Skin: Talking About Sex, Class, and Literature

Skin: Talking About Sex, Class, and Literature

by Dorothy Allison

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A collection of critical essays from award-winning author Dorothy Allison about identity, gender politics, and queer theory, now with a new preface
Lambda Award and American Library Association’s Stonewall Book Award–winning author Dorothy Allison is known for her bold and insightful writing on issues of class and sexuality. In Skin, she approaches these topics through twenty-three impassioned essays that explore her identity—from her childhood in a poor family in South Carolina to her adult life as a lesbian in the suburbs of New York—and her sexuality. In “Gun Crazy,” Allison delves into what guns meant to the men and women around her when she was growing up. She gives insight into the importance of speaking professionally about sexuality in “Talking to Straight People,” and articulates the danger women feel about revealing their personal desires, even within feminist communities, in “Public Silence, Private Terror.” Allison is fearless in her discussion of many social and political taboos. Compelling and raw, Skin is an honest and intimate work—perfect for Dorothy Allison fans and new readers alike.

Product Details

ISBN-13: 9781480426603
Publisher: Open Road Media
Publication date: 05/28/2013
Sold by: Barnes & Noble
Format: NOOK Book
Pages: 261
Sales rank: 1,113,277
File size: 4 MB

About the Author

Dorothy Allison is a bestselling author of novels, short stories, and poetry, including Bastard Out of Carolina, Cavedweller, Two or Three Things I Know for Sure, Trash: Short Stories, and The Women Who Hate Me: Poetry 1980–1990. In 1995, Allison’s essay collection, Skin: Talking About Sex, Class & Literature, was awarded the Lambda Literary Award for Lesbian Studies and the American Library Association Stonewall Award. Allison received multiple Lambda Literary Awards for Trash and Cavedweller, and Publishing Triangle’s Ferro-Grumley Award for Bastard Out of Carolina, which was a finalist for the National Book Award, and the basis for the film of the same name. Allison has been the subject of many profiles and a short documentary film of her life, entitled Two or Three Things but Nothing for Sure. She lives in California with her partner and their son.    

Read an Excerpt


Talking about Sex, Class, and Literature

By Dorothy Allison


Copyright © 1994 Dorothy Allison
All rights reserved.
ISBN: 978-1-4804-2660-3


A Question of Class

The first time I heard, "They're different than us, don't value human life the way we do," I was in high school in Central Florida. The man speaking was an army recruiter talking to a bunch of boys, telling them what the army was really like, what they could expect overseas. A cold angry feeling swept over me. I had heard the word they pronounced in that same callous tone before. They, those people over there, those people who are not us, they die so easily, kill each other so casually. They are different. We, I thought. Me.

When I was six or eight back in Greenville, South Carolina, I had heard that same matter-of-fact tone of dismissal applied to me. "Don't you play with her. I don't want you talking to them." Me and my family, we had always been they. Who am I? I wondered, listening to that recruiter. Who are my people? We die so easily, disappear so completely—we/they, the poor and the queer. I pressed my bony white trash fists to my stubborn lesbian mouth. The rage was a good feeling, stronger and purer than the shame that followed it, the fear and the sudden urge to run and hide, to deny, to pretend I did not know who I was and what the world would do to me.

My people were not remarkable. We were ordinary, but even so we were mythical. We were the they everyone talks about—the ungrateful poor. I grew up trying to run away from the fate that destroyed so many of the people I loved, and having learned the habit of hiding, I found I had also learned to hide from myself. I did not know who I was, only that I did not want to be they, the ones who are destroyed or dismissed to make the "real" people, the important people, feel safer. By the time I understood that I was queer, that habit of hiding was deeply set in me, so deeply that it was not a choice but an instinct. Hide, hide to survive, I thought, knowing that if I told the truth about my life, my family, my sexual desire, my history, I would move over into that unknown territory, the land of they, would never have the chance to name my own life, to understand it or claim it.

