Tag Archives: essays

JULY 8 EVENT with GORDON WHITE + SEMI-SECRET BONUS AUDIO EPISODE OF AGAINST EVERYONE with CONNER HABIB

3 Jul

D&DHey folks, two quick announcements. An event and an audio ep of Against Everyone with Conner Habib. Read on!

First, I have an event Saturday, July 8, with Gordon White (author of The Chaos Protocols and Star.Ships) in LA! It’s an evening of in-depth discussion and exploration of why we urgently need the occult to guide us through our world called CHAOTIC GOOD: WHY THE OCCULT MATTERS NOW (MORE THAN EVER). You can buy tickets HERE.

The discussion is moderate by special guest mortician, bestselling author Caitlin Doughty, and features tarot readings by everyone’s favorite witch from The Craft, the brilliant and intuitive Rachel True. The event is followed by a Q&A.

We’ll explore:

  • How the occult intersects with today’s politics, sexuality, science, and art.
  • The use of occult worldviews by and against the political milieu
  • Wealth, money, career and magic in an unpredictable economy.
  • Working with the spirits of place.
  • Which wheels Jesus takes, which ones you have to take, and why the fuck you’d want God as your co-pilot instead of just letting Him fly the plane himself.
  • Managing despair, anxiety and depression in uncertain times.
  • Today’s magical revival.

Books by Gordon, Conner, and Caitlin, as well as other esoterica, will be provided by the best bookshop in Los Angeles, the amazing Skylight Books. Tickets are almost sold out, so get yours ASAP.

***

Screen Shot 2017-06-04 at 8.26.37 PMI have new equipment on the way for my web series, so: In the lull between episodes, I’ve decided to post this audio only bonus episode of Against Everyone with Conner Habib, in which I read and talk about my essay “If You Ever Did Write Anything About Me, Id Want It To Be About Love.”

The essay details a painful relationship I was in that is always re-evoked for me around July 4.

The episode is NOT available via YouTube like the rest of the show, but there’s an easy workaround – just go to my Patreon page by clicking here, and you can listen or download the audio as an MP3.

While you’re there, please do contribute to my Patreon and my livelihood. Your support makes my web series, writing, movies, and media possible. Thank you.

Love,

CH

Conner Habib’s 10 Tips For Writers

19 Apr

cropped-chAs a writing coach and consultant, I’ve been helping writers sell their work, finish projects, improve their voices, and get better habits for nearly 15 years. Below are my 10 Tips For Writers. And no, they’re not the ones you’ve heard a million times before!

***

I’ve been writing almost daily since I was 7 years old, when I typed the first pages of a fantasy novel on my mom’s new and at the time cutting edge Apple IIc computer. (The book was about how awesome dragons are. That project remains in the unfinished bin, mostly because no one needs convincing that dragons are awesome.) In the 33 years between then and now, I’ve gotten my BA in creative writing, taken writing workshops, joined writers’ groups, pursued my MFA in fiction writing at University of Massachusetts, and more.

The bad news is: Most of the advice I’ve gotten along the way (and paid for) hasn’t been very good. There are two primary problems. First, there’s no one-size-fits-all solution to writing. Writers, and their aesthetics, have different temperaments, different obstacles, different desires. But writing is rarely taught that way. As a result, as an emerging writer, I often felt like I was being asked to be the writer my teachers and peers expected me to be, rather than the writer I knew I was. The other problem was that the advice was generally just…bad. Vague. Ultimately meaningless. Stuff like, “What are the stakes here?” and “I don’t think the character would do that.” None of it was helpful, because one of it really meant anything.

The good news is: In wading through a lot of bad advice, learned a great deal about what really helps writers. The main thing being, if you want to write well, you have to be a better writer. Before you say, “Duh!” let me explain. The best advice for you as a writer, whether in the beginning of your career or the beginning of a new project, is advice that helps you discover your individual creative desires and process, then builds from there. It’s advice that helps you understand your relationship to writing and the things you write about and how you write, not some generic idea of what your writing is “supposed” to be like. That’s why this is a list of tips for writers, not writing.

Read on, and be the writer only you can be!

1. Writing is a part of who you are, not just something you do.

Writing is like conversation, it’s free; free financially and free in its contours and where it goes. A few rudimentary tools are needed, but other than that, it’s up to you. Writing playful. It’s totally unbounded except by its form: symbols. You can write anywhere. You can, like conversation, write from any state of mind, whether you’re happy, motivated, tired, sick, drunk, or anxious.

Have you ever met someone who doesn’t know how to shake hands or who simply can’t have an introductory conversation without being rude or abrasive? Writing is like that: When it’s good, it’s a sign that someone has done inner work. When it’s bad, it’s a sign that there’s inner work yet to be done. So my first tip is really just a concept that the rest grow from: Writing is a part of who you are.

deconstructed-typewriter2. Even though writing is free, it deserves some sacrifice.

To be made healthy, writing demands sacrifice. This means inner or behavioral development in one way or another. It means developing a different relationship to your life overall. Most commonly, that takes the form of reorienting to and creating time. People love to say, “I just wish I had time to write!” As a writing coach, I help writers create time. I have clients who have 9-5 jobs, 7-6 jobs, clients with two jobs and three kids, and guess what? They write.

There are ways to do it.

If your dream of writing is big enough, you’re willing to give up the lie that you don’t have time to do it. Make that your first sacrifice. And after that, keep in mind that a foundational question of being a writer is: What are you willing to give up?

3. Writing well requires rhythm.

That means picking a time to write and keeping your commitment to writing each day. Why? Another lie writers tell themselves is that they can only write when they’re inspired. But writing needs, instead, to be ritualized. If you write only when you feel inspired, or if you don’t write when you’re sick or tired or unhappy, you will not continue to write. Why should good writing show up for you if you keep changing plans?

Turn yourself into a rhythmic person who writes every day. I work with my clients to get them in writing patterns that are rhythmic and sustainable. When you get into a groove like that, the writing starts to appear more often, and it gets better and better.

4. Not writing is part of writing, so be a person who enjoys sitting.gettingthere

When you become rhythmic, making yourself an address for writing to show up in, there will still be days when it does not come. But don’t deceive yourself into thinking you’re not doing the work. Sitting is the work.

It’s a bit like owning a store: you open the shop, sometimes people come in and buy stuff, sometimes they don’t, but you still open the store each day.

Before you yawn, think of how amazing that is: You get to just sit and think about your creative project, dreaming about it, considering it from different angles. That’s not a drag. That’s awesome.

