Three Essays on Sexuality by Sigmund Freud (1905)

Note: to avoid misunderstanding, I believe Freud is a figure of huge cultural and historical importance, and I sympathise with his project of trying to devise a completely secular psychology building on Darwinian premises. Many of his ideas about sexuality as a central motive force, about the role of the unconscious in every aspect of mental life, how repressing instinctual drives can lie behind certain types of mental illness, his development of the talking cure, these and numerous other ideas have become part of the culture and underlie the way many people live and think about themselves today. However, I strongly disapprove of Freud’s gender stereotyping of men and women, his systematic sexism, his occasional slurs against gays, lesbian or bisexuals and so on. Despite the revolutionary impact of his thought, Freud carried a lot of Victorian assumptions into his theory. He left a huge and complicated legacy which needs to be examined and picked through with care. My aim in these reviews is not to endorse his opinions but to summarise his writings, adding my own thoughts and comments as they arise.

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Introduction and overview

Freud’s aim was to show the ubiquity and the strangeness of sex and use the sex instinct, massively expanded and redefined, as the basis of an entire new theory of human psychology.

According to historian of psychoanalysis Frank Sulloway, Freud found the sex instinct most suitable as the central vehicle or basis for the new and emphatically physiological type of psychology he wanted to devise, because it is a) so strong and b) so flexible.

In these three ground-breaking essays on sexuality, Freud set out to widen the concepts of sexuality, the sex instinct, libido, so as to encompass a much broader sphere of activity than ever previously imagined in order to make them underpin almost every aspect of human nature.

In Freud’s psychology people’s characters are like complicated family trees, all descended from the same one huge fountain of libido which is channelled and rechannelled into ever-smaller rivers and streams.

It is these rechannellings, the repressions and redirections and reaction-formations and sublimations and so on which come to make up your character – a collection of habits based on infantile pleasures, of disgust or shame (reaction-formations) or heroic ambition (sublimation) or guilts and anxieties (the neuroses).

Thus the Three Essays On The Theory of Sexuality (1905) is Freud’s second most important book after The Interpretation of Dreams (1900).

Essay 1 begins with a detailed look at the state of Victorian knowledge about homosexuality and perversions, because they reveal:

  1. the infinite malleability of the sex instinct
  2. how easily the sex instinct can be rerouted away from its ‘proper’ channel of ‘normal’ sexuality
  3. how even ‘normal’ sexuality is in fact built up of a network of pretty weird behaviour (Freud’s most striking example is kissing, which doesn’t make any sense the more you look at it)

In Essay 2 Freud shows that sexuality is not only present but vitally important in the life of infants and children. This idea was the biggest single cause of opposition to Freud’s theories in his lifetime, from Church and State, from commentators and populist politicians, and from decent people everywhere. It still is.

Freud is not very much interested in ‘love’. Love is the psychological effect of the ‘overvaluation of the sexual object common to almost all manifestations of the libido’:

It is only in the rarest instances that the psychical value set on the object as being the goal of the sexual instinct stops short at the genitals. The appreciation extends to the whole body of the sexual object and tends to involve every sensation derived from it. The same overvaluation spills over into the psychological sphere: the subject becomes, as it were, intellectually infatuated (that is, his powers of judgment are weakened) by the mental achievements and perfections of the sexual object and he submits to the latter’s judgments with credulity.

For Freud sex and love are interchangeable terms. He contrasts the overvaluation of the love-object found in the Western tradition with the more relaxed approach of the ancient world:

The most striking distinction between the erotic life of antiquity and our own no doubt lies in the fact that the ancients laid the stress upon the instinct itself, whereas we emphasise its object. The ancients glorified the instinct and were prepared on its account to honour even an inferior object; while we despise the instinctual activity in itself, and find excuses for it only in the merits of the object.

The Greeks held Bacchic orgies and had a god, Priapus, dedicated to the male organ; by contrast we in our time appear to fear the penis more than ever and instead reverence the idealised object of libido, the dream partner of the opposite sex (or the same sex), and the institution of Marriage.

And despite all the rhetoric from feminists and LGBTQ+ activists about interrogating and subverting this, that or the other stereotype and convention, we still appear to be in thrall to the narrow concept of finding ‘love’ in a faithful, monogamous, committed relationship, every bit as much as our Victorian forebears – very narrow and limited compared to the polymorphous, open and pluralistic attitudes of the 30 or so ancient Roman authors I read last year.

THREE ESSAYS ON THE THEORY OF SEXUALITY (1905)

This long work sets out to show the importance of sexuality in all human achievements, to establish a wider-than-usual definition of sexuality, and to prove the existence of infantile sexuality.

Freud’s recurring tactic is to make the ordinary, the everyday, look strange; to look again without conventional blinkers at things we think we know, and to show that our attitudes are complacent, superficial and contradictory.

1. The sexual aberrations

Popular opinion credits two universal instincts, Hunger and Sexuality. Sex is supposed to set in at the time of puberty and manifest itself in irresistible attractions between adults of the opposite sex with the ultimate end of genital sex, itself with the purpose of reproduction (as taught in Christianity and most of the other world religions).

Let us call the desired one the sexual object, the act towards which the instinct tends, the sexual aim.

(1) Deviations in respect of the sexual object

If popular opinion is true and God made sex solely for reproduction, how do we account for homosexuals?

(A) Inversion

Behaviour of ‘inverts’. For a start there are different types:

  • a) absolute inverts, totally repelled by the opposite sex
  • b) amphigenic inverts i.e. bisexuals
  • c) contingent inverts, depending on circumstances

Some inverts accept their condition as natural; others feel it a torment. Some were gay as far back as they remember; for others, homosexuality cropped up at puberty; others only ‘come out’ as adults, sometimes after they’ve followed a straight career with wife and kids.

Nature of Inversion

The first observers thought inversion the result of nervous degeneracy because it was first found among mental patients studied in asylums.

Degeneracy

But then it was late-Victorian fashion to blame anything you didn’t understand on ‘degeneracy’: criminals are degenerate, the working class is degenerate, Africans are degenerate etc.

Freud defines degeneracy in rigorous Darwinian terms as the actual impairment of an organism’s efficiency and survival probability. In these, practical, terms inversion is not degenerate. Not only is it found in people otherwise perfectly normal, but it is found in people ‘who are indeed distinguished by specially high intellectual development and ethical culture.’

Innate character

Some gays insist homosexuality is absolutely innate. But the existence of the late-developers or of contingent homosexuals argues against this. Far from being innate, much evidence suggests that homosexuality is acquired:

  • the case of many ‘inverts’ in whom an early impression left a permanent gay after-effect
  • later influences and life experiences which have fixed contingent gayness e.g. the army, prison, monastery etc

Almost all ‘inverts’ will be found to have been subjected to some experience like this (for example, public school). But on the other hand, so were many people who went on to be perfectly hetero. So it remains hard to say whether homosexuality is acquired or innate.

Bisexuality

Havelock Ellis says a clue might be that homosexuality is a form of psychical hermaphroditism, a mental equivalent of having the organs of both sexes.

Richard von Kraft-Ebing says that the brain contains female and male brain centres which are activated by a ‘sex gland’. (It wasn’t only Freud who was having batty, speculative ideas at this time.)

Whoever is right, it seems that most authorities accept the idea of an innate bisexuality in everyone, and that ‘inversion’ owes something to early disruption of development.

Later, Freud would write:

It is well known that at all times there have been, as there still are, human beings who can take as their sexual objects persons of either sex without the one trend interfering with the other. We call these people bisexual and accept the fact of their existence without wondering much at it … But we [psychoanalysts] have come to know that all human beings are bisexual in this sense and their libido is distributed between objects of both sexes, either in a manifest or a latent form.

Sexual object of inverts

Popular opinion holds that ‘inverts’ simply desire the qualities of the opposite sex. An inverted man is like a woman in desiring the qualities of the opposite sex, of masculinity, in his sex object.

But what about gays who love pretty boys, boys who demonstrate all the qualities of a girl, being beautiful, hairless, young and coquettish?

What about transvestites who do a good trade dressing up as women for gay clients? In ancient Greece older men regularly looked after shy, young, girlish boys.

So the sex object is a compromise between an impulse that seeks for a man and one for a woman (in the same way that a symptom is a compromise between a wish and reality).

Psychoanalysis’s explanation is thus: in his childhood the future ‘invert’ passes through a brief but intense attachment to a woman (normally his mother). After leaving this behind he identifies himself with this woman and take himself as his sexual object. Invoking infantile narcissism, ‘inverts’ identify themselves with a woman and set out to find a boy whom they can mother and love as their mother loved them.

The situation will be exacerbated by the absence of a strong father. Think of Oscar Wilde and his imperious mother; of W.H. Auden’s father away at the Front while his mother dressed him in girl’s clothing; of the plays of Joe Orton.

So, says Freud, being gay is being in endless flight from women.

But, Freud emphasises, this isn’t weird. Psychoanalysis has established that everyone makes homosexual object choices in their unconscious mind; that the freedom to range wide over male or female objects is found in childhood, in primitive societies, in early history and in the ancient world, and is the original basis of sexuality.

It is only as a result of later, Victorian social restrictions that people are forced into one fixed, standardised and regimented mould, heterosexual or homosexual, or their modern equivalent which demands that people be in monogamous committed couple relationships.

In reality a person’s final sexual orientation is not decided until after puberty, and then only as the result of innumerable obscure influences. That there is a multiplicity of determining factors is indicated by the extraordinary range of sexual practices and attitudes to be found in mankind.

Thus psychoanalysis regards so-called ‘normal’ sexuality as achieved only under intense pressure and great restriction of the original wider options for pleasure. In fact it’s so-called ‘normal’ sexuality, the genital attraction between man and woman, which is historically problematic and just as much in need of explanation as any other form.

Sexual aim of ‘inverts’

No one single aim can be laid down for the sexuality of ‘inverts’, as it can for the ‘normal’ behaviour of straights; there is too great a variety.

Conclusion

We have been in the habit of regarding the link between the sexual aim and the sexual object as more solid than it is. In fact the object appears to be no more than soldered onto the instinct, and which aim takes which object is a great deal more problematical than previously thought, because the sexual instinct is more free-flowing and independent than we previously suspected.

(B) Sexually immature person and animals as sexual objects

Light is thrown on the sexual instinct by the fact that it permits of so much variation in its objects and such a cheapening of them.

That children can be the objects of sex, or even animals, tells us about the vicissitudes of the sex instinct (along with rapes, sexual assaults and perverse murders). It seems as if the sex instinct will do almost anything to achieve satisfaction.

The impulses of sexual life are among those which, even normally, are the least controlled by the higher activities of the mind… In the process of human cultural development, sexuality is the weak spot.

(2) Deviations in respect of the sexual aim i.e. perversions

Popular opinion says the sexual aim is the union of the genitals in copulation which leads to the release of sexual tension. But a moment’s reflection tells you that, even in ‘normal’ sexuality, people kiss – bringing together two parts of the digestive system – for pleasure. And most people linger to some extent over intermediate stages, such as looking and touching. So the seeds of ‘perversity’ are all around us.

Perversions are sexual activities which either:

  • extend in an anatomical sense beyond the parts of the body designed for sexual union
  • linger or halt at the intermediate stages on the path to sexual union

(A) Anatomical extensions

Overvaluation of the sexual object

The first and prime perversion of sex from its object is the overvaluation of the object i.e. ‘love’. For all practical purposes ‘love’, for Freud, is this (potentially pathological) overvaluation of the love object.

It is only in the rarest instances that the psychical value set on the object as being the goal of the sexual instinct stops short at the genitals. The appreciation extends to the whole body of the sexual object and tends to involve every sensation derived from it. The same overvaluation spills over into the psychological sphere: the subject becomes, as it were, intellectually infatuated with (that is, his powers of judgment are weakened) by the mental achievements and perfections of the sexual object and he submits to the latter’s judgments with credulity.

This sexual overvaluation is something that cannot easily be reconciled with [society’s] restriction of the sexual aim to union of the actual genitals and it helps to turn activities connected with other parts of the body into sexual aims.

Once a sexual object has been chosen, the ordinarily effective higher activities of the mind – judgment and civilised restraint – all too often go out of the window. In most people this results in crushes, infatuations, sometimes in grands amours: once the libido sees an opening, it tends to pour forth like a flood.

How the subject (carried away by powerful libido) and the (perhaps reluctant) object cope with the situation is the theme of most of Western literature from Hero and Leander to Madame Bovary.

(I can see an evolutionary explanation for all this which Freud doesn’t mention, which is that: having made a sexual choice, overvaluation follows from a) opening the floodgates of an instinct otherwise fiercely repressed b) to ensure a strong libidinal attachment to the woman who you’re planning to impregnate – so it is a blind Darwinian instinct designed to make the impregnator bond with their mate  and remain to look after their offspring; but, as all of human history tells us, this often clashes with the other biological imperative affecting men which is impregnating as many women as possible, hence the many men who eat, shoot and leave.)

Sexual use of the mucous membrane of the lips and mouth

Freud proceeds with his agenda of making everything about sex and love look strange and uncanny.

The use of the mouth as a sexual organ is regarded as a perversion if the lips (or tongue) of one person are brought into contact with the genitals of another, but not if the mucous membranes of the lips of both of them come together.

Why do people find kissing acceptable and cunnilingus or fellatio disgusting? Freud here points to the purely conventional, culturally-determined nature of our feelings.

Has ‘disgust’ (a powerful reaction-formation) played a large part in forming our cultural conventions – or is it simply a product of the increasing self-repression which characterises us in the West (unlike other contemporary civilisations, primitive cultures and the cultures of the ancient world, which were and are much more liberal in their sexual practices)?

Freud seems to think the ancients were more honest in this, as in so much else.

The most striking distinction between the erotic life of antiquity and our own no doubt lies in the fact that the ancients laid the stress upon the instinct itself, whereas we emphasise its object. The ancients glorified the instinct and were prepared on its account to honour even an inferior object; while we despise the instinctual activity in itself, and find excuses for it only in the merits of the object.

The progress of civilisation seems to require a steadily increasing restriction of the sexual instinct, bought at the price of a growing sense of disgust. Hence the genitals of men and women, worshipped by the Greeks as holy, are now banned as dangerously corrupting.

There is no doubt that the genitals of the opposite sex can in themselves be an object of disgust and that such an attitude is one of the characteristics of all hysterics.

One thinks of John Ruskin (allegedly) driven into paroxysms by the discovery on his wedding night that, unlike the Greek statues which he adored, his wife had pubic hair. Or, more up to date:

Indecent exposure, sometimes known as ‘flashing’, is a serious sexual criminal offence, which carries a custodial sentence of up to 2-years at its most severe. (Old Bailey solicitors)

Does ‘disgust’ drive the repression of sexuality i.e. is disgust natural, a ‘God-given’ reaction of the ‘God-given’ conscience to the spectacle of fallen sexuality? A question related to: is conscience ‘God-given’ and so universal? Or is ‘conscience’ created by culture and therefore morally relative across different cultures? Morality and disgust on the one side, pragmatism and sexual libertarianism on the other.

Or is disgust an entirely material, biological reaction-formation to the compulsory repression of sexuality enforced by a coercive society, no God or morality required?

Sexual use of the anal orifice

People who think sodomy is disgusting because we defecate through the anus are as correct as women who say the penis is disgusting because men urinate through it or men who think the vulva is disgusting because women menstruate through it.

Which is to say, all these opinions are correct in their own terms, but missing the point. These organs can (clearly) be put to various uses. Should they be? Or should they be restricted to their ‘God-given’ purposes? But then who is to say what their correct usage is? A bunch of old men wearing purple dresses in the House of Lords? Imams and rabbis? Agony aunts? TV shows. Gender studies lecturers? Where is the authority for this?

