Tag Archives: metaphor

Excerpt: Soulless Faces and Dread Urges

Here is a Constellation of Man preview taken from recent drafts, just a bit late for Halloween. It illustrates a technique I mentioned in August: developing the subjects I have in mind by intuitive branching from an arresting cluster of imagery, instead of organizing material by topic. Aspects of the human face were the starting point for this part, and a few others. It’s a better way to sort out voluminous material than filling out one abstraction after another, like “human nature.” A compelling journey follows the most memorable lines. —CPB


To look into human eyes, and see no liveliness, no awareness, or no cleverness there, can unsettle or scare like a nightmare.

So can seeing no recognition, or no empathy. We shiver at a familiar face who suddenly does not act familiarly toward us. We feel as though we have met an impostor or a stranger in their skin, or a perfect copy. Feeling betrayed, we wonder if we have ever known them.

Even provided with a temporary explanation, such as hunger, exhaustion, despair, or catatonia or frenzy induced by an illness or a drug, we get an uncanny feeling from someone we expected to know.

Dread of the soulless, or fear of the automaton following reflexes and instincts, are among the most gripping unconscious fears to have, whether they concern society that surrounds, or reflect a fragile personhood which is contingent—subject to chance and circumstance—or terribly hollow, after all.

What elicits fear in an abject form will suffice to cause anxiety in a moderated form. The same reactions continue to be important and instructive as they commonly occur, not only in rare intensity.

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Dante running from the Three Beasts, illustration for Dante’s Inferno by William Blake, 1824-27.

Consider the great and historic fear of instinct. This is the tension engendered by pretending that men and women, girls and boys are not also animals, whose “ignoble” needs, demands, and urges are not unlike those of other omnivorous, sexual, territorial, social mammals. It is a consequence of maintaining a dichotomy between those instincts and “noble” characteristics unique to humanity, scarcely to imagine that one provisions the other.

The ideologues who severed values for socialized Man from his animal nature no doubt discovered ugliness—the genuine ugliness of stifled, cornered, agitated perversions of instincts, which corrupt refined and civil qualities of mankind. Yet the evidence must have confirmed their culprit, and the moralists redoubled efforts to separate the “spiritual,” human creations and divine experiences, from mortal flesh and base desires that distract.

Those who do not permit primal invigoration make themselves the most vulnerable to frightful instincts. Consider too the ordinary jeopardies of those who do, but insist that sublimations of instinct must shed the bestial, primitive, or irrational character of the source. Perhaps that means they eschew visceral qualities, or disallow sexuality, or emotional honesty, or strangeness. Perhaps they inhibit spontaneity, like an artist who expects to produce inspirations on a schedule.

Even some ferocity might need release in order to move flesh and blood behind the head’s enterprise—or to ever embrace a calling. It is certainly not unusual for acceptable aspirations to be tame, or pursuit of them timid. These are among the old and traditional solutions to that “civilized” ugliness, blamed on vigorous desire.

To refine instincts to the point of thwarting them produces dissatisfactory results, and confounds expectations of pressing them into safe and civilized service, as predictably as forbidding instinct to exist makes it monstrous.

Fear is perpetual among the effete, who are forever chased by denied beasts, and the darkness of a savage past. The modern human looks back, and sees the shadow of an animal behind him, and cannot bear it. Something comes too close. Something bares its teeth. Something creeps along the edges. Escape is hopeless. Wherever Man goes, a creature follows. He is evolutionarily preceded.

Instead the usual man enacts, and he projects. He calls others hostile, possessive, or irrational, and he is afraid of them. He curses the “dark side” of the human race. He has reason to feel anxious in his own company. Some furtive, disallowed compulsion really might catch up, and spoil expectations.

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They Live, written and directed by John Carpenter, 1988.

Consider also the apprehension felt over social conditioning. This is the inherent tension between natural and personal inclinations, and social systems aggregated over the years under various constrictive plans to use individuals.