5. It’s not about being finished, it’s about knowing when to stop and when to keep going.

As a writer, you may never feel totally satisfied with your work. When you’re done with a story/essay/article/book/screenplay/etc., you may continue to feel a longing. Or at the beginning of a project, you may be plagued with doubt. I offer a service called a Writer’s Assessment. It’s a 90 minute meeting in which I talk to writers about their work and process. Very often they want to know “Am I a good writer?” This is a question that’s based on the idea that someone will realize that they’re good and then the doubt will go away and that’ll be that. But it’s a not a worthwhile question, because even if you’re good, even if you’re like Joyce Carol Oates good or Seamus Heaney good or fill-in-the-blank-with-your-favorite-amazing-writer good, you can still be better. Indeed, one of the hallmarks of being good is wanting to do better. (Note here though, “do better” is subtly different than “be better.”)

“Am I a good writer” is a garbage question. Throw it away. Start focusing on helpful ones like: How do I know when to stop writing? How do I know when to keep going? When do I apply my power to do better and when do I just let go and let the piece have its own life without me fiddling anymore?

It’s not about recognizing when it’s done, it’s about recognizing when you should stop or keep going.

6. Finish what you’ve started or abandon it completely.

Writers are haunted by incomplete projects. They’ll start a novel, get 100 pages in and quit. Don’t do it. Don’t stop once you’ve started unless you’re willing to let go entirely. Not only will you never finish the project you’ve stopped, you’ve made yourself unworthy of the story you wanted to create. If you abandon something, abandon it completely. Your thoughts that you “should” be writing it will slow up all future writing. That doesn’t mean you can’t come back to in a few years and rediscover it, but that can only happen when you’re a different person with a different outlook and therefore the whole thing is a different project. Keep going or let it go.

7. Writers read.

cropped-books.jpgI’m astounded by how many writers don’t read. This tip may be obvious but here it is: Writers – the successful and talented ones – read. They read often. Writers need to be inwardly and outwardly woven into a world of books, screenplays, essays, plays, comics, poems, and other writers. If you don’t give yourself over to the international community of writers and literary works, why should that community embrace you? And don’t just stick to reading stuff that’s like the stuff you write. Read widely as well as deeply. Cultivate talent and success as a writer by reading. Give loving attention to the literary world and you’ll be welcomed into it.

8. You can do anything you want.

Writers love to get stuck.

They love writing two thirds of a story and stopping dead in their tracks, unable to answer their own question of ,“how do I get from Point A to Point B?”

Here’s an example from one of my clients: He was writing a young adult novel, and he wanted to have a character sneak into a room to spy on some people. So there was all this twisting and turning to get the character through the only door to the room and remain unseen. How would the people in the room not notice this kid sneaking in? My client kept redesigning the room, trying to create distractions for the characters so the spy could get in, whatever. It was driving him crazy.

So I said, “Why don’t you just have your character in the room already by the time everyone enters?” Oh!

He’d worked himself into such a terrible corner trying to figure out how to deal with the confines he’d set for himself that he didn’t realize that there were no confines because he was the creator!

But there’s more to this tip. When I say you can do anything, I also mean: YOU CAN DO ANYTHING YOU CAN IMAGINE.

Want to write a 300 page novel that has a UFO show up for the first time on the last page and kill your two main characters? Nothing’s stopping you.

So you thought of a famous painting in the middle of your essay and want to include it? Go ahead!

Want to stop mid-play and have a character come to the front of the stage and discuss the merits of plastic wrap? Totally up to you.

Yes, you want to write well. But always keep in mind: You’re making this thing. It exists through and because of you. 

9. Style is a mood you generate out of yourself.

Huh? I know, this one sounds weird. But it’s so fundamental. When you’re writing well, when words and sentences and narratives are coming through you and they feel right, pay attention to the feeling. It’s a feeling only you have, and it’s style.

We tend to think of style of something we can observe when we’ve broken a piece of writing down into word choices and sentence structure. Sure, that’s how style emerges when a reader interacts with writing. But style for the author is a mood.

When you’re in that zone of writing well, you’ll get a feeling that is irreproducible elsewhere in life and is unique to you. It’s generated by you in the act of writing, and it’s your guide to when you’re at your best and purest. That doesn’t mean that every time you experience this mood you’re creating a masterpiece. As you get better as a writer, the feeling refines itself, just as when you refine your palate as you get a better sense of food and ingredients, etc. This mood — your style — is refined as you become a better writer.

10. Don’t listen to anyone who tells you how to write. For the most part.

Okay, okay, I’m being a little goofy here. Ending my list of advice with a call to disregard advice. Of course, the difference between this list and many others out there is that I’m focusing, mostly, on what it means to be a writer; the other lists often insist on telling you how you should write. But you’re an individual. You have your own desires, tastes, etc. That’s why writing groups, writing teachers, and how-to books can be disastrous. They can misdirect you or discourage your unique voice or give you a false sense of validation. The important thing is to become the writer that you are, not the sort of writer others are telling you you should be.

But that doesn’t mean complacency. Find the voices that resonate with you in a challenging way. In other words, ask yourself: What challenges feel right? Who’s offering me those challenges? That also means: if you find a teacher that gives you that sense (and yes, sure, it might be me!), keep up with him/her!

And of course, that’s a pitch…

If there’s an 11th tip, it’s this:

Hire me as your writing coach and consultant to take your writing to the next level and to completely transform your relationship to your creative process!

Click here or email me at connerwrites[at]gmail.com for details.

Onward, writer!

CH

The Future-Non-Future of the Adult Industry

2 Dec

image1In 2013, I wrote an essay (called “Facing the Torsos”) for The Stranger about hook-up apps (like Scruff, Grindr, etc) having the potential for becoming individuated pornographic experiences. Actually, let me restate that – these apps have already become our new porn, whether they claim to be or not. I’m presenting it again here because, porn companies have still failed to realize better models and structures for delivering erotic and arousing experiences to viewers. Basically, studios/producers are still doing the 1980s/1990s VHS model of things: Record a scene, deliver it to viewers, hope they’ll pay. What they don’t realize is that the potential for new realms is not in the platform or even the content, but the INTERFACE. This is why something like VR where you wear a giant occulus goggle thingy is still ultimately a boring extension of the VHS model: You’re still just watching it happen. Sure, it’s a different sort of watching, but the interface is essentially the same, panoramic or not.

I’m tired of constant complaints from producers in the porn industry about piracy and how people not paying for porn is why the industry is failing; ultimately using that as an excuse to justify docking performer pay.

No, it’s not piracy, it’s lack of innovation (or better said, lazy refusal to innovate) on multiple levels, and one of the big ones is interface.  

But producers won’t get this till they understand: porn is not a set “thing,” it’s not just a scene of people fucking on a website. It’s a set of aesthetic rules that inspire a way of watching by individuals.

I’ll write more on this later (I’ve given talks on this at a bunch of art schools now, so the essay is imminent). What might be “porn” for you may not be porn for me (for example, did you masturbate to the Macy’s underwear catalog when you were a kid like I did? Or The Real World Season 2 whenever that blonde surfer dude came on?).

