Intercourse, by: Andrea Dworkin - Feminish

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19. L. Tolstoy, Last Diaries, p. 210.20. L. Tolstoy, Last Diaries, p. 203.21. S. Tolstoy, Later Diary, p. 130.22. L. Tolstoy, Last Diaries, p. 203.23. Leo Tolstoy, The Kreutzer Sonata, pp. 353-449, in Great Short Works of LeoTolstoy, trans. Louise and Aylmer Maude (New York: Perennial Library, 1967), p. 427.24. L. Tolstoy, Kreutzer Sonata, p. 358.25. L. Tolstoy, Kreutzer Sonata, p. 358.26. L. Tolstoy, Kreutzer Sonata, p. 362.27. L. Tolstoy, Kreutzer Sonata, p. 362.28. L. Tolstoy, Kreutzer Sonata, p. 363.29. L. Tolstoy, Kreutzer Sonata, p. 385.30. L. Tolstoy, Kreutzer Sonata, p. 364.31. L. Tolstoy, Kreutzer Sonata, p. 364.32. L. Tolstoy, Kreutzer Sonata, p. 364.33. L. Tolstoy, Kreutzer Sonata, p. 365.34. L. Tolstoy, Kreutzer Sonata, p. 366.35. L. Tolstoy, Kreutzer Sonata, p. 367.36. L. Tolstoy, Kreutzer Sonata, p. 367.37. L. Tolstoy, Kreutzer Sonata, p. 367.38. L. Tolstoy, Kreutzer Sonata, p. 370.39. L. Tolstoy, Kreutzer Sonata, p. 376.40. L. Tolstoy, Kreutzer Sonata, p. 377.41. L. Tolstoy, Kreutzer Sonata, p. 377.42. L. Tolstoy, Kreutzer Sonata, p. 378.43. L. Tolstoy, Kreutzer Sonata, p. 378.44. L. Tolstoy, Kreutzer Sonata, p. 382.45. L. Tolstoy, Kreutzer Sonata, p. 380.46. L. Tolstoy, Kreutzer Sonata, p. 380.47. L. Tolstoy, Kreutzer Sonata, p. 380.48. L. Tolstoy, Kreutzer Sonata, p. 445.49. L. Tolstoy, Kreutzer Sonata, p. 370.50. L. Tolstoy, Kreutzer Sonata, p. 370.51. L. Tolstoy, Kreutzer Sonata, p. 373.52. L. Tolstoy, Kreutzer Sonata, p. 374.53. L. Tolstoy, Kreutzer Sonata, p. 374.54. L. Tolstoy, Kreutzer Sonata, p. 374.55. L. Tolstoy, Kreutzer Sonata, p. 374.56. L. Tolstoy, Kreutzer Sonata, p. 373.57. L. Tolstoy, Kreutzer Sonata, p. 385.58. L. Tolstoy, Kreutzer Sonata, p. 385.59. L. Tolstoy, Kreutzer Sonata, p. 418.
60. L. Tolstoy, Kreutzer Sonata, p. 382.61. L. Tolstoy, Kreutzer Sonata, p. 396.62. L. Tolstoy, Kreutzer Sonata, p. 396.63. L. Tolstoy, Kreutzer Sonata, p. 409.64. L. Tolstoy, Kreutzer Sonata, p. 424.65. S. Tolstoy, Diary of Tolstoy's Wife, p. 154.C H A P T E R 2SK IN LE SS1. Kobo Abe, The Face o f Another, trans. E. Dale Saunders (New York: G. P.Putnam’s Sons/Perigee Books, 1980), p. 83.2. Abe, Face of Another, p. 83.3. Leo Steinberg, The Sexuality of Christ in Renaissance Art and in ModernOblivion (New York: Pantheon Books, 1983), p. 13.4. Kobo Abe, The Woman in the Dunes, trans. E. Dale Saunders (New York:Vintage Books, 1972), p. 122.5. Abe, Woman in the Dunes, p. 39.6. Abe, Woman in the Dunes, p. 91.7. Abe, Woman in the Dunes, p. 90.8. Kobo Abe, The Box Man, trans. E. Dale Saunders (New York: G. P. Putnam’sSons/Perigee Books, 1980), p. 67.9. Abe, Box Man, p. 68.10. Abe, Box Man, p. 143.11. Abe, Box Man, p. 144.12. Abe, Box Man, pp. 167-8.13. Abe, Woman in the Dunes, p. 51.14. Abe, Woman in the Dunes, p. 41.15. Abe, Woman in the Dunes, p. 41.16. Abe, Woman in the Dunes, p. 94.17. Abe, Woman in the Dunes, p. 46.18. Abe, Woman in the Dunes, pp. 47-8.19. Abe, Woman in the Dunes, pp. 139-40.20. Abe, Woman in the Dunes, p. 141.21. Abe, Woman in the Dunes, p. 191.22. Abe, Woman in the Dunes, p. 232.23. Abe, Face of Another, p. 224.24. Abe, Face of Another, p. 187.25. Abe, Face of Another, p. 196.26. Abe, Box Man, p. 32.27. Abe, Box Man, p. 51.28. Abe, Box Man, p. 160.29. Abe, Box Man, p. 169.