Significance of other regions of the body

What seems to be common to all human sexuality is:

  1. overvaluation of the sexual object
  2. a versatile ability on the part of the sexual aim to use any part of the body as the sexual object for gratification

Unsuitable substitutes for the sexual object: fetishism

In fetishism the sexual instinct replaces the primary object (the genitals) and the overvalued secondary object (the person attached to the genitals) with unlikely tertiary objects – parts of the body, locks of hair, feet – or linked objects, such as underwear or other items of clothing.

A certain amount of fetishism is habitually present in normal love, especially of those stages of it in which the normal sexual aim seems unattainable or its fulfilment prevented.

A lock of your true love’s hair. Or as Goethe put it in Faust:

‘Get me a kerchief from her breast,
A garter that her knee has pressed.’

These objects can justifiably be likened to the fetishes of primitive peoples. Inscribed in fetishes is a primitive symbology, comparable with the symbolism of dreams. For example, the foot is an age-old symbol for the penis. Fur is linked to the hair of the mons Veneris. The shoe or slipper is a symbol of the female genitals (as in Cinderella) into which the male foot neatly slips, and so on.

(B) Fixations of preliminary sexual aims

Appearance of new aims

External factors (danger, unavailability of a sexual object, risk of disease) tend to fix libido at the preparatory activities. Truly, every normal aspect of ‘love’ carries the seeds of a perversion.

Touching and looking

Seeing is an evolutionary derivative of touching. A look can be as exciting as a touch.

Both seeing and touching are ‘ordinary’ parts of ‘normal’ sexual activity – unless lingered over, or unless they become ends in themselves, in which case we have voyeurism/exhibitionism and various types of masturbation.

Freud thought exhibitionism the result of either wishing for a reciprocal showing of the other person’s genitals; or a triumphant assertion against the Castration Complex: ‘Look, I’ve still got my willy!’

He doesn’t seem to take into account the sadistic urge to offend or scare women, a kind of sublimated form of rape, visual rather than physical rape.

The power of vision is shown by just how upset some women can feel, how physically defiled, just because a strange man showed them his penis. I’m not downplaying the offence or upset caused.

The concealment and revelation of the sexual parts of the body go hand in hand with the rise of civilisation and progressive sexual repression. It is unlikely that the Greeks had strip clubs; instead they had orgies, the real thing. We have strip clubs because of the immense repression to which our sexuality has been subjected.

For Freud the concept of ‘beauty’ itself originates in sexual excitement but is sublimated away from the genitals onto the body as a whole, which is perceived as ‘beautiful’, a concept or feeling which can then  be transferred onto other types of object, and then onto objects created and enjoyed for their ‘beauty’ alone i.e. works of art.

This explains why women are more often the object of art than men – even in women painter’s paintings – because men are more sexually predatory than women. And why the sight of the genitals themselves is rarely ‘beautiful’; all pleasure has been sublimated out of them leaving only the reaction-formation of ‘disgust’.

Sadism and masochism

These were given their names by Richard von Kraft-Ebing (Viennese) in the 1890s, after the Marquis de Sade (French) and Leopold von Sacher-Masoch (Viennese) As with the other perversions, a moderate amount of sado-masochism is generally regarded as ‘normal’:

The sexuality of most male human beings contains an element of aggressiveness – a desire to subjugate. The biological significance of it seems to lie in the need for overcoming the resistance of the sexual object by means other than the process of wooing. Thus sadism would correspond to an aggressive component of the sexual instinct which has become independent and exaggerated and, by displacement, has usurped the leading position.

Many types of sexual relationship which are regarded as ‘normal’ contain a high amount of aggression; sadism becomes an actual perversion when pleasure is derived from violence alone.

Masochism is sexual excitement aroused purely by receiving pain or humiliation. Later in his career, after he’d outlined the new theory of the superego, Freud distinguished between purely physical masochism and moral masochism, the desire to be found guilty of sins, to be punished for them and so on, an internal submission of the ego to the overbearing superego which plays such a large part in religious life.

Freud thinks masochism is secondary, a deflection of primary sadism – which the subject is too weak to inflict onto others – back onto the self. Masochism is for weaklings; or for the weakling part of even strong people.

The history of human civilisation shows beyond any doubt that there is an intimate connection between cruelty and the sexual instinct.

But nobody really knows why. Some people think aggression is a development of the primal desire to eat, to master objects by putting them in the mouth – an instinct seen in children and in the holy meals at the centre of many religions. Others think there is some intimate biochemical link between pleasure and pain.

Suggestive for Freud’s bisexual thesis – the mingling of the ‘feminine’ and the ‘masculine’ in all of us – is Havelock Ellis and Kraft-Ebing’s agreement that masochism and sadism are often found in the same person.

(3) The perversions in general

Variation and disease

Medical men first identified perversions in the insane and perversion was blamed (like homosexuality) on ‘degeneracy’. What Freud has shown is that the perversions are implicit in even ‘normal’ love.

No healthy person, it appears, can fail to make some addition that might be called perverse to the normal sexual aim; and the universality of this finding is enough to show how inappropriate it is to use the word ‘perversion’ as a term of reproach. In the sphere of sexual life we are brought up against peculiar and, indeed, insoluble problems as soon as we try to draw a sharp line to distinguish mere variations within the range of what is physiological from pathological symptoms.

On one side the liberal Freud, on the other a vast army of censorious Christians, trying to draw precisely that line, trying to tell people exactly just which type and forms of ‘love’ are permissible and which aren’t, from the Pope to Mary Whitehouse.

For the Moral Majority it is always other people who are degenerate, other people who are the helpless prey of, for example, homosexual men in the homosexual age of consent debate.

Freud is saying, if you only look at the acts themselves you may be tempted to define them as unchristian or degenerate, pathological or perverted etc. But if you look at the instinct which carries so many people to such lengths, it is the same instinct and it is in all of us – it is what our minds are made of.

The mental factor in perversions

Despite the sometimes disgusting ends to which the love instinct is put, all these behaviours are to some extent idealisations of the libido, in the sense of abstractions of it away from its normal role.

The omnipotence of love is perhaps never more strongly proved than in such of its aberrations as these. The highest and the lowest are always closest to each other in the sphere of sexuality.

Two conclusions

Every individual plays a double existential role:

  1. to reproduce, to pass on its genes and preserve the species
  2. to preserve itself while it does this

Sometimes the two purposes clash and this is the basis of Freud’s psychology, the clash between the unconscious libidinal drive to have sex, all the time, with everyone and everything; and the rational ego’s struggle to redirect this blind drive into socially acceptable forms which help the individual survive and help it be at peace with itself. So the origins of any person’s sexuality must be looked for in two places: in the history of the species and the accidents of the individual.

Our study of the perversions has shown us that the sexual instinct has to struggle against certain mental forces which act as resistances, and of which shame and disgust are the most prominent. It is permissible to suppose that these forces play a part in restraining that instinct within the limits that are regarded as normal; and if they develop within the individual before the sexual instinct has reached its full strength, no doubt they then determine the course of its development.

These forces, which act like dams upon sexual development – disgust, shame and morality – must also be regarded as historical precipitates of the external inhibitions to which the sexual instinct has been subjected during the psychogenesis of the human race. We can observe the way in which, in the development of individuals, they arise at the appropriate moment, as though spontaneously, when upbringing and external influence give the signal.

In the second place we have found that some of the perversions are only made intelligible if we assume the convergence of several motive forces. If such perversions admit of analysis, that is, if they can be taken to pieces, then they must be of a composite nature. This gives us a hint that perhaps the sexual instinct itself is no simple thing but put together from components which have come apart again in the perversions.

(4) The sexual instincts in neurotics

Psychoanalysis

Here Freud reiterates his belief that all the psychoneuroses are based on sexual instinctual forces and that the psychoneuroses can only be investigated using the method perfected by Josef Breuer and himself – psychoanalysis. He gives a useful summary of the famous cathartic method:

By this I do not merely mean that the energy of the sexual instinct makes a contribution to the forces that maintain the pathological manifestations (the symptoms). I mean expressly to assert that that contribution is the most important and only constant source of energy of the neurosis and that in consequence the sexual life of the persons in question is expressed in these symptoms. The symptoms constitute the sexual activity of the patient!

The removal of the symptoms of hysterical patients by psychoanalysis proceeds on the supposition that those symptoms are substitutes – transcriptions, as it were – for a number of emotionally cathected mental processes, wishes and desires which, by the operation of a special psychical procedure (repression) have been prevented from obtaining discharge in psychical activity that is admissible to consciousness.

These mental processes, being held back in a state of unconsciousness, strive to obtain an expression that shall be appropriate to their emotional importance – to obtain discharge; and in the case of hysteria they find such an expression (by means of the process called conversion) in somatic or bodily phenomena, that is, in hysterical symptoms [cf Anna O’s inability to drink water, choking sensation etc].

By systematically turning those symptoms back (with the help of psychoanalysis) into emotionally cathected ideas – ideas that can now become conscious – it is possible to obtain the most accurate knowledge of the nature and origin of these formerly unconscious psychical structures.

Findings of psychoanalysis

Psychoanalysis has shown that:

Symptoms represent a substitute for impulses the source of whose strength is derived from the sexual instinct… The character of hysterics shows a degree of sexual repression in excess of the normal quantity, an intensification of resistance against the sexual instinct (which we have already met with in the form of shame, disgust and morality), and what seems like an instinctive aversion on their part to any intellectual consideration of sexual problems.

In the case of someone predisposed to hysteria, the onset of his illness is precipitated when, either as a result of his own progressive maturity or of the external circumstances of his life, he finds himself faced by the demands of a real sexual situations. Between the pressure of the instinct and his antagonism to sexuality, illness offers him a way of escape. It does not solve his conflict but seeks to evade it by transforming his libidinal impulses into symptoms.

(See Jensen’s Gradiva, written two years later, which is a textbook example of hysteria as the self-deluding flight into illness. The archaeologist Norbert’s escape from the reality of an emotionally demanding sexual situation – his awakening love for Zoe – into delusions about the light-tripping woman on the antique frieze whom he names ‘Gradiva’, and then Norbert’s actual fleeing to Italy, to Pompeii, to escape the sexual situation, only to meet Zoe magically transformed into the woman in the frieze –– from the heart of the reaction-formation returns the repressed. In the novel Norbert is then cured through love, by the redirecting of his libido – unhealthily cathected onto the Gradiva-delusion – back to the reality of his flesh-and-blood love, Zoe, by the love object herself.)

Neurosis and perversion

Moreover, neurotics’ symptoms, upon psychoanalysis, often turn out to be conversions not just of ‘normal’ sexuality, but to include what are called the perversions i.e. neurotics’ unconsciousnesses are often raging with perverse wishes deflected into symptoms. Hence Dora’s persistent cough is a (transmuted) wish for oral sex with Herr K.

a) The unconscious life of all neurotics shows inverted impulses, fixation of the libido on persons of their own sex.

b) The unconsciouses of neurotics show tendencies to every kind of anatomical extension of sexual activity, particularly oral and anal.

c) An especially prominent part is played by the fact that the instincts involved are component instincts. Thus the perversions often come in opposing pairs: exhibitionism and voyeurism; the active and passive forms of the instinct for cruelty.

It is through such an opposition, a component tying together of libido and cruelty, that the transformation from love into hate takes place, the transformation from affectionate into hostile impulses.

(You can see here the embryonic shape of Freud’s later division of all the instincts into Sex instincts and Death instincts, Eros and Thanatos which would formulate nearly 20 years late, in Beyond the Pleasure Principle.)

(5) Component instincts and erotogenic zones

If we trace back the positive and negative aspects of the perversions (masochism/sadism, voyeurism/exhibitionism) they appear to derive from component instincts which themselves admit of further analysis.

When sexual excitement derives from a particular organ or area of the body we refer to that as the erotogenic zone.

Thus, under the right circumstances, the anus or the mouth can become an erotogenic zone. Or the surface of the skin in touching. Or the eye itself in voyeurism where, through the eye alone is felt excitement comparable to that of sex in a ‘normal’ person.

(6) Reasons for the apparent preponderance of perverse sexuality in the psychoneuroses

But just because neurotic symptoms often contain a perverse wish doesn’t mean that neurotics are closer to perverts than to ‘normal’ people. Neurotics are normal people whose libido, either because of innate predisposition or due to accident, has been dammed up.

Most psychoneurotics fall ill after the age of puberty as a result of the demands made upon them by normal sexual life. Or else illnesses of this kind set in later, when the libido fails to obtain satisfaction along normal lines. In both these cases the libido behaves like a stream whose main bed has become blocked. It proceeds to fill up collateral channels which may hitherto have been empty.

Where the constitution is predisposed to illness maybe no external factor will be required. On the other hand, a great shock in real life may tip a robust constitution into neurotic illness.

Might there be a link between the perversions wished for by the neurotic’s unconscious, between the erotogenic zone it highlights, and innate constitution?

In a word, can you define personality types by predisposition to a particular perversion/erotogenic zone? (This is what Freud does in the following essay, about childhood sexuality, defining and describing the oral, anal types and so on.)

(7) Intimations of the infantile character of sexuality

“By demonstrating the part played by perverse impulses in the formation of symptoms in the psychoneuroses, we have quite remarkably increased the number of people who might be regarded as perverts. It is not only that neurotics in themselves constitute a very numerous class, but it must also be considered that an unbroken chain bridges the gap between the neuroses in all their manifestations and ‘normality’….

Thus the extraordinarily wide dissemination of the perversions forces us to suppose that the disposition to perversions is itself of no great rarity but must form a part of what passes as the ‘normal’ constitution…

There is indeed something innate lying behind the perversions but it is something innate in everyone, though as a disposition it may vary in its intensity and may be increased by the influences of actual life. What is in question are the innate constitutional roots of the sexual instinct. In one class of cases (the perversions) these roots may grow into the actual vehicles of sexual activity; in others they may be submitted to an insufficient suppression (repression) and thus be able in a roundabout way to attract a considerable portion of sexual energy to themselves as neurotic symptoms; while in the most favourable cases, which lie between these two extremes, they may by means of effective restriction and other kinds of modification bring about what is known as ‘normal’ sexual life.

Thus the germs of our character, the way our sexual instincts will be channelled, are probably laid down in childhood. In the next essay Freud looks at the play of influences which govern the evolution of infantile sexuality until its outcome in perversion, neurosis or normal sexual life.

Essay 2. Infantile sexuality

Neglect of the infantile factor

In Essay 2 Freud sets out to smash the popular opinion that children have no sexual feelings; that sexual feelings only set in with puberty. On the contrary, all the literature, and a chat with any nurse, will tell you that many babies play with their willies or fannies and suck various bits of themselves, but these stories are generally only mentioned as exceptions and monstrosities.

Why do we not remember our sexual feelings from our own childhood years?

Infantile amnesia

We definitely behave lively in every respect during childhood, giving every evidence of feeling joy, love, rage, delight. Why do we forget so much of this? Freud says that under analysis patients often remember events from their earliest years. Therefore the memories are stored somewhere – but are repressed from everyday access. Why? Nobody knows.

(1) The period of sexual latency in childhood and its interruptions

Based on a) scattered reports of the so-called exceptional behaviour of infants in the literature and b) the memories of neurotics revealed by psychoanalysis, Freud will sketch out a theory of infantile sexuality.

Freud thinks of the sex instinct as being innate in the child; that it grows as the child grows; that it is overtaken by suppression at the age of 5 or 6; then it revives and develops further at puberty, developing in a pattern of fits and starts. Childhood sexuality only emerges into the light of observable day in the third or fourth year of life.

Sexual inhibitions

It is during this same period that the mental forces are built up which are later to impede and block the flow of the sexual instinct – feelings of disgust (at an object), feelings of shame (at oneself) and moral and aesthetic ideals (as it were, objective guidelines we build for ourselves).

Reaction formation and sublimation

These are the two methods by which these dams are erected to prevent the return of repressed material into the conscious mind.

Sublimation is a widely reported phenomenon, the diverting of instinctual sexual energies into ‘higher’, more socially acceptable ones.

