A Damn Fine Female Body Part

See_no_evil_speak_no_evilThe female nether regions divide Americans into two distinct camps. On one side are the people who cannot bring themselves to say, hear, or read the word vagina no matter how legitimate the circumstances that prompt its use. Depending on whether they over-identify with daytime talk show hosts or public leaders, the anti-vagina crowd either reverts to baby talk (e.g., vajayjay) or condemns the dictionary-approved terminology as profanity and debauchery most vile. Sexual repression being the obvious diagnosis, I can do nothing but feel sorry for the stricken and wield the word with purpose and clarity whenever warranted.

What worries me and even pushes me to the point of active dislike is the growing multitude on the opposite end of the spectrum — the ones who are comfortable using the edgier cunt as an everyday, casual obscenity. Cunt as insult has been around a long time and, within the hierarchy of derogatory expletives, is still one of the worst as far as I can tell from my middle-aged perspective. But it’s everywhere:

  • Free Showtime weekend, first episode of the acclaimed TV show “Dexter” that I see: Dexter (the anti-hero serial killer) and some wily enemy with a hold over him are discussing two contract killers who plan to murder the enemy. Dexter wants to know what these killers are like. The enemy, a cosmopolitan sort who gives the impression he would feel comfortable wearing an ascot, trots out the descriptive phrase “a vicious little cunt” as a crucial identifier.
  • The Twitter feed of Kurt Sutter, creator and show runner of the TV show “Sons of Anarchy”: Across the board, males and females bothersome to this man get a “cunt” tag.1
  • A CD review at a literary/culture website uses the term “cuntjuice” to describe a musician’s less appealing work.2
  • More personally, during a phone call with my ex-fiancé to catch up on our families, he says, “My brother is such a cunt sometimes.” Reason 252 that I am content to let go of old wounds and enjoy the balm of gratitude that we aren’t together in our golden years.

These examples feature insults made by men, but women — girls — are prime culprits as well. A simple Internet search for “Miley Cyrus X-rated shirt” brings up the pop singer going fashion forward in a black halter top with “YOU CUNT” printed in red block letters that coordinate nicely with her lipstick. And you have only to go to an unmoderated fan site, Facebook account, YouTube video, or Twitter feed to find angry teen girls slinging out a commonplace “cunt” to anyone they decide to hate. The issue of reblogging vs. reposting on Tumblr also raises enough ire among what appear to be female bloggers to warrant a public service-type announcement that Cindy reposts, giving the content originator no credit, therefore “Cindy is a CUNT. Don’t be like Cindy.”3 Even young women who could be hailed as America’s future leaders are willing to threaten nonconformist females with the physical violence of a “cunt punt.”4

I’m tempted to shake my fist and yell, “Curses, pop culture!” Yet the literary crowd is doing the same thing. I admit, a year or two ago I wrote a short story that included cunt as a curse word (since deleted). When my main character cut off her husband’s thumb with a meat cleaver, “Cunt!” came out of the husband’s mouth almost automatically even though I’d never said or written that particular word before in all my years as a functional human.

In my defense, I wasn’t hip to the modern usage. The word held both significant degradation and shock value to me, qualities fitting of an extreme, involuntary mutilation. But the reality is that the shock value is now minimal. Fiction writers employ cunt as a Monday-through-Friday type of attack. Cunt as insult enjoys such mainstream acceptance that even The Best American Short Stories series isn’t exempt.5

I’m tired of it. Fucking tired of it. I say that to demonstrate that I have no problem with a well-placed, all-inclusive obscenity such as fuck, shit, damn, or asshole. I can even accept the more general gender-based insult of bitch.

However, race-based obscenities should be off the table (and no, using the alternate spelling of nigga doesn’t make that particular word magically okey-dokey). Same goes for belittling someone by describing them as what is, let’s be honest, a damn fine female body part. Demeaning the physical core of femininity is bottom-feeding objectification.

