Last Days at Hot Slit

by Andrea Dworkin

  Bennington had a reputation for academic excellence and a bohemian environment. In fact, Bennington trained mistresses, not wives, for artists, not businessmen. To illustrate the ambience: the year before my first year, seniors in literature had, as a group project, recreated the brothel scene in Joyce’s Ulysses, themselves the whores. A lot of the faculty preyed on the nearly all-female student body; and the deep conviction of most of the faculty that these girls would never become artists themselves was openly articulated when, in my third year of attendance, coeducation was discussed and eventually adopted. Students, including me, got to hear how useless the mostly male faculty felt teaching girls. We never became anything, they said, each a dozen times in a dozen ways. We seemed to be fine for fucking and serial marriage, some faculty actually going through as many as four marriages with successive students and countless adulteries. But we could never become what in our hearts we thought we were: creative, ambitious, risk-taking doers and thinkers and makers. I had three brilliant teachers at Bennington, each of whom was ethically scrupulous with respect to me; and I owe them a lot. They taught me with an astonishing intellectual generosity; they supported my aspirations; they even protected me, from other faculty and sometimes from myself. They extended friendship without the sexualization. The rest of it was intellectually boring. After my first few weeks there, my philosophy professor telephoned me at the student house where I lived and asked me please not to leave: she knew I was bored. I distracted myself with drugs, sex, and politics.

  Bennington had a nine-week work period in the winter—a long two months—and long Thanksgiving, Christmas, and spring breaks, a big problem for a girl with no real home and no money. For my first work period in December 1964 I took marginal political jobs in New York City and fucked for food and shelter and whatever cash I needed. I worked with the Student Peace Union and the War Resisters League opposing the war in Vietnam. I had other jobs, too, for instance as a receptionist at a New York University institute for remedial reading. In February 1965 I was arrested outside the United States Mission to the United Nations for protesting Amerika’s involvement in Vietnam. I had a book of poems by Charles Olson with me when I was arrested. I spent four days in the Women’s House of Detention before I was released on my own recognizance. While in jail, in addition to the many strip-searches by hand that police and nurses made into my vagina and anus, I was brutalized by two male doctors who gave me an internal examination, the first one I ever had. They pretty much tore me up inside with a steel speculum and had themselves a fine old time verbally tormenting me as well. I saw them enjoy it. I witnessed their pleasure in doing it. I couldn’t understand why they would like to hurt me. I began to bleed right after. When I came out of jail I was mute from the trauma. I wandered around the city, homeless and resourceless, silent and confused, for several days, until I showed up at the apartment of a stranger who had taken a bag I had packed for jail from me when, toward the end of the day, it seemed as if we would not be arrested. I sort of vaguely remembered her name and looked it up in the phone book when I needed underwear badly enough. She was the writer Grace Paley and this was before she herself had gone to jail to protest Vietnam. She made me come in and sit; I stared silently. Grace got me to talk but instead of normal talk I said what had happened to me. I didn’t even know the words for speculum or internal examination, so I was exceptionally blunt and used my hands. She thought that what had been done to me was horrible and she immediately called a woman reporter to say that this monstrous thing had been done to this girl. The reporter said: so what? But that night I went to the Student Peace Union office and typed letters to newspapers to tell what had happened to me in the jail: blunt letters. The antiwar boys, whose letters I typed during the day, whose leaflets I mimeographed, laughed at me; but I mounted a protest against the prison. The New York Times, the Daily News, and the New York Post carried the story. The city was forced to conduct a grand jury investigation. An assistant to the governor also investigated. A liberal Republican, John V. Lindsay, challenged entrenched Democratic incumbent Robert Wagner for mayor partly by holding Wagner responsible for the corruption in the jail and promising to shut it down. Lindsay won. Television news shows did documentaries on the prison, which had a long history of brutalizing women, some of whom had died. Eventually, the grand jury vindicated the prison, and the governor’s assistant was defunded by the legislature. My parents were ashamed of my arrest and of the way in which I had been hurt. They were enraged with me and pretty much abandoned me. I left school, my parents, the country. I went to Greece with less than $100 in my pocket. I gave most of it to an old woman, Mildred, whom I met on a train. She said she had lost hers but had money waiting in Athens. I showed up at the appointed place, at the appointed time, but she never came. That night, my nineteenth birthday, I picked up a Greek army officer: I needed food and money. Since the hill overlooking Athens was beautiful and the night sublime, it was easy to pretend this was romance. I remember saying to him after, “You really hate women, don’t you?” I hadn’t anticipated woman hating but I recognized it in his abrupt post-coital tristesse. I learned not to voice the observation however many times I made it, whatever the post-coital mood. Men don’t like to be seen or remarked on by what my friend Judith Malina, director of the Living Theatre, calls “talking women.” I wrote poems and a novel called Notes on Burning Boyfriend, a surrealistic screed against the Vietnam War built on the self-immolation of protester Norman Morrison. I published a small collection of poems and Genet-like prose called Child (Heraklion, Crete, 1966). It wasn’t until I published Woman Hating in 1974 that I became a talking woman who could say with some authority: you really hate women, don’t you?

