Landscape With Sex And Violence

The poems in Landscape with Sex and Violence explore what it means to be a woman, a sexual being, and a trauma survivor in contemporary America.

The power of love is (as the song says) a curious thing. Rock stars sing about it, comedians tell jokes about it, and just about every advice columnist writes about it. Scientifically, however, just how curious love is, is still an open question. "Love" is a four-letter word to many people—and "sex" is the shortest four-letter word of all. Society builds taboos around these words, but there's no denying that love and sex are spectacular. This is a book about sex: typical and atypical, loving and lustful, sensible and ridiculous. Sexual Landscapes takes on the most challenging puzzles of human sexuality and incorporates the latest scientific research, experts' theories, and the author's own work to explain them. Why are we attracted to the people we love? Why are we hetero-, homo-, bi-, or transsexual? Who's controlling the communication when a man and a woman meet for the first time? Why do there seem to be more gay men than gay women? More bisexual women than bisexual men? Why do men and women say they're aroused by different things, but when tested with actual erotica, appear to be aroused by the same things? Why are we afraid to educate our children about sex? Does homosexuality run in families? How do things as delightful as sex and love become intertwined with pain and violence? Dr. Weinrich challenges our assumptions and popular taboos as he presents the results of fascinating research and controversial theories about why we love and lust. Sexual Landscapes is a provocative, challenging guided tour of our sexual selves that will delight, inform, and instruct. BRIEF TABLE OF CONTENTS Chapter 1: The Power of Love — Introduction Chapter 2: Gender Transpositions — Erotic subtypes discussed in the book Chapter 3: Ten Unsolved Problems — about the science of sexual arousal Chapter 4: The S*x Taboo — and how it cripples our society Chapter 5: Reality or Social Construction? — Are things like 'homosexuality' real, or just constructed by society? Chapter 6: Limerence, Lust, Bisexuality — A new theory of types of attraction that explains how someone might 'fall in lust' with one sex but only 'fall in love' with the other sex Chapter 7: The Periodic-Table Model — How the gender transpositions can be arranged Chapter 8: Plethysmography — Direct genital measurement as an amazing and insightful scientific technique Chapter 9: Families of Origin — How sexual preferences are related to childhood personality traits and parental caring patterns Chapter 10: When Sex and Violence Mix — How can something as wonderful as love sometimes get connected to pain and suffering? Chapter 11: Courtship theory — The secret ways women attract men, and why men don't know about them Chapter 12: Homosexuality in Animals — Gay or bisexual animals? Why not?!?? Chapter 13: Sociobiology — How evolution explains sexual orientation Chapter 14: The Big Picture — Solving the ten problems posed in chapter 3 Chapter 15: Conclusions — Why responsible openness about sex is vital to society References Index — The index page numbers do point accurately to page numbers in this printed edition.

A moving and essential exploration of what it takes to find your voice as a woman, a survivor, an artist, and an icon. The first time Lynn Melnick listened to a Dolly Parton song in full, she was 14 years old, in the triage room of a Los Angeles hospital, waiting to be admitted to a drug rehab program. Already in her young life as a Jewish teen in the 1980s, she had been the victim of rape, abuse, and trauma, and her path to healing would be long. But in Parton’s words and music, she recognized a fellow survivor. In this powerful, incisive work of social and self-exploration, Melnick blends personal essay with cultural criticism to explore Parton’s dual identities as feminist icon and objectified sex symbol, identities that reflect the author’s own fraught history with rape culture and the arduous work of reclaiming her voice. Each chapter engages with the artistry and impact of one of Parton’s songs, as Melnick reckons with violence, misogyny, creativity, parenting, friendship, sex, love, and the consolations and cruelties of religion. Bold and inventive, I’ve Had to Think Up a Way to Survive gives us an accessible and memorable framework for understanding our times and a revelatory account of survival, persistence, and self-discovery.

Sexual spaces, normally inhabited by (mostly) female sex workers, are understood as masculine spaces, and positioned for and around male consumers. However, red light zones and public sex performances in both Thailand and Holland are being explored and visually consumed by female tourists in significant numbers. Their presence in red light districts and sexual venues is at odds with the ways in which sexual spaces have normally been positioned. Woman and Sex Tourism Landscapes explores female tourists' interactions with highly sexualized spaces and places in two very different contexts: the Netherlands and Thailand. Addressing this incongruence, this text explores the ways in which these spaces are constructed, and examines the different relations that govern the management of, and female tourist interactions with these liminal,sexual zones. Ethnographic data collected in both countries suggests that far from being male-centred spaces, the red light districts and associated sexual entertainment venues are very much open to female tourists. Drawing on this research the author argues that some women are indeed interested in exploring sexualized zones, challenging assumptions about women’s involvements with sexual space. Thinking specifically about the visual nature of women's sexualized experiences, the analysis draws on a range of different theoretical understandings that address power, privilege, and the gaze. An important contribution to a range of debates, this book will appeal to students and researchers in tourism, geography, sociology, gender studies and cultural theory.