So, cunt as insult is bad and should not be taken silently. That suggests tacit acceptance, which is a problem when the practice is bleeding into so many avenues of communication and is perceived as imbuing artistic endeavors with an aura of gritty coolness. People need to be made aware that the simple fact of living in the 21st century doesn’t give them an inalienable right to say shit they shouldn’t, and that starts with an insult that is detrimental to all women everywhere. Here are some sample conversations offered as inspiration:

Misogynist/weirdo: “You cunt!”

Potential female response: “Not a cunt, but a proud owner, thank you.”

Potential male response: “Basic anatomy says no.”

Potential gender-neutral but more inflammatory response: “Shut up, asshole.”

There’s a good chance the misogynist/weirdo will continue to use cunt as insult. But maybe not. And maybe someone who hears your response will think twice before they use it themselves or allow others to use it without social repercussion.

Wait, what if womenfolk want to take back the power of the word? Achieving true power doesn’t involve equal-opportunity degradation of the female sex. In this regard, I don’t give cunt the same leeway as I do bitch. Bitch as insult is broader, less personal, less defining, and consequently, more malleable in meaning. Cunt as insult is just such an intimate attack that there is no way to spin it into female empowerment. All we’re doing is “mean girling” ourselves over our basic anatomical structure — pretty much the ultimate display of self-loathing. Note: I’m all for male empowerment as well, so even though I find the insult “cock face,” which I recently discovered via Instagram, quite visually evocative, I have no plans to indulge in its use to balance the scales.

Women who want to own the word and men who want to be decent human beings should take cunt out of the realm of insults, reclaim it as a beneficial organ,6 and use it in a complimentary light. In Victorian erotica, writers typically used cunt and its diminutive cunnie (also cunny) in service to happy though sometimes questionable pleasures, not as a rote opportunity to insult women’s sexual organs. These days, poets seem to be on the leading edge of artists willing to reclaim cunt from the realm of negativity.7

I myself am not above objectifying human body parts. To wit: See Norman Reedus aka Daryl Dixon on the television series “The Walking Dead.” As Buzzfeed writer Erin La Rosa said last year, “DEM. ARMS.”8 When one views such proportional elegance, appreciative objectification — linguistic ogling if you will — is a natural response. In fact, the Reedus fandom often labels photographs of the actor based on the different types of “pornography” they offer the viewer, brandishing anatomical hashtags like orgasmic yelps.9 The point: Sexual objectification can be a positive experience when it celebrates rather than denigrates.

My one caveat is that the person to whom this objectification is applied should appreciate the effort and not be made to feel scared or annoyed. Continuing with the Reedus example, if I were ever to meet the man, I would stab my own hand with a ballpoint pen before I let him feel the creepy slime of sexual harassment as a result of my words. Unwelcome objectification of either sex by word or action is always inappropriate. You have to be able to turn off the objectification and deal with people on an individual, human level.10

So, cunt as compliment is good — as long as the recipient is happy. The next time you and I have sex, I’d be pleased to hear “Wow, lovely cunt!” Otherwise, shut up, asshole.

 


Footnotes

1 Lurk at the Twitter feed of @sutterink for a few weeks at the outside to observe supreme proficiency, if not grace, in using cunt as insult.

2 The review equating bad music to cuntjuice occurred more than a year (or two) ago, so I can’t find the link, but it’s the reason I stopped frequenting the website. Bad karma pending htmlGIANT.

3 See the Feb. 3, 2014, All Monsters Are Human Tumblr blog posting, which features this original or possibly reblogged but likely not reposted PSA. Here, CUNT is written in pink type. Taken together with the red-lettered Cyrus shirt, the post suggests that while women enjoy cunt as insult as much as any man, it’s OK because they make it pretty.

4 In 2013, a sorority executive board member at the University of Maryland (UMD), which Forbes ranks as No. 73 among America’s top colleges, e-mailed her sisters threatening to “cunt punt” anyone who dared to cheer for both teams at Greek Week events, according to Gawker. UMD’s notable women alumni include the journalist Connie Chung and Vashti McKenzie, the first female bishop in the African Methodist Episcopal Church.

