The Sexual Subversive [The Erotic Imagination]

¡Hola! Everybody…
I’m currently trying out for different jobs, so wish me luck. One would entail moving to DC… yikes! LOL

If it’s Friday, it has to be about s-e-x!

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-=[ The Erotic Imagination ]=-

Erotic behavior is complex, often misunderstood, often feared, but the complexities of the erotic imagination are eve more so. We can (and do) create rules for the regulation and social control of erotic behavior; we can (and do) develop social conventions and laws with various punishments for what is considered sexually transgressive behavior. They make us all feel reassured and “safe.” But despite all the energy we invest in limiting erotic practice, erotic imagination travels its own path, most often to the very themes we deem forbidden, bizarre, even perverse. If Eros is the archetype of a rash, irrepressible, rebellious trouble maker, he seems most uncontrollable when he enters the realm of the imagination.

The sensationalist, distorted, hysterical language that dominates the political and social dialogue of erotic art and pornography reflect the cultural fear and confusion about our essential erotic natures. We equate the symbolic content of our erotic fantasies, dreams, or works of art with the literal intention to enact the fantasy. In no other area of imagination do we so fear confusing fantasy with reality.

For example, if you wake up from a dream of leaping off a cliff and suddenly soaring effortlessly through space, you would not imagine that you’re in danger of killing yourself by leaping off a cliff while awake. However, if you dream of being sexual in a subversive way, say by being sexual with a prohibited partner (the person next door, a colleague at work, a family member), you may likely fear there is something dangerously wrong with you. If a man fantasizes of being at a luxurious estate, surrounded by opulence and all the creature comforts, he may likely smile at the creativeness of his imagination. But if he becomes similarly excited imagining elaborate scenes in which one glamorous woman after another desires to have wild sex with him (as is typical of male masturbatory fantasy), he will probably be told (or tell himself) that he is a sex addict, a potential rapist, someone with an unconscious desire to dominate or degrade women -- someone who should be fundamentally fearful of his sexual desires.

That we perceive and react to sex-related imagination so differently from other forms of creativity is indicative of our culturally programmed and deep-seated fear of pour erotic impulse and its herald, erotic imagination. We experience these as dangerous forces which must be kept reigned in, under constant control, lest they destroy the very foundation of our seemingly rational, orderly lives.

The tragedy and harm is that when we impose reasonableness on our erotic desires and dreams, or ascribe literal accuracy on erotic fantasies, photographs, and art, we deny our erotic complexity, and lose a huge part of erotic self empowerment, energy, and spontaneity. We become “good” boys and girls, seeking the approval of our parents, friends, society, but at a tremendous cost to ourselves. If we cannot tolerate our forbidden erotic thoughts and desires, if we cannot trust ourselves to separate fantasy from reality, thought from overt action, when it comes to erotic and sexual matters, we by necessity from much of the natural wellspring of erotic power.

It is possible, however, to step back from this culturally exaggerated fear of eros and to ask real questions about and to explore how erotic fantasy and imagination actually function. We can learn to address the erotic imagination on its own irrational, symbolic, and psychological terms. When we do this, we then become capable of appreciating not only our own fantasies but also the works of erotic art and literature, just as we appreciate other creative works -- separating fiction from fact, art from life. By creating psychological space for fantasy as fantasy, we can begin to understand and enjoy how wonderfully creative our erotic imagination can be, and to derive pleasure from the assorted fruits of its inventiveness.

Until recently, before the advent of the internet, there were two major public forums for sexually explicit imagination. The most widespread is commercial pornography -- the traditional medium in our culture for the public exploration of sexual fantasy. Because we have ghettoized the creation of sexually arousing material to an underground outlaw subculture, commercial pornography is, for the most part, formulaic, trivializing, and filled with gender and racial stereotypes, and almost universally male-oriented. I should note, however, that with the advent of the video and the internet, pornography has become more widespread with an audience that includes almost as many women as men, and it has (admittedly to a very small degree) become more joyous and sex friendly. Besides, the biggest consumers of video porn (in the U.S.) are people from some of the most religiously repressive Red States. Cyber interactions have also served to change pornography with “cougars” and men exchanging sexually explicit photographs, expanding the form in terms of amateur photographs.

However, I feel the most important development of public sexual expression in recent years has blossomed, is quite distinct from commercial pornography in its aesthetics, its content, and its general perception of sexuality and gender roles, and also its network of distribution. We have begun to see for the first time some measure legitimacy being given to sexual art, writing, and photography. My friend and poet, Puma Perl, for example, explores the outer fringes of the erotic imagination in her performance pieces, and she’s not alone. These new forms of sexual art go beyond pornographic conventions to offer complex, creative expressions of sexual themes and practices. Although serious artistic respect for sex-related art is still incubating, increasing numbers of talented artists and writers have begun to address sexual issues in their work, to defend the legitimacy and importance of a wide range of sexual themes, and to wrestle with the often elusive artistic questions raised by the erotic imagination.

The issues addressed by such artist are crucial in a growing cultural climate of sexual and political intolerance. Despite the current obstacles, growing numbers of artists are challenging the sexual status quo and do we ever need it. The alternative is to devolve into a postmodern nightmare of a sexually repressive (and dangerous) Victorian era. And may the gods help us all if that happens.

Love,

Eddie