Apropos a toot taking Andrea Dworkin seriously, I stopped doing that when I saw her wildly bloody violent imaginings of the experience of giving a blowjob:

"The pain will push you down to hell, near death to coma, to the screamless scream, an agony, no voice, a ripped muscle, shreds swimming in blood in your throat, thin ribbons of muscle soaking in blood."

Yeah, that's doing it wrong.

http://www.erosblog.com/2003/08/01/dworkin-on-blowjobs/

#Blowjob #AndreaDworkin #DeepThroat

Das #Pornfilmfestival Berlin 2022 bot eine spannende Kollision von Dokus über #LydiaLunch und die (in jungen feministischen Zirkeln wieder sehr beliebte) #AndreaDworkin:

Was THE WAR IS NEVER OVER und MY NAME IS ANDREA vor allem unterscheidet ist der Umgang mit dem Trauma der zentralen Protagonistin. Wo Beth B’s in LYDIA LUNCH: THE WAR IS NEVER OVER eine respektvolle und achtsame Annäherung findet, wählt Pratibha Parmar mit MY NAME IS ANDREA den Missbrauch ... https://blogs.taz.de/filmanzeiger/2022/11/01/der-terror-gegen-die-frauen/

#法西斯主义 #女同性恋 #文学 #RadckyffeHall #AndreaDworkin

Is there a reason that so many rich, upperclass lesbians whose lives spanned both world wars were pro-fascist? Certainly Radclyffe Hall and her friends-the writer Natalie Barney (who gave Ezra Pound the radio transmitter from which he broadcast his pro-fascist rants), the painter Romaine Brooks, the playwright Gabriele D'Annunzio - formed a pro-fascist cultural cadre. In Sally Cline's new biography of Hall, this pro-fascism is ethereal, not part of the texture of Hall's life. And Cline offers an apologia: Hall's "crusade on behalf of lesbians had not yet led her to empathise with other persecuted groups". Nor would it. The difficult question is not asked: why has lesbian emancipation been compatible in the lives of elite women with fascism? Is this group so privileged and so distinct that democracy is repugnant; or, in Hall's case, did the brutality in her childhood create an allegiance to dominance and authoritarian control?

[...]

Except for her advocacy of homosexual rights, her politics were ugly. She renounced her support of female suffrage when, on the heels of a threatened miners' strike in 1912, hundreds of militant women fought police in the streets of London and smashed windows. "Have the Suffragettes no spark of patriotism left, that they can spread revolt and hamper the government in this moment of grave national danger?" she wrote in an anonymous letter to the Pall Mall Gazette. A trip to Florence in 1921 similarly brought her into contact with Fascists and Communists fighting in the streets; and for her the Fascists were the good guys. She was deeply anti-Semitic: "I believe (the Jews) hate us and want to bring about a European War and then a World revolution in order to destroy us utterly." Her hatred was explicit. "Jews! Jews! Jews!" she wrote in 1938. "Millions of them trying to push their way into England. . ." By 1942, knowledge of mass deportations of Jews in France made her queasy: "the wholesale slaughter of the Jews is too fearful, the more so as one feels helpless to do anything for the poor devils..." She was now 62, nearly blind after several eye operations and with severe colitis. That same year she had abscesses on her gums, pleurisy, double pneumonia, haemorrhoids, and was in a coma for several weeks. In 1943 she was diagnosed with rectal cancer and had a colostomy; but the cancer was inoperable. She died on October 7 1943.

"'[M]an' and 'woman' are fictions, caricatures, cultural constructs. As models they are reductive, totalitarian, inappropriate to human becoming. As roles they are static, demeaning to the female, dead-ended for male and female both. The discovery is inescapable: We are, clearly, a multisexed species which has its sexuality spread along a vast continuum where the elements called male and female are not discrete."

- #AndreaDworkin, from Woman Hating (1974)

#feminism #quote #gender