Friday, May 09, 2008

Kofi Fosu Forson’s Response To:
Sebastian Horsley on Whoring &
Ann Sprinkle 40 Reasons Why Whores are my Heroes:

I took that bemused path down Sebastian Horsley's Guide to Whoring and somehow I came to the conclusion that Whoring as it was so dearly and eloquently defined by Sebastian Horsley can justly be termed Merry Go Round and Round or Coming Round the Mountain. It expresses a sense of carnal knowledge free of politics. The conclusions drawn have to be made pertinent to his very mentioning of Democracy and Morality. Somehow Democracy and Morality have nothing to do with whoring. If made pertinent then we would be locked and fixated on the liberating of sex. Doesn't whoring render that conclusively without need for politicizing hereafter? So in a sense I think he misspoke in that example. Otherwise if explored as a literary text, it was exemplary of class, society, etiquette, seduction and charm.

Whoring is an affected appetite removed of politics rendered neutral and rarely does it meet a point of demand other than it's there for the taking. The very exclusivity and charm with which Horsley took us through his series of explanations adheres to the notion of whoring as an activity free of Morality's Pig because the grunt that he or any other lover makes isn't definitive figuratively of society as a Pig. Thereby making morality neutral and rendering the lover in this case a pig in shit or a lover merrily fornicating.

Sebastian Horsley somehow manages to remove the impudent nature of whoring by literarily painting a rather lovely understanding of what it is to seek sex free of attachment. I for one am bent on seduction and much like the pitcher on the mound in a baseball game, it's a matter of wit and much like a fisherman's tug and pull, it's a matter of waiting. What Sebastian Horsley manages to do is classify and redefine whoring as an activity free of societal and political ties...much the necessitated exploring of sex as cuisine, something one orders at a restaurant or purchases at a grocer's.

What brings to forth the issue of the masculine and feminine is that the male ascribes to a more gentlemanly and fabulous nature while the female as whore is determinably unfashionably whorish. The difference here is also made in class and sophistication, something Horsley made us to believe in that an ugly whore could give a great time in bed while a pretty one is half the sexual threat. Trouble with Sprinkle is that she dwells upon a cliche. The postmodern whore is a professor or a dramatist. She claims the pleasure of having her thighs and buttocks pounded by a variety of men for hours on end but she is a woman of worth. Her liberated sexual organ carries with it the pleasure of her brain as a sexual station and her heart as a sexual cavity which spontaneously receives the spirit of the male much like the sexual cavity receives the male musculature. Whoring has become not how free one is in fornicating but the ability to fornicate with honor, pride and power.

There have always been circumstances of the housewife and whoring as in the Bunuel film with Catherine Deneuve, Belle de jour. Given those circumstances the whore is brought into promiscuity via circumstance. In other forms, self-identity is an issue. Perhaps the body has been victimized. This then leads to a certain and constant means of sexualization. What is made prevalent as a young woman carries over as an adult and in some scenarios as young as preteens in the prostitution occurring on the world wide internet. How then from a male perspective does he interpret an experienced whore fornicating from a less adventurous whore? What is the target here? The fornication? The aesthetics? or the power play? Would he benefit from carnal knowledge with Annie Sprinkle for the outright pleasure or seek an aesthetique in a younger less experienced whore. Postmodernity has secured a manner of freedom in fornicating. Attention is given to body type, fetish and like Horsley described sometimes deformity in places like Amsterdam.

Annie Sprinkle is somewhat dated, at least the 40 examples certifies it as such. The disco and new wave whores have settled and continue to settle in a quiet notion of whoredom. Whoring irrespectively and respectively borders a real unreality unlike any period in time and history. The virtual world now warrants a placement of whoring in a complete domain which increases the potential of the whore as ultimately if female in a dominant and complete position and if male, he sees it fit to reverberate on the role of the female as receptive, accepting, conforming, loving as one bears witness to Horsley as comforting and Sprinkle as hippie and free.

The gender structure is maligned with Esthetique du Mal. Baudelaire was before his time. The flesh is made less of texture and more of torture. The virility of sex in the postmodern world whether as virtual, domesticated or international somehow has given the potential for every single person to whore!

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