Why are you so afraid? my lovers and friends have asked me the many times I have suddenly seemed a stranger, someone who would not speak to them, would not do the things they believed I should do, simple things Like applying for a job, or a grant, or some award they were sure I could acquire easily. Entitlement, I have told them, is a matter of feeling like we rather than they. You think you have a right to things, a place in the world, and it is so intrinsically a part of you that you cannot imagine people like me, people who seem to live in your world, who don't have it. I have explained what I know over and over, in every way I can, but I have never been able to make clear the degree of my fear, the extent to which I feel myself denied: not only that I am queer in a world that hates queers, but that I was born poor into a world that despises the poor. The need to make my world believable to people who have never experienced it is part of why I write fiction. I know that some things must be felt to be understood, that despair, for example, can never be adequately analyzed; it must be lived. But if I can write a story that so draws the reader in that she imagines herself like my characters, feels their sense of fear and uncertainty, their hopes and terrors, then I have come closer to knowing myself as real, important as the very people I have always watched with awe.

I have known I was a lesbian since I was a teenager, and I have spent a good twenty years making peace with the effects of incest and physical abuse. But what may be the central fact of my life is that I was born in 1949 in Greenville, South Carolina, the bastard daughter of a white woman from a desperately poor family, a girl who had left the seventh grade the year before, worked as a waitress, and was just a month past fifteen when she had me. That fact, the inescapable impact of being born in a condition of poverty that this society finds shameful, contemptible, and somehow deserved, has had dominion over me to such an extent that I have spent my life trying to overcome or deny it. I have learned with great difficulty that the vast majority of people believe that poverty is a voluntary condition.

I have loved my family so stubbornly that every impulse to hold them in contempt has sparked in me a countersurge of pride—complicated and undercut by an urge to fit us into the acceptable myths and theories of both mainstream society and a lesbian-feminist reinterpretation. The choice becomes Steven Spielberg movies or Erskine Caldwell novels, the one valorizing and the other caricaturing, or the patriarchy as villain, trivializing the choices the men and women of my family have made. I have had to fight broad generalizations from every theoretical viewpoint.

Traditional feminist theory has had a limited understanding of class differences and of how sexuality and self are shaped by both desire and denial. The ideology implies that we are all sisters who should only turn our anger and suspicion on the world outside the lesbian community. It is easy to say that the patriarchy did it, that poverty and social contempt are products of the world of the fathers, and often I felt a need to collapse my sexual history into what I was willing to share of my class background, to pretend that my life both as a lesbian and as a working-class escapee was constructed by the patriarchy. Or conversely, to ignore how much my life was shaped by growing up poor and talk only about what incest did to my identity as a woman and as a lesbian. The difficulty is that I can't ascribe everything that has been problematic about my life simply and easily to the patriarchy, or to incest, or even to the invisible and much-denied class structure of our society.

In my lesbian-feminist collective we had long conversations about the mind/body split, the way we compartmentalize our lives to survive. For years I thought that that concept referred to the way I had separated my activist life from the passionate secret life in which I acted on my sexual desires. I was convinced that the fracture was fairly simple, that it would be healed when there was time and clarity to do so—at about the same point when I might begin to understand sex. I never imagined that it was not a split but a splintering, and I passed whole portions of my life—days, months, years—in pure directed progress, getting up every morning and setting to work, working so hard and so continually that I avoided examining in any way what I knew about my life. Busywork became a trance state. I ignored who I really was and how I became that person, continued in that daily progress, became an automaton who was what she did.

I tried to become one with the lesbian-feminist community so as to feel real and valuable. I did not know that I was hiding, blending in for safety just as I had done in high school, in college. I did not recognize the impulse to forget. I believed that all those things I did not talk about, or even let myself think too much about, were not important, that none of them defined me. I had constructed a life, an identity in which I took pride, an alternative lesbian family in which I felt safe, and I did not realize that the fundamental me had almost disappeared.