Social institutions are organized for these designs at the expense of an antithetical vision of how civilization should pass its torch to the next generation: by fostering each person to enable their natural gifts and sustain their expression. Any practicable system is most likely to have to grant some latitude and support, in addition to directing abilities. Few institutions have managed to radically replace and subsume initiative, even briefly. Pragmatic ambitions to utilize a collective depend on cross-purposes: on providing some education worthy of individuals, and indoctrinating them in some mass-produced worldview; on letting them go their own way, and drafting them to serve nominally greater things.

To impose goals, social systems must be intolerant of the diversity present in each new generation of individuals, and antagonistic to realistic inferences of human nature and personal nature, able to raise objections. Any yoke draws attention to itself, but especially by subjugating contrary individuals.

Oppressive means of social control have provoked creative resistance as well as paralysis, including depiction in art, articulation in dystopian fiction (or—in obscured allegories—certain tales of horror), and liberal theories in political philosophy, economics, and other social sciences. More frustration and antipathy has been misdirected to blame or attack every sort of prominent, contemporaneous target.

Even those prepared to conform and not to understand why feel an unconscious unease, at least. Those who are gradually going down in the whirlpool remain too quiet in their desperation. Unable to resist the pull, unable to admit they are losing freedom, spontaneity, and individuality, they are loath even to speak of the threat instead of a more ordinary or narrow complaint, lest anyone think ill of them. They keep smiling, and acting as they should. Unconscious recognition of their plight keeps them twisted up, underneath.

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Happy by Laurie Lipton, 2015

Dread and angst have found their way into lore, set into one story formula after another. Preoccupations in culture would give signs of the times to anyone able to decode, for examples:

  • Medieval revenants (from French revenir, Latin revenire, to come back). They return from death as blood-suffused corpses or ghosts to terrorize the living, usually those they once knew.
  • Masses of these, called mindless zombies. Hungry like starved animals, they want to devour the brains of individuated human beings.
  • Takeovers by automation. First, factory machines threaten jobs. Then robots do, and then computers. Finally, androids threaten to resemble, and artificial intelligences threaten to displace Man.
  • Aliens. Shaped like men, but generic and lacking human sympathies, they abduct the powerless.
  • The apocalypse of callous or thoughtless invaders. Brought about by an alien, robotic, or undead army, the end of the world is not just imagination, but metaphor.

As though the unconscious warns through personal and cultural stories, those who do not live as they could—or have a sense they should—put unconscious fears into metaphors.

Articulated thought may succumb to rationalization, and remain out of touch with the rest of our organism. The greater domains of the unconscious mind beware wretched social regimentation. They know torment by the socialization of instincts managed by suppression rather than acknowledgment. They even take the pulse of automata within—the psychic automatism that contrasts often with avowed decisions and self-image. So it is that:

We are confronted by robots. We are threatened by the rise of machines.

We who fear for our individuality could join the shambling dead.

We who fear for our humanity could become just as pitiless as monsters driven by appetite, or just as devoid of thought as their instinct to kill.

Those come out in nightmares, waking imagery, and stories—unreconciled feelings cast out into the world, like the fears projected onto other things and other people. Recycled into symbols, compounded with other symbols, buried under details added to superstitions and fiction, repeated warnings go unrecognized.

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H.R. Giger built a human skull into the face of the phallic Xenomorph featured in the film Alien.

The psychological significance of horror is readily eclipsed by entertainment when its form of expression becomes a public story told for melodrama and pet scares—the thrills of an apocalypse safely not occurring, a monster safely not under the bed. Many can claim horror as a matter of familiarity without resolving it. Depicted horrors—monstrosities, abominations, dying, gore, and even torture—become unaffecting horrors. Sincere fears remain, unmoved.

Part of the enjoyment of the genre has been comfortable distancing—dissolving empathy with menaced characters who feel fright, agony, or powerlessness. Managing to resist emotion identification with their situations can yield a pleasurable sense of control. Stereotypical or unlikeable characters actually contribute to the appeal of performed horror, because this excuses schadenfreude, and permits the viewer to laugh at them without remorse.

