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

Crash by J.G. Ballard

WARNING: This review contains written text of an extremely brutal and explicit sexual nature.

Crash is Ballard’s most ‘controversial’ book because of its combination of psychotic behaviour (the characters’ obsession with car crashes) with extraordinarily powerful pornographic writing. It depicts the sexual fetishisation of car crashes with tremendous intensity:

In these crude photographs, Vaughan had frozen my uncertain embraces as I edged my wounded body into its first sexual encounters since the accident. He had caught my hand stretching across the transmission tunnel of my wife’s sports car, the inner surface of my forearm dented by the chromium gear lever, my bruised wrist pressing against the white flank of her thigh; my still-numb mouth against Renata’s left nipple, lifting her breast from her blouse as my hair fell across the window-sill; Helen Remington sitting astride me in the passenger seat of her black saloon, skirt hitched around her waist, scarred knees pressing against the vinyl seat as my penis entered her vulva, the oblique angle of the instrument panel forming a series of blurred ellipses like globes ascending from our happy loins.

The book is packed with scenes like this, in which the two central male characters become sexually addicted to fantasies of brutal car crashes, masturbating and ejaculating over their photos and film footage of terribly car wrecks or paying prostitutes to adopt the postures of car crash victims for their semen-filled, pornographic satisfaction.

Source explanations in The Atrocity Exhibition

Why? Well, a clue is given in one of the intense, experimental texts which make up Crash’s predecessor, The Atrocity Exhibition. In it are several little speeches given by the book’s resident psychiatrist, Dr Nathan, who suggests that:

‘Now that sex is becoming more and more a conceptual act, an intellectualization divorced from affect and physiology alike, one has to bear in mind the positive merits of the sexual perversions. Talbert’s library of cheap photo-pornography is in fact a vital literature, a kindling of the few taste buds left in the jaded palates of our so-called sexuality.’

And later the same idea is repeated:

‘Sex is now a conceptual act, it’s probably only in terms of the perversions that we can make contact with each other at all. The perversions are completely neutral, cut off from any suggestion of psychopathology – in fact, most of the ones I’ve tried are out of date. We need to invent a series of imaginary sexual perversions just to keep the activity alive.’

Nathan is suggesting that conventional sex has become so ‘vanilla’, and we humans so incapable of reaching each other during it, that only extreme perversions and pornography can nowadays prompt a response, a reaction, a genuine connection.

The Atrocity Exhibition doesn’t stop at car crashes, but suggests the erotic potential of newsreel atrocities, napalm burning Vietnamese villages, and speculates that eye witnesses to the Kennedy assassination experienced a surge in their sex lives for months afterwards. The book is saturated to overflowing with sexual imagery and feelings.

Ballard is being frank about the way that sex, sexual arousal and sexual excitement is nowhere near as easily defined or controlled as we like to think. But in Crash he is concentrating on the weird obsession people have with cars, on cars as the focal point of post-war culture.

The mystique of car crashes

Crash is obviously related to the famous exhibition Ballard put on in 1969 titled Crashed Cars, displaying three auto wrecks complete with photos of their original locations and conditions, an exhibition which scandalised right-thinking people at the time but would pass with barely a flicker today (it was fifty years go, after all).

Why stage it at all? Because there is something genuinely hypnotic and entrancing about car crashes. We stop to stare at them on the motorway or the street but, more symptomatically, our culture is full of all sorts of thrills and excitements to do with cars, from Formula One racing to stock car rallies to the American fad for demolition derbies, and thousands of movies which feature ‘thrilling’ car chases.

Crash is only really taking the idea of risk and excitement implicit in our culture’s obsession with cars to its logical, intense and irrational conclusion.

It is clear that the car crash is seen as a fertilizing rather than a destructive experience, a liberation of sexual and machine libido, mediating the sexuality of those who have died with an erotic intensity impossible in any other form. (The Atrocity Exhibition)

Part of what shocked readers then and now is the calm, detached, scientific way in which Ballard describes, using only the correct biological terminology (there are no swearwords anywhere in the book), the sexual obsession of the two central male figures, their erections, the shape of their penises, the way they rub the glans against the hand or shoulder of a paid-for prostitute, and the calm way he describes arranging the prostitutes so that their ‘vents’ and ‘clefts’ are presented in stylised poses, or imagines the vaginal mucus of the film star who both men are obsessed with, Elizabeth Taylor.

