The Feminist Porn Book has been one of the more fun books to take along on the subway. With this hanging out in my purse over the last few weeks and Kink.com back in the headlines for unfair labor practices, I took the chance to interview some porn performers and producers about porn as women’s work, and how feminist porn can be a feminist labor issue. That’s up at the Guardian .

Maxine Holloway and Bella Vendetta had way more to say than I could fit in print, and I wasn’t able to get in one of my favorite excerpts from the book, from an essay by Clarissa Smith and Feona Attwood, on the resurgence of anti-porn feminism and its’ complicated relationship with the internet:

. . . the current wave of antipornography campaigning draws on the arguments of the 1970s and 1980s antiporn feminists but do so in interesting ways — for example, although they build on the central tenets of Andrea Dworkin’s analysis of the misogyny and cruelty of pornographers, they posit this as a prescient account but one that could never have envisaged the ‘juggernaut’ of the Internet . . . this complex narrative of nostalgia and futurology is a central theme in these accounts where pornography is acknowledged as an already exisiting feature of the landscape, but one that has developed outside the knowledge of ‘ordinary’ adults and needs urgent redress.

There’s also been some fascinating conversation on Susie Bright’s blog, about how the book positions the current sex positive community with or possibly against the late 1970s and early 1980s contributions of feminists, particularly those who identified as sex radical feminists.

In an open letter to the editors of The Feminist Porn Book , Gayle Rubin (whose “Thinking Sex: Notes for a Radical Theory of the Politics of Sexuality” is an essential text) writes that in both the introduction to their book and in media surrounding it, the editors seem to be proposing a “middle ground” between what could be read as “extreme” ideologies held by both sex positive and anti-porn camps. “This way of framing the history of debate over pornography within feminism is not uncommon,” writes Rubin, “but it is dead wrong.” She continues:

This version of the story requires mischaracterizing most of us who were involved in the early arguments by casting us as unreasonable extremists who celebrated pornography without qualifications. It fails to recognize that we — essentially the first generation of feminist critics of the antiporn movement — made most of these so-called “reasonable middle” points in the late 1970s and early 1980s, back at the time when the porn debates first ignited.

Responding to Rubin, the editors write:

While noting this tremendous diversity and productive potential [in porn], sex positive feminist critics have not yet fully analyzed the tremendous production of feminist pornographies that has emerged in the past fifteen years. When we say these pornographies have been “lost in the middle,” we mean that critical work on emerging forms of feminist pornography needs to be engaged if we want to continue to advance the cause of sex positive feminism. That’s what our book is intended to do.

It’s true — most writing about the sex industry in the last fifteen years (not that I just did a lit review, but I did) focuses on first-person storytelling about workplace experiences. Porn performers are often under-represented in this literature, and porn producers (even if they are also performers themselves) are often not represented because they occupy a management role. There’s comparatively less work exploring the production or business side of any sex industry. (There’s also a whole other conversation to be had, about whether or not producers or managers are sex workers, or should be part of sex workers’ spaces (and literature), but it’s somewhere The Feminist Porn Book does shine, in bringing together people who both perform in and produce (and study) feminist pornographies, in the same space, even if they aren’t on quite even footing.)

I wonder if this is why Tristan Taormino responded to my piece, which concerned feminist porn as labor, by saying she didn’t think the performers I spoke with were “representative,” which I disagree with. I’ve heard one of the frustrations I wrote about — that feminist porn doesn’t pay what “mainstream” porn pays — quite a bit, both from colleagues in porn at the time I was working, and from those who still work in feminist porn. This issue of pay deferential isn’t just about what an individual producer can or chooses to pay; it’s about resources, and how under-resourced women’s work and women’s own businesses are. It’s something I’d love to read more about, from performers’ perspectives. (Here’s one take on the question, of how to pay and pay fairly, from a feminist porn producer, Ms. Naughty.)

Back to Rubin, though. Her generation of feminist porn thinkers brought a class politics to their porn politics, one of the most important contributions of the early sex radical feminists, and one that has almost been lost. It’s one of the more challenging things to me about explaining “sex positivity” to those who have no idea what it means (most people), because I find myself digging for a politics of sex positivity, and to find it, I end up back quoting Rubin, Carole Vance, Amber Hollibaugh, Ellen Willis — women who were producing a theory of sexuality and feminism thirty years ago. (In fact, the legendary Barnard Conference on Sexuality was held here in New York in 1982. I wish was had thought to produce a reunion or tribute. I’d love to be in that room.)

In this early sex radical writing and thinking about sexuality and feminism, the actual production of feminist porn might not yet be present (it can’t really yet be), but what is much more upfront is a grounding of this whole enterprise, of sex and gender, in questions about power and class and inequality. Talking about compulsory heterosexuality and motherhood, the uncompensated labor of sex and sexual reproduction, and all the connections between the devaluation of women’s labor and women’s sexuality are what sex radical feminists used to destabilize anti-porn feminism’s recapitulation of female virtue (whether within straight or lesbian monogamy).

These women are the roots of this work, and more urgently, they are the roots I don’t know that my generation (X-ish? Y-ish?) has yet to fully add our own analysis to — of what the questions of power and inequality raised by sex radicals thirty years ago mean to sex positive feminists today. This book is one step in that direction, but it leaves me wanting more, and a more that will require reincorporating the analyses of labor and class that (honestly, most) feminism has sheared off since the 1980s. In trying to understand this gap in analysis and shared history (which is I think what we see in these two open letters), I want to better understand where “sex radical” and “sex positive” feminisms converge and split off from one another. I don’t think they are the same thing, and I think we lost something when “sex radical” (mostly) dropped off the radar. If this transition, from sex radical giving way to sex positive, mirrors anything like the parallel changes in queer and women’s movements, it follows a time, moving from the 80s to the 90s, of an underclass getting more visible, and later, getting more respectable, while still preserving an underclass within the people just barely formerly known as the underclass.

I know it might be hard to to conceive of “sex positivity” as respectable in anyone’s eyes. But just as when Pride went corporate and when feminism becomes a corporate slogan, when “sex positivity” became closely identified (if not entirely identified) by sex toy stores and sex positive porn, where did our ways of talking about inequality go? (Fave exploration of this I’ve ever read is this 1999 piece by Mimi Thi Nguyen, for Punk Planet.) Where are those analyses being developed (over a coffee counts, I’m not just talking classrooms) and where can others find them?

The ground work has been done; it’s just a matter of reaching back and asking new questions.