaws: their lack of privacy ensures a lack of crime; their lack of family ensures a lack of in-group preference; and their lack of monogamy ensures a lack of sexual jealousy. The cost that citizens pay for all this stability is that they must live under an authoritarian regime that suppresses any discontent with the pleasure drug soma. This regime encourages the citizens of New London to visit the Savage Lands theme park because demonising the past serves to justify the status quo. Conservatives in our own era who idealise the past achieve much the same effect in reverse, because the past is a political weapon that can readily be used to colour our perspective on the present.

      I reject the poisonous dichotomy that insists that the past must be either all good or all bad. I don’t think that we should imitate any sexual culture of the past, but nor do I think that what we have seen over the last sixty years has been a process of relentless improvement. What’s clever about the Savage Lands of Brave New World is that the theme park representation is honest, up to a point. The twenty-first century is an era of ‘jealousy, competition, greed and strife’ that is easy enough to condemn. But there is also a dishonest side to the Savage Lands, in that highlighting the evils of the past also serves to distract from the evils of the present. Today’s progressive representation of life in the 1950s serves much the same purpose.

      In 2016, an extract from a 1950s home economics book offering ‘tips to look after your husband’ went viral on social media. The housewife was advised that, when her husband got home from work, she should have dinner on the table, her apron off and a ribbon in her hair, and that she should always make sure to let her husband ‘talk first’.³² This advice was not unusual for housewife manuals of the time, or indeed those of earlier eras, all of which advise women to make their housekeeping look effortless, hiding grime and exertion from their menfolk.

      How reactionary, we think now, how stupid and backward! But then take a look at a small sample of Cosmopolitan magazine guides published within the last decade: ‘30 ways to please a man’,³³ ‘20 ways to turn on your man’,³⁴ or ‘How to turn him on – 42 things to do with a naked man’³⁵ (this last guide includes ‘rim him’ and ‘dole out some flavored lube’). In what sense are these guides not encouraging precisely the same degree of focus on male desires, except in this case it is sexual pleasure rather than domestic comfort? The only difference I can see is that the arse licking is now literal.

Women are still expected to please men and to make it look effortless. But while the 1950s ‘angel of the house’ hid her apron, the modern ‘angel of the bedroom’ hides her pubic hair. This waxed and willing swan glides across the water, concealing the fact that beneath the surface she is furiously working to maintain her image of perfection. She pretends to orgasm, pretends to like anal sex, and pretends not to mind when the ‘friends with benefits’ arrangement causes her pain. I’ve spoken to women who suffered from vaginismus for years without telling their partners that being penetrated was excruciating. I’ve also spoken to women who have had abortions after hook-ups and never told the men who impregnated them because, while sharing the inside of their bodies was expected, revealing the inconvenient fact of their fertility felt too intimate. We have smoothly transitioned from one form of feminine subservience to another, but we pretend that this one is liberation.

      This pretence hurts the Marilyn Monroes, particularly when they are poor and friendless, and I want above all in this book to speak to the young women who have been lied to by liberal feminism and so risk following a very, very dangerous example.

      But the would-be Hugh Hefners are also hurt by the pretence, albeit in a less obvious way. Mouldering away in the Playboy mansion doesn’t kill a person, but it does corrode them. True happiness is not to be found on a soiled mattress being ridden by a woman who doesn’t even like you.

      Liberal ideology flatters us by telling us that our desires are good and that we can find meaning in satisfying them, whatever the cost. But the lie of this flattery should be obvious to anyone who has ever realised after the fact that they were wrong to desire something, and hurt themselves, or hurt other people, in pursuing it. So I am going to propose an alternative form of sexual culture – one that recognises other human beings as real people, invested with real value and dignity. It’s time for a sexual counter-revolution.

Notes

      1 1. Gianluca Mezzofiore, ‘No, that viral picture doesn’t show Hugh Hefner lighting a cigarette for Marilyn Monroe’, 28 September 2017, https://mashable.com/2017/09/28/marilyn-monroe-hugh-hefner-fake-picture-playboy/?europe=true.

      2 2. Jack Shepherd, ‘Hugh Hefner dead: Playboy founder is being buried next to Marilyn Monroe’, 28 September 2017, www.independent.co.uk/arts-entertainment/films/news.

      3 3. Jeff Gottlieb, ‘For sale: eternity with Marilyn Monroe’, 14 August 2009, www.latimes.com/archives/la-xpm-2009-aug-14-me-marilyn14-story.html.

      4 4. Brad Witter, ‘Marilyn СКАЧАТЬ