5 See the lovely but for this one flaw “Alive” by Sharon Solwitz and the intriguing but similarly troubled “Tenth of December” by George Saunders, both in BASS 2012.

6 Need help understanding exactly what a cunt is, and why you should venerate it? See Cunt Coloring Book by Tee Corinne, but the short answer is that even if a cunt isn’t your thing sexually, it still had something to do with how you arrived on this planet and deserves appropriate respect.

7 Natalie Eilbert is one poet who opts to take the negative out of cunts. Your cunt’s a star? Hell yes, Natalie, so’s mine. Karma partially restored htmlGIANT.

8 On March 29, 2013, Erin La Rosa penned the seminal Buzzfeed article “28 Reasons Why Daryl Dixon Is the Hottest Man on ‘Walking Dead.’

Visit the Twitter feed of A Norman Co-Stalker @ennoia3 to learn about the glories of #wispocalypse, #greybeard, #holyshoulders, #goodlordcheckoutthosearms, #handpornerrific, #helpmeispyfangs, #peekabooear, #Reeduspornarama, and more.

10 Take note, co-hosts of “The View,” who in a 2013 interview exhibited no qualms squeezing the Reedus arm muscles even as he physically shied away from the contact.

 


Caralyn Davis lives in Asheville, N.C., and works as a freelance writer for trade publications. Her fiction and creative nonfiction have appeared in Eckleburg AnthologyWord RiotSuperstition ReviewKilling the BuddhaRelief, and other journals. Her “faves” include experimental puppetry and the Great Smokies Writing Program at the University of North Carolina-Asheville. She can be found on Twitter: @CaralynDavis.


 

 

The Impolite Realities of Living in a Polite Society

BugbusterGuns. A divisive bullet between British and American cultures. If I had one, I would hold up this C2C Quiet Zone until the perpetrator of the seeping sewage confessed. It’s a cornea piercing stench that doesn’t move when the train doors open at Pitsea, Basildon, or Benfleet. Those of us standing, waiting for seats, experience a weakening of the knees. Three more stops ‘til freedom.

I glare at those exiting the train, particularly the suits hiding behind class and professionalism. They expect us to blame this stench on the orange and silver striped construction workers. Common men with thick fingers and dirty nails. One’s an escape artist, the other a scapegoat.

Friday. A long day of staring at computer screens, yearning for the new spring sun. I only work four days a week but am over my hours…again. Requests for time off always seems to collide with bank holidays, other national breaks. It’s not that I mind. The 17 days of vacation on a year’s contract is exquisite, but acclimating to this pace is a struggle. At night or on Mondays when I’m not working, I panic that feigning a life will turn my job to vapor. It would in America. Land of the free. Home of bankruptcy’s shadow.

No way am I the only one choking on this. No way the man whose armpit I’m under or the woman carving a divot in my hip with her bag are enjoying this. Yet I’m the only one for three stops — until a dispersion of bodies nullifies sulfurous molecules — who looks like she just ate a shit sandwich.

The British, unbelievably, invented the sandwich. Two pieces of buttered white bread holding shredded cheese to fall out the back, a thin almost imperceptible piece of ham, prawns in a sickly pink sauce, or tuna and sweet corn, a delightful combination, happenstance unknown. Americans, of course, improved on this as we have most everything else layering hearty whole wheat with cold cuts, stable pieces of cheese, veggies and sauces. Like our salads, many of our sandwiches teeter on gluttony but oh do I miss real food. Unbattered meals full of veggies and spices, not a root vegetable or smear of coleslaw in sight. When I open my British sandwich, jam it full of the lettuce, cucumbers and tomatoes served on the side, I may as well plunk a gun on the table. The looks I get. Jamming. Fingers. It isn’t polite. But neither is the sandwich I eat now. I turn my nose, twist my face. I am the only one. In Britain, the stoic is revered.