  The authority was never my own plain experience. I always thought other people’s lives were worth more than mine. As a matter of temperament I had an interest in the collective or communal, not the personal. I thought psychology was a phony science, and I still do. I didn’t think something was important simply because it happened to me, and certainly the world concurred. I had learned that I would not be believed. I knew that from the world’s point of view, though never my own, I was trash, the bottom. The prison authorities said I lied and the grand jury claimed to believe them, not me. No one really believed me about my husband. I had a deep experience of the double standard but no systematic understanding of it. The writers I had loved and wanted to emulate—Baudelaire or Artaud or Dostoevsky or Henry Miller or Jean Genet—were apparently ennobled by degradation. The lower they sunk the more credibility they had. I was lowered and disgraced, first by what was being called sexual liberation, then by the violence of domestic sexual servitude, without any concomitant increase in expertness: I paid my dues, baby, I know the price of the ticket but so what? When I emerged as a writer with Woman Hating, it was not to wallow in pain, or in depravity, or in the male romance with prostitution; it was to demand change. I wanted to change the power structure in the social world that had made degradation a destiny for many of us, or lots of us, or maybe even all of us—for women. I didn’t want to write the female suicide’s poem; nor did I want to write another male-inspired lyric celebrating the sewer. I wanted to resist male dominance for myself and to change the outcome for other women. I did not want to open my legs again, this time in prose. I did not believe that to do so would persuade or bring change. I found, then and over the next twenty years, a stubborn refusal to credit a woman with any deep knowledge of the world itself, the world outside the domain of her own introspection about romantic love, housekeeping, a man. This refusal was so basic and so widespread that it could stay an unspoken assumption. Women who wanted to write about social issues did it through anecdote. Books that could only have been written out of an extensive and significant knowledge of what it meant to be pornographized or sexually colonized—my books—were dismissed by patriarchy’s intellectual ruling class as Victorian or puritanical—empirical synonyms for ignorant.

  Instead of using my own experience as the immedia
te subject of discourse, I used a more complex method of exposing bone and blood: I found the social phenomena that could be pulled apart to show what I knew to be the essential heart of the experience—rape, prostitution, battery, for instance; woman hating, sexualized insult, bias, discrimination—and I found the language to carry it: to carry it far, way past where critics could reach or, frankly, most men could imagine. I had the luck of having my books last over enough time to reach women—not elite women but grassroots women and marginalized women. Slowly women began to come to me to say, yes, that’s right; and I learned more from them, went deeper. I used writing to take language where women’s pain was—and women’s fear—and I kept excavating for the words that could bear the burden of speaking the unspeakable: all that hadn’t been said during the rape or after, while prostituting or after; truths that had not been said ever or truths that had not been said looking the rapist, the batterer, the pimp, the citizen-john in the eye. This has been my contribution to literature and to the women’s movement.

  _____

  I saw my mother’s strength. Illness seems a visitation, a particular affliction to test the courage of the stricken person, a personal challenge from God. It is hard to know what one can learn from the example even of someone as heroic as my mother surely was. In my mother, I saw Herculean strength in the face of pain, sickness, incapacitation, and the unknown. I have never thought that much of it rubbed off, because I am a coward in that realm: any minor illness makes me feel as if life has stopped. The heroic person, as I saw from my mother, never accepts even the suggestion that life might stop. She keeps pulling the burden, illness as a stone weight; she never stops pulling. Nothing in my mother’s life suggested that women were wimps.