Until people get a handle on this, porn payouts will continue to decline, decline, decline, and at the same time drag performer wages, quality of experience, and producer integrity down with them.

And let’s not forget that all the while, anti-sex bigots and internet censorship dressed up as anti-porn legislation will keep coming at us.

Innovate happily, adapt, or die.

If you’re a producer, feel free to hire me to consult on this.

Anyway, here’s the article again. Hope you enjoy it.

***

fttFACING THE TORSOS

You’re at a gay bar with a group of searching, horny guys, and you’re talking to a bunch of them at once. “Pull your dick out,” you say to one of the cuter ones. He does, and it’s hard and good-looking. “Nice dick!” you say, naturally.

“Sup,” someone else says to you while you’re admiring it, but you don’t pay him much attention.

One of the guys in the group has been talking for a while, but he’s so boring that you turn your back on him mid-sentence and ignore him.

Just a few feet away is a guy who’s really attractive but doesn’t seem interested. You go up and say hello. When he doesn’t respond, you say hi again. Nothing. Well, you’ll see him again a few days later anyway, in the same spot, and you’ll say hello again.

But look, there’s that boring guy you turned your back on. Now that you know what it feels like to be ignored, you reluctantly say, “Sorry. I had a phone call.” Or whatever. Then you pick up the conversation right where you left off.

These are the absurd in-person equivalents of phone hookup apps like Scruff, Grindr, Mister, and Jack’d: brief hellos (“sup”), the trading of nude pics, the dance of expressing interest, dropping in and out of conversations, and picking up chats you abandoned days ago.

It’s obvious in the imagined bar above that our in-person behavior doesn’t mirror our behavior and expectations on the apps. But there’s a good deal more confusion as to how much of our behavior and expectations on the apps should mirror real life. This can be seen most clearly in the common declaration of many profiles: “I wouldn’t talk to someone without a head at a bar, so have a face pic.”

I don’t like when profiles don’t have face pics, and I wouldn’t talk to a headless person in life, either. But neither would I—at least for the most part—ask to see a guy’s dick at a bar and expect him to pull it out. And I wouldn’t suddenly stop talking to someone with no explanation. So there’s a tension and confusion between how much “real life” we’re supposed to enact on these apps. This is, in part, because when we download an app, we don’t just download the standard features, we download a narrative.

The narrative we’re sold is a nice one, and sometimes it plays out: You create a profile, you chat with guys, you meet in person and fuck or even go on a date. I’ve had the good fortune of having this happen, but that’s not what usually happens. Just last night I was on Scruff while in bed, facing the gay man’s dilemma of too-horny-to-sleep-but-too-tired-to-go-out-and-get-some. Typical. With my phone hand, I was scrolling through pics, and with my other hand, I was casually and lazily playing with myself. I talked to a few guys, unlocked my photos, jerked off, and called it a night. Also typical.

Masturbation cued me in, as it has more than a few times, to something valuable: These apps are geared not specifically toward sex but toward stimulation, masturbation, and desire. Put another way, hookup apps are pornography—individualized, participatory pornography.

As a porn actor, I’ve been hearing fearful noises from porn studios and misguided journalists for years now, bemoaning how porn isn’t as lucrative as it once was. While a lot of these concerns are aimed at the internet, what’s overlooked is that a lot of our sexual attention is being diverted to our devices and hookup apps. Instead of writing about how apps compete with bars, we should be looking at how apps are dovetailing with other forms of sexual imagery. Because the substance of these apps isn’t hooking up—it’s browsing. All the traditional elements of porn are there, and more. By creating a profile, we agree to put ourselves on display. Many of the photos we post are borderline pornographic, even if they’re “G-rated.” They’re chest pics or pics of us looking seductive, or they’re goofy because we’ve sexualized goofiness. Exhibitionism is part of the agreement of these apps. We turn ourselves into desirable objects for others to look at.

Meanwhile, we’re voyeurs, looking into everyone’s little windows. The interface is similar to the way we view porn now, not fixating on one scene until we come but flipping through scenes—bringing up the next and the next until we find the one we want to stick with. The ability to chat with the person whose image you’re getting off to amplifies the individualization of the experience. While I’m looking at someone’s dick, I’m also wondering: Is he a top or a bottom? Does he like the same sexual acts as me? But it goes further than that—everyone on the app has access to what turns them on about personalities, too. Does he like the same movies? Is he into comic books? Will he wear that Thor helmet in his pic when he fucks me?

And the best thing is—unlike porn on the computer—we get to be on the screen, too, displaying ourselves to the other player.

But these encounters often do not lead to meeting. When you get to the point of hooking up, the person you think you’re about to hook up with disappears. Or the person says, “I’m busy.” Or you call it off because you don’t feel like cleaning out your butt or going all the way over to that neighborhood because that’s like a 20- minute walk!

And of course, there’s the possibility that the person in the photo is not who he seems to be, that he’ll look different than his photos, or that maybe he’s expecting too much from you.

So instead of meeting up, the next step is turning the app off (or leaving it on) and masturbating. After the interaction has, um, come and gone, you “star” or “favorite” a guy’s profile and revisit the scene again—like a replay, only better.

With apps, we create living pornography on the spot; they embody exhibitionism and voyeurism par excellence. They’re portable, they’re accessible when we want them to be (in your office! In the Starbucks bathroom!), they’re not one-way like much live cam porn, they’re not expensive, and everyone who signs up is agreeing to the same basic premises.

Some features are even optimized for the pornographic experience. The Global feature on Scruff, for example, allows you to engage in chatting and pic sharing without the promise of an encounter. If the person you’re talking to lives in Papua New Guinea and you live in Chicago, you’re probably not getting it in anytime soon. In other words, the Global feature presents a more realistic expectation of what’s probably going to happen when we sign on.

This kind of realistic expectation can help save us from becoming dependent on these new technologies or trapped in the nervous energy that propels them. We’ve all seen people at bars staring into their phones, chatting up the very same sorts of guys they feel unable to approach in person. When we use the apps too frequently or depend on the narrative we’re sold—one of meeting rather than browsing—it can become a crutch and diminish our skill sets for approaching others. We all know someone (or may be someone) who checks his apps constantly or inappropriately. I’m guilty of saying hi to someone via app when he’s sitting four tables away from me at the coffee shop (embarrassingly, he didn’t respond even as I watched him check his phone).

If we can see most of our time on these apps for what it is, we can access the apps’ potential. Seeing the apps as pornographic allows us to interact with our desires rather than try to approximate in-person experiences. Engaging in—rather than just receiving—personalized sexual imagery can afford a degree of healthy detachment through which we can explore the contours of what gets us off. Right now, because the apps are clinging only to the prepackaged narrative, their potential isn’t yet realized. Not expecting our devices and apps to approximate the same experiences we have via in-person contact will let us drop real-time expectations for them. Then we can face the torsos, whether they have faces or not.