The escapist audience knows they have nothing to fear from any monster shown to them. All the more if they take for granted that the real terror sleeps even closer than under the bed—a monster of exaggerated passions and urges. This is the devil inside who mobilizes darkly-regarded, repressed instincts.

It is not untrue that the faces of anger, arousal, hunger, and defensiveness perch on unsettling thresholds. The threat of the liminal expressions is that we could find ourselves looking into contortions instead of a familiar face. In their ultimacy—rage, lust, ravenousness, and panic—these faces of human nature do not reason, or show mercy. They are single-minded. They do not care about anything else. More than coarse or rough, these turn savage. More than moods, these are like personalities—and not our own, we feel assured. They are disowned people.

Yet each and every human being can transform or be transformed by desperate need, or under duress, or by psychoactive effects including drunkenness, like Jekyll’s potion to bring out Hyde. Upon witnessing this universal susceptibility in their own experience, each human being usually fails to accept it.

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Fredric March in Dr. Jekyll and Mr. Hyde, directed by Rouben Mamoulian, 1931.

The visceral and primal deserve respect lest they become troublesome or dangerous. That is possible if the teachings of culture permit a sanguine interpretation of natural instincts. But the base and vile can only be cast out and destroyed, instead. No organism could ever do that to intrinsic parts of its nature. Many who have lived have learned from moral teachings to expect the impossible from themselves, and specifically to deprecate and banish the roots of disturbances, and to feel guilty when they fail.

Therefore, they have long told story after story commemorating their unsettlement. It has never been uncommon for figments from these stories to take on suggestible reality, because they allowed confessions, of an evasive sort, that were intensely desired. In much the same way that a criminal or a survivor plagued by guilt might see a ghost they had been told about, a superstitious man, woman, or child suffering from a repressed, now-fearsome “shadow” might become convinced they were stalked by a real monster.

Consider the recurrence of folklore across time and place describing some humanoid form, some dead, some not, ravenous for blood or flesh, and often identified with viscera, including the heart. These were creatures with the sympathies and kindness of a demonic enemy of the living, as though possessed by bestial hunger—the vampire’s bite—and rage, and in some incarnations, lustful and beguiling also, like a succubus or incubus.

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Title page from a 1734 “Treatise on the chewing and smacking of the dead in graves, in which the true makeup of the Hungarian vampyrs and blood-suckers is shown” by Michael Ranft. This references a posthumous (and pre-Freudian) oral fixation: reported cases of corpses continuing to masticate after burial, biting coffin linen or their own arms.

As late as the eighteenth century, officials in Eastern Europe were obliged to formally investigate cases of supposed vampires in order to quell rural panics. In some areas, corpses were staked until the twentieth. Modern-era fiction made this trite, losing its significance. Confront it as a close, physical reality: some unspoken, desperate terror linked to vampires was great enough for mourners of recently passed loved ones to impale their bodies. That is no small fear at all. It is not to be rationalized as hysteria over a superstition that was never real, and must instead find explanation in grave, yet incorporeal matters.

The legend by many names speaks to the fear of losing one’s human qualities to appetites, like the vampire and its victims do, losing personality and losing control.

These stories might remember fears of the uncontrollable hunger of the starving, in particular. What the uncontrollable bite can do even includes cannibalism, during famines. Prosperity elsewhere and since led to forgetting what starving people have seen themselves or others do. (Modern people who can generally eat whenever they want get only the slightest of reminders of what they are capable of from the passing viciousness of hypoglycemia.) Unforgettable transformations for desperate survival are hardly to be reconciled afterward, felt to be worse than death.

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Necronom II by Hans Rüdi Giger, 1976.

They sum up alarm at recognizing primitive nature, for having witnessed it: We could be monsters inside. That is, nothing but a beast, when cornered, or famished, or insatiable. The life-force of blood† and viscera; the sex of rape; the ingestion that devours other life without pause—our nature can be reduced to these by severe circumstances.