Vaughan propped the cine-camera against the rim of the steering wheel. He lounged back, legs apart,one hand adjusting his heavy groin. The whiteness of his arms and chest, and the scars that marked his skin like my own, gave his body an unhealthy and metallic sheen, like the worn vinyl of the car interior. These apparently meaningless notches on his skin, like the gouges of a chisel, marked the sharp embrace of a collapsing passenger compartment, a cuneiform of the flesh formed by shattering instrument dials,fractured gear levers and parking-light switches. Together they described an exact language of pain and sensation, eroticism and desire.

Part of the book’s transgressive thrill comes from the way the most outlandish sexual impulses are treated in this blank, detached, factual way. ‘Have you no shame, no manners, no restraint?’ the books critics asked. No, replied Ballard.

The collision of our two cars, and the death of her husband, had become the key to a new sexuality. During the first months after his death she moved through a series of rapidly consumed affairs, as if taking the genitalia of all these men into her hands and her vagina would in some way bring her husband back to life, and that all this semen mixed within her womb would quicken the fading image of the dead man within her mind.

See – no swearwords, just a documentary factuality. But of a subject (‘all this semen mixed within her womb’) that is usually discussed and described in polite circumlocutions (‘she had several boyfriends after her husband died’). It is this incredibly blunt reduction of all aspects of relationships to penises and vulvas which is, I think, the most calculatingly offensive aspect of the book.

The plot: short version

The plot is fairly straightforward: The married narrator is a professional producer of TV commercials. He has a car crash and as a result finds his (already rampant) sexuality being warped into re-enacting or remembering the crash, not least with the woman survivor of the car he crashed into, Dr Helen Remington. He is spied on and then meets Dr Robert Vaughan, a former TV presenter and a man obsessed with the sexual fetishisation of car crashes. He meets Vaughan’s small circle of fellow scarred crash survivors, and both the narrator and his wife find themselves drawn into the sexual fetishisation of car crashes in its most intense form, exploring the outer limits of perverse sexuality, before the book ends with Vaughan’s failed attempt to crash his car into the limousine of Elizabeth Taylor, the Hollywood film star who is in London to make a film.

The plot: long version

The (initially unnamed) first-person male narrator is a 4-year-old producer of television commercials (p.80) and lives near the film studios in Shepperton, west of London. He has a wife named Catherine and is having an affair with his secretary, Renata. One day he is involved in a car crash, his tyre blows out, propelling his car across the central reservation into the path of an ongoing car and they collide head-on. The male driver of the other car is thrown clean through the windscreen and bleeds to death all over the narrator, the man’s stunned wife staring into his eyes.

Narrator and wife – now widow – are taken to Ashford hospital where they both slowly recuperate and notice a burly doctor prowling around. Through a series of events the narrator finds himself bumping into the crash victim, whose name is Dr Helen Remington.

First a note that his sex life with his wife was already intensely erotic. She has affairs with fellow pilots or businessmen, knowing about his affair with Renata. During their marital sex, together they describe and/or re-enact Catherine’s latest sexual adventure and, at the moment of climax, she reveals her latest lover’s name.

The narrator drives Renata to the location of the crash, parks on the hard shoulder, and proceeds to have sex with the reluctant woman. A car is parked not far behind them and he notices a man with a camera. Later he’ll find out this was Vaughan voyeuristically photographing him.

A few days later, having dropped his wife at her work, the narrator picks up one of the hookers who hang round London airport and drives her to the top of Northolt multi-story car park to have sex. She is giving him a blowjob when a flashbulb goes off. Detaching himself and getting out, the narrator follows the photographer back to his car and realises a) it is the same man he saw prowling in Ashford hospital and parked behind him on the hard shoulder b) it is Dr Robert Vaughan, former computer scientist with a glamorous career as a TV presenter (a new type of crossover figure in the late 1960s and 70s). Vaughan refers to the narrator as ‘Ballard’. Aha. It is one of those kinds of novels, the kind where the narrator has the same name as the author. Not very often, though, so I’ll continue to refer to him as ‘the narrator’ since this is how he comes over in the text.