A reaction formation is:

a defence mechanism in which emotions and impulses which are anxiety-producing or perceived to be unacceptable are mastered by exaggeration of the directly opposing tendency

Freud thinks that reaction formations are the result of a series of unpleasurable experiences, either of internal unpleasure (excessive playing with the genitals leads to unpleasure) or external tellings-off, which create, as it were, a psychological allergic reaction to the erotogenic zone and experiences in question. Told off for touching his winkle enough times and the small boy genuinely come to believe it is dirty and disgusting.

[A digression on Freud’s final theory of sexual development

A lot later, Freud was to elaborate and fine-tune the notion that the human infants evolve through a set number of stages, namely:

  • polymorphous perversity – undifferentiated pleasure in the whole body
  • oral phase (0 to 1 year) – the infant gets most of their pleasure from their mouth, for example eating and thumb-sucking: if an infant’s oral needs aren’t met it can develop an develop oral fixation which continues into adult life
  • anal phase (1 to 3 years) – controlling bladder and bowel movements, potty training, when successfully accomplished leads to praise from parents and a sense of achievement and independence; but if parents take an approach that is too lenient, Freud suggested that an ‘anal-expulsive personality‘ – could develop whereby the adult has a messy, wasteful, or destructive personality, while if parents are too strict, he believed this could lead to an ‘anal-retentive‘ personality which is over-strict, rigid, and obsessive.
  • phallic stage (3 to 5 years) – focus of the libido is on the genitals and children begin to discover the difference between boys and girls
    • in boys this gives rise to the Oedipus complex as boys view their fathers as a rival for the mother’s affections: the Oedipus complex describes these feelings of wanting to possess the mother and replace the father. But at the same time the little boy worries that his father will punish him for having these feelings, a fear Freud termed castration anxiety
    • other Freudians suggested the term Electra complex to describe a similar but mirror set of feelings experienced by small girls, namely the wish to be possessed by their father and rid of their mother, accompanied by parallel feelings of guilt and anxiety
    • Freud, however, believed that instead of the Electra complex, girls experience what he notoriously called penis envy i.e. the wish to be a boy, the lack of a penis forever leaving girls feeling inadequate. Even in Freud’s own day female psychoanalysts deplored this idea, and female followers have denied it and overwritten it ever since]
  • latency phase (6 to puberty) – the superego or conscience gains in power, the libido and memories of all those early physical pleasures are suppressed; instead boys or girls enter school and become more concerned with peer relationships, hobbies, and other interests; a time of exploration in which the sexual energy repressed or dormant, still present but sublimated into other areas such as intellectual pursuits and social interactions
  • genital stage (11, 12, 13 onwards) – at puberty the libido becomes active again and teens develop a strong sexual interest in the opposite sex: if all the previous stages have been successfully navigated, the person becomes a rounded, balanced individual]

Freud therefore thinks that the development through the oral, anal and phallic stages is partly achieved by the erection of these reaction formations which act as ‘dams’ or road blocks saying ‘No Going Back’.

That this may be the origin of feelings of ‘shame’ and ‘disgust’ is an interesting theory to ponder; that this process is the basis of all civilised morality, as Freud claims, was clearly a provocative thing to say, and which sparked much outraged opposition to him and his theories.

Interruptions of the latency period

Not all children’s sexuality goes underground at about five years old. There may be all sorts of exceptions, single strands of sexual pleasure continuing into the latent period.

(2) The manifestations of infantile sexuality

Thumb-sucking

This emerges early and often persists into adolescence. Sometimes accompanied by the rubbing of an erotogenic zone it can act as an introduction to masturbation. Because it is accompanied by pleasurable rubbing, and sometimes even by orgasm-type physical reactions, Freud makes thumb-sucking the prototype of infantile sexuality.

Auto-erotism (coined by Havelock Ellis in 1898)

Infants initially derive pleasure from their own bodies. Sucking thumbs or lips or any other part of the body is a repetition of the initial oral activity, sucking at the breast.

No-one who has seen a baby sinking back satiated from the breast and falling asleep with flushed cheeks and a blissful smile can escape the reflection that this picture persists as the prototype of the expression of sexual satisfaction in later life.

As the child grows it experiments with enacting the sexual pleasure of sucking when the breast is absent: sucking any part of its own body, taking itself as a source of pleasure. In later life the pleasures of lingering kissing re-enact this primal sexual experience. In some children there is a constitutional intensification of the labial region (lips):

If that significance persists, these same children will grow up to become epicures in kissing, will be inclined to perverse kissing or, if males, will have a powerful motive for drinking and smoking. If, however, repression ensues, they will feel disgust at food and will produce hysterical vomiting.

Thus, for Freud, entire character types and types of adult behaviour can be traced right back to earliest childhood behaviour.

(3) The sexual aim of infantile sexuality

Characteristics of erotogenic zones

Erotogenic zones are a moveable feast. Particular parts of the body seem predisposed to resonate with sexual pleasure (the genitals, lips, nipples, anus, the surface of the skin generally) and if an infant, in its auto-erotic stage, chances on one of these to suck or play with, that part easily becomes the model of sexual pleasure, of reassurance etc in later life.

Any part of the body can acquire the same susceptibility to stimulation as is possessed by the genitals and can become an erotogenic zone.

It is hard to think of a view more contrary to the popular, conventional view that a) infants have no sex life and that b) sex appears only at puberty and is exclusively confined to the genitals.

The infantile sexual aim

Although all the body is susceptible to sexualisation, certain zones seem predisposed to be especially erotogenic, generally zones which are physiologically designed for other activities and pleasures which the child can then repeat by auto-erotic stimulation: the lips for eating, the penis for peeing, the anus for defecating can all be co-opted by the libido.

(4) Masturbatory sexual manifestations

Activity of the anal zone

Psychoanalysis of patients has revealed the surprising extent to which the anus is not only a source of pleasure in infancy but retains its pleasurable power throughout life.

Children who are making use of the susceptibility to erotogenic stimulation of the anal zone betray themselves by holding back their stool till its accumulation brings about violent muscular contractions and, as it passes through the anus, is able to produce powerful stimulation of the mucous membrane. In so doing it must no doubt cause not only painful but highly pleasurable sensations.

One of the clearest signs of subsequent eccentricity or nervousness is to be seen when a baby obstinately refuses to empty its bowels when he is put on the pot and holds back that function till he himself chooses to exercise it. He is naturally not concerned with dirtying the bed, he is only anxious not to miss the subsidiary pleasure attached to defecating.

Faeces come to have another important meaning for the child.

They are clearly treated as part of the infant’s own body and represent his first ‘gift’: by producing them he can express his active compliance with his environment and, by withholding them, his disobedience…

The retention of the faecal mass, which is thus carried out by the child intentionally to begin with, in order to serve, as it were, a masturbatory stimulus upon the anal zone or to be employed as a weapon in his relation to the people looking after him, is also one of the roots of the constipation which is so common among neuropaths.

Activity of the genital zone

The glans of the penis in boys and the clitoris in girls:

The anatomical situation of this region, the secretions in which it is bathed, the washing and rubbing to which it is subjected in the course of a child’s toilet, as well as accidental stimulation, make it inevitable that the pleasurable feeling which this part of the body is capable of producing should be noticed by children even during their earliest infancy, and should give rise to a need for its repetition.

Girls often masturbate simply by rubbing their thighs together. Boys tend to use hands.

The preference for the hand which is shown by boys is already evidence of the important contribution which the instinct for mastery is destined to make to masculine sexual activity.

Second phase of infantile masturbation

In this early essay Freud posits three periods of sexual activity: a first phase of infantile sexuality; a second phase flourishing around the fourth year; then the eruptions of puberty.

The second phase of infantile sexual activity may assume a variety of different forms which can only be determined by a precise analysis of individual cases. But all its details leave behind the deepest unconscious impressions in the subject’s memory, determine the development of his later character, if he is to remain healthy, and the symptomatology of his neurosis, if he is to fall ill after puberty.

Return of early infantile masturbation

The return of infantile sexuality at around 4 and 5 years is determined by all sorts of factors, internal and external. But Freud is careful to mention the external factor of infantile seduction (or child abuse, as we would say) as a way many of his patients recall being jolted, as it were, into sexual life, and made aware of the erotogenicity of the genitals.

Polymorphously perverse disposition

In and as a result of sexual abuse, children can be induced to all manner of perversions thus revealing, for Freud, an innate disposition to polymorphous perversion.

The same, he asserts, is true of many women, as witness the large number of prostitutes who can accommodate any type of sexual taste for their clients.

It becomes impossible not to recognise that this same disposition to perversions of every kind is a general and fundamental human characteristic.

[At one and the same time this notion is typical of Freud’s throwaway sexism, but also of the immense tolerance and acceptance of a huge variety of sexual predilections implicit in his theory.]

Component instincts

Exhibitionism, voyeurism and cruelty are all apparent as perversions in potentia in children. Small boys proudly display the thing which gives them so much pleasure and which they pee through, their penis, which thus symbolises at least two types of infantile ‘mastery’.

Looking is the child’s earliest way of relating to the world. Once it has established its own erotogenic zones it is curious to see them in others: voyeurism.

Cruelty comes relatively easily to the childish nature, since the obstacle that brings the instinct for mastery to a halt at other people’s pain – namely a capacity for pity – is developed relatively late…

It may be assumed that the impulse of cruelty arises from the instinct for mastery and appears at a period of sexual life at which the genitals have not yet taken over their later role…

Children who distinguish themselves by special cruelty towards animals and playmates usually give rise to a just suspicion of an intense and precocious sexual activity arising from erotogenic zones…

The absence of the barrier of pity brings with it a danger that the connection between the cruel and the erotogenic instincts, thus established in childhood, may prove unbreakable in later life.

Jean-Jacques Rousseau’s Confessions show that early beating on the buttocks can easily be linked with erotogenic pleasure and form the basis of a fusion of the instincts of sex and cruelty in later life.

(5) The sexual researches of childhood

The instinct for knowledge

At the same time as children reach an early peak of sexuality (3 to 5 years) they display an instinct for knowledge. For Freud this is a sublimated form of the instincts for mastery and of seeing, voyeurism.

Psychoanalysis has shown that the first problem to awaken the childish thirst for knowledge are sexual problems, where do I come from? why does my wee-wee make give me pleasure?

The Riddle of the Sphinx

Freud gave this typically grandiose title to the core question of infancy: where do babies come from?

Sex differences aren’t important at this stage since boys assume all babies have penises.

Castration complex and penis envy [this section was added in 1915]

Only painfully do boys realise there’s a whole category of person who doesn’t have a penis and become petrified that they too might lose their mighty weapon. This he calls the castration complex.

The discovery that girls don’t have one gives many boys an enduringly low opinion of girls. For girls, the discovery that boys have this toy which they can play with induces in them penis envy and an enduring sense of being second-rate. Penis envy culminates in the girl’s wish to be a boy.

[The whole concept of ‘penis envy’ is probably the single most outrageous example of Freud, despite being a revolutionary on one level, nonetheless often reinscribing the sexist prejudices of his Victorian times in a new language.]

Theories of birth

All children speculate about where babies come from, especially if their mother is pregnant again. The central feature of most theories is that the baby is got by eating something (as in many fairy tales) and delivered through the anus.

Sadistic view of sexual intercourse

Many children see or overhear their parents making love. Children feel intense curiosity about it. It seems to have to do with some joint activity involving peeing or defecating. But many children pick up on the apparent violence involved (hard physical movements, screaming) and this is another way in which cruelty may attach itself to a child’s fantasy world and resurface in a person’s adult attitudes to sex.

Typical failure of infantile sexual researches

No matter how subtle the sexual theories of children they are invariably wrong; for how could they know about semen and ovaries? But the whole attempt is important to Freud as a symbol of the growing independence of the child. These researches:

constitute a first step towards taking an independent attitude in the world, and they imply a high degree of alienation of the child from the people in his environment who formerly enjoyed his complete confidence.

(6) The phases of development of the sexual organisation

Infantile sexual pleasure is the opposite in every way of ‘normal’ adult sexuality. It is essentially auto-erotic, and its component instincts are generally disconnected and scattered over all manner of activities: this is the meaning of polymorphous perversity.

Compare and contrast with adult sexuality aims at genital contact with some external object.

Pregenital organisations

I.e. sexual patterns before the instinct settles on the genitals:

1. The oral or cannibalistic phase: the aim is the incorporation of the sexual object, to eat it, to master it by ingesting it and stimulating the mucous membranes of the lips at the same time.

This is the origin of cannibalism in primitive peoples; of the primitive relic of a holy meal found in most religions; and of the higher intellectual activity of identification with a hero figure.

The primitive and intellectual functions are brought together in the Eucharist where we eat the body of Christ at the same time as we acknowledge Him lord and master.

2. The sadistic-anal phase: it is at this early stage that the sex instinct can be seen dividing into the active-passive division which characterises all later sexuality: the masculine drive to mastery, of defecating at our own time and pleasure; and the feminine pleasure derived from the anus; a sadistic and a passive pleasure intermingle.

Ambivalence

This duality is the basis of later ambivalence, a word coined by the Swiss psychiatrist Paul Eugen Bleuler (Bleuler was a prolific coiner of neologisms; he also invented the terms ‘schizophrenia’, ‘schizoid’ and ‘autism’).

Ambivalence became central to Freudian theory. It describes the holding of contradictory feelings, classically love and hate, towards the same object. Thus the child can both love but be terrified by their father.

Phallic phase

Freud distinguishes one last phase of infantile sexuality, where a love-object has emerged but the instinct in both boys and girls focuses on the penis alone, when boys develop pride in their penis and girls develop a painful sense of lack of penis, giving rise to penis envy (see comments above).

Diphasic choice of object

To summarise, Freud can claim that, completely contrary to the popular view, the distinctive thing about human sexuality is:

  • that it is present, in various forms, in infants from the earliest time
  • that it develops through a series of stages
  • that each of these stages carries the risk of arrest or error which deforms the child’s feelings and emotions around libido
  • that infantile sexual choices and activity are progressively repressed by reaction-formations (guilt, shame) by the age of about 5
  • that the entire set of experiences goes underground during the latency period (5 or 6 to puberty), is repressed and forgotten
  • that it resurfaces in a more explicitly sexual mode at puberty but with shapes and flavours conditioned by those earliest experiences

These infantile longings become the basis of later ‘affectionate’ feelings:

Their sexual aims have become mitigated and they now represent what may be described as the ‘affectionate current’ of sexual life. Only psychoanalytic investigation can show that behind this affection, admiration and respect there lie concealed the old sexual longings of the infantile component instincts which have now become unserviceable.

(7) The sources of infantile sexuality

These conclusions have been reached by the psychoanalysis of adult patients and the observation of children. Sexual excitation in children seems to arise from:

a) repetition of satisfaction achieved in normal organic processes (sucking, defecating)
b) through external stimulation of erotogenic zones
c) as the expression of fundamental instincts

Mechanical excitations

Children love swinging and being thrown and caught. Psychoanalysis has shown the recurrence of these sensations in adult dreams i.e. that they lay down patterns of the earliest pleasures, for example, fantasies of flying, air blowing against the skin and genitals.

It is well known that rocking is habitually used to induce sleep in restless children. The shaking produced by driving in carriages and later by railway travel exercises such a fascinating effect upon older children that every boy, at any rate, has at one time or another in his life wanted to be an engine driver.

It is a puzzling fact that boys take such an extraordinarily intense interest in things connected with railways and, at the age at which the production of fantasies is most active (shortly before puberty), use those things as the nucleus of a symbolism that is peculiarly sexual. A compulsive link of this kind between railway travel and sexuality is clearly derived from the pleasurable character of the sensations of movement.

In the event of repression, which turns so many childish preferences into their opposite, these same individuals, when they are adolescents or adults, will react to rocking or swinging with a feeling of nausea, will be terribly exhausted by a railway journey, or will be subject to attacks of anxiety on the journey.