This irritation with Britain is new. When I first arrived three years ago — younger, in love, a Norfolk village rather than the drudgery of Essex my rest stop— I’d thought I’d landed in a fairy tale of soft, cute, fuzzy things. Millions of fluffy bunny tails on the side of the road, dotted among the snowy ankles of baby sheep. Diddy dear with swishy white tails and carte blanche protection from the queen. Hedgehogs. Waddling balls of cuteness mashed into the road by a flurry of cars playing chicken on hairpin curves. Landscapes as soft as a cashmere covered bosom. Crops the color of sunshine. Triangular red and black street signs warning of duck and ducklings or nan and granddad — both with canes — crossing. It was heaven. How, I wondered, could anyone from a land of cartoon creatures conquer the world?

Staying in someday husband’s parents’ country home, I expected Snow White and her animal friends to wake me with the ‘a ha, ha, ha, ha, ha” song, fresh sheets stretched between the beaks of morning doves.

“Where are your predators?” I asked my soon-to-be.

“What do you mean, predators?”

“Animals that attack, eat other animals. Bears. Coyotes. Wolves. Cougars.”

“We have foxes and badgers.”

I patted his leg, laughed. “How cute.”

“Not everyone lives with mountain lions, bears and rattlesnakes, cock.”

Cock. Prick. Tosser. Fuckin’ hell. I love these expressions but they roll of my tongue like a bowling ball through a flower garden. It doesn’t work.

“You have skunks, which may not bite, but they count because they stink and that’s offensive. I smelled one the other day.”

He laughed. “No, we don’t have skunks. Where do you come up with this stuff? Hollywood?”

But he’s wrong. Britain has skunks. They cluster on trains, dress as humans, look at the tits on page three from under furrowed brows.

I met my partner, Jamie, while we were both on assignment in Abu Dhabi. I commuted countries for a few years before her majesty granted me the right to stay. The edges of the fairy tale rusted on my third visit, which started as a two-week break and seeped into a four-month honeymoon during which a travelling rove of head lice infested my long, blonde hair.

I was sitting in the living room of Jamie’s circa 1500 beamed house interviewing a Fortune 500 executive over Skype when, after scratching my neck, something small and living landed on the key board of my Mac. I picked it up. Red body, flea looking. I smashed it on my assignment sheet and screamed. A louse. Recognizable from the dozens I’d helped Jamie pick out of his daughters’ hair a few short weeks ago.

“Don’t worry,” I was told when Jamie handed me a nit comb, which with its tiny tines, looked like something a music teacher would use to pique a small child’s interest in strings. “All kids get them. They only like young shoots. You can’t get them.”

But I had them and as I stared at the vermin smear on the sheet of paper, a deafening munching filled my ears blocking all comments regarding success, profit margins, innovation. I wanted to tell him — beg him — to stop talking. “Oh my God! “I have head lice!” I wanted to yell. “I have to call you back.”

And the CEO, being of first world, hygienically obsessed America, would commiserate, ask if there was anything he could do because we both know in America only the poor, the dirty, the scuzzy, get head lice. In America, head lice is of the ghetto. Here it is of every child. In a country where nothing is discussed, this miniscule blood sucker is a cultural icon written into countless TV story lines.

Because the magazine pays well, because I couldn’t bring myself to say head lice in relation to my own blonde locks, I mm hmmed my way to the end of the interview, thanked him, hung up and burst into tears. Half an hour in the shower with conditioner and nit combs yielded 38 Godzilla-sized louse, which I kept in a green plastic cup of water. Evidence. The difference in our two cultures presumes Jamie will assume I’m overacting. I am not.

Jamie was out of town on business so I called on my future mother-in-law — bless her in the what a wonderful person sense — who rushed over to disperse the treatment — bless me in the I pity you, you psycho sense. That’s a turn of the British tongue, the use of one phrase or word to represent heaven or hell and all shades in between, bless her/him being the most classic of examples.

The trauma of the head lice incident left me tearing at my skull for weeks. I resisted wrapping the children in cling wrap when they came to the house. In the name of humanity. Their mother — unfortunately — has gray and black shoots dotted with mascara. She does not notice three weeks later when the girls again develop head lice. Again this transfers to me. For a week I sleep with anti-head lice cream in my hair, going through three treatment bottles when one would suffice. Lying in bed, my pillow wrapped in a towel, hands at my chest, praying God will lift this Dickensian misery.

