In these essays, headed up by editor Merri Lisa Johnson’s “Generation X Does the Sex Wars,” the writers confess their seemingly antifeminist longings and question what role feminist ideals should play in women’s sexuality. In “Spanking and the Single Girl,” Chris Daley wonders whether it’s acceptable to play the submissive role in an S/M exchange. In “Vulvodynia — How Porn Made Me a Woman,” Katinka Hooijer reveals her affection for porn and the inner conflict her predilection inspires. Sex toy store owner Sarah Smith declares a “dildo revolution” — for women and men, gay and straight — in her essay of the same name. Whatever the angle, the authors all champion a sex-positive feminism.

    Born a boy to loving but religious parents in the rural heartland of Tennessee, Calpernia Addams found her way on an unlighted path from forbidden dreams to fulfillment as a scholar, showgirl and eventually, as a woman.Sultry stage siren by night, intellectual chameleon by day, she worked her way to the top of Nashville’s underground entertainment scene without ever succumbing to drugs, alcohol or bitterness, and through it all never lost her heart. When love walked into her new life in the form of a handsome young Army private, it seemed everything had at last come together. Then at the pinnacle of her career, as she was crowned Tennessee Entertainer of the Year in front of hundreds of adoring fans, her love was murdered in his sleep sixty miles away by bigoted fellow soldiers, sparking a national controversy that resonates still.Whether ablaze in the dazzle of the spotlight or haunting the woods of Tennessee in flannel and pigtails, Calpernia lives her life with the humor and spirit of a woman who can face anything and still move forward with hope intact.

    It acutely says no to a variety of phenomena that seemingly threaten the integrity of the self, if not its very existence. A counterpart to the feelings of appetite, desire, and love, it allows at the same time for an acting out of hidden impulses and libidinal drives.In Disgust, Winfried Menninghaus provides a comprehensive account of the significance of this forceful emotion in philosophy, aesthetics, literature, the arts, psychoanalysis, and theory of culture from the eighteenth century to the present. Topics addressed include the role of disgust as both a cognitive and moral organon in Kant and Nietzsche; the history of the imagination of the rotting corpse; the counter-cathexis of the disgusting in Romantic poetics and its modernist appeal ever since; the affinities of disgust and laughter and the analogies of vomiting and writing; the foundation of Freudian psychoanalysis in a theory of disgusting pleasures and practices; the association of disgusting otherness with truth and the trans-symbolic real in Bataille, Sartre, and Kristeva; Kafka's self-representation as an Angel of disgusting smells and acts, concealed in a writerly stance of uncompromising purity; and recent debates on Abject Art.

    Soble demonstrates that neither conservative nor feminist critics of pornography show much acquaintance with the genre they criticize. This suggests that purely political motives underlie their critiques instead of reasoned, objective arguments based on thorough empirical research.Soble also faults critics of pornography for their failure of empathy: they refuse to see pornographic images from the various perspectives of their viewers. In approaching these images literally, detractors promulgate the worst possible interpretation of pornography. Further, they do not do justice to the social and psychological research about pornography and its purported harms. Conservatives and feminists manufacture their case against pornography and its consumers based on oversimplified interpretations of the images and a poor understanding of scientific studies.This sardonic and well-reasoned critique of feminist and conservative moral outrage over pornography is sure to be controversial.