Abstract

The pornography debate occupies a prominent site of apparent contradiction in contemporary culture: a site where the interests of cultural feminism merge with those of the far Right, where an underground enterprise becomes a major growth industry, and where forms of speculation turn alarmingly practical. Another more problematic confluence occurs as a result of this debate. That is, by juxtaposing the 1986 Final Report of the Attorney General’s Commission on Pornography and the Marquis de Sade’s 120 Days of Sodom, we will see how pornography and the public discourse on pornography share the same comparative logic. An examination of such a logic shows how the pleasures of comparison—its gestures toward control, limit, and transcendence—are always balanced by its failures, even tragedies: the realization of the situated nature of all measurement, juxtaposition, subordination, and hierarchization. Thus this essay is designed to both discuss and illustrate a series of issues implicit in pornography’s predicament: the impossibility of describing desire without generating desire; the impossibility of separating form and content within the process of sublimation; and, most important, the impossibility of constructing a metadiscourse on pornography once we recognize the interested nature of all discursive practices. We cannot transcend the pornography debate, for we are in it. But by writing through it, by examining its assumptions, we can learn a great deal about the problems of representing desire and the concomitant problems of a cultural desire for unmediated forms of representation. Susan Stewart, whose most recent contribution to Critical Inquiry was “Shouts on the Street: Bakhtin’s Anti-linguistics” , is the author of two books of literary theory, Nonsense: Aspects of Intertextuality in Folklore and Literature and On Longing: Narrative of the Miniature, the Gigantic, the Souvenir, the Collection , and two books of poetry, Yellow Stars and Ice and The Hive . She is finishing a book on “crimes of writing,” of which this essay is a part, and a study of the five senses