Muscular activity

Many patients report their first memories of sexual excitation when romping, fighting and playing with playmates. Organised games are done at school to keep the body healthy and divert adolescent attention away from sexuality: Freud says what this is doing is channel sexuality back into one of its specific components.

Affective process

Powerful emotions have sexual effects. Terrified or anxious children may touch their genitals for reassurance. The erotic aspect of terror, fright and so on may become intimately associated with sexuality so that adults find fear and terror thrilling; either in real life, in fantasies of rape or masochistic punishment; or in imaginary worlds of books or the cinema.

Pathways of mutual influence

If the taking in of food gives rise to sexual pleasure then the reverse may be true. If healthy sexuality accompanies healthy eating, then disturbance of sexuality may lead to disturbance of nourishment. Thus a sexually disturbed hysteric may cease eating.

We can speculate about a whole network of pathways by which sexual instincts may be channeled both towards basic organic functions (for example, eating) and also rerouted towards higher functions (that is, sublimated, into thinking, planning, deciding).

Essay 3. The transformations of puberty

Infantile sexuality is polymorphously perverse and auto-erotic, finding pleasure as it learns to control and play with its own body.

The latency period sees the repression of sexuality in the name of various reaction-formations and sexuality’s sublimation into all kinds of games and fantasies.

With puberty the genitals become active and the subject actively seeks a love object outside itself. The new sexual aim of genital union appears and all the scattered erotogenic zones with their sex impulses become focused on, and subordinate to, genital union. Hopefully.

‘Normal’ sexuality consists of the uniting of the affectionate current (the sublimated remains of childhood sexuality) and the sensual current (mainstream libido).

So proper human sexual development is the coming together of affection/love and sex/pleasure, focussed on the genitals, to produce the ‘normal’ healthy adult. But, as always, there can be all kinds of hiccups along the way.

(1) The primacy of the genital zones and fore-pleasure

At puberty the sex organs grow and become ready for use. They can be excited in three ways:

  1. excitation of the erotogenic zones from outside
  2. from the organic interior
  3. from mental life, the storehouse of impressions and ideas

Sexual excitement is felt in two ways:

  1. perception of a mental tension of an extremely compelling type
  2. physical preparation: erection of the penis, lubrication of the vagina

Sexual tension

How come sexual excitation is perceived as both pleasurable but also as an unpleasurable tension?

The mechanism of fore-pleasure

Touching or seeing clearly give rise to a) pleasure in themselves b) a perceived raising of sexual tension.

It is as if the fore-pleasure derived from stimulating the erotogenic zones is designed to increase the incentive to move onto the act of sexual union.

Initial pleasure thus disguises increasing tension (unpleasure) so you are led relentlessly on towards copulation, the aim of the entire organism.

The whole pattern leads up to orgasm and the release of the appropriate sexual substances. It would seem that orgasms are designed to extinguish libido, if only temporarily. They are the height of pleasure, the abrupt release of tension by the blood thronging the penis or clitoris rushing back into the body as the scrotum or vagina undergoes a series of muscular contractions perceived as pleasurable.

And this release of tension takes you right the way back to square one i.e. normal bodily function; the overwhelming compulsion towards sex evaporates, the rational mind returns to full control.

Freud divides the two stages into fore-pleasure and end-pleasure.

A distinction similar to the fore-pleasure offered by the telling of jokes which prepare you for the greater release of libidinal pressure (laughing).

[He uses the same division in his essay Creative Writers and Daydreaming to describe the fore-pleasure afforded by aesthetic or formal literary techniques which prepare the way for the deeper pleasure of sharing unconscious fantasies (tales of damnation and salvation, risk and adventure, Ian Fleming and Barbara Cartland).]

Dangers of fore-pleasure

But fore-pleasures are clearly yet another balancing act; the incentive of pleasure must be balanced by an increase of tension which successfully propels you towards sex. If the yield of orgasmic pleasure doesn’t live up to the growth in tension, you may become stuck at the fore-pleasure stage.

Obviously enough, you may be predisposed to this through any number of accidents which emerge in infancy. Extreme attachment to various types of fore-pleasure, to a particular erotogenic zone or to the mental equivalents of them (stimulation of the anus – masochism/inversion) may develop into full-blown perversion.

But these very complex combinations will have some influence over the shape of even the most healthy adult sexuality.

Not only the deviations from normal sexual life but its normal form as well are determined by the infantile manifestations of sexuality.

Again, if this is an accurate account of the growth of sexuality, it shows that it will be very hard to police, to draw a hard and fast line between ‘normal’ and perverse.

Freud is making the controversial claim that ‘the normal’ is built on ‘the perverse’ and most of its activities contain the seeds of perversity.

(2) The problem of sexual excitation

Part played by the sexual substances

Maybe sexual tension is produced, in men, by the accumulation of semen in the testicles? Kraft-Ebing thought so. But if so, how can this account for sexual excitation in children and women?

Importance of the internal sexual organs

Arguing against that theory, observation of castrated men shows that sexual excitement continues to operate with no semen at all.

Chemical theory

Freud speculates that the key role is played by substances released by the sex glands. In his day there was no convincing biological theory of sex.

The discovery of the class of chemicals called ‘hormones’ (at around this time, 1905, in England) paved the way to our present understanding of how sex works.

It’s worth pointing out, though, that even today one of the great mysteries is: Why Sex? And, as Steve Jones says, If Sex, why only two sexes?

(3) The libido theory

Libido is:

a quantitively variable force which serves as a measure of processes and transformations occurring in the field of sexual excitation

A kind of electricity. Freud imagines that libido is distinguished from the other main instinct, hunger, chemically. Libido is a chemically unique force. Psychoanalysis has shown that libido is derived not just from the genitals but from all sorts of organs, including the skin.

We thus reach the idea of a quantity of libido, to the mental representation of which we give the name of ego-libido, and whose production, increase or diminution, distribution and displacement should afford us possibilities for explaining the psychosexual phenomena observed.

Psychoanalysis can only observe ego-libido as it becomes attached to objects i.e. becomes object-libido, as it is attached to, detached from, swapped around various objects (for example, images, fixations, words and ideas) directing the subject’s activity towards sex. For the act of sex, in particular orgasm, results in the temporary extinction of libido.

Psychoanalysis observes the outflowing of libido from the ego and its return thereto.

The ego acts as a psychic reservoir for libido.

In the earliest phases every ego is narcissistic, that is, focusses libido on itself (during the auro-erotic stages of infantile sexuality). Only later does the ego develop the ability to project energy onto external objects and Freud (or his English translators) label these object-cathexes.

The slightest damage to the organism (for example, illness) results in a return to infantile narcissism, as do psychic wounds.

Narcissism is also evoked by particularly self-contained objects, by aloof women, by cats, and by babies (see Freud’s 1914 essay On Narcissism).

In later editions of the Three Essays Freud attacks Jung for watering down libido to make it mean psychical instinctive forces in general.

But the whole point of having a distinct sexual instinct, chemically differentiated from all other instincts, whose special operations can be studied through observation and analysis, in fact all Freud’s efforts and theories, are destroyed if you thus throw out the distinguishing sexual element of libido theory.

(4) The differentiation between men and women

Libido is masculine i.e. active, in character.

In levels of autoerotism and masturbation boys and girls are similar, though girls develop the reaction-formations of shame and disgust more easily than boys (i.e. mental forces which damp down their libido).

Freud suggests three meanings of masculine and feminine:

  • passive versus active personalities
  • biological i.e. defined by sex organs
  • sociological i.e. observing the actual behaviour of men and women

Freud uses masculine and feminine to denote active and passive. To say libido is masculine means it is, in this value system, always active. As to the sociological aspect:

Such observation shows that in human beings pure masculinity or femininity is not to be found either in a psychological or biological sense. Every individual, on the contrary, displays a mixture of the character-traits belonging to their own and to the opposite sex and shows a combination of activity and passivity…

Without the fundamental idea of innate bisexuality I think it would scarcely be possible to arrive at an understanding of the sexual manifestations that are actually to be observed in men and women.

Leading zones in men and women

The clitoris is what little girls masturbate, as boys the penis. Both become erect i.e. engorged with blood during excitation. But Freud thinks that at puberty, whereas boys receive a fresh wave of sexual excitement, girls undergo a profound sexual repression; this takes the form of moving their chief erotogenic zone from the clitoris to the vagina.

The ‘normal’ woman has thus repressed her masculine active organ (the clitoris) in the name of vaginal excitation designed for sex and procreation:

The fact that women change their leading erotogenic zone in this way, together with the wave of repression at puberty which, as it were, puts away their childish masculinity, are the chief determinants of the greater proneness of women to neurosis and especially to hysteria.

[This is, of course, complete rubbish. Women retain their chief sexual excitation through the clitoris. The rediscovery and widespread publicisation of clitoridal sexuality was one of the great achievements of the feminists in the 1960s and 1970s. By the 1980s I was well aware that many women cannot orgasm through vaginal stimulation alone but need clitoral stimulation as well and I think (I hope) this has now become common knowledge. Thus Freud’s theorising away of the clitoris, along with all his theories about the inevitable inferiority of women, are the grossest example of his simply recasting the patriarchal prejudices of his time in a new language.]

(5) The finding of an object

[Expanded in the 1915 essay On Narcissism.]

A person may love:

1. according to the anaclitic (attachment) type:

  • the woman who feeds him
  • the man who protects him

2. according to the narcissistic type:

  • what he himself is
  • what he himself was
  • what he himself would like to be i.e. an idol
  • someone who was once part of themselves i.e. a baby

Suckling at the breast is the prototype of all pleasure and love.

From 1915 Freud introduces the idea of narcissism into his theory. The physical pleasure of suckling at the breast is now accompanied by the psychic pleasure of self-love, the earliest attachment of libido to the ego, the ego to itself, as it grows and comes to consciousness.

After puberty all love objects will partake of these two earliest loves; all love objects will have an element of narcissism and of attachment (cupboard) love.

The finding of a love-object is always a refinding of this original pleasure. A recapturing of what we once had. Falling in love is always a return to lost happiness.

The sexual object during early infancy

Everyone’s first love is for their mother. Freud goes further to say everyone’s first sexual object is their mother. Mothers stroke and kiss and caress babies, thus awaking the erotogenic zones and sex instincts. There is nothing perverse in this. The mother is only fulfilling her task in teaching the child how to love. Later in life, the former baby will itself stroke and kiss and caress a love object. How else does it learn to do this except by unconscious recall of its own childhood caresses?

Infantile anxiety

Infantile anxiety is caused by the loss of the person the infant loves. They are afraid of the dark because in the dark they cannot see the person they love. An infant who turns his love/libido into anxiety when it cannot be satisfied is behaving exactly like an adult neurotic.

The barrier against incest

‘Normal’ development means the transmutation of the early sexual attachment to the mother into ‘affection’ i.e. aim-inhibited libido. One of life’s great tasks is overcoming this love and learning to reattach it to socially acceptable objects.

This happens partly due to internal psychic development but is hugely reinforced by social and moral pressures. In Totem and Taboo (1913) Freud writes about the fundamental taboo against incest which is, in his view, the beginnings of society and morality.

Nonetheless, incest remains a possibility in the unconscious mind, in dreams and fantasies.

Puberty is particularly rich in fantasies as the adolescent tries out various combinations of object and experiments with its new strong feelings obsessively in the mind, before attempting to put them into practice.

Some fantasies are particularly common: the adolescent’s fantasies of overhearing his parents having sex; of having been seduced in infancy; of having been threatened with castration; fantasies of life in the womb; and the so-called Family Romance, the fantasy of being the abandoned child of rich beautiful parents – a rationalisation of infantile perception of parental omnipotence.

In overcoming renewed childhood sexual fantasies about his parents the adolescent also has to make the crucial break with them; to rebel against parental authority, particularly the father.

Some people never make it and remain in thrall to their parents. Many women never properly escape and remain as loving and passive as they were in childhood. Girls have a tendency to rebel against their sexual destiny, against sexuality itself and to flee into exaggerated affection for siblings or parents. To become virgin carers.

It falls to some men to become the complete rebels against authority which are required by the furtherance of the race.

After-effects of infantile object-choice

These powerful loves of childhood cast a pall over the rest of our lives. Women often look for older, more mature, authoritative husbands who are quite obviously father-substitutes. Men, even more often, are looking for the unconditional love of their mothers.

Prevention of inversion

It seems that the presence in our childhood of the same sex parent as a figure of a) resented authority and b) sexual rivalry, contributes to our early love for the opposite sex parent, all of which is motivated by the hormones at puberty.

But if the family unit is disturbed, if one of the parents is lacking, this is a powerful accidental stimulus to homosexuality (innate predispositions aside).

SUMMARY

* Neuroses are the mirror image of perversions: both represent aberrations from normal sexuality. Neurotic symptoms are generally a reinvoking of infantile perversions, at least in fantasy and transferred symptoms, as libido flees an unbearable sexual situation.

* Perversions are the fixation of the libido onto particular components of sexuality at the expense of normal heterosexual genital union.

A disposition to perversions is an original and universal disposition of the human sexual instinct and ‘normal’ sexual behaviour is developed out of it as a result of organic changes and psychical inhibitions occurring in the course of maturation.

* Any departure from established sexuality is therefore an instance of developmental inhibition and infantilism, a regression.

* The sexual instinct is put together from various factors and, in the perversions, these components fall apart.

* ‘Normal’ sexuality integrates these instincts and submits them to socially-condoned genital aims.

* Children bring sexuality into the world with them. After an efflorescence of sexuality from ages 2 to 5 the sex instinct undergoes a repression, entering the latency period. Sexual feelings continue during this period but rerouted:

a) to develop secondary characteristics such as affection and friendship (aim-inhibited libido)
b) into ‘reaction-formations’ to sexual activities, which are now perceived as dirty, shameful, disgusting and so on, into a predisposition to receive moral education. These reaction-formations will be critical in establishing the channels along which libido can flow after puberty; too strong and they will react badly to the arrival of puberty and real sexual situations, causing all sorts of havoc, not least the flight into illness which characterises neurosis.

* Children develop through three phases: oral (breastfeeding), anal-sadistic in which ambivalence emerges, and phallic, part of which is the Oedipus complex. Then it is all buried in the latency period.

* The diphasic onset of sexuality i.e. in two stages, allowing for a latency period during which the socialising process can get going, seems to be a precondition for humanity’s civilised achievements. But, being so long and precarious, the latency period also explains mankind’s predisposition to neurosis and mental illness, and to the various failures and perversions of the sex instinct.

* The perversions of infancy, the finding of pleasure in erotogenic zones, returns with puberty but subordinated, as fore-pleasures, to the great act of copulation itself.

* Children find their first sex object in the opposite sex parent but this lust is repressed and redirected by the primeval psychological taboo against incest.

Factors interfering with development:

Every step on this long path of development can become a point of fixation, every juncture in this involved combination can be an occasion for a dissociation of the sexual instinct.

Constitution and heredity

Nature/nurture, which comes first? Imponderable. Except to say that in families with a predisposition to sexual failure, the men will tend to be perverts, the women, “true to the tendency of their sex to repression”, will become negative perverts i.e. hysterics.

Further modification

Whatever the hereditary predisposition, it is clear the sex instincts undergo further modifications:

Perversion: at puberty the libido may find the genital zone too weak for the tasks asked of it, and so revert to fixation on earlier infantile perverse zones.

Repression: the instincts in question are repressed and travel underground until they can find their expression disguised as hysterical symptoms. They can have perfectly normal sex lives but accompanied by psychological problems.

Sublimation: excessive sexual dispositions can be redirected into socially acceptable fields, thus yielding greater psychic efficiency and providing a strong evolutionary advantage. Maybe this is the reason why sublimation is the basis of much human mental life.