 

 

Write Better

12 Nov

wbWRITING COACHING

Hello, writers and writer-to-be! I’ve been a writing teacher for almost fifteen years now; helping writers meet their goals, improve their voices, and create sustainable writing practices. Since 2007, I’ve been offering one-on-one writing coach services, and I kept hearing from people that they wanted concentrated courses, editing services, and more. So I decided to up my game as a teacher and re-created my entire practice.

Now you can hire me by signing up for my writing coach packages:

Writing Life: From Page to Publication in Six Weeks for Your Personal Essay and Nonfiction Article

and

8 Weeks To Becoming A (Better) Writer

You can also hire me for a Writer’s AssessmentCritical Editing, and a service that includes everything, One-on-one Writing CoachingI’m also an experienced script doctor and offer Script Elevation services on select-client basis.

For more info on any of these packages or services, click here.

About Me

I’m a prolific and widely-published author and have over a decade experience as a writing teacher. I’ve helped clients get their work published in nationally-recognized publications, prepare scripts for production on stage, make money off their work, polish their screenplays, create regularly updated and respected blogs, kickstart their writing careers, and more!

My writing appears and is featured in/on:  The Stranger, Vice, Salon, Slate, The Advocate, The Rumpus, Headmaster Magazine and more.  I’m a member of PEN American and my work has been anthologized many times, including in Best Sex Writing 2013 (Cleis Press), Best Gay Stories 2012 (Lethe Press), and more. I was awarded the Distinguished Teaching Award as a writing professor at the University of Massachusetts, and the Harvey Swados Prize in fiction writing. I’m an internationally recognized public figure who has given dozens of talks at universities and organizations, from Amherst College to the Museum of Modern Art in New York, from the Rudolf Steiner Social Finance organization to University of Green Bay Wisconsin.

I’m also a nice guy with a wealth of knowledge backing up my practice, and we’ll have a comfortable and fun experience. I’ll read your work and challenge you in constructive ways without hurting your feelings or sugarcoating anything. You’ll feel encouraged and excited to write more.

Please contact me to get started or with any questions you have at connerwrites at gmail dot com.

Facing the Present Moment: Quote&Special Offer #1

7 Jul

Every few days, I’m going to post a quote and a special offer related to my 4-Session online course, The Culture of the Current: A Workshop for Facing the World We Live in Now. The course has a limited amount of space and is mostly a labor of love and excitement on my part. I want to work with interested and motivated people on the problems of the present moment. Today’s quote is by cultural theorist Franco “Bifo” Berardi. The special offer is below the quote.

FBB

“Today psychopathy reveals itself ever more clearly as a social epidemic…

If you want to survive you have to be competitive and if you want to be competitive you must be connected, receive and process continuously an immense and growing mass of data. This provokes a constant attentive stress…

(the effect is) devastation on the individual psyche: depression, panic, anxiety, the sense of solitude and existential misery. But these individual symptoms cannot be indefinitely isolated, as psychopathology has done up until now and as economic power wishes to do. It is not possible to say: ‘You are exhausted, go and take a vacation at Club Med, take a pill, make a cure, get the hell away from it all, recover in the psychiatric hospital, kill yourself.’ It is no longer possible, for the simple reason that it is no longer a matter of a small minority of crazies or a marginal amount of depressives. It concerns a growing mass of existential misery that is tending always more to explode in the center of the social system.”

– FRANCO “BIFO” BERARDI, from Precarious Rhapsody

SPECIAL OFFER: EXCLUSIVE WRITING

  1. Sign up for The Culture of the Current by Saturday, July 9 at 12:00AM PST
  2. Send an email to connerhabibsocial [at] gmail.com with the subject “FBB” and I’ll send you two exclusive personal essay vignettes about isolation. No one else has these; they haven’t yet appeared anywhere in publication.

Sex Before Life (Life Superlives: On the Origins of Sex, Part 4)

9 Apr

This is the final entry in a series of short essays about the origins of sex, inspired by my mentor, the biologist and geoscientist Lynn Margulis,  one of my favorite philosophers, Michel Serres.

Part3 was about the the ultimate sexual merger: Symbiosis.

“Life superlives.”

– Michel Serres

RNALife Superlives: On the Origins of Sex, Part 4

Sex Before Life

We end this series with a story from before the beginning.

Once upon a time,

biology tells us,

Before bacteria…

Before the superliving hypersex of symbiosis…

Before life…

the Earth was teeming with bonds of sugars, phosphates, and nitrogenous substances.

These bonds, or ribonucleic acid (RNA), huddled into themselves, and stretched their ways throughout the surface of the planet.

For these molecules, language was form. When they encounter each other, they strained to understand each other through strange acts of translation. They wrapped themselves up into each other, and this act of language, this braiding of being, created new forms.

A mysterious correspondence: an exchange of material, packed with meaning. This was the exuberant world full of RNA, and this was the birth of sex.

This story provides us with a new and sideways answer to the old question of chicken and egg. Did two chickens having sex make the fertilized egg from which another chicken sprung?

Or did the first chicken spring from a pre-existing egg?

When we look into the origins of sex, we discover an unexpected truth.

Q. Which came first, the chicken or the egg?

A. Sex.

chknegg

Sources

Margulis, Lynn and Dorion Sagan. Microcosmos: Four Billion Years of Microbial Evolution. Berkeley: University of California Press, 1997.

Margulis, Lynn and Dorion Sagan. Origins of Sex: Three Billion Years of Genetic Recombination. New Haven: Yale University Press, 1990.

Margulis, Lynn and Dorion Sagan. What Is Sex? New York: Simon and Schuster, 1998.

Serres, Michel. Variations on the Body. Minneapolis: Univocal, 2012.

The Orgy Against Identity (Life Superlives: On the Origins of Sex, Part 2)

18 Mar

This is the second in a short series of essays about the origins of sex, inspired by my mentor, the biologist and geoscientist Lynn Margulis,  one of my favorite philosophers, Michel Serres.

Part 1 was about the first stirrings of sex, with the Sun as a sexual partner. Part 2 is about the constant orgy of life.

“Life superlives.”

– Michel Serres

HB

Life Superlives: On the Origins of Sex, Part 2

The Orgy Against Identity

Life threads through the world, not just living, but superliving, creating more life and more possibilities for what life can be. Every individual has within itself the potential to change, utterly, all potentials.

First, bacteria and the Sun embraced over vast distances, and created sex. After sex was created, different forms of sex were possible.

Bacterial sex can take the form of gene-swapping on a “lateral” level. In other words, genes flow freely from bacterium to bacterium, breaking from an initial host and finding their way into another.

If this happened in humans, “…a man with red hair and freckles might wake up, after a swim with a brunette and her dog, with brown hair and floppy ears.”

