Playing on the Edge

Staci Newmahr

Description

Constructing intimacy in SM play and beyond

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Representations of consensual sadomasochism range from the dark, seedy undergrounds of crime thrillers to the fetishized pornographic images of sitcoms and erotica. In this pathbreaking book, ethnographer Staci Newmahr delves into the social space of a public, pansexual SM community to understand sadomasochism from the inside out. Based on four years of in-depth and immersive participant observation, she juxtaposes her experiences in the field with the life stories of community members, providing a richly detailed portrait of SM as a social space in which experiences of "violence" intersect with experiences of the erotic. She shows that SM is a recreational and deeply gendered risk-taking endeavor, through which participants negotiate boundaries between chaos and order. Playing on the Edge challenges our assumptions about sadomasochism, sexuality, eroticism, and emotional experience, exploring what we mean by intimacy, and how, exactly, we achieve it.

Contents
Acknowledgments

Introduction

Part 1: People
1. Defiance: Bodies, Minds, and Marginality
2. Geeks and Freaks: Marginal Identity and Community

Part 2: Play
3. Tipping the Scales: Striving for Imbalance
4. Fringe Benefits: The Rewards of SM Play
5. Badasses, Servants, and Martyrs: Gender Performances

Part 3: Edges
6. Reconcilable Differences: Pain, Eroticism, and Violence
7. Collaborating the Edge: Feminism and Edgework
8. "What It Is That We Do": Intimate Edgework

Concluding Notes: Erotic Subjectivity and the Construction of the Field
Glossary
Notes
Bibliography
Index

Sujets

• Social Science
• Sociologie, société et politique
• Sociology
• Methodology
• General officer
• Gender
• Social sciences
• Anthropology
• General
• Social
• Culture

Informations

• Publié par: Indiana University Press
• Date de parution: 14 février 2011
• Nombre de lectures: 4
• EAN13: 9780253005120
• Langue: English