  In school—grade school and college—my female friends were rebels with deep souls: bad children in adulthood; smart adults in childhood; precocious; willful; stubborn; not one age or one sex or with one goal easily advanced by a conforming marriage and inevitable motherhood. Despite the best efforts of parents, teachers, to bind our feet Chinese-style, we kept kicking. Ain’t none of us got out with unbroken feet; we all got some bones bent in half; we got clipped and pushed and stepped on hard to make us conform; and in our different ways we kept walking, even on the broken bones. It was a time when girls were supposed to be virgins when we married. The middle-class ideal was that women were not supposed to work; such labor would reflect badly on our husbands. Anyone pregnant outside of marriage was an outcast: a delinquent or an exile; had a criminal abortion or birthed a child that would most likely be taken away from her for adoption, which meant forever then. In disgrace, she would be sent away to some home for pregnant girls, entirely stigmatized; her parents ashamed, shocked; she herself a kind of poison that had ruined the family’s notion of its own goodness and respectability. She would be socially reprehensible and repulsive—and the social ostracism would be absolute. I had close friends who resisted, who never quite gave in, despite appearances to the contrary. The cost was high sometimes; but it is my impression that my friends, like most women, paid the highest price when they did give in, not when they resisted. The cost needs to be spread out over time: the many marriages and the midlife depression. On the streets there were women who were both strong and fragile at the same time: immensely strong to bear the continuing sexual invasion, consistent brutality, and just plain bad weather (no joke); immensely strong to accept responsibility as the prostituting persona—I want this, I do this, I am this, ain’t nothin’ hurts me; and much too fragile to face either the cost of prostituting or its etiology. The cost was physical disintegration and mental splitting apart. The cost was getting dirtier and lonelier and anesthetizing pain with more and meaner drugs. The cost was accepting the physical violence of the johns, moving through it as if it didn’t matter or hadn’t happened, never facing that one had been hurt, then hurt again, nor asking why. Some girls were straight-out battered and forced. But even without a violent man in sight, the etiology always had to do with sexual abuse, in the present or in the past; also with homelessness and poverty; with the willingness of men to use any girl for small change; with abandonment—the personal abandonment of family, the social abandonment choreographed by the users. It may be harder to face abandonment than to endure exploitation; and there were no models for articulating the realities and consequences of sexual abuse. The point of dealing with political oppression has never been that the oppressed are by nature weak, therefore pitiful: the more injustice on one’s back, the stronger one must be. Strong girls become strong women and use that strength to endure; but fighting injustice requires a dynamic strength disciplined to resistance, focused on subverting illegitimate power, eventually to level it. In a system valuing men over women, girls with piss and vinegar carried a heavier burden than girls brimming over with sugar and spice; the stronger were punished more, and still are. In this world, female friendships, deep and sustained loves, romances and infatuations, also love affairs, helped keep one’s heart alive, one’s sense of self, however unratified by the larger universe, animated and sensate. The political use of female strength to change society for the benefit of women is a different choice: a harder, better choice than endurance, however noble (or stylish) the endurance.

  In my early adult life as a writer, there were three women especially who helped me and taught me and believed in me: Grace Paley, Barbara Deming, and Muriel Rukeyser. Each one sort of took me in and took me to her heart for some significant period of my life. Each one was mother and sister and friend. Each one was a distinguished and powerful writer, a social rebel, an original moral thinker. Each lived a life that combined writing and political action. Each put herself on the line for the oppressed, the powerless; was repelled by exploitation and injustice; and was devoted to women—had deep and intimate friendships with women and fought for women’s rights. I met Grace in 1965, shortly after I got out of the Women’s House of Detention. She fed me and gave me a bed to sleep in; I went to her when I was distressed, exhausted, in trouble—or more trouble than usual. She helped me when I came back from Greece; then again later when I came back from Amsterdam. I met Barbara in 1965 a few months after I met Grace, on a television program about the Women’s House of Detention, where she too had spent some time as a political protester (see “Letter to M.,” Lavender Culture, edited by Jay and Young); and then we met again and became close after Woman Hating was published. In 1976, my friend John Stoltenberg (about whom more later) and I went down to Sugarloaf Key in Florida to live on shared land with Barbara and her lover, Jane Verlaine. I couldn’t tolerate the subtropical climate so after five months John and I moved north to the Berkshires. I met Muriel in 1972 after I had returned to New York City from Amsterdam at an antiwar meeting. She tried very hard to help me survive as a writer, including by hiring me as her assistant (see “Introduction,” Letters From a War Zone). My apprenticeship to her had a slightly formal quality, because she paid me for the duration. She opened her home to me and her heart; she advised me and counseled me; and she made sure I had a bare minimum of money. She was attuned to the concrete necessities. A woman who has been poor and entirely on her own, as Muriel had been, knows that one’s life can slip through a crack; good intentions cant match the value of a dime.