Because of their freely exchanged genes, bacteria are engaged in the largest and most continuous orgy of all time.

Or maybe it’s microscopic self-love. It depends on how you define bacterial species:

“(Since) all strains of bacteria can potentially share all bacterial genes, then  strictly speaking, there are no true species in the bacterial world. All bacteria are one  organism,one entity capable of genetic engineering on a planetary or global scale.”

Look closely at the world, and you will see that life defies scale: Are the tiniest organisms really just the largest organism alive, spreading across the planet and into its pores, a giant body with infinite organs? Life superlives.

In another form of bacterial sex, conjugation, a “donor” bacterium transfers genetic material into a “recipient.” The ordinary terms are biological sex — “male” and “female” — are useless in the underlying current of life: hen the donor transfers its genetic material to the recipient, it loses its donor characteristics, and the recipient receives them. Bacteria fuck their identities into each other.

Look closely, again, at the world. You will see the slippage of identity.

pool

Next up: Sex and hypersex.

Sources

Margulis, Lynn and Dorion Sagan. Microcosmos: Four Billion Years of Microbial Evolution. Berkeley: University of California Press, 1997.

Margulis, Lynn and Dorion Sagan. Origins of Sex: Three Billion Years of Genetic Recombination. New Haven: Yale University Press, 1990.

Margulis, Lynn and Dorion Sagan. What Is Sex? New York: Simon and Schuster, 1998.

Serres, Michel. Variations on the Body. Minneapolis: Univocal, 2012.

 

Life Superlives: On the Origins of Sex, Part 1 (or, Sex in the Gaze of the Sun)

8 Mar

This is the first in a short series of essays about the origins (origins, because there are more than one) of sex. The essays are inspired by my mentor, the biologist and geoscientist Lynn Margulis, and by a little quote by one of my favorite philosophers, Michel Serres

“Life superlives.” 

For Part 1, I’m going way back, to some early starfucking.

Life Superlives: On the Origins of Sex, Part 1

SunSex in the Gaze of the Sun

For all the problems that accompany sex in our lives — shame and fear, jealous lovers, unplanned pregnancies, STIs — one might be surprised that, according to the scientific narrative, sex began as a healing act which diverted crisis.

Once upon a time, billions of years ago, the Sun’s violent and ultraviolet rays cascaded over an ozone-less Earth, greeting the only lifeforms with harsh light. These were the bacteria; prokaryotes, so named for their lack of nuclei (pro = before, karyon = nut or core).

These beings arose only to dissolve in the radiated presence of light.  They already had a way to repair themselves, or life would have never survived its bright beginning. Their DNA — the double-stranded molecule that many of us know about but that scientists still have trouble understanding — had begun to replicate itself through a series of gestures from various enzymes. If one part of a DNA strand was damaged, it was amputated by an enzyme that could cut the DNA bonds apart (a nuclease), and then another enzyme arrived to create wholeness and heal the void.

In the gaze of the Sun, the tiny prokaryotic innards were often too damaged to recombinate on their own. So these beings reached, in the mordial soup, for the ejected DNA of their dead kin, the floating pieces of bodies amongst them. They used their own enzymes in conjunction with the dead to repair themselves.

This was the beginning of sex for living organisms.

It was a co-mingling of partners. The Sun was there first. It aroused the prokaryotes, initiated sex, and then the presence of the dead infused the living with a new possibility for life.

Experiments today that replicate ultraviolet early-Earth intensities prompt similar responses in bacteria.

Life’s first sexual partner was a star.

That also means that by evolutionary implication, our first sexual partner was a star. The ancestors of all our ancestors undulated across the Earth, under a pulsing sexual sphere.

As children, we stare at the Sun, and it blots out our perception. As adults, we know better. When we look at the Sun, we turn away, flushed. It remains a flirtatious, sexual glance cast upon an unbearably beautiful face.

Next: The orgy that exposes identity.

Sources

Margulis, Lynn and Dorion Sagan. Microcosmos: Four Billion Years of  Microbial Evolution. Berkeley: University of California Press, 1997.

Margulis, Lynn and Dorion Sagan. Origins of Sex: Three Billion Years of Genetic Recombination. New Haven: Yale University Press, 1990.

Margulis, Lynn and Dorion Sagan. What Is Sex? New York: Simon and Schuster, 1998.

Serres, Michel. Variations on the Body. Minneapolis: Univocal, 2012.

#TheSexRadicals, Part 5: Amber Hollibaugh & Edward Carpenter on Letting Go of Sexual Shame

19 Aug
AH

Amber Hollibaugh

Each week this summer, I’ll be posting short essays on sexual thinkers (read the introduction to the series here) who have changed my perspective on sex, and who, I believe, could be instrumental in helping us remake Western sexual culture. It will include some bits about my own life, some history, and some controversial claims. Last week was a tour through the sexual utopia of Charles Fourier.  The series also appears on RealitySandwich.com.

How To Fight Sexual Shame: Amber Hollibaugh, Edward Carpenter, and the Strength of Vulnerability

“Wherever you have a secret, that is where you are vulnerable.”

– Amber Hollibaugh (1946-present)

A story about shame.

My first two years of college were spent in a Western Pennsylvania town, huddled in the woods.  “It’s near Pittsburgh,” I’d say, though the truth was, it wasn’t near anything; Pittsburgh was an hour and a half drive away.  My sexuality had dawned on me just a few years before I got there, when I realized that I was attracted to men.  This was before the internet was cast, tangling everyone up, and there weren’t many options for us to find each other.  No apps, not much access to communicate with people like me, and the nearest gay bar was inaccessible, I was too young.

In Keith Hall on campus, there was a space for exception; a bathroom where men, students and townies and staff, would meet

for sex.  Our straight peers were engaging with sex openly; they were able to meet at bars, concerts, and through wanton looks across the green campus center.  Keith Hall was our only space.  Men would go into the stall together, or jerk off at the urinals.  When the door to the bathroom opened, everyone would stop; the secret world would rearrange itself and look like the one weT4A were supposed to be living in.  Who knows how these gathering places — and they exist everywhere, in mall bathrooms, at rest areas, in locker room saunas — take hold?  No one plans them; they show up out of the sheer force of need and will.

The gay and lesbian student group, which met once every few weeks, was like a negative image of Keith Hall.  It was sterile and still.  We sat on the thin industrial carpet of a dull room.  We were in a circle, talking to each other about gays in the military and marriage.  Keith Hall wasn’t an official topic at any meeting, but it was a constant source of anxiety and cause for ridicule.  Members would gossip about other members who they’d seen skulking around the bathroom for a blowjob, or about townie “trolls” who would linger on campus for sex.  Of course, I’d seen each and every one of the male members of the student group in Keith Hall at one point or another, and they no doubt had seen me.  No reason for why we shouldn’t meet there to have sex was given.  It was supposed to be self-evident.  I was silent. 

