by Eric J. Weiner

Through the academic grapevine, it came; a story of an eminent sociologist who argued that he wouldn’t want to work with graduate students who he couldn’t fuck. The infamous statement was allegedly said in a faculty meeting in the 1990s at a progressive urban university where they were considering an official ban on faculty-graduate student sexual relationships. Most, if not all, of the female faculty at the meeting were appalled and offended. They accused the professor, to varying degrees, of being misogynistic, prurient, boorish, patriarchal, naïve, profane, immature, and, most stinging of all, willfully blind to inequities of power and the abuses that surely follow. He laughed good-naturedly, as was his wont in the face of intellectual disagreement, and tried to explain the reasoning behind his admittedly provocative statement.
He believed that adult women (and men) have sexual agency and should be free to pursue whatever consensual sexual relationships they desire; to argue for its regulation in the service of comfort and/or protection is to infantilize both women and men and repress, from a Reichian perspective, the “unified erotic impulse” of sexual desire, tenderness, and empathy.[1] Specific to women, he argued that feminist-driven policies that inadvertently deny, diminish, and/or discipline women’s sexual agency and freedom do not serve women’s liberation from male supremacist ideology, but provides the “self-perpetuating basis of a sadomasochistic psychology that is in turn crucial to the maintenance of an authoritarian, hierarchical social order.”[2] Policies that discipline the unified erotic impulse would impose a form of repressive libidinal desublimation in the name of liberation.[3] Regulating and disciplining sexual desire denies a women’s right to choose who, where, and when to fuck; furthermore, if equality is a precondition of sexual agency, then any erotic attention is “always already” problematic. Power between two (or more) intimates is never equal. He emphasized that he was not reasserting a notion of sexual freedom that ignores or denies the structural reality of male supremacy and the unfair burden it places on women who demand and deserve sexual freedom without apology. His argument, in other words, was not driven by self-interest, i.e., he didn’t actually want to have sex with any of his graduate students. He was fully aware of how “sexual morality, [even when it arises from the left] in a patriarchal culture becomes a primary instrument of social control.”[4] Nevertheless, he believed that policies that ban sexual relationships between graduate students and professors, in the final analysis, place too much emphasis on preventing sexual coercion and “undercut feminist opposition to the right.”[5] Equally concerned about the pedagogical implications of the proposed ban, the professor agued that it contradicted the progressive and critical modalities of education that they all supported and practiced. I am told the professor went on to link the imperative of sexual freedom to the praxis of radical social change. I do not know how the meeting ended, but I never forgot the story. Read more »




I discovered my ideal radio station by accident.



I’ll return to that second crack once we’ve explored the first one. But why do that at all? Does free will matter to anyone but a couple of bickering philosophers? Of course it does! Sam Harris noted in his recent
“Sadequain!” The very name is like a magic word that triggers a tumult of images in the mind. Arguably, no Pakistani artist has elicited more admiration, evoked more passion, and received more adulation than Saiyid Sadquain Ahmad Naqvi, the subject – and really, the hero – of the book “Sadequain: Artist and Poet – A Memoir” by Saiyid Ali Naqvi. In the world of art, be it painting, music, or literature, it is the pinnacle of achievement to be recognized by a single name – to need no further introduction. And rare indeed is the artist who achieves this distinction in his or her own life, as Sadequain did remarkably early in his career as an artist. And this delightful, beautiful, and insightful book shows why. Beginning with the earliest and formative years of Sadequain when he was not yet a legend, it takes the reader systematically through all stages of his life and his growth as an artist, laying bare both the immense determination and the perpetual restlessness of the artist’s genius.




The world we live in is changing, and our politics must change with it. We are in what has been called the ‘anthropocene’: the period in which human activity is threatening the ecosystem on which we all depend. Catastrophic climate change threatens our very survival. Yet our political class seems unable to take the necessary steps to avert it. Add to that the familiar and pressing problems of massive inequality, exploitation, systemic racism and job insecurity due to automation and the relocation of production to cheaper labour markets, and we have a truly global and multidimensional set of problems. It is one that our political masters seem unable to properly confront. Yet confront them they, and we, must. Such is the scale of the problem, the political order needs wholesale change, rather than the small, incremental reforms we have been taught are all that are practicable or desirable. And change, whether we like it or not is coming anyway: between authoritarian national conservative regimes, which with all the inequality, xenophobia, or that of a democratic, green post-capitalism. The thing that won’t survive is liberalism.


