It is no accident that I segue from a scene in which my group is confronted by a towering nude giantess to a flashback in which I, myself, am undressed and exploring both my interior and exterior environs without the usual protective layers of clothing or shame. In the enormous, exposed figure of Psezpolnica, no doubt I feel an affinity, perhaps an admiration for any female who can present herself with such apparent lack of self-consciousness, seemingly in complete disregard for how she might be judged and exploited by her audience. Having masqueraded one Halloween as Simone de Beauvoir, I guess I'll always be a bit de Beauvoir.
The satire of Jonathan Swift remains a staple of English-speaking primary education—including my own—but it's usually limited to the first volume of
It remains unknown to the majority of children that in the kingdom of Brobdingnag, in the second volume, Swift's picaresque travelogue does get a tad bit tawdry and dicey.
These are the salacious tidbits one learns when bothering to do the supplemental reading for extra credit. Especially while spending Christmas vacation naked, alone in an otherwise empty residence hall. In the second volume of Swift's masterpiece, once the giant residents of Brobdingnag capture Gulliver, he's presented at their royal court and is made a kind of mascot, forced to live in the queen's apartments, in very intimate proximity among the very gigantic ladies-in-waiting. It's these ladies who pleasure themselves by removing their clothing and lying together, sharing a bed while our hero is compelled to journey the peaks and valleys of their way-naked bodies. Writing in the guise of his narrator, Swift describes these women—the most-lovely female aristocrats of their society, who would appear so charming and appealing from a distance—as in fact constituting a swampy, reeking Gehenna in actual up-close physical contact. Our minuscule hero stumbles about their spongy, damp flesh, encountering monstrous pubic thickets of hairs, inflamed blemishes, vast cavernous scars, pits, knee-deep wrinkles, stretches of dead flaking skin, and shallow puddles of fetid perspiration.
And yes, it's duly noted that such a landscape depicted by Swift bears a marked resemblance to the actual terrain of Hell. This spreading landscape of noblewomen recline in their afternoon languor, expecting, really demanding that this teeny shrunken man bring them to pleasure. All the while, he stumbles and reels in disbelief and utter disgust of them. Overwhelmed with sickness and horror, exhausted, our enslaved Gulliver is forced to labor until the giant women are satisfied. In all of English literature, few passages can match this one of Swift's for its descriptive bluntness and unwelcome, masculine crudity.
My mother would tell you that men—boys, men, males in general—are too stupid, too easily found out, and too lazy to ever succeed as truly gifted liars.
Yes, I might be dead and rather imperious and steadfastly opinionated, but I know the blunt stink of misogyny when I smell it. And that it's very likely Jonathan Swift found himself the victim of childhood sexual abuse, and was now venting his rage in the passive-aggressive avenue of fantasy fiction.
In his own unhelpful way, my father would tell you, "A women eats to feed her pussy" Meaning: Anything we do to excess is in compensation for not getting a minimum amount of sexual gratification.
My mother would say that men overimbibe alcohol because their penises are thirsty.
Really, being the offspring of former-hippie, former-Rasta, former-punk, former-anarchist parents means that I'm bombarded by no end of earthy truisms.
And no, I've never enjoyed an orgasm of my own, but I have read
That said, I stand before the Serbian demon, the towering nude tornado woman known as Psezpolnica.