Reaction-formation: the building up during the latency period of strong counter-forces to perverse instincts, abetted by education which is designed to channel sexuality into ‘normal’ ends.

What we describe as a person’s character is built up to a considerable extent from the material of sexual excitations and is composed of instincts that have been fixed since childhood, of constructions achieved by means of sublimation, and of other constructions, employed for effectively holding in check perverse impulses which have been recognised as unutilisable.


Credit

All Freud’s works have complicated histories in translation. The Three Essays on the Theory of Sexuality were first translated into English in 1953 as part of The Standard Edition of the Complete Psychological Works of Sigmund Freud. References in this blog are to the revised version, published in 1977 as part of ‘On Sexuality’, Volume 7 of the Pelican Freud Library.

More Freud reviews

Myths of the Near Future by J.G. Ballard (1982)

‘There is a way out, doctor, a way out of time.’
(Slade to Franklin in News From The Sun)

Ten short stories from Ballard’s middle period, a mixture of contemporary satire, some macabre horror stories, and a preview of what would turn out to be Ballard’s breakthrough novel, Empire of the Sun. But at its heart are a couple of Core Ballard tales which perfectly capture his distinctive dystopian landscape of rusting rocket gantries, tropical forests full of jewelled creatures, abandoned motels and drained swimming pools.

1. Myths of the Near Future (1982)

If you’d never read any Ballard before, this 35-page-long story would blow your mind. If, on the other hand, you were familiar with Ballard’s earlier writing, the most striking thing is the repetition and recapitulation of some very familiar images and themes. It’s like a medley of greatest hits.

It’s set in the near future. Some kind of space sickness is afflicting mankind. More and more people experience the same symptoms, avoiding exposure to the sunlight and falling prey to obsessive behaviour. In their final days they become convinced that they were astronauts.

Sheppard was a successful architect. His wife, Elaine, comes down with the illness and is bed-bound in hospital under the supervision of a short, intense physician, Philip Martinsen.

Next thing he knows, Martinsen has absconded to Florida with his wife, who wants to be near the rusting gantries of the old space centre at Cape Kennedy. She writes him letters describing visions of the wonderful jewelled tropical forest which has reclaimed the abandoned towns surrounding the derelict space centre, the empty motels and drained swimming pools.

Sheppard, who had been showing less and less interest in his architecture practice, abruptly closes it, fires everyone, packs a psychic ‘survival kit’ and travels from Toronto down to Miami to try and find Elaine. Here he goes mad. He finds a room in an abandoned motel with – of course – an empty swimming pool littered with broken sunglasses.

But Sheppard is not alone. He is approached by a government psychiatrist, one of a team who’ve been sent by the government to cope with the increasing numbers of deluded folk who think they’re astronauts and who are flocking to the area, Anne Godwin.

She becomes increasingly drawn into his intense and damaged psychic world, eventually posing naked for his pornographic movies, which are more interested in discovering the weird geometries underlying the female body than sex, as such. At night they watch these avant-garde porno movies projected on the bedroom wall.

He explains to Anne that the suitcase of bric-a-brac he’s brought with him is a machine, a time machine, and how it runs on power from the drained swimming pool out front of the motel room. As he climbs down into it, Sheppard explains that the drained pool has a door which opens into another dimension of time, if only he can find it.

At the climax of their relationship he appears to strangle her. All he wants is to set her body free from its constraints of space and time. We are told she fights him off, kicking and biting, and runs off to fetch the police. Later, we are not so sure.

By day Sheppard rents a Cessna light aircraft and skims low over the abandoned territory surrounding the Cape Kennedy space centre which has been completely repopulated by tropical forest. Finally he discovers a strange modernistic nightclub in a clearing and is about to investigate when a man-made glider rears up in front of him, putting him off his flying so he nearly crashes into a tree and only just makes it back to a nearby beach.

This is where the story begins, with Sheppard sitting in a trance state in the cockpit of the wrecked plane and the incoming tide slowly laps at its wheels and then starts rising. He is only saved by Anne Godwin who followed out to the beach in a government Land Rover.

Next day Sheppard sets off by car along the remains of roads through the forest, until he’s forced to abandon the car and continue on foot, in search of the nightclub he saw from the air where he’s convinced that Martensen is keeping Elaine. Here he discovers a submarine world where each twig and branch hangs weightlessly, where light flashes from every leaf in some kind of process of ‘time-fusion’.

The luminosity of everything – the trees, the animals, the plants – seems to derive from the simultaneous existences of multiple moments of time. Everything has become a vision of itself at all moments of its existence.

He could feel the time-winds playing on his skin, annealing his other selves on to his arms and shoulders…

He discovers the forest is covered with man-sized traps Martensen has made. He trips one and Martensen comes running out of the jungle wearing a bird suit, complete with feathered head-dress and wide feathered wings attached to his arms.

Sheppard finally reaches the nightclub and in a dingy room out the back discovers his wife lying in a cage made of polished brass rods. She is extremely malnourished, wasted away, virtually a skeleton. Sheppard knows she is dead, yet she opens her eyes and her skeleton-hand reaches out to seize his arm.

As he unlocks the cage and touches her time floods back into her withered body and she becomes young and beautiful again.

Already her arms and shoulders were sheathed in light, that electric plumage which he now wore himself, winged lover of this winged woman.

Next thing, young Elaine is running along the surface of the river which has frozen solid because of the accumulation of all its moments in time into one concentrated moment, the time-fusion. She is learning to fly. She beckons him.

Sheppard walks towards her through the forest, stopping to pluck birds frozen in time out of the air. One by one he sets them free, then embraces Martensen and sets him free. By this stage the reader strongly suspects that ‘setting free’ means strangling to death. In this life. In this realm. In Sheppard’s realm, he is liberating these time-bound creatures so they can fly free into the multi-dimensional realm of fused space and time which is created by the abandoned space gantries.

Thoughts

These 35 pages feel like a medley of greatest hits: the bejewelled forest come straight from The Crystal World, the intensity of light-filled hallucinations is the central theme of The Unlimited Dream Company, man-sized gliders appear in The Ultimate City and Hello America, the abandoned gantries of Cape Kennedy appear in numerous stories such as The Dead Astronaut, drained swimming pools appear in countless stories, and the psychic survival kit – a list of five disparate items which includes on Surrealist picture – is a direct repeat of the collection of ‘terminal documents’ which appear in The Voices of Time (1967) and The Atrocity Exhibition (1966-69).

The interesting question is: What purpose does this repetition serve? Does it matter that Ballard was repeating himself, writing the same obsessive sort of story, using the same peculiar imagery, over and over again? Or is it in some ways a plus, an interesting artistic strategy to repeat himself so narrowly and so exactly? Does it give the reader the eerie impression of becoming caught up in a demented world which bleeds outwards from Ballard’s texts into the real world?

2. Having a Wonderful Time (1977)

An effective little chiller which combines satire with something more creepy, this story consists of postcards home from Diana who’s gone on holiday to Spain with her husband, Richard, middle manager in a supplier to a Leyland car manufacturer. The beach resort is packed with activities and she has a great time. When the two weeks is up the coach to the airport fails to arrive. As it does the next day, and the day after that. She and the other holidaymakers pass through irritation to anger but then to a kind of acceptance. The days go by, then the weeks. The weather is excellent, there’s lots to do, Diana joins an amateur dramatic society and she gets swept up in the succession of productions they put on.

Meanwhile Richard gets nervy, then causes a big scene with the hotel management, demanding answers, is hustled away and disappears. Weeks later Diana meets him again, innocently sunbathing on a lounger by the beach. He explains to her that the entire Canary Islands have been converted into a dumping ground for the unemployables of Western Europe, not only the huge numbers of working class but the unneeded middle managers as well. The plan is for them never to go home. Richard calmly announces he’s going to recruit a resistance movement and fight their way through to the airport and hijack a fight home.

In her postcards (presumably to a woman friend of the same mentality) Diana dismisses all this as preposterous poppycock. In the next postcard she sadly announces that she’s just attended Richard’s funeral. He had been living in half-built hotels trying to recruit his resistance movement, then had stolen an old motorboat and tried to steer it to Africa, but his body was washed ashore.

Anyway, she’s over her grief and is excited about her next role, playing Clytemnestra in her am-dram society’s next production, Electra (Clytemnestra, be it remembered, murdered her errant husband).

Thoughts

In another short story, Ballard speculates what would happen if the entire middle class of Europe went on package holidays to the beaches of the Mediterranean and refused to come back. Beaches and hotels hold a real obsession for him, as zones of transit, as completely artificial environments, as the location of fake lives and fake dreams and fake existences produced on a kind of industrial scale.

Possibly I’m not the ideal audience for short stories. I couldn’t work out whether this was a clever little time-filler such as you might find in an upmarket fiction magazine, or a ludicrous piece of heavy-handed satire.

3. A Host of Furious Fancies (1979)

Ballard applies his very literal-minded approach to Freud to the Cinderella fairy story.

The narrator starts by telling his presumed companion in a French café not to look at the young women and shuffling old man who have just walked in. He knows the story behind them, which he will proceed to tell:

It’s set in France. The narrator is a dermatologist (if I had a pound for every Ballard protagonist who is a doctor) who specialises in eating disorders, working in the American clinic in Nice. He is intrigued by the client of a colleague of his, a teenage girl, Christina Brossard, who has been referred by a hospice run by nuns. The girl’s father, a successful building contractor and friend of the French President’s, had committed suicide a few years earlier, and the girl had been admitted under the influence of various compulsions, and suffering from skin diseases. Hence the referral to the narrator’s clinic.

He drives up to see first the Mother Superior of the hospice and then the girl. She is on her hands and knees obsessively scrubbing the floor. Later he discovers she’s been obsessively burning all the books in her family mansion and putting them in refuse bags and scrubbing out the fireplaces. The nuns had let her be treated by a trendy psychotherapist who had experimentally used the hallucinogenic drug psilocybin on her. Then the narrator gets a call from the distraught Mother Superior telling him that the therapist and Christina have run off, the girl returning to her ancestral mansion.

To cut a short story shorter, the narrator brings all these elements together to conclude that the girl is suffering from a Cinderella complex: the nuns are the ugly sisters, the hallucinogen turned the pumpkin into a coach and white mice into horses. After the phone call from the Mother Superior he drives out to the girl’s mansion, in the hallway he discovers the huge ornamental clock has been defaced as its hands reached midnight.

This is because a Freudian interpretation of the fairy tale is that, at midnight, the girl’s young and innocent fancy of balls and gowns etc had to give way to the hard reality of sexual intercourse. She had defaced the clock in a confused attempt to stop that moment arriving.

The narrator now believes that the teenage Christina lured her father into an act of incest, making him play out the role of Prince Charming, after which the old man felt so guilty he committed suicide. At which point the girl herself fell prey to immense feelings of guilt and remorse, hence the obsessive cleaning and the skin condition for which the nuns first called him in for his advice.

Now he enters the bedchamber of the rich father to find it covered with pornographic images of centaurs frolicking with naked women. Christina is there, still wearing her hospice tunic, high on the latest dose of psilocybin, scrubbing the fireplace.

The narrator reminds us of the Freudian interpretation of the imagery of the old fairy tale. What is the glass slipper but a transparent and therefore fleshless, guilt-free image of the vagina? And the foot which slips into it? What else but the erect male member? And how else to cure the ill young woman except by… re-enacting, fulfilling and thus purging the fairy-tale narrative?

The narrator crosses the floor of the bedroom, lifts Christina to her feet, and leads her by the hand over to the bed, whispering ‘Cinderella.’

So far, so contrived. Now the story reverts to the present and in an abrupt switch of perspective, we realise that the decrepit old man we’d had pointed out to us, and the confident young woman who is guiding his steps… are Christina and the narrator. Instead of being in control of the situation, somehow, in some spooky, undescribed femme-fatale kind of way, she has sucked him dry and reduced him to a husk, a shadow of his former self: she is the one who became strong and commanding, he is the one who has been reduced to a shambling wreck, forever telling his pitiful tale to whoever will listen.

4. Zodiac 2000 (1978)

This is interesting: a brief introduction explains that it’s intended to be a supposed update of the signs of the Zodiac to be more contemporary i.e. Ballard replaces the conventional Zodiac signs with symbols of contemporary life. But it’s more than that: it’s a reprise of the Atrocity Exhibition technique of making short sections intensely charged with narratives which have been cut back to the bone to make them intriguing and puzzling. Thus each sign doesn’t give a passive definition of the computer or polaroid camera or whatever as it is found in contemporary society. Instead each section tells part of what appears to be an ongoing narrative, featuring the same characters, but in events which are deliberately jumbled up and confused. As in The Atrocity Exhibition I found this a powerful and persuasive technique.

  • The Sign of the Polaroid
  • The Sign of the Computer
  • The Sign of the Clones
  • The Sign of the IUD
  • The Sign of the Radar Bowl
  • The Sign of the Stripper
  • The Sign of the Psychiatrist
  • The Sign of the Psychopath
  • The Sign of the Hypodermic
  • The Sign of the Vibrator
  • The Sign of the Cruise Missile
  • The Sign of the Astronaut

Not only is the structure a rehash of the Atrocity technique but so is the prose style. In these texts we meet old friends like the overuse of the word ‘geometry’ to describe faces and, especially, women’s naked bodies; everyone’s movements are heavily ‘stylised’; and at several points people are caught listening to ‘the time-music of the quasars’.

Again, if you hadn’t read The Atrocity Exhibition I think you’d find this story astoundingly experimental; if you had, then you’d find it an almost nostalgic reprise of those 1960s motifs.

5. News from the Sun (1981)

The longest story in the collection at 41 pages, and another reprise of well-established Ballard motifs.

It’s set twenty or so years in the future when the world is coming down with some kind of sleeping sickness. Everyone is slipping into ‘fugue’ states, at first for only a few moments, building up to hours at a time, then leaving only minutes of consciousness left and then – boom! – you are in a trance forever.

The fugues came so swiftly, time poured in a torrent from the cracked glass of their lives.

Those who enter this final phase are, inevitably, referred to as ‘terminal patients’.

Former NASA psychiatrist Dr Robert Franklin (if I had a pound for every Ballard protagonist who is a doctor) works at a clinic for victims and was one of the first to identify the new ‘time-sickness’. He takes a special interest in Trippett, who happens to be the last astronaut to have walked on the moon. He is visited by his daughter, Ursula, a dumpy member of a nearby hippy commune which has taken over the abandoned site of a solar-based nearby town, Soleri II (‘the concrete towers and domes of the solar city’) named after their architect, Paolo Soleri.

It’s an orgy of Ballard motifs: a doctor running a clinic for people who are conscious less and less of the time is the central narrative of his classic short story The Voices of Time. Franklin drives Trippett out into the desert, as the doctor protagonist of The Voices of Time does. And what do they find? Ballardland:

He had taken a touching pleasure in the derelict landscape, in the abandoned motels and weed-choked swimming pools of the small town near the air base, in the silent runways with their dusty jets sitting on their flattened tyres, in the over-bright hills waiting with the infinite guile of the geological kingdom for the organic world to end and a more vivid mineral realm to begin.

And the Antagonist, there’s always an Antagonist, since at least The Illuminated Man of 1963, there’s always an irrational Opponent. In Myths of the Near Future it’s Dr Martensen, here it’s Slade, former air-force pilot and would-be astronaut, who dive bombs Franklin, Ursula and Trippett as they wander among the fields of derelict solar panels. And this antagonist, like all the others, is trying to seduce and/or kidnap the protagonist’s wife, in this case Marion.

Slade is, of course, flying a microlight, the man-sized flying machine which is the obsessive central image of The Ultimate City and Myths of the Near Future and Hello America. Endless dreams of flying. All the microlight pilots in these stories wear old-fashioned aviator goggles.