When I go back to the states, mention the second bout of head lice to my siblings, they curdle, scan their cerebral microfiche of possessions to see what my head may have touched. To them, head lice is untenable.

During the second lice scare, nasty, itchy red bites collect on our legs and ankles. This is the consequence of living in one of the quaintest places on earth. Death by head-to-toe digestion by oval bugs.

The fringe of my formally fuzzy British landscape is dotted with pleasant looking, vicious stinging nettles. The stinging nettle — England’s metaphor. Everything best left to superficiality. Surfaces best left unscratched. Look, but don’t touch.

When the fleas turned out not to be bed bugs, I relaxed. Horrifyingly, this was me easing into bugs, accepting the lesser of two evils. Yes, I spent a long night G-chatting and Skyping with friends from the floor of the living room, our bedding, linen and couch cushions in a corner pyre ready for burning, but after the bug man came, delivered the news, I backed down. Fleas I could live with.

Last night, Jamie’s oldest daughter, who is learning about stereotypes, said a stereotype of Americans is that we over exaggerate.

I screwed up my face. “I’ve never heard that stereotype. Sometimes people think we’re loud, or fat, or overly optimistic, but over exaggeration? Never heard it. Who told you that?”

“My teacher.”

“I think it’s just your perception. You’ve met my dad. He has a tendency toward overexcitement.”

“OK.”

And that’s the end of that.

As polite as the British may be — the national anthem is a wind chime of sorry — Americans are more hygienically advanced. Or obsessed, depending on the origin of your species. To go on about British teeth is to go on about American love handles. So I’ll be brief. There’s a reason for the teeth — once a day brushings, socialized medicine — but the lack of obsession with the superficial is refreshing if a bit of a sour perfume.

We are at Chalkwell. The stench breathes its final breaths from inside the upholstery. Although nearly all middle seats are free, most prefer to stand near the doors. Their disappointment is a badge of politeness. It’s better to stand than squeeze down an aisle, temporarily displace the fallen bodies of not one, but two people. But farting, “doing a poppy,” which is a sick, deceitful description for something so vile, is OK. Maybe that’s the point, another caveat in British social law. Disruption is acceptable if it isn’t obvious in a visual sense. Poppies. Stinging nettles. Head lice.

I hyperventilate into my coat until Westcliff, where I gratefully stumble out of the station into the fresh air and the sidewalk, which is puckered with little piles of dog shit. Chiaroscuros left by those who cannot read the pictures pointing to the bright red dog waste bins. This reminds me of Wembley, where grown men line the exterior wall, fags dripping from lips, urine spraying from open zips, reservoirs of stank, barely processed beer running into the parking lot. Surely this barbarianism, this Viking mentality, is a mistake. This is a polite society. But later, when the Viking exhibit comes to the British Museum, we learn the Vikings, too, were advanced. They just had a bad wrap. Oh how history rewrites itself.

A woman walks by, her daughter straining against the harness of her pink leash. A leashed human child weaving her way along a dog turd sidewalk. A bankrupt American flashing a $20,000 smile. At the core, are we really that different?

I walk into an empty house, which is a shame because I feel like talking about my feelings. This urge is a one-way activity forced upon Jamie and his daughters. Sometimes, now that real things occasionally knock against the hardening walls of Jamie’s oldest daughter’s mind, when I steeple my hands, eyes alight, and say, “So, who wants to talk about their feelings?” I know she wants to volunteer. Once, she admitted as much. But never in front of her parents.

My family — the American one — carries on, but we do not keep calm. Everything is discussed. Eating disorders. Relationships. Affairs. The other day my dad asked me how I felt about he and mom selling the house I moved to when I was 15. The question pissed me off. A new feeling. Evidence of cultural assimilation. Is this toughness a requirement for surviving this wispy little island? I hope not. Sometimes it’s helpful — poppies on a train — but my elevation rises each time something is swept under the rug upon which I stand.