But it is still more frightening to contemplate if it could happen capriciously, through temptations, which guilt both anticipates, and follows—and which attempted suppression of desire actually intensifies. One succumbs, obedient and bloodless.

Old vampire stories reflect acute fear of the sexual urges which might lead to transgression of taboos, or moral norms of the community, and even fear of consequences for violating religious dictates. It was said in various traditions that numerous different transgressions (such as sex out of wedlock, or improper burial rituals) could produce a vampire, even before death.

The vampire turns soulless (absent from the mirror, in the modern telling) because it is bestial, and therefore, deemed inhuman. It is also a demon: the vengeance of an unacceptable impulse sent down. Suppressed instinct, moralized, socialized, does not go away, as it is told. Damned nature comes back as perversion and hate—that is all a revenant has left. Having been marked as evil, instinct can manifest in no other way.

The vampire trope also points to an alternate, timeless referent which is not universal human nature, but contributes to its blameworthy image. There is a recurring cultural warning about psychopathic characters who lack empathy for others and enjoy tricking, manipulating, and corrupting them. It is easier to express that warning in stories and accept them as inhuman monsters, than to admit they are living among other people in society, as brother, sister, friend, or lover in bed. Like an evil impostor of a familiar face, they pretend affinity until it does not suit them.

 


† As usual, frequent mutation of storytelling complicates tracing a continual meaning of symbolism. Compare with the considerable positivity of emphasis on ‘eternal life’ through curse/gift of blood in modern versions of the story, surely inspired by the gift of eternal life through blood of Christ. In some treatments the curse of blood does not even place the soul (personality) at risk; it is almost entirely a gift of supernatural powers.

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Excerpt: The Sage and the Town That Was Dreaming and Drowning

Continuing to post selections taken out of context from large amounts of unfinished material collected for The Constellation of Man, a work of literature planned for three volumes. All selections were written by me since 2010. Some are unrepresentative. All remain in development, subject to change. —CPB


A sage who offered the greatest of gifts walked through a town of worries, and spoke to the townspeople.

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lithograph of Kandahar, 1847

Some listened. He told them not what they wanted to hear, but what would solve their problems.

One onlooker, a merchant from another town who revered the wisdom of the itinerant sage, was surprised to see most of these townspeople turn from the sage, spit on the ground, or even slap him in the face. Finally, a group of men threatened the sage, and knocked him down when he continued to speak.

“What awful ingratitude!” the merchant exclaimed, helping the sage to his feet. “And how foolish they are. You came to help, and they reject it thoughtlessly.”

The sage shook his head. “For all their contempt, they are not telling me they reject the knowledge I offer. They are not even telling me I am wrong, although they say so. They are telling me: ‘I did not hear it in the right way.’ My words were not what they expected.”

“Surely, it should not matter what words you used. A drowning man would not refuse a rough hand grabbing him. And I think a man who is dreaming of what he wants will not make rude objections to the djinni who can grant his wish, no matter the surprise to the man, or the manner of the djinni.”

The sage smiled. “Truly, the townsfolk are both dreaming, and drowning. But they must save themselves, and grant their own wishes. I told them so, but they do not realize they are dreaming and drowning. Therefore, they do not know the importance of recognizing that predicament. They do not await hearing knowledge they could use to help themselves. They only hear that I have made demands of them, and consider themselves rudely put upon.”

“I see,” said the merchant slowly. “Wisdom offers a horse to those who have packed a cart ready to hitch. But those who have been trying to drag cargo behind them only feel that they are being goaded to go faster like a beast of burden. Besides, if they knew what you do, that they are stuck, they might already have less need to hear it. They might have found their own horse. I see. Very good.”

The merchant was satisfied to learn how it could be that the value of a sagacious perspective to save and change lives does not prevent its rejection.

“But how,” he added, “supposing you are right… realization must come before accepting knowledge. But without acquiring knowledge, how will they come to realization? How could you tell them what they need to hear in some way that would get around their obstinacy?”