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Published by Basic BooksA Member of
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True rebels, after all, are as rare
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FOREWORDLike most writers, Andrea D
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She begins with an exploration of s
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sex you’ve been lucky or unlucky
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against the prison, and because her
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Though she was herself middle class
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movement. The term “prosex femini
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Forewordhelp people understand what
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Forewordattractive, even if we don
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PREFACEWhen I finished writing Inte
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strategy of threat that usually wor
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Adam—and die material power he st
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chapteroneREPULSIONN 1 9 0 5 , A T
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Repulsionphenomenon, and aversive.
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Repulsion 7state censor for permiss
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story, because the sex act makes th
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Repulsionof male domination, with s
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Depravity, debauchery, dissolutenes
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exploiter is what he brings to the
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Repulsionyears— this passage bein
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e reduced to being this sexual obje
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This anguish ended only with killin
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were part of the wealth he owned; a
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separate bodies; and then, with som
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identity becomes a new, tough, impe
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What one feels on the skin is overw
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— A sultry wind is blowing betwee
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self-involvement that pass for feel
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logic, no purpose. In this vision o
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his bedpost, he uses touch to get a
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intercourse stops, when one person
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The men, civilized, in shells of id
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STIGMAST IG M A C O M E S F R O M T
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The meaning of the tattoo here is n
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affectations; she has a nervous lau
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weakness of the flesh; needing and
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and there he is—Stanley Kowalski!
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my empty heart with.. . . I think i
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Physical beauty is passing. A trans
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COMMUNIONn A m e r i k a , t h e r
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with imagination is pushed forward
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e better than the world. ’”4Bei
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and what he had paid, what he had b
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to explicate this morality is aston
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violence o f the deep.. . . Her bre
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elty, more than this trouble and pa
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ecomes impersonal. ” 35 Passion b
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passion, from the commitment and th
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flowed towards Yves. It was this vi
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POSSESSIONN T E R C O U R S E IS C
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muscles that contract like a fist s
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equires access to every hidden inch
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ody dies, or the lover discards the
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animals, blood, feathers, knives, t
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jesting and frivolity that evening.
