I Read The Pornography Wars and Now It's My Least Crowd-Friendly Special Interest

The Pornography Wars: The Past, Present, and Future of America's Obscene Obsession by Kelsy Burke
My rating: 4 of 5 stars

What a world we live in! The other day, I sincerely told my teenager that if I’d known, at her age, that one day I’d live in a future in which Spotify Premium* exists--nearly all the world’s music at my fingertips for just eleven bucks a month!--it would have literally been my own personal “It gets better” moment. Seriously, all. That. Music! And every day I find something new! I’m still low-key in my deep dive of comparing different versions of “The Nutcracker” as played by different professional orchestras, and yesterday, I found a cover of “Life on Mars” sung by Sophia Anne Caruso. What a world!

*This is not an ad for Spotify Premium.

Simultaneously, the fact that you can also now find nearly all the world’s porn at one’s fingertips has gone mostly unnoticed by me, but I love myself a social history, so I was interested enough to dip into this book… and now I might possibly have found myself obsessed with the history of pornography?

But to be fair, Burke drew me in right from the start with a history/analysis of the Venus of Hohle Fels, the earliest figurative depiction of a human yet discovered, and y’all KNOW how I feel about the art and artifacts of early peoples!

Just by looking at it, the Venus of Hohle Fels is pretty porny… and off we go into the history of porn!

There wasn’t as much history of bygone eras as I’d wanted--I wanted to read about Victorian porn!--but I was very interested in Burke’s analysis of a few more contemporary key historical moments that changed how we make and consume pornography. There’s the internet, of course, which made commercial porn shoots less viable because nobody really needs to rent backroom DVDs anymore, and the Pornhub monopoly, which made those shoots now nearly worthless, because why buy a website subscription when you can get raunchy clips for free? It was enlightening to see interviews in which sex workers who said that they could once upon a time earn a living filming porn on contract now have to operate more like gig workers, with porn shoots, camming, public appearances, and escorting. Apparently not even OnlyFans is a one-stop solution for most sex workers, especially when it can’t ever seem to decide if it will take major credit cards or not.

There is actually less history overall in this book than I’d been anticipating. I guess I’d expected a timeline/analysis of seminal works (lol!) and their various historical impacts, and we do get some of that, from the Venus of Hohls Fe to Deep Throat (you should read Roger Ebert’s review of that film!) to the Girls Gone Wild franchise that I remember from my own misspent 20s… but also with a lot of present-day first-person narrative of what it’s like to attend an ethical feminist porn shoot or an anti-porn convention or a sex workers conference, etc. I never could quite nail down (lol!) the author’s thesis, I guess, or even really how she wanted her analysis to flow, which often left me confused about the purpose of what I was reading and/or weirdly displaced in time--there was a very long passage about commercial shoots, for instance, that I was very interested in, but I could not for the life of me figure out if this was a contemporary shoot or something from, say, the early 00s? Based on Burke’s later discussion of the ways that MindGeek/Pornhub has made commercial shoots obsolete, I’m guessing it was the early 00s.

I was also less interested in the lengthy discussions of the various contemporary anti-porn movements. Historical anti-porn movements, sure--the California Measure B legislation in 2012-2017ish is super interesting, and to my mind has a lot of connections with ongoing legislation across the country to limit/determine what public school teachers can do--but the discussions of the contemporary stances against porn just went round and round: feminists are against porn for these reasons, religious conservatives are against porn for these reasons, etc. The feminists who are opposed to porn have a point, at least, but so do the feminists who are okay with porn, as do the sex workers involved in creating it, as do the free speech laws. I did have a fun time looking up an author’s reading of Good Pictures Bad Pictures Jr.: A Simple Plan to Protect Young Minds and snickering over it, though--my teenager, who was also watching this reading with me, kept shortening Jenson’s call to arms of “Turn, Run, and Tell” to “Turnt,” which… snicker! But what I really wanted, and didn’t get, was Burke’s final conclusion and stance; after all, she’s the one who just wrote a book about it! She must have opinions!

Instead, you are not going to BELIEVE what she does in the final paragraph of her book: she spoils the series finale of The Good Place?!?!? I mean, yes, fine, the show has been out for a few years, but still: it was a big twist! And she didn’t even give a spoiler warning first!

Although I got frustrated with the various philosophical stances since they were portrayed as, and seem to remain, unrectifiable (lol!), I was very interested in Burke’s references to a few cultural artifacts that seem like they could be more revealing, notably Rashida Jones’ documentary, Hot Girls Wanted, that seems to portray porn’s incessant acquisition of 18-year-old talent as VERY close to human trafficking, and the Twitter controversy involving August Ames, which seems to have as much to say about mental health as it does homophobia. As well, there’s a short mention of Dan Savage’s amateur porn film festival, Hump, and of a few performers who’ve done some compelling advocacy (including TEDTalks!) that I would have loved to have seen entire chapters on; this feels like the closest society has come (lol!) so far to true feminist, ethical porn.

I left the book with a lot of topics in mind that I’m still curious about: IS feminist ethical porn possible? Is there an ethical way to legitimize sex work? What do popular trends in porn say about the society that creates/consumes it? How has the takeover of “indie”/”pro-am” porn affected the marked sizeism, colorism, and racism clearly evident in most commercial porn? Burke did a little bit of semiotic analysis of a couple of commercial films that have historical resonance, primarily in her discussion of racism and pornography, but I’d love to read more about that. I mean, she barely touched (lol!) 50 Shades of Grey!!!

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