  These friendships were of enormous importance to me; I doubt I would have survived without them. But the friendships went far beyond any utility for survival. Each of these women had faith in me—and I never quite knew why; and each of these women loved me—and I never knew why. It was a lucky orphan who found each of these women and it was a lucky striving writer who found each of these writers. They are all taken more seriously now than they were then; but I had the good sense to know that each was an Amerikan original, wise with common sense and plan talk, gritty with life; they were great craftswomen, each a citizen and a visionary. I know what I took; I hope I gave enough back.

  _____

  It is hard to say what keeps a writer writing in the face of discouragement. It helps
to have had a difficult childhood; to have a love of writing itself, without regard to the outcome; and eventually to have an audience, however small, that wants you, wants those troublesome books, is like a lover to you, very intimate with enormous expectations—embraces you through the language you find and the truth you are willing to tell. I have had that audience, which I meet when I travel to lecture or to give readings, a U.S. underground unrecognized by the media in small towns, on college campuses, at political rallies, tender, luminous, brave women of all ages, and mostly but not exclusively young men who want fairness for women. They have shown me respect and love.

  One can be derailed by savage reviews, certainly poverty, a ubiquitous cultural contempt, violent words or violent gestures or violent acts, invisibility as a writer or, in the Amerikan tradition, too much fame or notoriety. My own view is that survival is a matter of random luck: the right blow, the one that will finish you, does not hit you at the right time in the right place. I have not made money or had an easy time publishing my work, which has been anathematized. I had a hard childhood, which is good; and I have the audience that wants my work, which is essential; and I love to write regardless of the outcome in publishing, which is damned lucky or I’d have died of a broken heart. But especially I have had the love of John Stoltenberg, with whom I have lived now for twenty years, and the love and friendship of Elaine Markson, who has been my agent for the past twenty-two years. They are fierce and brilliant friends. Neither has been intimidated by the anger against my work or against me. Each has stayed with me when I thought they would leave or should leave. I love John with my heart and soul; but what is more extraordinary is the way in which he has loved me (see his “Living With Andrea Dworkin,” Lambda Book Review, May/June 1994). I never promised him anything; but he promised me right from the beginning that he would stay with me for the rest of his life. I am just entertaining the idea that he might. He undertook to live the life I needed. He has taken on my hardships as his own; indeed, they have become his own. We share the circumstances created by the antagonism to my work on Grub Street. We share the politics of radical feminism and a commitment to destroying male dominance and gender itself. We share a love of writing and of equality; and we share each and every day. He is a deeply kind person, and it is through the actual dailiness of living with him that I understand the spiritual poverty and the sensual stupidity of eroticizing brutality over kindness. Elaine has been a loyal friend and colleague in circumstances both complex and difficult. She has stayed loyal to me and to my work through years when she didn’t make enough in commissions to cover the postage she spent sending out my manuscripts. Pornographers and their flunkies have tried to bully and intimidate her; so have publishers, as if silencing me would further freedom of speech. She has kept sending out manuscripts of mine for years as publishers stubbornly refused them. It was she who finally made it possible for me to publish my work in England when U.S. publishers were a dead end. Ice and Fire, published by Seeker & Warburg in the United Kingdom in 1986, was the first of several books to have widespread British distribution while remaining unsold in the U.S. I had written a good first draft in 1983, which Elaine tried to sell in the U.S., then a final version in 1984. Ice and Fire was finally published here in 1987—by an English company—but was never brought out in a paperback edition. The paperback is still in print in England. These are trying difficulties that no slick, money-driven agent would tolerate. Elaine will tell you that she doesn’t always agree with me; but why should she—and why should anyone assume that she does? The assumption comes from the lazy but popular stigmatizing ploy of guilt by association, a form of hysteria that pervades any discussion of me or my work in publishing circles. She refuses to give in to this discrediting ruse. Her faith in me has sometimes had to stand in for my faith in myself: I have become shaky but she stands firm. Many times, in the quiet of the room where I work, I have had to face the fact that I would not still be writing—given how hard the hard times have been—were it not for Elaine’s passionate commitment and integrity. We’ve walked many miles together.