“They must go forward in their backbreaking journey until they realize they have need of my horse. Walking the hard road may teach what hard words do not. They cannot avoid it so easily as they can close their ears to being told where they are and what they are doing. Let us wish them a short journey to preparation, for the way can be painful.”

“What a shame! But that means your visit to this town has been a wasted one.”

“Not at all. I will continue to try. Some ears might be open, and I would spare them hardship. Indeed I will think harder about how I speak to them. How they will hear it is more important than what I say.”

The merchant bade farewell to the sage. He stood and watched him as he walked into the distance. He wondered about the people who drag weight behind them and refuse a means of relief. He thought about those who keep getting stuck in the road, and curse those who pass. “Perhaps,” he thought, “they should be left to figure out their situation for themselves. It might be better for learning if they have to search for a horse to draw their cart.”

But at length, he marveled at their suffering, the suffering of the men and women of the town. He realized how few would manage to raise themselves up off the hard road and out of its potholes and mud before they were broken by the bitter labors of fools and beasts.

He looked into the distance, in the direction the sage had gone, and nodded.

Excerpt: Proteus and bougonia

Continuing to post selections taken out of context from large amounts of unfinished material collected for The Constellation of Man, a work of literature planned for three volumes. All selections were written by me since 2010. Some are unrepresentative. All remain in development, subject to change. —CPB


Proteus, the deposed god of the sea, could still see through its murky depths, and consorted pleasantly with sea-creatures, behemoths and monsters. Tales of Proteus relate his daily custom to cautiously wade from the water and sleep on the shore surrounded by briny seals, like a shepherd with his flock.

Those who found Proteus dreaming there, at the threshold of his domain, could try to seize him. One resourceful enough to catch the wise old man of the depths might obtain peerless counsel. Proteus could see the past and the future.

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The appearance of dread Proteus (lit. The Infernal Proteus) depicted in 1690.

But cunning Proteus was not easily caught. He came and went in secrecy, requiring considerable guile to approach. Once grasped, holding him was even more difficult. To avoid being pinned down and divulging his mysteries, Proteus would writhe, wriggle, and suddenly change into shapes as fearsome as a serpent or wild boar, as unexpected as a leafy tree, or flame, or a torrent of water. A hero would have to dismiss these distractions. Only to him would Proteus impart hard-won truths.

So it is with introspection looking into the unconscious. The other world seems alien, capricious as the tides, then vertiginous, bottomless to the lone diver immersed and falling. Probing the depths meets strange and powerful resistance. One might have to strive despite misdirection, like Proteus’ phantasmagoria, some threatening.

This wavy sea comes replete with forms, shapes, illusions, and appearances, and below, resources, profundity, beauty, and fear. It is alive with creatures of the imagination, and as many reflections of the one who looks.

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Inner Glow of Ocean Waves, Anne Macdonald, 2013

As slippery as dreams, Proteus changes shape to avoid telling what he knows—to those who aren’t both wise to fluidity, and steadfast. But he knows the depths of us, the unvisitable deep. Literal and straightforward minds that behave as solid ground expects are never so oracular. Obtaining answers requires an indirect approach, and the wit to know that answers take on many guises. [Compare the figurative language of esoteric symbols invented to capture spiritual experiences. Like dream meanings inferred post hoc—sparer than all the feelings and intricacies of a dream—symbols deployed after the event grasp at more significance than words can hold, a nonverbal reality on its own terms.]

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Menelaus binding Proteus, as depicted in 1574.

Wily Proteus resists, yet he is not unwilling. Proteus is there, waiting to be caught, ready to yield his knowledge to the one who needs it and prepares himself for it. The trial of Proteus tests understanding and courage. The hero who passes the test accepts the undersea with its difficult wisdom as his own domain for as long as the revelation lasts, much as meditative introspection can recognize the unconscious and embrace it, learning much. To the contrary way of thinking and fighting against oneself, that domain remains quite apart, antagonistic and alien. Homer tells us that when Menelaus is stranded for some time on his voyage home from the siege of Troy by ill winds, he is only able to sail on the sea once he takes stock of his situation by Proteus’ means, reconciles himself, and thus propitiates his gods.

