Intercourse, by: Andrea Dworkin - Feminish

She painted the suffering, enraged; she created an iconographyof the chingada that was resistance, not pornography; knowingherself to be the screwed one, she made an art of passionate rebellionthat shows the pain of inferiority delivered into yourbody— the violence of the contempt. Her rebellion, not inwords, is less accessible than the capitulation of many femalewriters, exemplified by Marguerite Duras in The Lover, a novelabout a female child and her adult lover, male, rich, cruel, toldfrom the point of view of the child who loves it, who celebratesbeing the screwed one:He becom es rough, desperate, he throws him self on me, devoursmy childish breasts, shouts insults. I close my eyes onthe intense pleasure.. . . His hands are expert, marvelous, perfect.I’m very lucky, obviously, it’s as if it were his profession, asif unwittingly he knew exactly what to do and what to say. Hecalls me a whore, a slut, he says I’m his only love, and that’swhat he ought to say, and what you do say when you ju st letthings say themselves, when you let the body alone, to seekand find and take what it likes. . . 32Internalizing the devaluation of self fundamental in being thescrewed one, the slut, the whore, celebrating it, not rebellingone bit, female complicity does not even have the dignity or theinsight of world-class misogyny; for instance, Nietzsche writingto Strindberg, “ I read your tragedy twice with deep emotion;it has astounded me beyond measure to find a work inwhich my own conception of love—with war as its means andthe deathly hatred of the sexes as its fundamental law— is somagnificently expressed. ”33 The ones who hate women outrightknow they are waging war; the complicitous women,