4
" Herbenick invited me to sit in on the Human Sexuality class she was about to teach, one of the most popular courses on Indiana’s campus. She was, on that day, delivering a lecture on gender disparities in sexual satisfaction. More than one hundred fifty students were already seated in the classroom when we arrived, nearly all of them female, most dressed in sweats, their hair pulled into haphazard ponytails. They listened raptly as Herbenick explained the vastly different language young men and young women use when describing “good sex.” “Men are more likely to talk about pleasure, about orgasm,” Herbenick said. “Women talk more about absence of pain. Thirty percent of female college students say they experience pain during their sexual encounters as opposed to five percent of men.”
The rates of pain among women, she added, shoot up to 70 percent when anal sex is included. Until recently, anal sex was a relatively rare practice among young adults. But as it’s become disproportionately common in porn—and the big payoff in R-rated fare such as Kingsman and The To Do List—it’s also on the rise in real life. In 1992 only 16 percent of women aged eighteen to twenty-four said they had tried anal sex. Today 20 percent of women eighteen to nineteen have, and by ages twenty to twenty-four it’s up to 40 percent. A 2014 study of heterosexuals sixteen to eighteen years old—and can we pause for a moment to consider just how young that is?—found that it was mainly boys who pushed for “fifth base,” approaching it less as a form of intimacy with a partner (who they assumed would both need to be and could be coerced into it) than a competition with other boys. Girls were expected to endure the act, which they consistently reported as painful. Both sexes blamed that discomfort on the girls themselves, for being “naïve or flawed,” unable to “relax.” Deborah Tolman has bluntly called anal “the new oral.” “Since all girls are now presumed to have oral sex in their repertoire,” she said, “anal sex is becoming the new ‘Will she do it or not?’ behavior, the new ‘Prove you love me.’” And still, she added, “girls’ sexual pleasure is not part of the equation.” According to Herbenick, the rise of anal sex places new pressures on young women to perform or else be labeled a prude. “It’s a metaphor, a symbol in one concrete behavior for the lack of education about sex, the normalization of female pain, and the way what had once been stigmatized has, over the course of a decade, become expected. If you don’t want to do it you’re suddenly not good enough, you’re frigid, you’re missing out, you’re not exploring your sexuality, you’re not adventurous. "
― Peggy Orenstein , Girls & Sex: Navigating the Complicated New Landscape
9
" In addition to these physical problems, sexually transmitted diseases are rampant among the homosexual population. 75% of homosexual men carry one or more sexually transmitted diseases, wholly apart from AIDS. These include all sorts of non-viral infections like gonorrhea, syphilis, bacterial infections, and parasites. Also common among homosexuals are viral infections like herpes and hepatitis B (which afflicts 65% of homosexual men), both of which are incurable, as well as hepatitis A and anal warts, which afflict 40% of homosexual men. And I haven’t even included AIDS. Perhaps the most shocking and frightening statistic is that, leaving aside those who die from AIDS, the life expectancy for a homosexual male is about 45 years of age. That compares to a life expectancy of around 70 for men in general. If you include those who die of AIDS, which now infects 30% of homosexual men, the life expectancy drops to 39 years of age.
So I think a very good case can be made out on the basis of generally accepted moral principles that homosexual behavior is wrong. It is horribly self-destructive and injurious to another person. Thus, wholly apart from the Bible’s prohibition, there are sound, sensible reasons to regard homosexual activity as wrong. "
― William Lane Craig
10
" ...Cleveland was the first war over the protection of children to be fought not in the courts, but in the media...
Given that most of the hearings took place out of sight of the press, the following examples are taken from the recollection of child protection workers present in court. In one case, during a controversy that centred fundamentally around disputes over the meaning of RAD [reflex anal dilatation], a judge refused to allow ‘any evidence about children’s bottoms’ in his courtroom.
A second judge — hearing an application to have their children returned by parents about whom social services had grave worries told the assembled lawyers that, as she lived in the area, she could not help but be influenced by what she read in the press.
Hardly surprising then that child protection workers soon found courts not hearing their applications, cutting them short, or loosely supervising informal deals which allowed children to be sent back to parents, even in cases where there was explicit evidence of apparent abuse to be explained and dealt with. (p21)
[reflex anal dilatation (RAD): a simple clue which is suggestive of anal penetration from outside. It had been recognised as a valuable weapon in the armoury of doctors examining children for many decades and was endorsed by both the British Medical Association and the Association of Police Surgeons. (p18)] "
― , Creative Responses to Child Sexual Abuse: Challenges and Dilemmas
13
" Like other kinds of intelligence, the storyteller's is partly
natural, partly trained. It is composed of several qualities, most
of which, in normal people, are signs of either immaturity or
incivility: wit (a tendency to make irreverent connections);
obstinacy and a tendency toward churlishness (a refusal to
believe what all sensible people know is true); childishness (an
apparent lack of mental focus and serious life purpose, a fondness
for daydreaming and telling pointless lies, a lack of proper
respect, mischievousness, an unseemly propensity for crying
over nothing); a marked tendency toward oral or anal fixation
or both (the oral manifested by excessive eating, drinking,
smoking, and chattering; the anal by nervous cleanliness and
neatness coupled with a weird fascination with dirty jokes);
remarkable powers of eidetic recall, or visual memory (a usual
feature of early adolescence and mental retardation); a strange
admixture of shameless playfulness and embarrassing earnestness,
the latter often heightened by irrationally intense feelings
for or against religion; patience like a cat's; a criminal streak of
cunning; psychological instability; recklessness, impulsiveness,
and improvidence; and finally, an inexplicable and incurable
addiction to stories, written or oral, bad or good. "
― John Gardner , On Becoming a Novelist
16
" I don't judge a scene or a line of dialog by whether or not it advances the plot, for example. Imagine an edit of Tarantino's Pulp Fiction wherein only dialog that advances the plot was allowed to remain. I don't obsess over the balance of conflict and interaction. I don't generally fret over the possibility that something I do may cause some reader to experience a " disconnect" (what an odious metaphor). I don't think in dramatic arcs. I don't spend a lot of time wondering if the plot is getting lost in description and conversation. To me, this all seems like a wealth of tedious confusion being introduced into an act that ought to be instinctive, natural, intuitive. I want to say, stop thinking about all that stuff and just write the story you have to tell. Let the story show you how it needs you to write it. I don't try to imagine how the reader will react to X or if maybe A, B, and C should have happened by page R. It's not that I don't want the story to be read. I desire readers as much as anyone. But I desire readers who want to read what I'm writing, not readers who approach fiction with so many expectations that they're constantly second-guessing and critiquing the author's every move, book in one hand, some workshop checklist in the other, and a stopwatch on the desk before them. If writing or reading like this seems to work for you, fine. I mean, I've always said that when you find something that works, stick with it. But, for me, it seems as though such an anal approach to creating any art would bleed from it any spark of enjoyment on the part of the artist (not to mention the audience). It also feels like an attempt to side-step the nasty issue of talent, as if we can all write equally well if we only follow the rules, because, you know, good writing is really 99% craft, not inexplicable, inconvenient, unquantifiable talent. "