"It is widely recognized that the Hebrew Bible is filled with rape and sexual violence. However, feminist approaches to the topic remain dominated by Phyllis Trible's 1984 Texts of Terror, which describes feminist criticism as a practice of "telling sad stories." Pushing beyond Trible, Texts after Terror offers a new framework for reading biblical sexual violence, one that draws on recent work in feminist, queer, and affect theory and activism against sexual violence and rape culture. In the Hebrew Bible as in the contemporary world, sexual violence is frequently fuzzy, messy, and icky. Fuzzy names the ambiguity and confusion that often surround experiences of sexual violence. Messy identifies the consequences of rape, while also describing messy sex and bodies. Icky points out the ways that sexual violence fails to fit into neat patterns of evil perpetrators and innocent victims. Building on these concepts, Texts after Terror offers a number of new feminist strategies and approaches to sexual violence: critiquing the framework of consent, offering new models of sexual harm, emphasizing the importance of relationships between women (even in the context of stories of heterosexual rape), reading biblical rape texts with and through contemporary texts written by survivors, advocating for "unhappy reading" that makes unhappiness and open-endedness into key feminist sites of possibility. Texts after Terror also discusses a wide range of biblical rape stories, including Dinah (Gen. 43), Tamar (2 Sam. 13), Lot's daughters (Gen. 19), Bathsheba (2 Sam. 11), Hagar (Gen. 16 and 21), Daughter Zion (Lam. 1 and 2), and the Levite's concubine (Judg. 19)"--

Borenstein argues that the popular cultural products consumed in the post-perestroika era were more than just diversions; they allowed Russians to indulge their despair over economic woes and everyday threats.

An award-winning and hard-hitting new voice in contemporary American poetry The first time I ever came the light was weak and carnivorous. I covered my eyes and the night cleared its dumb throat. I heard my mother wringing her hands the next morning. Of course I put my underwear on backwards, of course the elastic didn't work. What I wanted most at that moment was a sandwich. But I just nursed on this leather whip. I just splattered my sheets with my sadness. —from “Poem of My Humiliations” “What is life but a cross / over rotten water?” Poet, novelist, and essayist Erika L. Sánchez’s powerful debut poetry collection explores what it means to live on both sides of the border—the border between countries, languages, despair and possibility, and the living and the dead. Sánchez tells her own story as the daughter of undocumented Mexican immigrants and as part of a family steeped in faith, work, grief, and expectations. The poems confront sex, shame, race, and an America roiling with xenophobia, violence, and laws of suspicion and suppression. With candor and urgency, and with the unblinking eyes of a journalist, Sánchez roves from the individual life into the lives of sex workers, narco-traffickers, factory laborers, artists, and lovers. What emerges is a powerful, multifaceted portrait of survival. Lessons on Expulsion is the first book by a vibrant, essential new writer now breaking into the national literary landscape.

The first history--incisive, witty, fascinating--of the fight against sexual harassment, from the author of the New York Times bestseller Sisters in Law Linda Hirshman, acclaimed historian of social movements, delivers the sweeping story of the struggle leading up to #MeToo and beyond: from the first tales of workplace harassment percolating to the surface in the 1970s, to the Clinton/Lewinsky scandal--when liberal women largely forgave Clinton, giving men a free pass for two decades. Many liberals even resisted the movement to end rape on campus. And yet, legal, political, and cultural efforts, often spearheaded by women of color, were quietly paving the way for the takedown of abusers and harassers. Reckoning delivers the stirring tale of a movement catching fire as pioneering women in the media exposed the Harvey Weinsteins of the world, women flooded the political landscape, and the walls of male privilege finally began to crack. This is revelatory, essential social history.

Just Sex chronicles the movement to end all forms of sexual violence on campus and gives a voice not only to rape victims but also to reformed rape perpetrators.

Poetry. "The title of Melnick's stunning book is a microcosm of the poems within—the uncertainty of 'if I should say' followed by the defiance of 'I have hope.' Her poems follow moments of unmooredness ('I am best / when I dabble in consciousness and a soundly / spinning room') with blinding insight ('You wouldn't know happy if it kissed you on the mouth')—tiptoeing followed by a kick to the head. On the melancholy-go-round of these poems, there's a swan-seat for sadness but also a tiger called Beauty and a horse called Hope. The unexpected music and syntax of Melnick's work will make you want to ride/read it again and again."—Matthea Harvey "Lynn Melnick's poems are a series of swift kicks knocking over whatever a lot of Boys think it's like to be a Girl. They're also the bruises afterward. IF I SHOULD SAY I HAVE HOPE teems with very small and much larger devastations, crackling throughout with fierceness and stealth and wry intelligence. 'There's some kind of crazy on the way,' she says. Those of us who've seen that crazy coming need this book. Those of us who haven't need it more."—Mark Bibbins "Lynn Melnick's poems in IF I SHOULD SAY I HAVE HOPE recall the raw power of Anne Sexton and read like Lynchian dreams. The voice of these poems proves consistent and potent, steeping the book in weather and worry, in impulse and flesh, sometimes in blood. Most of the poems in IF I SHOULD SAY I HAVE HOPE are formal in structure and tone, built mostly in couplets, sometimes tercets and quatrains, and all demand recognition of truth, of human details we might rather deny. If I should say I have hope, the speaker suggests, I need to say all of these things first. She confesses, 'I'll wreck it if it's good.' Calling attention to our often-destructive tendencies, the poet admits fallibility and imperfection, while quietly offering refuge to a thing with feathers."—Melinda Wilson, Coldfront Magazine's Top 40 Poetry Books of 2012