A week or so later, Ballard goes to the Northolt police pound to find his wrecked car, he finds Helen there. They drift into conversation and, in an electrifying scene, he offers to drive her home and they find themselves driving towards the location of the crash. The narrator becomes carried away by hyper-sexual fantasies

I followed the queue of cars, already thinking of how she would behave during sexual intercourse. I tried to visualize her broad mouth around her husband’s penis, sharp fingers between his buttocks searching out his prostate.

The narrator surreptitiously rubs the glans of his penis against the steering wheel until he ejaculates. He is quite shaken up; Helen seems to notice, and she puts his hand on her shoulder and guides him to a quiet side street, where she tells him about her job in the immigration department of the airport, while the narrator trembles with complicated lusts. He drops her home.

A week after the coroner’s inquest, the narrator sees Helen waiting at a bus stop at one of the airport terminals and offers her a lift. Once again they ascend the motorway and head towards the crash site. She presses against his shoulder. Wordlessly he comes off the motorway and drives to a deserted service road among the reservoirs. Here they have shatteringly erotic sex, mutual masturbation followed by her mounting him, all parts of their bodies in contact with the complicated mouldings, plastic and glass of the car’s interior.

The plastic laminates around me, the colour of washed anthracite, were the same tones as her pubic hairs parted at the vestibule of her vulva. The passenger compartment enclosed us like a machine generating from our sexual act an homunculus of blood, semen and engine coolant.

Over the next few weeks they have sex in his car routinely, but discover they can’t achieve it at her house: he can’t get an erection, she gets irritable and snappy.

While his wife is away at some conference the narrator takes Helen to a stock car rally – his jilted secretary gave him two tickets as an ironic gesture. One of the contestants is a wrecked-looking man with a ponytail of white hair who we learn is named Seagrave, a former stunt driver at Shepperton studios. He is encouraged in taking part by none other than the sinister Dr Vaughan.

When the stunt Seagrave is involved in goes wrong, Vaughan asks Helen to accompany him as he drives Seagrave to the nearest hospital, with the narrator following in his car. Once at the hospital, Helen takes Seagrave in, while the narrator gets into the passenger seat of Vaughan’s car. It is here, during their long wait, that the narrator first becomes sexually attracted to Vaughan and his (already hyper-active sexual imagination) fantasises about holding the bigger man’s penis, about masturbating him, or being entered by him, and almost sees the globules of the big man’s sperm spurting across the car dashboard. (It is like this all the way through.)

When Seagrave is released, Vaughan takes him, Helen and the narrator back to Seagrave’s house. Here they meet his thin nervy 30-year-old wife Vera, his 2-year-old son, and two friends, a TV producer who worked with Vaughan early in his career and a 30 year-old social worker named Gabrielle who has metal braces on her arms and back from a severe crash. While they sit on Seagrave’s sofa in his suburban house, Vaughan takes Ballard out to the back where he shows him his ‘project’, which is a big album of photos showing every stage of Gabrielle’s life from the crash, which he attended and helped at, through every stage of her recovery. Entranced, the narrator realises the crash blessed her with an entire new sexuality.

This agreeable young woman, with her pleasant sexual dreams, had been reborn within the breaking contours of her crushed sports car. Three months later, sitting beside her physiotherapy instructor in her new invalid car, she held the chromium treadles in her strong fingers as if they were extensions of her clitoris. Her knowing eyes seemed well aware that the space between her crippled legs was constantly within the gaze of this muscled young man. His eyes roved among the damp moor of her pubis as she moved the gear lever through its cage. The crushed body of the sports car had turned her into a creature of free and perverse sexuality, releasing within its twisted bulkheads and leaking engine coolant all the deviant possibilities of her sex.

Then Vaughan shows the narrator the sequence of photos he’s taken of him, in the car crash, in hospital, in cars having sex with Renata and then Helen. The narrator isn’t offended or upset, he’s fascinated. then Vaughan shows him the next stage of the project: photos of the movie star Elizabeth Taylor, who is currently in London, staying at the Hilton Hotel while she makes a movie at Shepperton Studios. Vaughan asks if the narrator knows her. Well, obviously not. But she is making a film at Shepperton and the narrator has an office there to produce commercials.