Extrait

Playing on the Edge
Sadomasochism, Risk, and Intimacy
Staci Newmahr
Indiana University Press Bloomington and Indianapolis
This book is a publication of
Indiana University Press 601 North Morton Street Bloomington, Indiana 47404-3797 USA
iupress.indiana.edu
Telephone orders       800-842-6796 Fax orders                  812-855-7931 Orders by e-mail         [e-mail]
© 2011 by Staci Newmahr All rights reserved
No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. The Association of American University Presses' Resolution on Permissions constitutes the only exception to this prohibition.
The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI Z39.48-1992.
Manufactured in the United States of America
Library of Congress Cataloging-in-Publication Data
Newmahr, Staci.   Playing on the edge : sadomasochism, risk, and intimacy / Staci Newmahr.          p. cm.   Includes bibliographical references and index.   ISBN 978-0-253-35597-3 (cloth : alk. paper) — ISBN 978-0-253-22285-5 (pbk. : alk. paper) 1. Sadomasochism. 2. Sexual dominance and submission. 3. Sadomasochists—Case studies. I. Title.   HQ79.N49 2011   306.77'5—dc22                                                             2010035371
1 2 3 4 5 16 15 14 13 12 11
Portions of earlier versions of this work have appeared in Journal of Contemporary Ethnography 37 (2008), Symbolic Interaction 33 (3) (2010), and Qualitative Sociology 33 (3), (2010). All works were written by Staci Newmahr and reprinted with permission of Sage Publications, University of California Press, and Springer, respectively.
For my mother, Irene,
who taught me to be comfortable with risk,
for Riordan,
whom I hope to teach the same,
and for Paul,
for whom there simply are no words great enough.
Contents
Acknowledgments
Introduction
Part 1: People
1. Defiance: Bodies, Minds, and Marginality
2. Geeks and Freaks: Marginal Identity and Community
Part 2: Play
3. Tipping the Scales: Striving for Imbalance
4. Fringe Benefits: The Rewards of SM Play
5. Badasses, Servants, and Martyrs: Gender Performances
Part 3: Edges
6. Reconcilable Differences: Pain, Eroticism, and Violence
7. Collaborating the Edge: Feminism and Edgework
8. “What It Is That We Do”: Intimate Edgework
Concluding Notes: Erotic Subjectivity and the Construction of the Field
Glossary
Notes
Bibliography
Index
Acknowledgments
Many open-minded and generous people took a leap on this project with me, or for me. I appreciate their adventurousness and their confidence.
I am ineffably grateful to Judy Tanur, my mentor and friend. Her encouragement and support energized this project from the moment of its inception over a decade ago until the last word was written. My thinking and my writing have benefited tremendously from her steadfast commitments to theoretical precision and methodological rigor.
Aisha Khan's unflinching support for this project was a source of inspiration and sustenance from the very beginning. Our conversations about the scene were always exciting and intellectually catalytic. I thank her for her brilliant and contagious energy, and for helping me to trust myself.
I thank Javier Auyero, for breathing life into ethnography in our department, for tirelessly reading draft after draft of my work, and for never pulling his punches. I appreciate also the efforts of Naomi Rosenthal, in finding entry points into this project, in challenging me to think differently, and in letting me know what I was up against. I owe thanks also to Erich Goode, Marc Olshan, and Bob Zussman, all of whom helped hone my thinking in the early stages of this project.
My colleagues at Buffalo State College have been supportive from the moment I arrived there. Gerhard Falk and Tom Weinberg encouraged me and regularly expressed confidence in the book. Virginia Grabiner read excerpts and provided me with helpful responses, and Cheryl Albers graciously provided valuable feedback on a tricky chapter in the final hour. Finally, I am deeply indebted to Allen Shelton for his close and keen readings of pieces of this work, for inspiring me anew in each and every conversation, and for his significant emotional and intellectual support as the book came into being.
Three readers for Indiana University Press offered me wonderfully thoughtful and constructive reviews. Patricia Adler, Leon Anderson, and Katherine Frank provided enthusiastic and meaningful support and made insightful contributions to this work. I owe special thanks to Katherine Frank, whose own work helped me think this one possible, and whose incisive feedback has made it much, much stronger than it would have been otherwise. I would also like to thank Rebecca Tolen and Peter Froehlich at Indiana University Press for their support.
Fieldwork is often an emotionally intense experience, and this project brought with it particular intensities. Over the past ten years I relied heavily on my friends, all of whom shouldered the burdens I placed on them with grace and astounding generosity. They engaged with me in countless conversations about the concepts in this book, about the scene, and about my play and my responses to it. They helped in dozens of incredibly valuable practical ways as well. I cannot overstate the ways in which these relationships sustained me while I was working on this book. Among these are Regina Alandy, Katherine Cherbas, Natasha Khost, and Jaquelyn Lacovara (who may have forgotten her multi-leveled role in this project, but I have not). I thank my brother, Todd Newmahr, for his enthusiasm for my work, and for always being there when I needed him.
For their time, attention, and candid feedback on various pieces of this work, I would also like to thank Martin Barron, Tarek Elnicklawy, Sue Ferziger, Michelle Fox, Paul Fuller, Crystal Galloway, John Galloway, Tor Gunston, Mary Link Habib, Jacob Heller, Kerri Kennedy, Tobin Kramer, Jason Kress, Beth Kress, Jason Lampert, Jon Lehrer, Meitar “Maymay” Moscovitz, Paul Park, Asaf Ronen, Jason Salomone, Natasha Schreib, and Robin Wetherbee.
I suspect that most ethnographers would agree on the futility of trying to express the depth of appreciation for the collaborative relationship that is ethnographic research. I am profoundly indebted to the members of the SM community in Caeden. I thank each one of them for their welcome, their trust, and their intensity.
This work is in part the result of the generosity of the twenty members of the community who spent so many hours talking with me, sharing the stories of their lives, their thoughts and fears, and their answers to my seemingly endless questions. I cannot thank them enough for their openness and their time.
To those who trusted me enough to play, risk, and trust with me—most especially Bo, Dov, Jason, and Mike—I am deeply grateful. Without them, this book would not exist; my journey would not have been what it was and I would not be who I have become.
My partner, Paul Kress, lived and breathed this project alongside me. An inclusive list of his contributions to this project would require a chapter on its own. I thank him for the self-confidence and generosity of spirit that rendered my pursuit of this project possible in the first place. I thank him for his patience with near-constant conversation about my work for such a very, very long time, for reading each draft of everything so thoughtfully, and for his superb skill in complicating questions and in clarifying muddiness. I thank him also for his unwavering encouragement of this project and of me, for his rock-solid optimism and his spirit of adventure.
There are two other people whom I cannot adequately thank, for their positively brilliant insights, provocative questions, loyal friendship, and the fortification that only hearty laughter can provide. It is impossible to extricate my thinking from theirs; this book was, in too many ways to count and ways impossible for anyone else to understand, also written by Mike and Maymay.
Introduction
The warehouses on the street had been closed for hours. Taxis thumped down the pothole-plagued city block. Rap music blasted from a nearby nightclub. I locked my Club onto the steering wheel of my car, double-checked the parking sign, and headed down the street. The pavement glittered under my boots, embedded glass reflecting the reassuring lamplight in this downtown district. Halfway down the block, I stopped at a brick wall. I parted the dirty clear plastic vertical blinds that obscured the threshold, and walked inside. A tall, thin, disheveled man was perched on a stool just inside the unlabeled doorway. He nodded at me as I entered.
The walls were gray concrete.