Sade, Carter & the Idea of a Moral Pornographer
Concepts of The Sadeian Woman by Angela Carter
Oct 15, 2008
Angela Carter is probably most well known for her book The Sadeian Woman: An Exercise in Cultural History. In it she discusses the works of the infamous Marquis De Sade, paying particular attention to the characters of Justine and Juliette.
In the preface of this book, entitled Pornography in the Service of Women, she asserts numerous ideas that are not only relevant to the work of Sade, but that are relevant to women everywhere.
Pornography
Angela Carter’s first statement to us is that Pornographers are the enemies of women. This follows because pornography is simply human relationships stripped down to the basest of things: intercourse.
This is even reflected, Carter argues, in human genitalia. The penis is ‘something’ whereas the vagina is ‘nothing’: ‘between her legs lies nothing but zero.’ (Carter, 1979, p.4)
These images reflect the traditional roles and stereotypes of women: if pornography does that, women should be suspicious of it, for the simple reason that it attempts to confine them to one role.
Power Dynamics
There is always a power dynamic at work in the relationships between men and women; this is something that Carter remarks upon at length.
Historically speaking, women have been economically dependent upon men. Arguably, this has changed. But Carter asserts that psychologically speaking, not much has changed. This is reflected in sex: ‘She is most immediately and dramatically a woman when she lies beneath a man.’ (Carter, 1979, p.8)
This is a passive and submissive act on the behalf of the female. Sade tips these balances in his work: Juliette, for example, is not and never is passive. She throws off the constraints of femininity and transforms herself into something more than women typically are.
The Moral Pornographer
Sade is a moral pornographer; his work is not typical pornography. It does more than create sexual pleasure for the reader.
Carter explicitly states: ‘A moral pornographer might use pornography as a critique of current relations between the sexes.’ (Carter, 1979, p.22)
Thus, Sade is a friend to women. This seems shocking at first glance because of the nature of Sade’s work. However, he is friend to women precisely because he places them in situations where they can transform; they can challenge the power dynamics that exist between themselves and men.
Carter’s point here is that those who have disregarded the work of Sade as mere smut have missed the point of his work entirely: ‘Sade’s work…is of particular significance to women because of his refusal to see female sexuality in relation to its reproductive function.’ (Carter, 1979, p.1)
Indeed, Sade truly was a revolutionary writer: ‘he stands on the threshold of the modern period, looking both backward and forward.’ (Carter, 1979, p.1) He has Carter to thank for reminding us all of the true purpose of his work, which had been overlooked.
 |