A few days later the narrator is at the studio, watching Liz Taylor herself be made up for the next scene of her film which is, eerily, spookily and unsurprisingly- a car crash. not only that, but Seagrave is being made up as Elizabeth Taylor in order to be her stunt double. There’s a kerfuffle at the door of the studio and the narrator sees Vaughan fighting off a security camera who is trying to take Vaughan’s camera away. Vaughan is a big man and retains it. He intends to photograph the scene.

The scene cuts to the narrator in bed with his wife. She is a very dirty lady, they are perfectly suited, as their marital sex reaches a climax, she asks the narrator insistently about Vaughan – has he seen Vaughan’s penis, how big is it, what shape is it, has he sucked his penis, would he like to, what flavour is his semen – and so on, until they both have thunderous orgasms.

In The Atrocity Exhibition some of the characters speculate about the invention or advent of a ‘new sexuality’. I realise that in Crash all the characters are living a new sexuality, and not just the men, not at all:

Gabrielle ‘The crushed body of the sports car had turned her into a creature of free and perverse sexuality.’

Catherine ‘That Catherine should choose Vaughan, whose manic style summed up everything she found most unnerving, struck me as perfectly logical. The multiple car-crash we had seen had sprung the same traps in her mind as in mine.’

Helen ‘The collision of our two cars, and the death of her husband, had become the key to a new sexuality… Only in the car could she reach her orgasm.’

Helen has got a new job at the Road Research Laboratory. She takes the narrator along to witness one of those staged car crashes where the car is full of text crash dummy mannequins. Inevitably, Vaughan shows up, with his camera, and surreptitiously masturbates as the crash is carefully and elaborately staged by the RRL technicians, and Ballard gives a minutely detailed, moment-by-moment description of the test car crash, as filmed in slow motion.

Shavings of fibreglass from [the test motorbike rider’s] face and shoulders speckled the glass around the test car like silver snow, a death confetti.

The 30 or so spectators, including the Minister’s wife, stand around in silence, dumbfounded. It is like a religious ceremony. The narrator glances across and sees the wet patch at Vaughan’s crotch. Then Vaughan strolls over to the smashed car, wrenches open the front door and wedges onto the seat next to the mangled mannequin. Later he drives the narrator home and shows him the questionnaires he’s been getting his ‘friends’ and contacts to fill out, asking which politicians or celebrities they would like to see in car crashes; what sort of crashes they would be; what kind of wounds the celebrities would receive. The answers amount to an encyclopedia of physical atrocities which Ballard takes to the limit and beyond, as the entire book is intended to.

As Vaughan turned the car into a filling station courtyard the scarlet light from the neon sign over the portico flared across these grainy photographs of appalling injuries : the breasts of teenage girls deformed by instrument binnacles, the partial mammoplasties of elderly housewives carried out by the chromium louvres of windshield assemblies, nipples sectioned by manufacturers’ dashboard medallions; injuries to male and female genitalia caused by steering wheel shrouds, windshields during ejection, crushed door pillars, seat springs and handbrake units, cassette player instrument toggles. A succession of photographs of mutilated penises, sectioned vulvas and crushed testicles passed through the flaring light…

They pull over at a motorway services where the narrator buys a couple of bottles of wine, Vaughan rolls some joints and they pick up a couple of whores. The blonde sits in front next to the narrator as he drives, but in the back seat Vaughan subjects the dark-haired, slim-hipped one to extraordinary humiliations, moving and arranging her body into the postures of crash victims, exploring her cleft and orifices with scientific detachment, continually changing their positions. As he drives, the narrator realises he can control the sexual junctions taking place in the back by varying his speed, overtaking, accelerating, or going down exit ramps. Vaughan climaxes, they drive back to the services and dump the girls.

Over the next few days Vaughan bombards requests to get access to the actress and hand her his questionnaire. He is mad. In the narrator’s office he feverishly draws in imaginary car crash wounds on a publicity photo of Elizabeth Taylor while hitting his penis in a karate chop gesture, working himself towards orgasm, till the narrator stops him, all too aware of how aroused he is by Vaughan’s arousal. The narrator is fantasising almost continually about performing fellatio on Vaughan or being sodomised by him.