Knowledge comes out of a great unseen unknown. At least that is how the upwelling appears to one who has become an outsider to the fabulous realms of suggestion. The hero is making a petition to render the uncontainable truth. And first, that one must embrace the mutable monstrum that bubbles up from an unfamiliar well. [The monstrum being both “monster” and “portent.”]

The paradox of the self asking knowledge of the deeper, unknown self is this: We must already have the hidden knowledge somewhere—for we are asking ourselves—and yet we do not possess it. That is, we have not yet managed to acknowledge or reconcile the precursor of knowing. Operating under conscious guises and limitations, we do not have easy access to the unformulated.

The case of petitioning the liquid unknown for concrete knowledge amounts to steeling oneself to recognize what one does already know, after some obtuse and unrealized fashion: what must be done, or, what one hardly wants to realize.

Homer has Menelaus master Proteus—with some difficulty, and divine help, typical trope of such stories—to tell him not only what he must do to finally return home, but also what he does not want to admit. He learns what has befallen his friends, comrades and family after the long voyage home from the siege of Troy: death, murder, betrayal, stranding, loss.

Tales of Proteus have him tell heroes how they can repair the harm caused by alienating a god or demigod by past sin they had never reconciled.

Virgil says that Aristaeus, the pastoral god who devised beekeeping, sought a remedy for the mysterious demise of his bees. His mother the nymph Cyrene coaches him to surprise, grab and bind Proteus fast through his vicious changes—boar, tiger, serpent, lioness, flame, river. This Aristaeus does.

Proteus discloses that Aristaeus’ crime of pursuing the wife of Orpheus to her accidental death has had vengeance haunting him.

The ritual sacrifice Aristaeus then makes brings forth live bees, boiling from the stomachs of the oxen burning on the altars. Thus Virgil explains the provenance of the apicultural ritual of bougonia, the bovine sacrifice rumored to regenerate the hives with new bees, usually slaughter followed by burial, or covering with dung. One version specified formulaic steps for beating an ox to death, sealing it shut precisely, and walling it in for weeks.

Binding the terrifying faces of Proteus obtains more than the secrets of a seer. These are more than secrets. They are sorrows, shames and sins.

The seeker binds his doubts, aversions, and fears. He does not force the whole unconscious to his service, or tame the primal. This would misread the significance of this flavor and style, along literal lines preferred by rationalized symbolism. On the contrary, he forces his inner resistances but supplicates his inner pantheon, and old man Proteus embodies both.

With these strange littoral petitions, we enter into a domain of potency, ferocity, intensity, even savagery, at least in metaphors—enlisting the primal forces of the psyche and the vital forces of the body. Acting too tamely in the face of adverse primal obstacles means suffering passively, like stranded Menelaus first merely waiting for the sea to calm so he can sail home.

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Bugonia, Justin Gibbens, 2011

The sacrifice of bougonia makes a cruelly literal ritual of the figurative. Modern men would infer the theory of spontaneous generation, and analogy to flies swarming on rotting flesh. If it were rationalized, the hexagonal lining of the reticulum conjured bees by the principle of similarity to honeycomb. We work rather in the realms permissive of association here, casting out physical anchors as afterthoughts, and in myth, cast inner performances as named actors.

The hero seeks after rejuvenation. The seeker is conjuring primitive lifegiving out of himself once again, through forgiveness and reconciliation of the past. He honors and supplicates the deities of his unconscious with slaughter and immolation. He was the bull; he is the bees. He contains the advisor on his side; he contains the gods who were ill-disposed; he contains Proteus himself also.

