[“The problem is that we have exiled sex in our minds. We have isolated it from the larger inclusive narrative and we have limited its definition to that which serves the most privileged class of protagonists.
I think that this is a symptom of that other habit of treating whole classes of human beings as though their stories do not have the stakes, narrative depth, and complexity typically assigned to dominant protagonists. It is a craft quandary indeed to write yet another sex scene in which a white male protagonist exercises his archetypal masculinity on a secondary, two-dimensional character functioning as a prop in his hero’s journey without any narrative awareness of this exhausted trope.
But to write a sex scene in which that marginalized character is treated with some reverence and depth? To write it from their perspective? Or to write a scene in which a white male character experiences, even in an inchoate way, the deep discomfort that occurs when we act out our erotic story on another body without recognizing its humanity? I’ll repeat the unrule: you can use any words you want.
Here is Eileen Myles, from Inferno, in case you thought comparing a pussy to soup, or using the word crotch, was out of bounds or unsexy:
But after kissing her mouth a little chapped which seemed familiar then feeling her breasts not so large, but nice round and beautiful, familiar breasts, ones I already knew in some way I tugged down her pants. She said Oh. Like a soft amount of light, a small gust of wind. And luckily she had some sweatpants on or something, a stretchy waist. Easy getting them down and there were her lemony legs. Not big not strong, but smooth soft hair like peaches everything that way. Pink rose warm. I just dived down. It couldn’t have been too fast. Time was being so slow and warm. And there it was. A pussy, the singular place on a girl, it’s where I’m going. Wiggly thing, like soup, like a bowl. Another mouth. Like lips between her legs and the taste of it. Piss and fruit. I pressed my face against its bone and it moved. She was letting me. All this was happening. I smelled the future right there, a present and a past. All that went through her, known through the soft sweet flesh of her lips and clit. It was like my face felt loved temporarily […] I felt plunged into a tropical movie in which light was bathing my head and her pussy, her cunt, her crotch was a warm smile and for a moment I lived in her sun.
The revelation here is not that these words can be used in a sex scene, but that a pussy, a cunt, a crotch can be transformed by a sex scene. “Language is never innocent,” Roland Barthes once wrote, and I agree. Here, in the sense that the words pussy, cunt, and crotch all carry the connotative luggage of all their previous contexts—the violence, disgust, and pornographic theater of all the scenes and mouths I’ve heard them in and from. Experience, however, is innocent. This narrator’s sexual reality is so powerful a phenomenon that it washes these words of their previous connotations. Now they mean not a wimp or a bitch or the place on a woman that belongs to a man, but something magnificent and weird, pure and exotic, deeply familiar and erotic—a warm smile, a cosmic body. Just as sweatpants become perfect attire for such a scene, smooth soft hair like peaches, and the actual smell of sex a good one. When they enter this revelatory scene, these degraded words are suddenly imbued with the same reverence as their speaker. To use them is an incontrovertible act of (re)creation.”]
melissa febos, from body work: the radical power of personal narrative, 2022