A few days later the narrator is driving Vaughan and Catherine back from the airport into central London. They are forced to slow down by the emergency services surrounding a three-car pile-up. The postures of the victims are graphically described as well as the firemen’s efforts to cut them out of the wreckage. They park on the hard shoulder a hundred yards further along, and Vaughan leaps out with his camera. A footbridge over the motorway is packed with sightseers gawping at the crash. The narrator notes the sexualised atmosphere, with the gawpers eventually leaving, arms round their partners.

On the way back into London the narrator pulls over into a service station and pays to go through the car wash repeatedly, while Vaughan has sex with his wife in the back seat, arranging their bodies in a series of stylised postures. Back in their apartment, the narrator dabs the wounds and bruises on her body with the tip of his penis.

Increasingly in thrall to Vaughan, the narrator becomes his unofficial chauffeur as they first steal cars, then borrow them using passkeys obtained from Seagrave’s wife for cars parked at the airport, and drive round looking for crashes or picking up whores or just available girls who Vaughan can position and abuse in innumerable poses in the back seat.

It’s during this period that they arrive at a devastating crash scene in order for Vaughan to a) get his camera and flash bulbs and take countless photos of the woman victim as she lies mangled across the front seats b) then cradle her head as she bleeds out into her white blouse and c) soon afterwards pick up a cheap prostitute and, in the back of his and the narrator’s car, makes her adopt the posture of the dying woman, examining her from all angles, and stylising her position before ejaculating over her.

They arrive at another crash to find the car of a middle-aged dentist has rolled over and off the road into a suburban garden. Waiting till the police and other services have quite left, Vaughan jumps down into the garden, takes his penis out and rubs it along various surfaces of the car. Finding a piece of chalk the police had used, he draws an outline of his penis against the paintwork. Pleased, he draws a succession of penis outlines all over the car and across the car’s seats and dashboard.

Vaughan, Gabrielle and the narrator visit the Motor Show at Earl’s Court. Showroom salesmen are embarrassed by Gabrielle’s extensive wounds and braces. Later, the narrator has sex with Gabrielle in her car, both of them bored with the conventional motions, until she starts kissing and sucking his scars, and he pushes his erect penis into the scarred grooves and clefts of her body caused by her crash. At which point they both become very aroused, and go on to have sex in her car over the following weeks.

The final chapters describe Vaughan’s increasing restless frustration. It’s a shock to both of them when they hear on the police radio of a crash involving Vaughan’s muse, Elizabeth Taylor. When they get to the scene they realise that – garishly and gruesomely and ironically – it is the raddled old stuntman, Seagrave, wearing the Elizabeth Taylor he’s been paid to wear when he was her body double in the staged car crash in the film she is still making at Shepperton.

Seagrave was high on LSD and drive head-on into the car of a faded TV presenter, and is dead, the present badly injured, and Vaughan follows the stretcher bearers carrying her to the ambulance (only to be turned away by the police who are coming to know Vaughan and his suspicious behaviour). Later he picks up a prostitute and rams his erect penis down her throat for ten minutes straight, making her gag and then vomit.

As the narrator accompanies Vaughan on their midnight outings to film or photograph crash scenes, or pick up prostitutes to arrange in ever more ghoulish postures of crash victims, the narrator realises his is increasingly attracted to Vaughan’s own sexuality, letting his homosexual tendencies become evermore obvious until, as he watches Vaughan copulating with prostitutes in the back seat of their car, he imagines it is he himself who is submitting to Vaughan’s oily, scarred hands and receiving his swollen penis in his anus or mouth.

The ante-penultimate chapter (21) is devoted to an extraordinarily vivid description of an acid trip, Vaughan giving the narrator a sugar cube dipped in acid as they set off driving and the drug kicking in as the narrator drives along the motorway, the text becoming carefully more visionary to reflect the gathering hallucinations.

Despite being tempted to drive into the oncoming traffic they manage to negotiate their way to a quiet slip road where, tripping off their faces, the narrator finally gets his long-held wish and has sex with Vaughan, unbuttoning him and kicking and kissing all his scars, before sucking his penis and then sodomising him and ejaculating in his anus, before the two very odd men return to slumping half naked in the front seats of their parked car, watching the light pour in glory from the crashed cars lying in the wrecker’s yard they’ve stopped next to.