Excerpt: spirit as metaphor for sex (and vice versa)

Continuing to post selections taken out of context from large amounts of unfinished material collected for The Constellation of Man, a work of literature planned for three volumes. Some compositions are unrepresentative in style, subject, or themes. All remain under development, subject to change. All selections were written by me since 2010. —CPB


It is too literal to believe that the cilice is worn no longer [by modern and secular people]. It is too literal to believe that penitence, or mortification to suppress the concupiscence to commit acts of sin, are obsoleted when these words are left to grow unfamiliar and antique.

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Die Jungfrauen by Gustav Klimt, 1913

Of all acts of desire formerly proscribed by religious authority, and forms of hedonism still censured in spirit, lust troubles most intimately. Even after the most diligent corruption of the youth to mistrust the body has passed from common instruction, the taboo body lingers, and puberty makes it a stranger. One generation passes shame, secrecy, and silence to another. The next passes awkwardness and avoidance to another. Overcoming schooled inhibition requires touching again and again, talking again and again, practicing again and again.

Some of the most immodest or promiscuous remain firmly in thrall. To want to prove that transgression of a taboo is possible proves also that the taboo holds—at least enough to tempt, and has not been thoroughly overcome. To transgress compulsively, to reduce sex to mere performance of acts, is to forget the tabu indicates sexual physicality is holy, not merely forbidden. Along this line, we can learn more than an error from those who still condemn lust as a sin.

The dangers of leaving desires to seethe unreleased, leading to unintended perversions of libido, have been extensively described. Indeed, religious modesty hides more than flesh. Suppression perpetuates undercurrents of fiendish attention to sexuality, as well as anticipating sin from such preoccupation. It forbids an appetite and fulfills an expectation, a guilty loop.

But more than cultivating obsessive attention, it also encourages another species of attention: a conscientiousness surrounding sexuality, hinted at by the concepts “purity” and “innocence,” an aura easily left behind when sexuality is rendered common and taken for granted. A purely utilitarian, matter-of-fact attitude toward sex would dispense with shame, anxiety, and bashfulness, and Eros too.

To actually encourage being present in the sexual act goes too far for those who worry about participation. Inhibited by shame, they are generally unable to obtain the fruits of such cultivation. These fruits are spiritual in a metaphorical sense of spirit, while the facilitating practice for present sensual, erotic, and ecstatic experience is—outwardly and physically—foreplay, sexual intercourse, and orgasm. They are too timid about that ritual to enter the temple’s Holy of Holies. No one can meet the god from a distance, performing self-conscious sex without abandon. No one honors Eros without fucking.

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Danaë by Gustav Klimt, 1907

Yet religious sanctity is of a kind with presence in the act, and not in total opposition. Those who still identify sex with sin at least intensify attention to sex, even though—and partly because—they are not supposed to. They know at least to impart significance to sex, and not demote a potentially profound neurogenic experience to a material interaction, or a biological drive. Preoccupation or obsession does heighten experience, despite unfortunate condemnation of the means of fruition and deemphasis of method. So do the various, overlaid religious frames treating sex as a profound, spiritual matter and not a mundane one.

Whereas, the alternate error of those called licentious is always to harvest, never to cultivate; that is, not to impart a neurogenic halo to the sexual acts, but to expend these occasions without reverence, and without intent to “set the mood” for any meaning beyond the obvious. This potentially reduces pleasure to expending the heightened senses of physicality, without attuning the senses for a broader neurogenic significance while they are heightened. Opportunities for peak experiences are lost.

That would also be the cost of coming to see sex as “simply biological,” the urgent need which one simply discharges, and gets back to something more important. One forms utilitarian relationships for this purpose, without emotional or spiritual attachments. One is too rarely struck, as by a lightning bolt, by an orgasm with meaning. One is too rarely shocked. Perhaps not at all.

It might be better not to lose the long-taught memory of shame, if this must be the price. Fortunately the price is paid unnecessarily by those who do. The mystique of sexuality need not be lost because the shame is lost, and because the moralizing has been, in its turn, lectured at, judged, and rejected.