Slade had arrived at the clinic seven months earlier and charmed the director, Dr Rachel Vaisey (a feminist thought: it is noticeable that many of the characters in these stories of the 1970s are professional women: the psychiatrist Anne Godwin, the therapist in the Cinderella story is a woman named Dr Valentina Gabor, and now the clinic is headed up by a woman). He starts creating ‘shrines’ to the future from bric-a-brac, the final one being a characteristic assemblage of random elements, exactly the same ‘terminal documents’ which appear in The Voices of Time (1967) and The Atrocity Exhibition (1966-69) and Myths of the Near Future. It consists of:

  • a labelled fragment of lunar rock stolen from the NASA museum
  • a photograph taken with a zoom lens of Marion in a hotel bedroom
  • a reproduction of Dali’s The Persistence of Memory
  • a set of leucotomes whose points were masked by metal peas
  • an organ donor card giving permission for his brain to be transplanted

Vaisey slipped into an affair with Slade which she quickly realised was a mistake and tried to extricate herself. At their last meeting, in her office, Franklin was present and watched while Slade took his penis out, masturbated, then insisted on examining his semen under a microscope.

Franklin feels guilty over his complicity in the space programme which seems to have triggered the epidemic.

As a member of the medical support team, he had helped to put the last astronauts into space, made possible the year-long flights that had set off the whole time-plague, cracked the cosmic hour-glass…

One by one every astronaut involved in the space programme had slipped off into a private reverie, many of them weeping in their sleep, as if the space programme had committed some cosmic crime. And all humanity has been damaged by it:

The brute force ejection of themselves from their planet had been an act of evolutionary piracy, for which they were now being expelled from the world of time.

As regular Ballard readers know, his imagination was liberated by discovering the Surrealist painters as a young man and he often makes reference to them, as Dali above. In this story he twice references the nude women paintings of Paul Delvaux.

Not far away a strong-hipped young woman stood among the dusty pool-furniture, her statuesque figure transformed by the fugue into that of a Delvaux muse.

The Great Sirens by Paul Delvaux (1947)

On the car journey back from the desert, Trippett momentarily comes out of his fugue and speaks for 30 seconds before reverting into trance. This gives Franklin hope. Back at the office he is reprimanded by his boss, Dr Vaisey. He drives back to the abandoned motel with a drained swimming pool which he’s made his base. His wife, Marion, has left cigarette burns and used dresses all over the floor. Franklin drives off and finds her being persuaded by Slade to get into his parked microlight. Franklin’s arrival frightens Slade off, and Marion goes running among the abandoned cars.

At the story’s climax Franklin manages to make it, through the ever-increasing blizzard of blackouts and after crashing his car in a fugue, out to the futuristic solar city. Here he discovers Ursula looking after her father, Trippett and the last four or so pages describe in more detail than any previous Ballard story has, what he’s on about, what the fugues mean – that primeval man lived in a continuous present – that the invention of time was the meaning of The Biblical Fall, a fall into time consciousness which parcels everything out into arid, waste moments – but all the characters’ efforts, no matter how crackpot they may seem, are towards reintegrating all of time past and time future into one multi-faceted permanent moment of transcendental perception.

As the fugues increase in duration, as Franklin and Ursula are reduced to only moments of consciousness per day, they learn to navigate the fugue time, permanent time, with its incandescent light. In other words, in many of the other time-stories you are left with the sense that the characters are mad; but this one gives the most persuasive case yet that they are not, that there really is something to their hallucinations and delusions, and that there really is a way out of time, out of the time psychosis most of us are trapped in and regard as ‘normal’.

Thoughts

Well, it’s a reprise and a rehash of extremely familiar motifs from Ballard’s stories of the 1960s, but as I’ve just said, it takes these ideas and makes a substantial progression on them, shedding new and interesting light onto Ballard’s eerie otherworld.

It adds an extra layer of eeriness to the text that it is made up of so many fragments from previous stories, like a collage, like one of the experimental collage texts Ballard made back in the late 1950s.

So you can either see stories like this as Ballard rehashing old material, or as him using each story to approach the same central insight or tackle the same neurotic symptoms, from different angles, using the same methods and materials, but each time rearranged in a new pattern; rather as the first ten chapters of The Atrocity Exhibition approach the same outline of events, using different characters and incidents, but with the continual sense that you are approaching some huge and overwhelming secret.

This is Core Ballard and even rehashed Core Ballard is a better, more absorbing and more uncanny read than his more straightforward Hammer Horror stories like A Host of Furious Fancies or Having a Wonderful Time. It tends to show the latter up for the effective but slightly cheesy magazine-fillers that they are.

6. Theatre of War (1977)

A variation on 1967’s The Killing Ground. That story raised the possibility of a worldwide rebellion against the hegemony of the USA, and that American troops were sent in to quell an anti-American government in Britain, and described a small battle which takes place behind desperate English rebel fighters against a bigger, better-armed force of Yanks all taking place, incongruously enough, at Runnymede island by the River Thames.

Ten years later Ballard returns to the same idea, with the notion that the extreme polarisation of British society which took place in the 1970s has led to the outbreak of civil war and that American forces have been sent in to support the unpopular right-wing government (as it had been in Vietnam).

The 22-page-long story is laid out in the format of a shooting script for a World In Action documentary, with sections describing clips of footage, intercut with interviews with GIs or citizens, politicians and insurgent left-wing fighters etc. At first I thought this format seemed dated and contrived, but as I read on it turned out to have a real pull and depth.

The reason why is revealed on the final page in a brief acknowledgements section. All the quotes from the various figures, including the American and British leaders of a government ‘pacification’ expedition to a rural village are actual quotes from Vietnam, pulled from news and magazine reports of the time.

7. The Dead Time (1976)

Unlike anything else Ballard had published up to this point, this is a twenty-page description set in a civilian internment camp run by the Japanese just outside Shanghai, China, at the very end of the Second World War.

In fact, the story begins with the end of the internment period, with the usual Japanese guards who man the gates into the barbed-wire compound mysteriously vanishing, and the unnamed first-person narrator emerging to explore the wartorn landscape around the camp and into the ruined Chinese city.

Quite obviously this was an early try-out of some of the material which was subsequently included in Ballard’s full-length, prize-winning account of his experiences as a boy in a Japanese internment camp from 1943 to 45, Empire of the Sun which was published eight years later.

8. The Smile (1976)

One of Ballard’s horror squibs, about a middle-aged narrator who buys a shopwindow mannequin, albeit an arty one found in a junk shop in the King’s Road and named Serena Cockayne, a snip at £250.

He falls in love with it, making the macabre discovery that in fact it is less a mannequin than a stuffed human skin, complete with various imperfections including a mole on her breast.

The story takes a gruesome twist when the narrator calls a young and, he thinks, gay beautician in to freshen up the mannequin, only to come across the said man, a few days later, kneeling at her feet and making some kind of improper suggestion. The narrator throws the man out and slaps Serena in the face, but from then on her swollen lip and distorted nose reproaches him, the years pass, she decays and he feels an increasingly impossible guilt.

At just about this time (1978) Ian McEwan published a short story, Dead As They Come, about a wealthy businessman’s bizarre obsession with a fashion mannequin, which he buys and takes home with him. There was obviously something in the Zeitgeist, some twisted combination of perverse sexuality and anti-consumerism.

9. Motel Architecture (1978)

It’s a little way into the future. Most people live in ‘solariums’, self-contained circular units with a main viewing room containing a battery of TV screens, with a small kitchen and bathroom off to one side. This is where Pangbourne has lived for over twelve years, slowly losing touch with anyone outside, slowly ceasing to take the prescribed physical or psychological exercises.

He is supposedly a TV critic which, as Ballard satirically puts it, is one of only two jobs remaining, the other one being TV repair man. Pangbourne long ago lost interest in sex – despite the collection of sex toys in his bathroom – or in his body as a whole. He is happy to sit in his automated wheelchair for the entire day, reviewing classic movies which appear on the large screen in front of him, with multiple copies in the smaller screens constellated around it. In particular he is obsessed with playing the famous shower scene from Psycho over and over again, leaving it freeze-framed at differing moments of the frenzied murder.

His sealed-off little world is disrupted when a new cleaner arrives. The TV screens need periodic cleaning and retuning and this is mostly done by faceless women who’ve never disturbed the even keel of his self-absorption. Until Vera Tilley arrives, over-made-up and loud and brash.

Her arrival coincides with his conviction that there is someone else in the solarium. He can hear breathing, heavy breathing, can almost smell the sweat of some hot intruder. He sets all the CCTV camera on and records flashes of a shoulder, the reflection off a bald head disappearing through a door. There is someone else in the solarium with him.

Long story short: the intruder is himself; he has become schizophrenic (like the murderer in Psycho); thus he finds the body of the young cleaner, Vera, hacked to death in the shower and at first blames him, the intruder. Only on the last page does he realise that it was him all along, that he has become so alienated that his senses detect his body as another person.

Only one way to put an end to this endless intrusion into his peace of mind. And so he raises his knife to stab himself through the heart.

So this story comes under the heading of shilling shockers. I haven’t read many of Roald Dahl’s adult stories but I imagine this is what his Tales of the Totally Expected are like – contrived, atmospheric, at moments genuinely spine-chilling but, in the end, somehow, shallow and silly.

10. The Intensive Care Unit (1977)

The story opens with the narrator warning of ‘a second attack’, looking around at his family strewn around the blood-stained living room, and wondering if they can survive. What is going on? What has happened and is about to happen?

The narrative goes back to establish that it is set in a techno-dystopian future where people live their entire lives via TV screens. The narrator is a doctor (if I had a pound for every Ballard protagonist who is a doctor) who has never had contact with other people. All his clinics are held via TV screens. When he ‘meets’ his wife-to-be it is via a TV diagnosis of her possible breast cancer. Their relationship progresses to them going on dates (i.e. watching the same operas or theatre via TV) going to restaurants (i.e. having the same restaurant-prepared food sent to their sealed apartments). They get married via a multi-screen ceremony with their friends and family all watching from their homes. When they have sex it is screen sex with climaxes tactfully conveyed via cartoons (they never even actually strip off). She is impregnated via artificial insemination and has two children who are both taken away and raised in creches. And so they live their happy screen-based lives for years, each wearing generous amounts of make-up to preserve appearances, as their children grow. The general aim is to create a perfectly affectless society, in which people have no emotional reactions.

But, fatefully, the narrator decides to try an experiment – to meet in the flesh. He has never met anyone in real life before, neither has his wife. On the first attempt, she stops dead in the entrance hall to his apartment block. She turns out to be much smaller, stoop-shouldered and thin-thighed than she appears on TV. Panicking, she flees before they can exchange a word. But the narrator presses on and arranges a second meeting, this time with their children present, 7-year-old David and younger sister Karen.

If the main part of the story is a reasonably traditional dystopia, depicting a future of drones each stuck in their own sealed apartments watching TV screens all day long, the second theme is very different. For the ‘attack’ the narrator mentioned now turns out to be the fact that the four members of this ‘family’, once they met in the flesh, turn out to have murderous intent to each other, and instantly attack each other. The living room is sprayed with the blood they have spilled from each other, attacking each other with knives and scissors. The story had opened in the calm after the initial outburst of ferocious violence and now the narrator is lying seriously injured, wondering when his stabbed son will manage to crawl across the room and make a second assault on him.

The idea implicit in this is that (as per Freud) humans are violent animals and require a lot of socialising via the family unit, a great deal of effort needs to go in to repressing our matricidal, patricidal, and prolicidal urges. Having never met any other humans face to face, this ‘family’ has never had any training in managing these urges and so, the first time they meet triggers an explosion of psychopathic violence.

Thoughts

Now, if you are predisposed towards Ballard and his worldview, then you could make the case that he predicted and foresaw a world in which people increasingly live via their screens. If he didn’t, at this stage (1977) have an inkling about the internet, nonetheless his description of the ease and convenience of relationships carried out via screens, in which people do everything up to and including having sex via screens without ever meeting, is eerily prophetic of the way that some, at least, of us live today, 40 years later.

However, like the story which precedes it, Solarium, it fails when set against the real world. For although people in 2020 may to a large extent live via their screens and mobile phones, they still, as far as I can see, go out of the house, go to work, go to the shops, go to pubs and clubs and bars, and actually meet people and interact.

Ballard carries his stories of this type to extremes in order to make his futuristic, satirical point as strongly as possible; but it is this very quality of exaggeration which renders them, after a moment’s reflection, silly and inapplicable. The very purity of the idea renders them irrelevant as useful diagnostics.

I’m writing this in the lunchbreak at my workplace, which about 100 people have commuted to this morning and, although the sales staff are all sitting in front of computers, they’re also continually on the phone to clients or asking each other questions, or walking through to the warehouse to give instructions to the loading crews who themselves spend their entire day discussing the day’s work, allotting roles, co-ordinating with other departments, discussing problems with the pickers and then giving instructions to the drivers: there’s a lot of people running round talking to colleagues and fixing things.

In other words, when reading stories like this, at home, by a computer, in your bedroom, it’s possible to delude yourself that the kind of atomised, alienated, screen-based world Ballard is predicting has somehow come about.

But as soon as you talk to your partner or children, open the door to the Ocado or Amazon delivery guy, speak to neighbours, talk to someone at the supermarket or library or gym, go to school or college or, in particular, get to work and start interacting with hosts of other people, you realise that these alarmist predictions of a totally self-contained, antiseptic, hermetically-sealed TV world – although they contain a kind of fable or fairy-tale type of imaginative force – are simply not true of the world we live in or are ever likely to live in.

The world Ballard lived in then, and that we live in now, is much more subtle, nuanced and complicated than these short, sharp, shocking and rather silly stories allow.

Conclusion

I may have quibbles with each individual story, but there’s no denying that, taken as a collection, these stories have extraordinary range and diversity, from Second World War China to the overgrown gantries at Cape Kennedy, from the streets of London to the deserts of Nevada, from a future where mankind is afflicted by space disease, to an alternative present where the sleepy Buckinghamshire village of Cookham is caught up in a Vietnam-style war. If you like these kind of extreme visions, this is a very effective collection.

Coronavirus coda

A year I wrote my original review, in January 2021, in the middle of the second UK lockdown, I still don’t think Ballard is as directly relevant to our current situation nor as ‘prophetic’ as some superficial commentators do.

The crux of both the ‘living through screens’ stories, Motel Architecture and The Intensive Care Unit, is that being stuck at home, never going out, and having all your human interaction reduced to screens turns the human protagonists into psychotic murderers.

That’s the bit I disagree with. Sure, it’s 2021 and everyone is stuck at home and living via screens more than ever before in human history but… there hasn’t been an explosion of mass murder! Far from it, there are countless examples of kindness and community, of the able-bodied volunteering to help old and isolated people. And at Christmas when the restrictions were relaxed to allow people to meet up with loved ones, there wasn’t a great outbreak of psychotic violence.

If anything, the pandemic and lockdown have proved what sociable animals we are and how the vast majority of the population longs for not only face-to-face human interaction but physical contact, especially hugs with family members and loved ones.

In other words, Ballard’s jaded view of human nature is superficially plausible and very entertaining in a Silence of the Lambs, sci fi horror movie kind of way but is, ultimately, I think, not only wrong but powerfully misleading as ‘evidence’ for any kind of thinking about human nature and society.

It is literature, not sociology.


Credit

‘Myths of the Near Future’ by J.G. Ballard was published by Jonathan Cape in 1982. Page references are to the 1987 Triad/Grafton Books paperback edition. All quotations are used for the purpose of criticism and review.

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Literary Life by Posy Simmonds (2003)

Front cover of Literary Life by Posy Simmonds (2003)

I’ve noticed that many of Simmonds’s books are not numbered. This slender hardback contains sixty-four pages of cartoons satirising all aspects of the literary life, from the panic of sitting in an empty room staring at a computer with writer’s block, to the backstabbing and paranoia of literary parties, to the loneliness of book signings, to the plight of small independent bookshops, and so on.