It is surprising how easy it was to live that life. Everyone and everything cooperated with the process. Everything in our culture—books, television, movies, school, fashion—is presented as if it is being seen by one pair of eyes, shaped by one set of hands, heard by one pair of ears. Even if you know you are not part of that imaginary creature—if you like country music not symphonies, read books cynically, listen to the news unbelievingly, are lesbian not heterosexual, and surround yourself with your own small deviant community—you are still shaped by that hegemony, or your resistance to it. The only way I found to resist that homogenized view of the world was to make myself part of something larger than myself. As a feminist and a radical lesbian organizer, and later as a sex radical (which eventually became the term, along with pro-sex feminist, for those who were not anti-pornography but anti-censorship, those of us arguing for sexual diversity), the need to belong, to feel safe, was just as important for me as for any heterosexual, nonpolitical citizen, and sometimes even more important because the rest of my life was so embattled.

The first time I read the Jewish lesbian Irena Klepfisz's poems, I experienced a frisson of recognition. It was not that my people had been "burned off the map" or murdered as hers had. No, we had been encouraged to destroy ourselves, made invisible because we did not fit the myths of the noble poor generated by the middle class. Even now, past forty and stubbornly proud of my family, I feel the draw of that mythology, that romanticized, edited version of the poor. I find myself looking back and wondering what was real, what was true. Within my family, so much was lied about, joked about, denied, or told with deliberate indirection, an undercurrent of humiliation or a brief pursed grimace that belied everything that had been said. What was real? The poverty depicted in books and movies was romantic, a backdrop for the story of how it was escaped.

The poverty portrayed by left-wing intellectuals was just as romantic, a platform for assailing the upper and middle classes, and from their perspective, the working-class hero was invariably male, righteously indignant, and inhumanly noble. The reality of self-hatred and violence was either absent or caricatured. The poverty I knew was dreary, deadening, shameful, the women powerful in ways not generally seen as heroic by the world outside the family.

My family's lives were not on television, not in books, not even comic books. There was a myth of the poor in this country, but it did not include us, no matter how hard I tried to squeeze us in. There was an idea of the good poor—hard-working, ragged but clean, and intrinsically honorable. I understood that we were the bad poor: men who drank and couldn't keep a job; women, invariably pregnant before marriage, who quickly became worn, fat, and old from working too many hours and bearing too many children; and children with runny noses, watery eyes, and the wrong attitudes. My cousins quit school, stole cars, used drugs, and took dead-end jobs pumping gas or waiting tables. We were not noble, not grateful, not even hopeful. We knew ourselves despised. My family was ashamed of being poor, of feeling hopeless. What was there to work for, to save money for, to fight for or struggle against? We had generations before us to teach us that nothing ever changed, and that those who did try to escape failed.

My mama had eleven brothers and sisters, of whom I can name only six. No one is left alive to tell me the names of the others. It was my grandmother who told me about my real daddy, a shiftless pretty man who was supposed to have married, had six children, and sold cut-rate life insurance to poor Black people. My mama married when I was a year old, but her husband died just after my little sister was born a year later.

When I was five, Mama married the man she lived with until she died. Within the first year of their marriage Mama miscarried, and while we waited out in the hospital parking lot, my stepfather molested me for the first time, something he continued to do until I was past thirteen. When I was eight or so, Mama took us away to a motel after my stepfather beat me so badly it caused a family scandal, but we returned after two weeks. Mama told me that she really had no choice: she could not support us alone. When I was eleven I told one of my cousins that my stepfather was molesting me. Mama packed up my sisters and me and took us away for a few days, but again, my stepfather swore he would stop, and again we went back after a few weeks. I stopped talking for a while, and I have only vague memories of the next two years.

My stepfather worked as a route salesman, my mama as a waitress, laundry worker, cook, or fruit packer. I could never understand, since they both worked so hard and such long hours, how we never had enough money, but it was also true of my mama's brothers and sisters who worked hard in the mills or the furnace industry. In fact, my parents did better than anyone else in the family. But eventually my stepfather was fired and we hit bottom—nightmarish months of marshals at the door, repossessed furniture, and rubber checks. My parents worked out a scheme so that it appeared my stepfather had abandoned us, but instead he went down to Florida, got a new job, and rented us a house. He returned with a U-Haul trailer in the dead of night, packed us up, and moved us south.