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collapse and the abandonment of wil
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piously went about their work. ”
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and when Rechele went to confide in
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her flesh. Comatose or not, that sa
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and she spread her legs to show her
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THE FEMALE CONDITIONYou mention the
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yet, including the Nazis, has kille
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oundaries and degraded possibilitie
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this same Robert that I must go int
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avest of her troop. And there Fortu
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who maketh thee so bold to allow th
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than they had ever been but not hum
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learned men, skilled orators; she w
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honor. This was not a puerile virgi
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would have held virginity to be a s
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accounts are happily invisible in t
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was free, a rare and remarkable qua
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which she wore as men did, she was
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exception. Joan’s intransigence c
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“ the key to her strength and pow
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could or should belong to a woman,
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fantasy, in the ether, not ever hav
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“ It was he who might rather have
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pursue sex. The intercourse itself,
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Romance was her suicidal substitute
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Sophie Tolstoy, having been “ tra
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Modern versions of the story, espec
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y sex in that she is not carnal, no
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The sexual predator is murderous, a
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In Dracula, vampirism is—to be pe
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OCCUPATION/COLLABORATIONOh, God, wh
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Intercourse in reality is a use and
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classes, and so we preserve the pri
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one in which men have social, econo
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We are poorer than men in money and
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[There might be] more a mutual lyin
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Occupation/Collaborationhe might no
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Occupation/Collaborationnot at the
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tyranny and the atrocities of histo
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speak their language. Our minds thi
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Occupation/Collaboration“ iniquit
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gression of those boundaries comes
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including the condition of women, w
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it: except for the fact that it is
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those demands. It is the best syste
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POWER, STATUS, AND HATEIs that a gu
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pie know, how consciousness and sel
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eal hierarchy that nature or God cr
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less dignity and less freedom, with
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way. In fact the relationship which
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Proust too described the “feminin
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carnal chattel of men; proper objec
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Page 227 and 228: always a tension between the law th
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Page 231 and 232: direct: “The man had intercourse
Page 233 and 234: ejaculated into her vagina, her cap
Page 235 and 236: “ But if you can’t rape your wi
Page 237 and 238: DIRT/DEATHN FER IO R ITY IS N O T B
Page 239 and 240: month, parturiates once a year and
Page 241 and 242: the Arabs. Fuck means peace. Fuck m
Page 243 and 244: Inferiority— sex-based or race-ba
Page 245 and 246: The racially despised men pollute t
Page 247 and 248: . . . Perched in this roost about f
Page 249 and 250: apes at all; he is visually impaire
Page 251 and 252: are faceless. Without consciously r
Page 253 and 254: She painted the suffering, enraged;
Page 255 and 256: woman’s sensuality being, in the
Page 257 and 258: is concerned I am an aristocrat. I
Page 259 and 260: contact with her inferiority, her d
Page 261 and 262: what makes it so much fun. )”57 I
Page 263 and 264: scabbard or sheath. The penetration
Page 265 and 266: stands upright next to the bed, he
Page 267 and 268: your child were going to be killed
Page 269 and 270: far from asserting aggressive viril
Page 271 and 272: two parts on the bed. ” 78This to
Page 273: NOTESC H A P T E R 1R E P U L SIO N
Page 277 and 278: 14. Williams, Summer and Smoke, p.
Page 279 and 280: 2. Isaac Bashevis Singer, Satan in
Page 281 and 282: 31. Trial of Joan of Arc, p. 127.32
Page 283 and 284: 106. Bram Stoker, Dracula (New York
Page 285 and 286: 21. Augustine, Confessions, p. 181.
Page 287 and 288: 39. Raphael Patai, Sex and Family i
Page 289 and 290: BIBLIOGRAPHYAbbey, Edward. Down the
Page 291 and 292: _____ . Sweet William. New York: Ge
Page 293 and 294: _____ . Looking on Darkness. London
Page 295 and 296: _____ . Oh What a Paradise It Seems
Page 297 and 298: Donahue Transcript No. 01310: Phil
Page 299 and 300: Frame, Donald M. Montaigne. San Fra
Page 301 and 302: Gertler, T. Elbowing the Seducer. N
Page 303 and 304: Harrison, Barbara Grizzuti. Visions
Page 305 and 306: Johnson, Joyce. Minor Characters. N
Page 307 and 308: _____ . Women in Love. New York: Pe
Page 309 and 310: Marcus, Maria. A Taste for Pain. Tr
Page 311 and 312: _____ . Runaway Horses. Translated
Page 313 and 314: _____ . Guerrillas. New York: Vinta
Page 315 and 316: _____ . Voices. New York: Farrar, S
Page 317 and 318: Said, Edward W. Covering Islam. New
Page 319 and 320: _____ . Mon (“ The Gate”). Tran
Page 321 and 322: _____ . Seven Japanese Tales. Trans
Page 323 and 324: Walker, Alan. Franz Liszt: The Virt
Page 325 and 326:
Yallop, David A. Deliver Us from Ev
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Castration, 220Catholic Church, and
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A Few Small Nips (Kahlo), 240-241Fl
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Kafka, Franz, 1, 163Kahlo, Frida, 2
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Physical privacyargument used to sa
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Singer, Isaac Bashevis, 85Skin, 25-
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