The obvious thing about this subject is its extreme obviousness. They say, ‘Write about what you know’, well what could be more familiar, and more hackneyed, clichéd and done to death, than the subject of a writer writing about writing – about the petty discomforts, the irritations, the niggling jealousy and petty rivalries and bitching and in-fighting and gossiping of the literary world.

What ‘serious’ novelist hasn’t written a book about a novelist writing a book or how tough it is being a writer or how hard it is coming up with new stuff, and so on and self-pityingly, narcissistically on…

Literary Life

  • Writer’s block Six frames showing a woman writer alone in her kitchen (apart from her cat, natch) struggling from 9.05 am to 12.30 pm to produce just one sentence and that one, in the end, one of venom and violence expressing her suppressed frustration.
  • Wintergreenes An independent bookshop which is being threatened because a vast branch of ‘Boulders’ has just opened down the road. Three characters, the plump middle-aged owner, Penny, a skinny girl assistant Zoe, and a stubbly angry young man who swears so much abuse at the new Boulders that Penny calls him in because he’s putting off the customers.
  • Wintergreenes Colin is still moaning about the new branch of Boulders up the road to which optimistic Penny replies that it’s a muzak-filled hypermarket whereas what their little shop offers is intimacy and personal service. Colin jaundicedly replies that what their shop offers is shelter from the rain for a couple of alcoholics and a mum with her shopping.
  • Time goes by… At a book launch a middle aged man tells his companion that when he was young, he used to get turned on by leggy young things dressed in short black skirts but nowadays he remembers they’re just from the publicity department and fantasises about… them selling more copies of his novel.
  • Panel A Q&A session at a literary festival. The joke is the panel consists of a kindly old buffer, a smart young woman, a stubbly dud smoking a fag and a broad serious-looking man, so that when a guy in the audience asks a question about so-and-so’s work being all about extreme violence and sadism and coprophilia and so on, we’re expecting him to be addressing stubbly bloke or broad serious bloke, but it turns out he’s talking about the works of the harmless looking old buffer in the half-rim glasses.

Q&A by Posy Simmonds (2002)

  • The same character in the right of the strip above (Owen), appears at home in a book-lined study reading a newspaper review to his wife and rejoicing because it slaughters the new book of a rival, right up till the moment that his wife points out that the only reason he hates his rival (Denton) is because he slept with her (the wife) at Oxford.
  • One big picture showing four adults on a long train journey trying to read their own books while an enthusiastic schoolgirl gives them a long, detailed explanation of the latest Harry Potter book. (The first book in the series, Harry Potter and the Philosopher’s Stone, was published on 26 June 1997.)
  • Wintergreene The rep of a publishers makes his monthly visit and tries to interest Penny in their latest publication. She insists it is garbage, rubbish, with zero cultural value until the rep mentions that the same author’s last book sold 400,000… at which Penny swiftly changes her tune and says, Put me down for six.
  • A man’s soliloquy about moving to the country and joining the village reading group which gives an accurate and withering portrayal of all the petty jealousies and rivalries and irritations it causes.
  • Owen’s book signing We learn that the rugged-face author we first met in the Q&A panel is named Owen Lloyd and we see him at a book signing in a bookshop where no one at all stops by to buy a copy of his book. There is some bitter Simmonds satire because what we read is Lloyd’s maundering self-pity about nobody coming up, the pity in the eyes of the booksellers and his PR agent, and how nobody, oh nobody, knows what it is like to be ignored, he thinks as… he and the pretty young publishers assistant walk right by a homeless man on the street begging for some change.
  • A teenage couple are in bed asleep when there’s a knocking at the door and they realise her parents have come home early. She opens the door an fraction to the suspicious parents but then completely diverts their attention by assuring them she is doing her revision and quoting from Keats. Mollified, they go away.
  • Enemies of promise A woman writer is trying to write in the stylish open plan house but is completely put off by the sound of her husband upstairs trying to give a bottle to their toddler, with accompanying commentary and chatter. Pity the poor woman writer in her luxury house!
  • Big single cartoon of a drinks party in a big bookshop and a middle-aged writer chatting up one of the short-skirted waitresses with the immortal line: ‘You know, you’re really beautiful… Have you ever thought of being a novelist?’
  • A cool, stubbly author in shades spends ten pictures of the strip complaining like mad about how awful it is to be so successful and rich and be recognised everywhere and be bothered by fans all the time – his doleful friend uttering agreement – saying they just won’t leave him alone, take that couple of young women over there, they… they… but in fact the two women get up and simply walk out the bar… at which point the ‘successful’ author says ‘Bitches’.
  • Same young male author who we now learn is named Sean Poker and is ringing his agent because he’s been offered the opportunity to model for a new set of designer pants.
  • A woman writer in a nice Pringle sweater is sitting in a front room festooned with Christmas tree and cards (and accompanied by her cat, natch) as she reads through several paragraphs she’s written about the First World War till she comes to the word stuffing (‘kicked the battered armchair whose stuffing…) at which point she leaps up and runs outside to catch her husband who’s just getting into the car to go shopping, and tells him not to forget the stuffing.
  • At a literary party attended by Owen Lloyd a woman is explaining how she organised a petition to complain about some political cause. ‘And has there been a reaction?’ asks Owen. ‘You know, the usual predictable stuff,’ she replies, and what she means is there’s been a jealous outcry from all the authors who weren’t invited to join the petition.
  • Wintergreene In the local independent bookshop one customer is giving bother, dripping rainwater and coughing and sneezing over the books.

Wintergreene by Posy Simmonds

  • One big illustration showing a confident man leading his reluctant wife and friends on a big walk through the woods and pontificating: ‘… and when, you know, any minute we could all die of smallpox, or anthrax… you think “Why? Why does one write? What a futile occupation! What difference could a bloody book make to anything!?… and then you think, “No, come on… isn’t that something rather magnificent – sitting at one’s PC in the face of Armageddon?” And, that in a nutshell, is the theme of…’
  • Wintergreene Penny the owner tells skinny Zoe to be more polite so the next customer who comes in get the full ingratiating service and Zoe agrees to order three copies of a book which, it turns out, the lady ordering wrote herself and is published by a vanity press – at which point Penny explodes with swearing and angriness, contradicting her own earlier strictures for Zoe to be polite, at which point… they both realise that trying to give up cigarettes is HELL, so that’s what the strip is really about.
  • Full page cartoon showing a big tall paunchy man in a suit on the phone in an open plan office complaining, at length, about the shoddy production values on a recent book…
  • Ecstasy Featuring the thickset author Owen Lloyd, he is surfing the internet looking to see how much copies of his novels are fetching on Ebay and is gratified that first editions are fetching up to $790 until he comes across a copy which bears a personal inscription, which he remembers writing to the love of his life, and so is FURIOUS with her.
  • A big one-page cartoon showing various children’s characters (bears, giraffes, Alice in Wonderland I think) all drinking and smoking in a book-lined room, obviously at a sort of party for children’s book characters and one rabbit is asking another: ‘So how did you get into children’s publishing?’ and the other is replying, ‘Oh, it’s in the family… my father was a Flopsy Bunny’. As so often with Simmonds, you feel it’s clever without being actually funny.
  • A big, page-sized cartoon spoofing magazines aimed at women and their babies: this is called Your new Baby but ‘baby; is metaphor’ for book.
  • The Literary Three Three parody schoolgirls from a 1950s private school receive a book from their time-travelling Uncle Bill. It is a book about schoolgirls in 2003, for some reasons schoolgirls in New York whose parents are frightfully rich if divorced, and she and her friends play truant, nick things from shops, smoke joints and go all the way with boys.
  • A writer sits in a book-lined room with his laptop open, unable to write while he flips through TV channels, which are showing: 10 worst motorway pile-ups, Killer mud-slides, Killer bees, Hitler’s torturers, until he finally comes upon a channel showing Noddy, cheers up, and starts tapping away at his book.
  • A strip satirising a woman writer writing a sex scene who, the more feverish the scene becomes, the more intensely she focuses and writes. More to the point, the more brutal and primal the cartoon becomes, until drawn in wide, thick, primal lines. The couple she’s describing climax, and the writer leans back and lights herself a cigarette.

Writer’s orgasm by Posy Simmonds

  • Wintergreene Zoe is off to the local supermarket. The ‘joke’ is that she can buy books from the supermarket to stock their little independent bookshop cheaper than they can buy them from the publishers.
  • One large cartoon showing a tearful woman walking out on a bespectacled writer sitting in front of his computer, and saying: ‘Wait, Charlotte!.. You can’t leave me now, I haven’t finished my novel – I need your misery!’
  • A young woman tells her frumpy middle-aged mother that she’s packing in writing a book, and even being a reviewer, because she wants to be a full-time, stay-at-home mum. The mum gives a whole list of how horrible it will be to be so isolated and patronised and then cheerfully concludes, there’ll be a good polemical feminist book in it!
  • The national character Successive hikers come across a stand of daffodils and, in succession, fumble to quote the famous Wordsworth poem.
  • Dr Derek’s casebook Spoof advice column in which the twist is that Dr Derek gives ‘literary’ advice to struggling writers. Suzie X spends sits for hours and hours in her little room and nothing comes out. Yes, she has writer’s block!
  • Dr Derek’s casebook Vicki X comes about her husband, who’s developed a swollen head ever since he won the Booker Prize. Yes, he’s suffering from ‘swollen head’.
  • One big cartoon in which a couple well into middle-age are sitting in their book-littered front room and, to his great irritation, his wife is reading some of the old love letters he sent her.
  • Facts and fallacies No.6 Children’s picture books An extended satire on common misconceptions about children’s books i.e. they are written by women in Suffolk cottages, only take five minutes to think of the story, 98% of people who work in children’s publishing are called Emma, everyone who works in picture books are held in the highest esteem. — Reading a strip like this you get the impression that there is no aspect of her life which Posy Simmonds can not feel aggrieved about. It doesn’t strike me as at all funny, but a moan from someone who feels that their own picture books aren’t taken seriously enough.

Facts and Fallacies No. 6 by Posy Simmonds

  • Spot the differences Two large cartoons of a dad in his dressing gown in the family kitchen reading review of his new book in the paper watched by his wife and two little girls (and the cat). We are invited to ‘spot the difference’ between one picture in which ‘They rate it’ and the other picture in which ‘they hate it.’ I looked quite carefully and decided there are no differences except that in the ‘rate’ it one, the author, the wife and daughters and the cat are smiling. At about this point I wondered why I was bothering to read this book.
  • Pride and prejudice Jane Austen is invited to return from the Great Beyond and be given the full media treatment of an author i.e. rude and probing questions and decides, er, no thanks.
  • Facts and fallacies No.11: Publishers’ readers i.e. it is not a cushy little job, 97% of publishers’ readers are not multi-tasking home-makers, there is not a cabal of London writers who reject possible rivals, and so on.
  • A big, single cartoon satirising the vast multi-story, department store-style bookshop.

Department store bookshop by Posy Simmonds

  • Dr Derek’s casebook James X turns up at Dr Derek’s surgery bleeding, it’s one of the worst cases of ‘a critical mauling’ that he’s ever seen.
  • A modern woman is at home on the sofa watching the tennis, for nine frames. On the ninth she hears the front door opening, turns the telly off, and sneaks back into her study, which is where her husband, returning from taking the kids out for a walk, finds her pretending to be hard at work.
  • Dr Derek’s casebook Quite a humorous strip in which Dr Derek counsels novelist Colin X about how to do sex in novels properly i.e. cut the purple passages, don’t feel shy about using a rubber (to rub out embarrassing passages) and… once a chapter is quite normal!

Dr Derek’s casebook by Posy Simmonds

  • Le Déjeuner sur le Sable One big cartoon parodying Manet’s famous painting Le Déjeuner sur l’herbe adapted to show three posy Brits sunning themselves in the South of France, with the main male figure reading Proust. — Simmonds has parodied this painting in at least two previous strips.

Le Déjeuner sur le Sable by Posy Simmonds

  • Dynaglobe’s summer party Once again we are with author Owen Lloyd as he attends the annual party given by publishing conglomerate, Dynaglobe. How he hates it, getting trapped with some stupendously successful airport novelist, who patronises him on his minuscule sales, the coven of women writers, either trying to rope him into discussion groups, or who you shagged last year and can’t remember their names, or a new young nymphet who you just start chatting up when you notice the gaggle of middle-aged women opposite all watching and tittering. He only goes so people know he’s still alive. — Having been to similar London parties of the well-heeled and successful I find this totally accurate and grimly depressing.
  • Nurse Tozer Quite a funny strip which extends the idea of Dr Derek, the literary doctor, over-wrought and on holiday he overhears some bronzed bimbo dismissing a book by Victor Hugo as ‘junk’ and explodes, explaining who Victor Hugo was and calling the woman a moron, until he is hustled away by ever-watchful Nurse Tozer, who then gives quite an interesting speech to the holiday woman about how popular literature comes in bite-sized chunks which wear down your brain. — This was a good strip because it felt like the comedy premise really bore up all the way through the strip.
  • Writer’s problems No.4 How to create a buzz An unnamed male author complains that, although he has written three successful crime novels, he has never created a buzz, his real-life persona is too boring, he doesn’t take drugs or have affairs, he loved his parents etc. The strip then ironically recommends that next time he’s at a literary party he takes a pair of rubber gloves, blows one up, places it over his head, then lets it go and it will blow round the room creating… a tremendous buzz!
  • seasonal traditions in the book trade No.2 Spotting the Christmas turkeys The three staff at the independent bookshop, Wintergreene, which we’ve come to know through several strips – owner Penny, slender sprite Zoe and stubbly earnest young man Colin – are depicted reading the publishers’ catalogues for the upcoming Christmas period and taking the mickey out of the synopses of the direst-sounding books – ‘lifts the lid off media-folk in Alderley Edge…’, ‘… an epistolary novel done in text messages…’, ‘… another bloody book about moving to a Provençal village…’
  • One enormous cartoon showing a disgruntled author (Nat Tarby) in a vast modern bookstore all set and ready to do a book-signing with piles of his books on the table in front of him and… not a customer in sight. — I feel like Simmonds has depicted this scene of the disappointing book-signing at least 3 or 4 times already. She may think it’s endlessly funny, but once was sort of enough.

Murder at Matabele Mansions: A Christmas Mystery

A six-page graphic short story, a murder mystery in which woman Detective Sergeant Stoker phones Detective Inspector Collar from a crime scene at the back of a mansion block. The body of unpopular second-hand book-seller Godfrey Fibone, 58, is found round the back of Matabele Mansions, apparently in the act of carrying a black bin liner out to the dustbins he slipped and cracked his head.

However, Stoker and Collar notice that the contents of the bin-liner are strangely inappropriate for a man who lived alone, including dirty nappies (he had no children), tea bags, a curry TV dinner, and cat food tins (he didn’t own a cat).

So they set about interviewing all the inhabitants of the mansions – which gives Simmonds an opportunity to display her gift for characterisation, not only in drawing but in the very dense text which describes each of the dead man’s neighbours, being:

  • Viv and Chris Collins-Smith, website designers
  • June Tozer, divorcee and masseuse
  • Gavin Boyce, novelist
  • rude Dennis Buttril
  • Mrs Kowalski, entertaining her daughter and son-in-law to dinner
  • Tim Makepeace, a research chemist
  • Ian MacDire, worked for British Telecom

Next day forensics confirm Fibone was murdered, then carried out to where his body was arranged to make it look as if he’d slipped and had an accident. The detritus in the bin bag, combined with what the two police learned in their interviews, should be enough for the reader to work out who the murderer was. Can you work it out?

Cinderella

Another six-page graphic short story, starts with Desmond Duff, 85, inhabitant of an old people’s home (alert readers will remember that Desmond featured as the man of the month for April in the calendar for 1988 which Simmonds drew for the Spectator).

He and his fellow inhabitant, Joan, learn the owners are throwing a lavish Christmas party to which residents are not invited. As they hear the first sounds of music a fairy god-daughter appears and gives them their wish, giving them back their youths, making Desmond a very smart, svelte 20-something, and Joan a stylish young lady in a ball gown and fur. But they must be back in the home by midnight.