That is where shame comes from: it’s an agreement to silently betray yourself.

Where were we supposed to go?  In spite of the commonly held image of gay promiscuity, there wasn’t (and isn’t) easy access to sex for gay men for much of their lives.  In cities, sure, but not in the woods, not in the vast middle of the country, only at the edges.  Being a sexual minority, a still demonized sexual minority, a demonized sexual minority in a culture that demonizes sex itself, cut off access. 

If you need sex and don’t have access to it, too bad, we’re told. Our culture, and by extension the on-campus gay and lesbian group, shamed everyone who was defying that by having sex in a “non-sexual” space .  Suck it up.  Suffer.  If you do find it somewhere (anywhere), feel bad about it.  Don’t admit it.  Make others feel bad about it.

There was no way out of the trap.

Then I discovered Amber Hollibaugh.  She spoke at my school and I consumed her writing and perspective. 

MDDShe was a sex worker who grew up so poor that as a child, she slept in a dresser drawer.  Now she was a published author, a labor rights activist, a lecturer.  In her talk, she shared stories about waiting for her clients to fall asleep, and then looking through and committing to memory the titles and passages from the books on their shelves.  Her intellectualism and sexuality and labor politics were all tied together.  She is one of the most complete human beings I have ever encountered.

Whereas the gay and lesbian group I was part of was invested in notions of equality in terms of identity and discrimination, it couldn’t quite bring itself to talk about sex.  It severed, as the contemporary “gay rights” and “equality” movements continue to sever, sex and pleasure from identity.

“I come from a moment in time and a radical vision,” Hollibaugh said, “that never made marriage or the military my criteria of success.  I didn’t want us to have wars, I didn’t want us to have armies, and I didn’t want to register my relationship with the state.”  In other words, the queer movement that Hollibaugh came from was not concerned with equality by emulating the dominant state-supported culture.  Instead, it was concerned with the liberation of desire and pleasure (and so, her life-changing book of essays is aptly titled My Dangerous Desires), and in seeing the powerful radiating potential of that liberation.

“I don’t want a day,” she said, in reference to gay pride. “I want a revolution.”  At her lecture, in my heart, one had begun to occur.

She said, echoing Fourier, that access to consensual pleasure was a right, not a luxury.  In the most electrifying moment, she said, “Wherever you have a secret, that is where you are vulnerable.”

If you try to keep a secret, then someone exposing that secret could damage you. And you live in a state of fear and anxiety, and powerlessness.  In other words, a state of shame. It’s not the content of the secret so much, but the hiding of it that is so damaging.

I was holding on to so many secrets.  Every time I had sex, every time I found a place among the silence of where I lived to experience pleasure, I hid it away.  I didn’t tell anyone.  I was terrified of being exposed and ridiculed.  So I shamed myself.  I knew that almost everyone I had seen in the Keith Hall bathroom must feel the same way.

My interest in Hollibaugh led me to the radical queer underground which traced its roots back to, among others, Edward Carpenter. 

EC

Edward Carpenter

Edward Carpenter (1844-1929), a handsome man with pointed features, a student and lover of Walt Whitman’s, a poet and a philosopher.  Carpenter was a profoundly influential thinker in his time, but is largely unknown today.  His erasure is a familiar one: blot out from history the people that help us understand sex. Carpenter knew that sex was tied to power and tied to the sacred.  More importantly, he knew that how we greeted sex with our thinking and emotions was of more importance than the kind of sex we had, specifically, since sex was part of nature (and nature was part of divine creation). 

Religious thinkers and philosophers of his day (and ours) were popularizing the notion of shame as a guiding force: If you feel shame, it’s indicating that the action you’re taking is wrong.  For Carpenter and the movements that traced their way back to him, shame was a shadow.  It can’t actually guide you anywhere, it’s tacked to your heel, it’s the place the light hasn’t yet reached. To undo sexual shame, Carpenter advised, understand it’s not indicating a course of action.  Understand, also, that it’s not bonded to the sex act so much as the frantic cultural impulses surrounding the sex act.  It’s usually a feeling misdirected from somewhere else. Letting going of shame allows space for sex and pleasure themselves to guide you to your perspective on sex and pleasure.  When you do that, sex has a different feel. 

“The dissatisfaction which at times follows (sex),” Carpenter wrote, “is the same as follows on all pleasure which is sought, and which does not come unsought. The dissatisfaction is not in the nature of pleasure itself but in the nature of seeking.”

This good to keep in mind when you or someone you know says, “hook-ups feel shallow,” or “I want more than just sex.”  If you’re seeking something in a casual sexual encounter, you may find yourself still seeking after it’s done.  If, instead, you are open to seeing what the encounter can teach you, or even if you’re just willing to not dismiss the dissatisfaction as a negative feeling, something profound can happen each and every time. The experience of sex is never in and of itself shallow, a person’s perspective on their sexual experience, however, is a different matter.

My transformation was quick.  I stopped being silently ashamed about my experiences, and I started talking about them.

The UMASS Student Union Building

The UMASS Student Union Building

When I transferred to the University of Massachusetts, there was a Keith Hall equivalent, the Student Union Building.  There’s one on every campus.  Different school, same stigma.  Amherst was much more open to gay and lesbian sexuality than small-town Pennsylvania, but mostly because of the large lesbian population in the surrounding area.  There still weren’t many gay men, and there was a still tense hush amongst gay students about the cruising spots, including a rest area on the nearby highway and a bike path at night. I’d stop at the Student Union bathroom often, between classes, looking for sex. 

And I started telling my friends, gay and straight, about it. 

The straight men expressed an astonished envy: “You can get laid between classes?”  A butch lesbian friend exclaimed, “You’d be stupid if you didn’t go there!”  The gay men, though, were still sheepish.  But their sheepishness didn’t add any shame on my account, and because I was open about it, no one shamed the practice around me.  Reorganizing my thoughts about privacy and secrecy freed me. 

My sex, any aspect of it, is private.  Privacy means I can have whatever thoughts and feelings I want about it, and I can explore those on my own. 

But my sex life was no longer secret:  I wasn’t trying to hide it, and the value of it didn’t come from it being concealed.

I began to understand my own shame as a vestigial organ, something that developed in me but that wasn’t needed anymore.  So many different parts of my life were touched by this preexisting shame: shame in discovering I was attracted to men, shame around expressing sexual feelings, shame that I wasn’t pursuing the societally approved intimacy-within-a-monogamous-relationship.  It was impossible to avoid the shame by simply stopping one or another sexual behavior, it would show up somewhere else.  I’d have to deal with my inner world directly.