The night we left South Carolina for Florida, my mama leaned over the backseat of her old Pontiac and promised us girls, "It'll be better there." I don't know if we believed her, but I remember crossing Georgia in the early morning, watching the red clay hills and swaying grey blankets of moss recede through the back window. I kept looking at the trailer behind us, ridiculously small to contain everything we owned. Mama had packed nothing that wasn't fully paid off, which meant she had only two things of worth: her washing and sewing machines, both of them tied securely to the trailer walls. Throughout the trip I fantasized an accident that would burst that trailer, scattering old clothes and cracked dishes on the tarmac.

I was only thirteen. I wanted us to start over completely, to begin again as new people with nothing of the past left over. I wanted to run away from who we had been seen to be, who we had been. That desire is one I have seen in other members of my family. It is the first thing I think of when trouble comes—the geographic solution. Change your name, leave town, disappear, make yourself over. What hides behind that impulse is the conviction that the life you have lived, the person you are, is valueless, better off abandoned, that running away is easier than trying to change things, that change itself is not possible. Sometimes I think it is this conviction—more seductive than alcohol or violence, more subtle than sexual hatred or gender injustice—that has dominated my life and made real change so painful and difficult.

Moving to Central Florida did not fix our lives. It did not stop my stepfather's violence, heal my shame, or make my mother happy. Once there, our lives became controlled by my mother's illness and medical bills. She had a hysterectomy when I was about eight and endured a series of hospitalizations for ulcers and a chronic back problem. Through most of my adolescence she superstitiously refused to allow anyone to mention the word cancer. When she was not sick, Mama and my stepfather went on working, struggling to pay off what seemed an insurmountable load of debts.

By the time I was fourteen, my sisters and I had found ways to discourage most of our stepfather's sexual advances. We were not close, but we united against him. Our efforts were helped along when he was referred to a psychotherapist after he lost his temper at work, and was prescribed drugs that made him sullen but less violent. We were growing up quickly, my sisters moving toward dropping out of school while I got good grades and took every scholarship exam I could find. I was the first person in my family to graduate from high school, and the fact that I went on to college was nothing short of astonishing.

We all imagine our lives are normal, and I did not know my life was not everyone's. It was in Central Florida that I began to realize just how different we were. The people we met there had not been shaped by the rigid class structure that dominated the South Carolina Piedmont. The first time I looked around my junior high classroom and realized I did not know who those people were—not only as individuals but as categories, who their people were and how they saw themselves—I also realized that they did not know me. In Greenville, everyone knew my family, knew we were trash, and that meant we were supposed to be poor, supposed to have grim low-paid jobs, have babies in our teens, and never finish school. But Central Florida in the 1960s was full of runaways and immigrants, and our mostly white working-class suburban school sorted us out not by income and family background but by intelligence and aptitude tests. Suddenly I was boosted into the college-bound track, and while there was plenty of contempt for my inept social skills, pitiful wardrobe, and slow drawling accent, there was also something I had never experienced before: a protective anonymity, and a kind of grudging respect and curiosity about who I might become. Because they did not see poverty and hopelessness as a foregone conclusion for my Life, I could begin to imagine other futures for myself.


Excerpted from Skin by Dorothy Allison. Copyright © 1994 Dorothy Allison. Excerpted by permission of OPEN ROAD INTEGRATED MEDIA.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

Table of Contents

  • Acknowledgments
  • Contents
  • Preface
  • Context
  • A Question of Class
  • Never Expected to Live Forever
  • Gun Crazy
  • Shotgun Strategies
  • What Do We See? What Do We Not See?
  • Neighbors
  • Not as a Stranger
  • Sex Writing, the Importance and the Difficulty
  • Puritans, Perverts, and Feminists
  • Public Silence, Private Terror
  • Her Body, Mine, and His
  • The Theory and Practice of the Strap-on Dildo
  • Conceptual Lesbianism
  • Talking to Straight People
  • Femme
  • Sex Talk
  • Believing in Literature
  • A Personal History of Lesbian Porn
  • Myths and Images
  • Bertha Harris, a Memoir
  • Survival Is the Least of My Desires
  • Skin, Where She Touches Me
  • Promises
  • About the Author

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