They set off to the party and make quite a splash, Desmond impressing with his suavity, Joan being immediately chatted up by a lothario who invites her out to his car for a bit of slap and tickle. Several guests trigger Desmond into giving a blistering lecture about how miserable it is living in their hosts’ old people’s home, how they’re treated like crap, the accommodation is rotting, the food is dismal, and is in mid-flow when he hears the clock ringing midnight and so runs out into the snow where he transforms back into his 85-year-old body…

Finds himself in the car park where the young Lothario emerges partly unbuttoned and holding a slipper, describes how he was in a passionate clinch with the ravishing young beauty who suddenly wriggled out of his grasp and ran off, leaving only a slipper behind. Clutching the slipper, he stumbles back into the party and old Joan comes out of her hiding place behind a car, embraces Desmond, says ‘Wasn’t it wonderful?’ and they potter slowly back towards the home.

But there is a happy end note. Desmond’s rant in the party, in front of lots of influential guests, has spurred the owners to make improvements, sort out the smell on the stairs and fix Desmond’s radiator etc, and generally fuss over Desmond and Joan. So it’s a happy ending! Cheers!


Thoughts

The subject of writers, authors, novelists agonising, writer’s block, book-signings and endless literary parties – I don’t think any subject could bore me more. A few of the strips or cartoons are amusing, but most are wearing, or positively depressing.

The interest, such as it is, comes from the extraordinary variety of cartooning styles which Simmonds deploys. There’s:

  • the spoof true romance style of the Dr Derek strip, where the characters all have the same kind of chiselled angular outlines
  • the freestanding humorous cartoon of the department story-style book warehouse, where all the figures have softened rounded outlines
  • the facts and fallacies strip which, along with the Owen Lloyd cartoons, has a looser drawing style and is meant to create a much wider variety of faces and characters
  • the sketchy loose, unfinished lines of the Writer’s orgasm strip, which starts loose and then deliberately becomes bold and fragmented to visually make the point
  • the ‘cartoon realism’ of the Wintergreene strips – in the one above look at the tremendous attention to detail paid in the opening picture which depicts the shop frontage in the rain, or the third picture which shows the geography of the shop’s interior, dominated by a stand of books in the foreground which divides the disapproving owner on the left and browsing punter on the right
  • the Le Déjeuner sur le Sable style, which is so loose and scratchy that bits of it could almost be by Quentin Blake
  • and the Writers’ panel at the top of this review which has realism of a sort – witness the microphones in front of the speakers – but a sort of wobbly or wonky realism – the microphones aren’t drawn with the same razor sharp precision as the exterior of the Wintergreene shop – instead it is a realism softened or mollified in order to bring out the variety of human faces in the audience and on the panel – it is just enough realism to create a space in which comic types can exist

These are all distinct drawing or cartooning styles (plus some others I haven’t mentioned) which Simmonds has mastered and can deploy at will. It’s an impressive display of versatility and virtuosity.

So for me, there are half a dozen funny strips in the book (if their aim is to be funny or entertaining) but the real pleasure to be had derives from Simmond’s impressive mastery of the craft of drawing, her fluency and versatility.


Related links

Other Posy Simmonds reviews

Shoes: Pleasure and Pain @ Victoria & Albert Museum

A wonderful exhibition of the fantastical designs, shapes, engineering, ingenuity and expertise the human imagination has brought to the humble shoe, a basic item of equipment invented to protect feet from the environment which, throughout human history and around the globe, has mutated into thousands of patterns and purposes and continues, in our time, to inspire designers and craftsmen to ever giddier flights of fancy.

The show brings together over 200 pairs of shoes, ranging from a sandal decorated in pure gold leaf from ancient Egypt to the most elaborate concoctions of contemporary makers.

One sandal, gilded and incised leather and papyrus, Egypt
(c.30 BC to 300 AD) © Victoria and Albert Museum, London.

The exhibition is divided into two parts:

  • Downstairs the carpet, walls and curtains are all a dark purple, creating a womb-like ambience as soothing new age music pipes through hidden speakers and visitors process past glass panels each showing 10 or 15 or 20 shoes of amazing variety, antiquity and geographical spread.
  • Upstairs is light and white, the stands are on a big circular podium open to the enormous atrium room, with huge video screens suspended from the ceiling showing craftsmen at work creating shoes, a series of cases showing how shoes are designed and constructed, as well as several cases dedicated to the collections of some epic shoeaholics, and a 12-minute video featuring interviews with such shoe gods as Manolo Blahnik, Sandra Choi and Christian Louboutin.

Killer Heels at the Brooklyn Museum

It just so happens that I went to the ‘Killer Heels’ exhibition at the Brooklyn Museum this time last year. It focused more on the glitz and glamour of contemporary designers whereas the V&A show features more examples from around the world and from past eras – as befits the world’s leading historical museum of design. The V&A show definitely brought together a much wider range of footwear but, I think, was less penetrating in its analysis.

For example, where the V&A points out that shoes can be sexy and seductive, the Brooklyn show goes the extra mile to show exactly why, explaining that high heels:

  • push the chest out
  • lift the bottom
  • make the legs appear longer and therefore thinner
  • make the calves more taut and rounded
  • make the feet appear smaller

In other words, high heels make the wearer’s body seem less stumpy and clumpy (less like the body most of us actually possess) and taller, leaner, more agile and athletic, while emphasising bust and buttocks. In biological terms, they highlight a woman’s fertility, youth and fitness as a mate. On a cultural plane, they dramatise a woman’s sexuality and have done for centuries.

 'Parakeet’ shoes Artist: Caroline Groves, England (2014 ) Photography by Dan Lowe .


‘Parakeet’ shoes by Caroline Groves, England (2014) Photography by Dan Lowe.

Folklore, fairy tales and myths

The show starts with the Cinderella fairy story which dates in one form or another back to the first centuries AD. It makes the central point of the show: Cinderella is the virtuous girl whose shoes elevate her literally and socially. Cinderella’s life is transformed because wearing high-heeled shoes gets her noticed by the heir to the throne, the handsome prince. This is the focus of the exhibition – the way that across space and time, the wearing of fancy shoes signals privilege, rank and status.

The same display case goes on to mention other examples of powerful and transformative footwear: the Seven League Boots worn by Hop o’ my Thumb. Reference is also made to Puss In Boots, surely the smartest cat to wear shoes, but not to the Old Lady Who Lived In A Shoe, nor to Hermes, the messenger god with little wings attached to his ankle boots. I would have liked more about the importance of footwear in myth and legend. I bet Marina Warner could write an entire book on the subject – I’d have liked a thoughtful paragraph or two.

Film footwear

Too quickly for my taste the eye was drawn away from the depths of myth and legend to the shallows of shoe-ey film clips: There’s a short bit of Dorothy in The Wizard of Oz tapping her ruby slippers, as well as clips of Gene Kelly dancing in the rain and Marilyn Monroe tottering along on high heels which emphasise her waggling bottom. On actual display are the red shoes worn by dancer and actress Moira Shearer in the classic Powell & Pressburger film The Red Shoes, which give their wearer her semi-magical power of dance, but also propel her to her death. Yes, and, and…?

Again I bet there are umpteen studies of footwear in films and it would have been interesting to have had even a few sentences analysing how, for example, close-ups of footwear are a useful shorthand to quickly identify character types, or any other suggestions or thoughts…

Red ballet shoes made for Victoria Page (Moira Shearer) in The Red Shoes (1948), silk satin, braid and leather, England Artist: Freed of London (founded in 1929), Date: 1948 . Photograph reproduced with the kind permission of Northampton Museums and Art Gallery.

Red ballet shoes made for Victoria Page (Moira Shearer) in The Red Shoes (1948), silk satin, braid and leather, England. Freed of London (founded in 1929). Photograph reproduced with the kind permission of Northampton Museums and Art Gallery.

Status and display

Instead the exhibition is rarely distracted from its core mission which is to show how footwear is overwhelmingly about status and display. It is about how rich you are, how your footwear asserts your membership of an elite group or class or circle. Many of the shoes are celebrated for their impracticality: they display and assert that the wearer is quite incapable of physical labour or looking after themselves or managing even the slightest physical obstacle, they are so pampered.

One wall label rather casually pairs Queen Henrietta Maria and Sex and the City‘s Sarah Jessica Parker as ‘style leaders’ whose shoes (and overall look) other people copied. Well, Henrietta’s main achievement was contributing, via her Catholicism, her luxury and her inflexible snobbery, to the unpopularity of her husband King Charles I who plunged his country into civil war and was eventually beheaded.

The exhibition treats ‘status’, being a member of an ‘elite’, of ‘an exclusive circle’, as cost-free activities, as if this appetite for inclusion doesn’t imply a mass exclusion, keeping out the vast majority of people who aren’t in the charmed circle.

The displays range impressively far and wide in its examples: there are shoes from the Ottoman Empire, Ming Dynasty China, Meiji Japan, from Caroline England, from a rajah in pre-Independence India – all regimes which were overthrown in violent revolutions. What role did (and do) ostentatious shoes play in alienating the 99% of the population not allowed or too poor to wear them? Maybe there is no meaningful answer, but the question goes unasked…

Chopines, Punched kid leather over carved pine, Venice, Italy, c. 1600. © Victoria and Albert Museum, London.

Chopines, Punched kid leather over carved pine, Venice, Italy, c. 1600

Sex

In the (surprisingly) small panel about fetish boots and sex, the commentary makes some rather sweeping generalisations:

  • The modern high heel is associated with sexual availability rather than just desirability.‘ Really? As I wrote in my review of the Brooklyn show, I’d have thought it’s more that expensive shoes, especially heels, are about adopting a role, assuming a pose, feeling more glamorous and attractive. Not at all the same thing as making yourself sexually available. For most people most of the time, I’d have thought the sexual suggestiveness of high heels and glamour shoes is implicit, repressed, unacknowledged, beneath the socially (and personally) acceptable activity of making yourself look ‘glamorous’, ‘gorgeous’, ‘classy’, ‘enchanting’, ‘smart’.
  • Further, the commentary asserts that ‘sexy shoes affect the movements of the body, titillating the watcher and creating a sensual experience for the wearer… Shoes equal sex.’ Well, quite obviously most shoes do not equal sex. And, as and when they do, it’s surely in a number of ways: the Brooklyn exhibition put into words precisely how heels cantilever the female form to emphasise its sexual characteristics. But thigh length boots, stilletoes, studded shoes? I could have done with more explanation, from psychologists or sexologists, about just why shoes can be so erotic.

Scores of the shoes and boots scattered randomly throughout the exhibition are doubtless ‘sexy’, designed to emphasise a woman’s sexuality, designed to cater to (changing) sexual tastes through the ages – but restricting this big theme to one small display case, for me raised but then didn’t sufficiently explore the idea.

‘Invisible Naked Version' by Andreia Chaves (2011) Photo by Andrew Bradley .

‘Invisible Naked Version’ by Andreia Chaves (2011) Photo by Andrew Bradley.

Shoes and control

In fact, one of the themes that emerges from the show is that many shoes through history were designed not to flaunt their wearer’s sexuality, but to cripple the wearer, to severely restrict their ability to walk. The Japanese prostitute heels linked to above, are one example. Another well-known extreme is the terrifying traditional shoes worn by Chinese women, whose feet had been broken and bound in order to look petite and exquisite.

Clearly some cultures developed traditions designed to hamper walking in all sorts of ingenious ways. For some cultures the motive was to highlight the wearer’s wealth and status, emphasising that they didn’t need to move very much because everything was done for them, brought to them. For another large group, mainly women, their ability to walk was limited by their masters, who thereby demonstrated their power and control.

Again, I’d have welcomed some thoughtful commentary about the importance of shoes as implements of power and control through the ages. Maybe sustained investigation of these themes is in the exhibition book…

Below are silver platform shoes, named padukas, traditionally given to brides in India to create height, and to emphasise (as usual) their wealth and status. I imagine the most the wearer could manage would be a shuffle. Maybe a cautious totter…

Wedding toe-knob paduka, silver and gold over wood, India (1800s)

Wedding toe-knob paduka, silver and gold over wood, India (1800s)

Work and gender

The curators know their audience, white, middle-class, older, female. The world of work, and especially the vast world of male physical labour, is largely invisible. All forms of working boot, steel-capped boots, footwear worn on building sites and in factories, by sailors and truck drivers, was not here. I particularly missed Doc Martens, that symbol of skinheads and the violent 1970s (which have, in fact, largely reinvented themselves as style accessories).

For as well as physical labour, the equally male world of violence is largely invisible, the bloody civil war which the extravagance of Henrietta Marie helped to spark and the elaborately be-shoed Charles II managed to escape, nowhere mentioned.

The Duke of Wellington is here because of his well-known boots but nothing else about Army or Navy or Air Force footwear, riding wear, driving wear, flying wear, climbing wear. Tucked away in a corner of one display were some fantastic glam rock platform boots from 1973, which the original owner is quoted as saying were good for ‘kicking the shit’ out of other men. But for the most part, marching, tramping, working, kicking, fighting, all these male foot-related activities are invisible.

NOVA by Zaha Hadid for United Nude © Image Courtesty of United Nude

Makers and collectors

Upstairs the focus shifted to the making and collecting of shoes. There were several stands devoted to explaining just how shoes are designed, how patterns are generated from the prototype and then the necessary shapes cut from leather. There was an array of heels, the same shape, but painted different colours and with various diamante applications, which I found fascinating. I was also interested to learn that the metal spike heel was invented in the 1950s, which allowed designers to play with a whole new type of look.

Around the corner is a brilliant semi-circular 7-foot-high wall made of everyday cardboard shoeboxes. I really liked this as a piece of sculpture, but it’s also practical for it creates an auditorium effect, there are benches placed in front of it and in the middle is suspended a big video screen on which plays the 12-minute video I mentioned earlier, featuring interviews with shoe gods Manolo Blahnik, Sandra Choi, Christian Louboutin and others.

The final section of the exhibition contains a number of cases which display the collections of several notable collectors of shoes. Lionel Ernest Bussey collected shoes from about 1914 until his death in 1969, all ladies shoes bought from fairly ordinary shoe shops. By the time of his death he’d collected about 600 pairs, all new and unworn, many not even taken out of their boxes. He left his collection to the V&A. Robert Brooks (age 42) collects just adidas trainers and travels the world to acquire rare items for a collection which now numbers over 800 pairs. Also featured is Katie Porter from west London who has more than 230 shoes in her collection.

Why? We are invited to marvel at these impressive collections, but I’d have welcomed a sentence or two exploring and explaining the psychology of collecting, and of collecting shoes in particular.

Installation view of Shoes: Pleasure and Pain , Victoria and Albert Museum, London.

Installation view of Shoes: Pleasure and Pain, Victoria and Albert Museum, London. Note the wall of shoe boxes in the background and the display of Robert Brooks’s adidas trainers in the foreground.

Lighten up

But maybe I was expecting too much. Maybe I’m missing the point: maybe it is simply that all these shoes – removed from their historical contexts, from too much depth or meaning – are all transformed by this exhibition into objects of fantasy and escape. The exhibition invites us to gawp and marvel and not dig too deep.

We ordinary folk who can never afford Henrietta Maria chopines or Sarah Jessica Parker’s Blahniks, can enjoy them, and hundreds of other weird and exotic specimens, here in the V&A and, by extension, on the internet, in magazines, in videos. Via all these channels we can enter, without too much thought, into magical worlds where we are all thinner, taller and richer, where we all live for a moment more interesting, colourful lives, in remote historical eras and exotic countries, inhabiting the countless fantasies these amazing and endlessly inventive objects offer us. Maybe marvelling and admiring is enough.

On YouTube

A good overview of the show by Euromaxx TV.


Related links

More V&A reviews