Wherever you have a secret, that is where you are vulnerable.  I learned instead, to move toward the vulnerability, instead of retreating from it.  By becoming vulnerable intentionally, through the effort of honesty and openness, we become strong.

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Next Up: The Russian Mystic in Love with Lust

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Sources

Hollibaugh, Amber. My Dangerous Desires: A Queer Girl Dreaming Her Way HomeDurham: Duke University Press, 2000.

Amber L. Hollibaugh: The LGBTQ Movement’s Radical Vision (web): https://www.youtube.com/watch?v=fqNrCMG4tjI

Rowbotham, Sheila.  Edward Carpenter: A Life of Liberty and Love.  Brooklyn: Verso, 2009.

#TheSexRadicals, Part 3: Wilhelm Reich’s Free Sex

4 Aug

Each week this summer, I’ll be posting short essays on sexual thinkers (read the introduction to the series here) who have changed my perspective on sex, and who, I believe, could be instrumental in helping us remake Western sexual culture. It will include some bits about my own life, some history, and some controversial claims. Last week was the man who fought slavery with sex, Paschal Beverly Randolph.  The series also appears on RealitySandwich.com

Wilhelm Reich

Wilhelm Reich

Stripping Off Our Armor: The Accumulating, Paradoxical Power of Wilhelm Reich

Civilization has not yet begun.”

– Wilhelm Reich (1897 – 1957)

To view Wilhelm Reich, sexologist and psychoanalyst, as our culture views him, move through his life backwards.  When he’s remembered today, he’s summed up and dismissed by his sad ending.  He’s thought of mostly as a madman, dying alone in prison, a fraud, discredited by the government. 

To view his life as one of his supporters, move through it from the beginning of his career to end; he was a protégé who worked tirelessly to help others, and was eventually driven mad by the mad world he lived in.

To really understand Reich, the narrative shouldn’t be backwards, forwards/  We should look instead at his ideas —whether they are true or false — the possibilities they create for us. Instead of taking a linear approach, we can take a sexual one.  Pain and pleasure, intertwined.  Thought and action.  Tension and release.  View Wilhelm Reich as a paradox:  A man who revealed a new, loving world to us in an angry language we still can’t understand.  A man whose work was officially dismissed as ludicrous but also taken seriously enough to merit governmental seizure and destruction when all his journals, books, and papers were burned by the FDA.

Here’s a lengthy quote from Reich’s book, The Murder of Christ: The Emotional Plague of Mankind, which, complete with shouting capital letters, shows him in all his glory: A profoundly clear thinker, ranting in a crazy tone, shocking us with truth and confusion all at once.

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“It IS possible to get out of a trap. However, in order to break out of a prison, one first must confess to being in a prison. The trap is man’s emotional structure, his character structure. There is little use in devising systems of thought about the nature of the trap if the only thing to do in order to get out of the trap is to know the trap and to find the exit. Everything else is utterly useless…

The first thing to do is to find the exit out of the trap.

The nature of the trap has no interest whatsoever beyond this one crucial point: WHERE IS THE EXIT OUT OF THE TRAP?

One can decorate a trap to make life more comfortable in it.

This is done by the Michelangelos and the Shakespeares and the Goethes. One can invent makeshift contraptions to secure longer life in the trap. This is done by the great scientists and physicians, the Meyers and the Pasteurs and the Flemings. One can devise great art in healing broken bones when one falls into the trap.

The crucial point still is and remains: to find the exit out of the trap…

The exit remains hidden. It is the greatest riddle of all. The most ridiculous as well as tragic thing is this:

THE EXIT IS CLEARLY VISIBLE TO ALL TRAPPED IN THE HOLE. YET NOBODY SEEMS TO SEE IT. EVERYBODY KNOWS WHERE THE EXIT IS. YET NOBODY SEEMS TO MAKE A MOVE TOWARD IT. MORE: WHOEVER MOVES TOWARD THE EXIT, OR WHOEVER POINTS TOWARD IT IS DECLARED CRAZY OR A CRIMINAL OR A SINNER TO BURN IN HELL.

It turns out that the trouble is not with the trap or even with finding the exit. The trouble is WITHIN THE TRAPPED ONES.

All this is, seen from outside the trap, incomprehensible to a simple mind. It is even somehow insane. Why don’t they see and move toward the clearly visible exit? As soon as they get close to the exit they start screaming and run away from it. As soon as anyone among them tries to get out, they kill him. Only a very few slip out of the trap in the dark night when everybody is asleep.”

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MOCReich was an Austrian-born student of Sigmund Freud’s; he was a promising figure in psychoanalysis who eventually departed from the circles that praised him.  Contrary to the common condemnation of psychoanalysis for its preoccupation with sex, Reich’s idea was that it didn’t focus on sex enough.

For Reich sex was it.

He allowed the mysteries of sexuality and sexual drives to lead him to a deep and frantic understanding of our culture.  It’s an understanding that shakes you away as you follow, and I can’t claim to understand it fully.  To read Reich is to allow yourself to live in inspiration rather than total clarity.  So here are four of his basic concepts, which intertwine and grow out of one another:

Character analysis, character armor, orgastic potency, and orgone energy.

With Reich’s concept of character analysis he worked to examine what people’s resistances to health and happiness were.  Why were they avoiding wholeness and integration? How did they excuse themselves into surviving — knowingly or unknowingly — in suffering?  Unlike the analysts before him, Reich sought to be more precise and less moralizing. What are the moments of your life, he wanted to know, that have led to your characteristic defensive behaviors? We have a torrent of emotions within us, awaiting expression, shamed into silence by our families, our cultures, our partners. The chilling effect of these outside forces turns our emotions into “frozen history.”

If this aspect of character analysis seems common, Reich’s theory of character armor and the corresponding concept of orgastic potency are still waiting to be embraced. Character armor was premised on the idea that the body is a sort of material reflection of the emotional state.  Or to use Simone de Beauvoir’s words, ”The body isn’t a thing, it’s a situation; it’s our grasp on the world and our sketch of our project.” Whenever someone has a defensive emotional gesture, it becomes bound up in our situations, our projects, our bodies, stuck like a choke. For instance, people with anxiety issues often have shallow breathing patterns or tense jaws. These knots in the body stop energetic flow and cause all sorts of health and mood problems that might seem unrelated to the initial characteristic defense.

If you’re flinching at the word “energetic,” you’ll want to know that Reich tried to flesh out what that meant.  As per much of his work, he both succeeded and failed.  His concept of “energy” was sexual energy, a refined version of the psychoanalytic idea of “libido.”  He believed sexual excitation underlies many of our motivations, but also that it is a continuation of the creation of life itself.  The same exuberant force that leads to life is what makes us happy and healthy.  Sex creates us, and our lives and motivations are living praise of that creative act.  Or our painful behavior is a contracted, angry refusal to acknowledge our sexual being-ness.

