This is a book about the making and unmaking of sex over the centuries. It tells the astonishing story of sex in the West from the ancients to the moderns in a precise account of developments in reproductive anatomy and physiology. We cannot fail to recognize the players in Thomas Laqueur’s story—the human sexual organs and pleasures, food, blood, semen, egg, sperm—but we will be amazed at the plots into which they have been woven by scientists, political activists, literary figures, and theorists of every stripe.
Laqueur begins with the question of why, in the late eighteenth century, woman’s orgasm came to be regarded as irrelevant to conception, and he then proceeds to retrace the dramatic changes in Western views of sexual characteristics over two millennia. Along the way, two “master plots” emerge. In the one-sex story, woman is an imperfect version of man, and her anatomy and physiology are construed accordingly: the vagina is seen as an interior penis, the womb as a scrotum, the ovaries as testicles. The body is thus a representation, not the foundation, of social gender. The second plot tends to dominate post-Enlightenment thinking while the one-sex model is firmly rooted in classical learning. The two-sex story says that the body determines gender differences, that woman is the opposite of man with incommensurably different organs, functions, and feelings. The two plots overlap; neither ever holds a monopoly. Science may establish many new facts, but even so, Laqueur argues, science was only providing a new way of speaking, a rhetoric and not a key to female liberation or to social progress. Making Sex ends with Freud, who denied the neurological evidence to insist that, as a girl becomes a woman, the locus of her sexual pleasure shifts from the clitoris to the vagina; she becomes what culture demands despite, not because of, the body. Turning Freud’s famous dictum around, Laqueur posits that destiny is anatomy. Sex, in other words, is an artifice.
This is a powerful story, written with verve and a keen sense of telling detail (be it technically rigorous or scabrously fanciful). Making Sex will stimulate thought, whether argument or surprised agreement, in a wide range of readers.
The Misfit of the Family is a compelling argument that Balzac must be taken seriously as a major inventor and purveyor of new tools for analyzing connections between the sexual and the social. Lucey’s account of the novelist’s deployment of "sexual misfits" to impel a wide range of his most canonical works—Cousin Pons, Cousin Bette, Eugenie Grandet, Lost Illusions, The Girl with the Golden Eyes—demonstrates how even the flexible umbrella term "queer" barely covers the enormous diversity of erotic and social behaviors of his characters. Lucey draws on the thinking of Michel Foucault and Pierre Bourdieu and engages the work of critics of nineteenth-century French fiction, including Naomi Schor, D. A. Miller, Franco Moretti, and others. His reflections on Proust as Balzac’s most cannily attentive reader suggest how the lines of social and erotic force he locates in Balzac’s work continued to manifest themselves in twentieth-century writing and society.
Most of us assume that sexuality is fixed: either you’re straight, gay, or bisexual. Yet an increasing number of young men today say that those categories are too rigid. They are, they insist, “mostly straight.” They’re straight, but they feel a slight but enduring romantic or sexual desire for men. To the uninitiated, this may not make sense. How can a man be “mostly” straight? Ritch Savin-Williams introduces us to this new world by bringing us the stories of young men who consider themselves to be mostly straight or sexually fluid. By hearing about their lives, we discover a radically new way of understanding sexual and romantic development that upends what we thought we knew about men.
Today there are more mostly straight young men than there are gay and bisexual young men combined. Based on cutting-edge research, Savin-Williams explores the personal stories of forty young men to help us understand the biological and psychological factors that led them to become mostly straight and the cultural forces that are loosening the sexual bind that many boys and young men experience. These young men tell us how their lives have been influenced by their “drop of gayness,” from their earliest sexual memories and crushes to their sexual behavior as teenagers and their relationships as young adults. Mostly Straight shows us how these young men are forging a new personal identity that confounds both traditional ideas and conventional scientific opinion.
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