Parody Porn

August 14, 2008

Taken from an unused foreword to White Thighs, by Stewart Home.

I tend to think of Alex Trocchi as the original punk rocker. He never lets you down because he always aims to disappoint; in White Thighs (1955) he disappoints almost too well…

There are those who think Trocchi failed to live up to his promise, but I think he lived up to it admirably by self-consciously working towards spectacular failure as a literary figure. Trocchi despised the bourgeois cultural order and in his pornographic works such as White Thighs he mocks it by using his mastery of literary technique for the ends of pastiche and parody. In this his pornographic works are quintessentially post modern, and move both beyond and behind the paradigmatically modernist concerns of his two “serious” literary works Young Adam and Cain’s Book. In terms of prose style White Thighs is better than one might reasonably expect a work of sado-masochistic pornography to be. That said, Trocchi doesn’t bother to construct a credible story or attempt “proper” characterisation; since such things would undermine his revolutionary intentions.

On one level White Thighs is a tale of bondage and flagellation. At the age of 12 the narrator Saul Folsrom becomes infatuated with his governess Anna. He wants her to spank and dominate him. He even commits murder for her; but soon afterwards his American guardians ship him to England to complete his education. Unable to find sexual satisfaction in women other than Anna, Folsrom returns to the United States with the intention of finding her. At which point he explicitly states he is what he is due to Anna, that she’d made him a murderer:

“For that is what she had made of me, and the mould, once set, was firm and unchangeable: I experienced no desire to possess, nor to mould in my own likeness another woman. I felt only an urgent necessity to be absorbed, used again even to the point of murder, and to draw my identity from every act done of another’s necessity. The memory of Anna electrified me. She alone, of all the women I had met, was fit to receive such homage.

“Had she not made me commit murder for her? I nurtured the memory, with as much loving care as a poet gives to his creation. I worshipped her. I imagined myself prostrate before her. I buried my head between her soft thighs, knowing their strength. I asked her to judge me, to control me, to administer my punishment. I loved her, called to her in my dreams that I would kill my uncle all over again. She had to exist. She could not be dead, or worse, grown weak and as insipid as the women I met at college. That would be a betrayal. Men have destroyed gods for less.”

After Fulsrom has “freed” Anna so that she might “dominate” him, by murdering her tyrannical husband, he rushes off to tell her all about the killing only to be disappointed by her response:

” “I told you I loved him!”
” “You told me he had the power of a beast over you. I shot the beast.”
“She was looking at me as a rabbit watches a snake.
“Something stirred in me. I knew that I had to act now or not at all. Coldly, with calculation, I slapped her across the face.
“I was now ready to act at every moment in accordance with a new attitude. She had loved Inez. I had thought about that night after night as I waited to slay him.
She had loved me in a different way.
“My act of slapping her across the face had the effect of annihilating the past, of reversing the relation between us. In the future, she would obey. It was not what I wanted, not what I had intended, not the situation for which I had made a thousand preparations while I was separated from her, but I had come to realize clearly that it was the only effective way—at least for the moment, for she was not ready to be that woman of my imagination—of putting things in suspension; I should not have lost irrevocably.
“Her expression had changed.
“The fear was still there, but it had undergone a subtle modulation:it was no longer stark panic, and all hatred had gone from her eyes. It was as though she were waiting for me to act again.
“Slowly, holding her gaze, I bared myself, and as I did so, I felt the sluice of urgent blood move to harden my member. I looked I climbed onto the bed beside her. Kneeling there, slowly, an inch at a time, I brought it toward her face. She stared at it, her whole attention riveted upon it, and then suddenly, when it was no more than six inches from her, she let out a small whimper, enclosed it like a valuable object in both hands, and took it into her mouth. As she did, her liquid eyes closed, and I felt the warmth of complete envelopment. Her full lips pressed to my hard flesh, sliding up and down it, her tongue twisting madly around the swollen head. She held onto the base of my sex with her hands, squeezing hard. I was on the verge of annihilation.”

Disappointed by Anna, Folsrom develops an infatuation with his housekeeper Kirstin. Stumbling across her engrossed in sado-masochist acts with two other maids, he watches them through a keyhole:

“Each girl picked up a skeleton. The fantasy began. I was conscious at once of the fact that the bones had been wired together, and that, fixed firmly to each skeleton, was a rubber penis. Carefully, in a practiced way, each girl slipped it into her, draped the arms of a skeleton over her back and shoulders, and lay down on the filthy straw. To see a skeleton pricking a young girl, the bones bouncing like a beaded parrot-cage on her soft belly, is a strange sight. It did not last long. I had the impression that Kirstin was impatient for her little insects to become stuck in her web. She said something and the girls rose immediately, allowing the skeletons to tumble onto the floor. They began to fly again, or rather, to make the motions of flying. Mona was more graceful than Milly. Her movements were less abrupt and the flesh of her buttocks was a startling white against her red hair.”