Chapter 22 is brief and describes the narrator coming down from his acid trip, the world slowly returning to its banal grey, as he staggers from Vaughan’s heavy American Lincoln car and takes refuge in a wreck at the entrance to the wrecker’s yard. After an hour or so he stretches and stands up, and is walking back when he hears the roar of an engine and the Lincoln comes racing out from the underpass and tries to kill him, smashing into the side of the wrecked car and tearing down a stretch of the yard’s wooden fence, before roaring off along the slip road.

In chapter 23 it has taken the narrator some days to come down from his acid trip, and he is still having flashbacks and feeling shaken, not only by the intensity of the hallucinations, but by the memory of Vaughan suddenly, aggressively gunning the engine of the car and heading straight for him, trying to run him down.

The affair with Helen seems to have ceased and now he is recovering at the apartment and is looked after by Catherine who, having had sex with Vaughan, understands his addiction. They go out together in his car looking for the damaged archangel of the motorways, the concrete constructions described with the errant luminosity of the acid aftershocks.

They bump into Seagrave’s widow, Vera, at a filling station. She tells them the police are now definitely after Vaughan after an American serviceman was run over at Northolt. The narrator begins to explain that it’s not people but technology that stimulates Vaughan, but Vera cuts him short by telling him she was in the car with Vaughan. Ah. So he’s gone postal, crossed the line, achieved critical mass. Not sleeping or eating, haggard and grim-faced, Vaughan really has become the psychotic killer of the highways.

He is laying in wait for them. Catherine tells the narrator Vaughan followed her home from work at the airport, tailing her. The narrator follows Catherine as protection and next day takes part in a high-speed chase as Vaughan ram up alongside her, fades in the slow lane, then makes another approach and scrapes right alongside Catherine’s right car, before pulling away and disappearing down an exit ramp.

Day after day Vaughan follows Catherine along the expressways and airport perimeter roads. His old heavy Lincoln car is becoming a battered wreck, with dented fenders and wings, quarter windows smashed out, paintwork damaged and bent. The narrator doesn’t warn his wife about Vaughan’s intentions, but then he hardly needs to. Both of them have entered the end-zone, hypnotised by the high speed death-game they’re playing which is, of course, inextricably interfused with a panoply of sex games.

Aware of this coming collision, Catherine had entered an entranced room within her mind. Passively, she allowed me to move her limbs into the positions of unexplored sex acts.

After sex, in the quiet of the night, the narrator hears a heavy car gunning outside. He waits, dresses and goes down. There is Vaughan’s Lincoln, in all its battered dishevelled glory. Inside is a tartan blanket and empty food tins, Vaughan has evidently been living in it, on the run from the police. Catherine appears, she noticed his absence. As they stand beside the wrecked auto in the midnight silence, they hear the roar of another engine and walk back towards the ramp up out of the underground garage of the high rise where they live. Suddenly the narrator’s car appears, driven by Vaughan at manic speed. Before they have chance to cry out, the silver car has swerved round them and off into the night.

Ten days pass and the Lincoln slowly dies, its tyres deflating, rain and leaves getting in through the smashed windows, then a gang of youths completing the decay with a thorough trashing.

The short final chapter returns us to the start. Ballard’s stories are often book-ended like this, opening with a macabre scene and then going back to tell us how we ended up here. This is the structure of Crash. It opens with the narrator arriving at the scene of Vaughan’s final crash, the one in which he tried to collide with the chauffeur-driven limousine of movie star Elizabeth Taylor but missed, sailing through the safety barriers of a flyover and landing into the roof of a passing coach full of tourists. Vaughan is killed outright. Many of the tourists are killed or horribly maimed.

Now the narrator watches the white-faced film star, Liz Taylor, who the entire story has, in a sense, been about, standing by her stationary limo and being comforted by the chauffeur.

As well as the police and ambulance and helicopters fluttering overhead, a huge crowd has been drawn by (untrue) radio reports of the actress’s death and Ballard deploys his hallucinatory skills to great effect to describe the scene as a great stage set.