Whenever an immigrant icing in America bitches about living in America, the sentiment is, “go home.” I assume the sentiment is the same here. Less explicit. Perhaps a bless her, she’s homesick in public. A bless her the Yank, go back to America behind the curtains. Fair.

But an aspect of taking on a new home, a new country, a new culture, is familiarization. On the floor of our flat is a council bill and the answer to why my quaint little British bunnies metamorphosed into annoying, poppy blowing skunks. Real life. Everything is what it is until it isn’t. Small though they are, cars clog here the same as they do in America. People annoy as much. And bills scream for attention.

 


Ivy Hughes has written for several newspapers, magazines and literary journals including Success, Entrepreneur, The Boston Globe, Interval World, Cleaver, Syndic, and Litro. She grew up in Colorado, but lives in London, England.


 

 

Flash of Love

flashTo me, flash fiction is characterized above all by the extraordinary compression of its form. In its extreme incarnation, flash borderlines narrative poetry and is even mistaken for it sometimes.

The flash story is lifted by intense feelings, situations and actions, and takes off and up and up, but never glides leisurely on warm currents. Every word counts, the structure is tight, and if you remove even the tiniest feather from its wings, the story collapses. Having only 500 words maximum—that’s my magazine’s requirement—the flash fiction writer has none of the space and time for maneuvering that a longer story writer has, but a good one turns this limitation to an advantage. Squeeze the fat out, and the muscle and bones would grow only stronger, the eyes sharper and the ears more attuned to the word of the world.

Out of a myriad and one plots, the story of love is probably the most common and, despite its commonality, the most attractive one to the reader.

It won’t be an exaggeration to say that most of us are looking for love in one way or another. Not necessarily romantic or sexual love, but a feeling as a way of affection and pleasure. Love can be an emotion toward a parent, sibling, significant other, neighbor (or even his wife) or just icecream. Sex is not high on some scales: if you Google the images for the word “love,” a couple doesn’t come up until the 10th image.

So, if you marry love and flash fiction, and if the marriage lasts, you might get a very affectionate, observant and intelligent child.

That’s what I hoped to do with The Games We Play.

Biologically, an average male presents himself as more pushy in many ways than an average female, and is particularly more assertive in the search of a mate. Perhaps ashamed of this animal drive, the human males try to veneer such assertiveness by words. Perhaps that was the foundation of poetry and chivalry.

I longed for love for as long as I remember. Not from the family whose love I took for granted, but from the females of the species, the mysterious half of the humanity, biologically and psychologically different from me. I marveled at their sights, scents, voices and actions. This love has never abated over the years.

Of course, the protagonist of my story is not me. In The Games We Play, I wanted to express the extreme, over the top, even suicidal longing of a quintessential male for a mystifying, desirable but unattainable female. I wanted to preserve the rhythms of poetry while maintaining the narration of prose. I wanted mystery because women were mysterious to him. I wanted a quest both as a goal and as a symbol.

My protagonist had already had once what he seeks now, but he lost it. He might lose it again if he finds it this time. Maybe it’s not even a mortal woman, but his muse. Maybe it’s the journey that he wants and not the destination.

Maybe the whole genre of flash fiction is a journey. A journey taken together: the reader, the writer, and his muse.

 


Mark Budman’s fiction and non-fiction have appeared in such magazines asHuffington Post, World Literature Today, Mississippi Review, Virginia Quarterly, The London Magazine (UK), McSweeney’s, Sonora Review, Another Chicago, Sou’wester, Southeast Review, Mid-American Review, Painted Bride Quarterly, the W.W. Norton anthology Flash Fiction Forward, Not Quite What I Was Planning: Six-Word Memoirs by Writers Famous and Obscure, Short Fiction (UK), and elsewhere. He is the publisher of a flash fiction magazine Vestal Review. His novel My Life at First Try was published by Counterpoint Press. He co-edited flash fiction anthologies from Ooligan Press and Persea Books/Norton.