And so after Folsrom has witnessed these ‘perversions’, Kirstin becomes his new sexual ideal:

“Here, at last, was the risk that I was looking for; the intensity, the obscenity, the criminality to which I could bring the willing consent of my own body and soul. The vision of Anna paled before the image of Kirstin. The one wished nothing more than to be a victim; the other would dare to victimize. What hellish green fires must have burned within Kirstin to turn her into the woman-beast I had seen in action!
I had to make a compact at once. I would wait an hour. Then the orgy surely would be over, and then I would ring for her. For the first time in my life, I had met a woman to whom I could dedicate myself utterly. The old craving to be the instrument of another’s will surged up in me anew. Kirstin. Kirstin. Faust is waiting for you.”

Folsrom briefly finds contentment with Kirstin, leading him to announce that:

“In only a few days time, Kirstin had made me the doting slave of her body and her will. Kirstin now slept with me every night, or rather, I slept with her, for it was she who had become pre-eminent and it was I who nightly slept with my head between the wet weight of her thighs. It was she who insisted upon this, and I loved and worshipped her for it, deriving more pleasure from my utter abasement than I had ever drawn from abasing another.”

However, boredom soon set in and at the conclusion of White Thighs, Folsrom discovers a new and better sexual ideal than Kirstin in a housemaid called Ursula:

“She lay with her hands to her sides, as if her palms were nailed to the floor, and looked ceilingward. Still, I thought I gleaned a shadow of a smile on her face. It was not a smile of simple pleasure, but one that seemed to hold the secreted knowledge of evil. I was, surely, going insane, for Ursula had no knowledge of evil, but was virgin soil, untainted, pure. Surely. I drove into her harder, in confusion perhaps, and she closed tightly around me, and I released my seed deep into her womb. There was, afterwards, again that smile, that evil smile!

“I kneeled up to remove myself from the hideous, yet lovely sight of her furtive meaning. She looked at me, my body kneeling before her.

” “Now pray,” she uttered, her voice hoarse, dull. “Pray and then lick me clean.”

“Obediently, I did as I was told. As my tongue came out to meet the mixture of our fluids, I realized the gravity of my actions, for then, intoxicated by her heavy, sweet fragrance, I was committing sacrilege, worshipping a new god. She clamped my head between her flawlessly white thighs, the tender flesh of them burning my cheeks, my ears, suffocating me and cutting off all sound. It was then, as I swirled in the thick eddy of her release, that I gleaned the future: I would have to prove my devotion to her; there would have to be a sacrifice.”

Moving from the specific to the more general, men only enjoy power in a male dominated society if they function as a cog of this society by transmitting their own submission onto those on the next level down. The problem that Trocchi is confronting – but Folsrom patently cannot – is the fact that rather than abandoning their power, revolutionary males must assert themselves over and above their function as cogs in an inhuman machine. White Thighs does not address the sexual struggle from the perspective of women, it merely demonstrates that pre-determined sexual roles lead to disappointment and the endless repetition of a limited number of unsatisfactory acts. That said, it is important not to see women as the victims of sexual norms, but rather as playing the role of victim. While women too have to reclaim their repressed sexuality, the fact that they start from a different position in present society means that their struggle has other dimensions, with Trocchi presumably viewing them as more suited to describing this.

What White Thighs ultimately provides us with is a critique of consumer society in the form of a parody of a pornographic novel. In our alienated world we can never be satisfied – physically, emotionally, intellectually – since capitalism is predicated on us forever attempting to assuage an unending number of cynically manufactured dissatisfactions through the acquisition of new goods and chattels (which upon examination turn out to be little different from the old ones we already had). What Trocchi attempts to do in White Thighs is show us that we need to free up our sexuality from the limits imposed on us by capitalism and the state, and he does this by depicting the dehabilitating effects these limits have on Folsrom. Trocchi’s problem with Folsrom is not that he is “perverse”, but rather that his perversion is limited and channelled, when if it were healthy it would overflow capitalist canalisation in a rising flood and tide of polymorphous perversity. The controlled release of sexual frustration has long been used for the purpose of repression and Trocchi’s depiction of this in White Thighs is spot on. This book remains an exemplary revolutionary text in as far as it continues to disappoint those who pick it up hoping to gain sexual satisfaction from it… As I said at the start of this piece, Trocchi never lets you down because all along his intention was to disappoint!

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