On the roofs of the police cars the warning lights revolved, beckoning more and more passers-by to the accident site, across the recreation grounds from the high-rise apartment blocks in Northolt, from the all-night supermarkets on Western Avenue, from the lines of traffic moving past the flyover. Lit by the arc-lights below, the deck of the flyover formed a proscenium arch visible for miles above the surrounding traffic. Across the deserted side-streets and pedestrian precincts, the concourses of the silent airport, the spectators moved towards this huge stage, drawn there by the logic and beauty of Vaughan’s death

The final apotheosis of the car crash as media event and public spectacle, liberating a multitude of latent sexual forces, attracting hundreds of sightseers, they know not why, and opening previous unknown doors in their minds.

The Epilogue describes the narrator and Catherine visiting the police pound, the one where he began his affair with Dr Remington, now in search of the wreckage of the car Vaughan stole and died in. They cram themselves into the wrecked back compartment and, inevitably, conduct a small sex act, she sitting astride him to ‘draw off a small spurt of semen after a short throe’. Then they walk among the wrecked cars.

Headlights are turned on, blinding them. Walking round to the car they find it occupied by Gabrielle, the car-crash cripple and Dr Remington. Ah. They are now a lesbian item. They reverse away and are gone. a) They were paying homage to Vaughan’s wrecked car and celebrating his legacy b) Ballard was handily informing us how their story ended up, the narrator pleased that Dr Remington’s explorations of sexual perversity are continuing.

The narrator realises he had cupped his hand under Catherine’s vulva after their sex to catch his oozing semen. Now, in the final scene of the book, they stroll among the wrecked cars and the narrator uses his semen to bless and anoint the instrument panels and steering wheels and handbrakes and all the other implements of pain and wounding and maiming which a car’s passenger compartment contains. It so perfectly conveys the jewelled perversity of the book that it’s worth quoting at length.

When they had gone, Helen’s arm on Gabrielle’s shoulder as she reversed away, Catherine and I moved among the cars. I found that I was still carrying the semen in my hand. Reaching through the fractured windshields and passenger windows around me, I marked my semen on the oily instrument panels and binnacles, touching these wound areas at their most deformed points.

We stopped at my own car, the remains of its passenger compartment sleek with Vaughan’s blood and mucilage. The instrument panel was covered with a black apron of human tissue, as if the blood had been sprayed on with a paint gun. With the semen in my hands I marked the crushed controls and instrument dials, defining for the last time the contours of Vaughan’s presence on the seats. The imprint of his buttocks seemed to hover among the creases of these deformed seats. I spread my semen over the seat, and then marked the sharp barb of the steering column, a bloodied lance rising from the deformed instrument panel.

Catherine and I stood back, watching these faint points of liquid glisten in the darkness, the first constellation in the new zodiac of our minds. I held Catherine’s arm around my waist as we wandered among the derelict cars, pressing her fingers against the muscles of my stomach wall. Already I knew that I was designing the elements of my own car-crash.

Stylised gestures, junctions and angles

Rereading the book I was taken by storm by the intensity of the sexual feelings and fantasies described by the narrator.

But also by another major thread, which is harder to describe and also a lot less sexy and so less grabby and impactful. And this is that, underlying the sexualisation of car crashes there is a kind of deeper level of weirdness, which is the basic, foundational insight – perception – hallucination, call it what you will, whereby Ballard identifies the geometry, the angles and abstract shapes and angles, underlying human bodies, human gestures and human behaviour.

In The Atrocity Exhibition Ballard mentions the Vorticists, the short-lived English avant-garde art movement which flourished just before the Great War. As the Tate website puts it:

Vorticist painting combined cubist fragmentation of reality with hard-edged imagery derived from the machine and the urban environment.

Add intense sexuality to the hard-edged imagery and you have Ballard:

The same unseen sexuality hovered over the queues of passengers moving through airport terminals, the junctions of their barely concealed genitalia and the engine nacelles of giant aircraft…

The same conjunctions, all the more terrifying when they seemed to evoke the underlying elements of character, I saw in the photographs of facial injuries. These wounds were illuminated like medieval manuscripts with the inset details of instrument trim and horn bosses, rear-view mirrors and dashboard dials. The face of a man whose nose had been crushed lay side by side with a chromium model-year emblem. A young coloured woman with sightless eyes lay on a hospital couch, a rear-view mirror inset beside her, its glassy stare replacing her own vision.