Reich understood culture as a giant sexual expression gagging on tangles of repression. The stored up sexual energy and frustration of a culture becomes oppressive.  The Nazis, for example (whom Reich later fled), opposed birth control, abortion, contraception, and homosexuality.  They were totally sexually repressed.  One of Reich’s revolutionary stances was to support sexual freedom, even if he was against a particular sexual practice.  It was a typically Reichian paradox.  For instance, he wasn’t thoughtful enough to allow homosexuality to be “healthy,” but he did fight against anti-gay stigmatization and legislation.

The taboo, he knew, was always more dangerous than the act. 

Modern day Reichians have carried on his work to explain how cultures co-create our character armor.  Sometimes they woefully misfire, like when they interpret Islamic cultures through the lens of naive American exceptionalism.  Other times they get it right, like when they note how class and gender inequality, as well as adverse environmental conditions create a positive feedback loop.  Sexual repression occurs as a result of poverty, which creates armored behavior, which creates more repression, and so on.   And certain environmental factors echo familial ones.  “…the emotional responses of a child to famine and starvation are similar to those stemming from maternal rejection or isolation-rearing factors which are known to have powerful disturbing effects upon later adult behavior,” writes neo-Reichian researcher James Dameo.

Reich was invested in individual responsibility, but was also a true pioneer in pointing out: It’s not you that’s fucked up, it’s culture.

Individuals are not merely selves – they are conglomerates of cultural pulses and counterpulses.  Or, as biologist and symbiosis expert Lynn Margulis once put it, “Identity is not an object; it is a process with addresses for all the different directions and dimensions in which it moves…”

How to dissolve the character armor?  Sex. 

To free up sexual excitation and dissolve character armor, one must be able to immerse him/herself in sex, and to have a liberating orgasm.  The orgasm was of primary importance to Reich, and “orgastic potency” was how fully you experienced it.  The orgasm was the event of release; all the stored of excitation left the body, resulting in total relaxation and harmony.  In essence, orgastic potency measures a person’s ability to surrender, relax, and release neuroses and psychoses.

Before we start shooting our celebratory confetti into the air, Reich was specific about the sorts of orgasm you could have.  Not all orgasms were equal.  You had to be thoughtful about your total immersion.  People who weren’t, as well as people who were merely intelligent about sex without really engaging in deep thought or practice of it, were, for Wilhelm Reich, merely sexually sophisticated, rather than sexually liberated. It’s a dichotomy that should haunt every sex-positive person to the core until they come to terms with it. That doesn’t mean accepting Reich’s terms for who is sophisticated versus liberated; take those or leave them. But it’s true that standard cultural sex education and good feelings about sex aren’t what separate the sex radicals from the openly horny.  Sexual liberation of ourselves and culture is a deep and unending work.

Reich developed a few methods to release stuck energy and increase orgastic potency.  Most prominent was vegetotherapy.  A patient lies on a table and breathes deeply and rhythmically to build up excitation and heighten emotion. The Reichian therapist sits close by, speaking gently.  Relax, relax, release your muscles. Often, a scream or a flood of tears erupt from the patient.

Many popular forms of alternative medicine, such as the Alexander Technique, bioenergetics, and Rolfing are new versions of vegetotherapy, seeking to thaw frozen histories. But if these techniques are known, their ties to Reich are often secret, severed, or ignored.

Then Reich discovered cosmic energy.  And that’s when the feds came.

paul laffolyReich’s idea of libidinous sexual energy began to morph, through the lens of his theories and studies, into a stranger principle of “orgone” energy.  Orgone energy was, “A subtle biophysical energy which permeates all living things.”  For Reich, orgone was the truth behind what people called God, a scientific principle to explain away mysticism. It was free-flowing and, because it was free, it could be used to help people undo character armor.  To this end, he created orgone “accumulators,” which would gather the energy and allow people who sat inside the boxes to absorb the benefits.  He also turned his accumulator inside out into a “cloudbuster,” a sort of rainmaking device which helped disperse atmospheric orgone energy knots.

People were sick.  Culture was sick. Even the sky was sick.  At the center, Wilhelm Reich was trying to heal everyone.  In the process, he absorbed their illnesses.

Most of Reich’s later work revolved around orgone energy, and much of it yielded provocative data.  But Reich’s  theories were too intangible and unintelligible.  Orgone energy was never clearly defined enough to communicate his research to many others, and unfortunately, Reich would publicly vent the frustration of being misunderstood again and again, isolating potential allies. When Albert Einstein visited Reich, for example, and stood in an accumulator, he noted that there was a temperature change in the box, but believed it could have been just a run-of-the-mill temperature gradient.  Many others had experienced this temperature change (including in boxes other than the ones Reich made and ones manufactured today), and Reich created controls against such normal gradients. But rather than absorb Einstein’s report as data, he repeatedly wrote to Einstein pressuring him to reassess his position. When Einstein didn’t respond, Reich called it a conspiracy and published a book about it. 

Reich wanted to help free us from a history of repressions, and by helping us, finally begin civilization. But what gets frozen in a man that tries to unfreeze history, and fails?

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Kate Bush as Peter Reich.  Donald Sutherland as Wilhelm Reich. In the video for Bush’s song about him, “Cloudbusting.”man that tries to unfreeze history, and fails?man that tries to unfreeze history, and fails?

We can still take up his lesson: Sex runs through culture like a hidden line of power, and where we don’t release it, where we don’t help each other come to our senses, we hurt ourselves and everyone else.

However we look at the paradoxical figure of Wilhelm Reich, we’re unsettled. 

Maybe Reich was so crazy that he created an entire theoretical world out of himself, a world now available to us for to think about, mull over, fear, delight in.  Or maybe he was so sane that he showed us we’re all crazy.

Kate Bush’s song, “Cloudbusting,” calls up Reich’s final days, from the viewpoint of his son.

On top of the world

Looking over the edge

You could see them coming

You looked too small

In their big black car

To be a threat to the men in power

Reich was a powerless threat to everyone in power. He’s still a threat.  The more we forget him, the more potent discovering him again becomes.

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Next week:  The Man Who Saw The World As An Orgy

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Sources

Boadella, David.  Wilhelm Reich: The Evolution of His Work.  London. Arkana. 1985.

DeMeo, James.  Saharasia: The 4000 BCE Origins of Child Abuse, Sex-Repression, Warfare and Social Violence, In the Deserts      of the Old World.  Ashland, OR: Natural Energy Works, 2011.

Reich, Wilhelm.  The Mass Psychology of Fascism.  New York. Farrar, Straus and Giroux, 1980.

Reich, Wilhelm.  The Murder of Christ: The Emotional Plague of Mankind.  New York.  Farrar, Straus and Giroux, 1953.

Wilson, Colin.  The Quest for Wilhelm Reich.  New York, Anchor, 1981.