If the Vorticists (and the Futurists and other Modernist painters) saw the machine beneath the skin of the human organism, Ballard sees the machine beneath the skin – and then sees the machine and the human having sex.

As I explored her body, feeling my way among the braces and straps of her underwear, the unfamiliar planes of her hips and legs steered me into unique culs-de-sac, strange declensions of skin and musculature. Each of her deformities became a potent metaphor for the excitements of a new violence. Her body, with its angular contours, its unexpected junctions of mucous membrane and hairline, detrusor muscle and erectile tissue, was a ripening anthology of perverse possibilities.

A violent world sensationalised but also sanitised by mass media

There’s another thread running through the book, too, which is the sensationalising of atrocity by the newly available mass media i.e. television and photojournalism magazines.

Commentators in Ballard’s day were paying a lot of attention to the power of this new mass media, ‘new’ mainly referring to the newish technology of television, which was becoming more and more widespread.

It was only a few years since the Canadian philosopher Marshall McLuhan had published his book Understanding Media: The Extensions of Man, in 1964, which introduced the phrase: “The medium is the message”. The imaginative dominance of television was new, and it was taking place at the same time as an explosion in the uncensored coverage of war and atrocity, the mid-60s seeing the burnt corpses of Vietnam brought into everyone’s living room on the nightly news.

To many people, such as McLuhan, it seemed as if the visceral power of TV was introducing a new era in human consciousness and I think it’s important, for a sympathetic reading of the book, to grasp the novelty and power of these new insights about this popular new medium – and then to realise that Ballard was giving them visceral expression, taking to a straight-faced extreme the psychological damage which worried lots of contemporaries.

Here is the narrator’s wife visiting him in hospital after the crash:

Catherine watched me trying to catch my breath. I took her left hand and pressed it to my sternum. In her sophisticated eyes I was already becoming a kind of emotional cassette, taking my place with all those scenes of pain and violence that illuminated the margins of our lives – television newsreels of wars and student riots, natural disasters and police brutality which we vaguely watched on the colour TV set in our bedroom as we masturbated each other. This violence experienced at so many removes had become intimately associated with our sex acts. The beatings and burnings married in our minds with the delicious tremors of our erectile tissues, the spilt blood of students with the genital fluids that irrigated our fingers and mouths. Even my own pain as I lay in the hospital bed, while Catherine steered the glass urinal between my legs, painted fingernails pricking my penis, even the vagal flushes that seized at my chest seemed extensions of that real world of violence calmed and tamed within our television programmes and the pages of news magazines

So it’s not just a book about car crashes and sex: it’s a wider investigation or hallucination about the impact of extremely violent images being served up to quite ordinary citizens day after day after day in newspapers and on TV, and an exploration of the numbing, desensitising, and then disturbing impact this ultimately has on its consumers.

Here is the narrator, who has just driven his secretary to the site of that first crash and parked on the hard shoulder and finds himself in a psychotic state, linking: a) an extreme terminology describing sex and her body with b) the traumatic experience of the crash – all melded with c) the terrible images of human suffering which are now routinely packaged and promoted by the mass media. It makes for a searing combination:

I moved my hand along her thigh. Her vulva was a wet flower. An airline coach passed, the passengers bound for Stuttgart or Milan peering down at us. Renata buttoned her coat and took a copy of Paris-Match from the dashboard shelf. She turned the pages, glancing at the photographs of famine victims in the Philippines. This immersion in parallel themes of violence was a protective decoy. Her serious student’s eyes barely paused at the photograph of a swollen corpse that filled a complete page. This coda of death and mutilation passed below her precise fingers as I stared at the road junction where, fifty yards from the car in which I now sat, I had killed another man.

Car crashes and sex, yes: but also, between the lines, an indictment of the cynicism and exploitativeness of the high-minded magazines and TV programmes which distributed images of atrocity for profit.

If you need novels to have ‘themes’, then it is not hard to extract some weighty and still-very-relevant themes and ideas from this, at first glance, deliberately obscene and provocative novel.


Credit

‘Crash’ by J.G. Ballard was published by Jonathan Cape in 1973. Page references are to the 1985 Triad/Panther Books paperback edition. All quotations are used for the purpose of criticism and review.

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