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Do they rely on similar formulas and displacements, similar sorts of staged abjection? I started rubbing Ken's bump and watching my thumb like it was a large-screen projection of a porno movie. One day, Professor Lindau came in, in a bad mood. Many have argued that the topsy-turvy is both unsexed — no legs, much less genitals to go between them — and obscene. Oreo was puzzled, so the professor tossed her the desk copy of Partridge. How much of a stretch is it, after all, to think of most canonical postmodernist texts 43 as flamboyantly artificial erotic dolls — smooth, slick, slightly icky masturbatory aids for the sexually frustrated men who write and predominantly read them?

It reveals — and revels in — the structural resonance between the genres of slapstick comedy and pornography. Both the boy and the story seem intent upon fucking with many a "small thin line" — between Barbie's legs, between people and things, play and porn, humor and horror. Oreo is a master class in the autoerotics of the graphic object. Riffing on the voyages of Theseus, the novel tells the story of women want sex carpio eponymous protagonist, a young half-Black, half-Jewish woman from Philadelphia, who sets out with a set of cryptic clues on a quest to find her white father in New York City and learn the secret of her birth.

Byin a tome entitled The Sexual Life of Our Time in Its Relations to Modern CivilizationIwan Bloch described French sex dolls made of rubber and plastic, replete with "a 'pneumatic tube' filled with oil" used to imitate "the secretion of Bartholin's glands" and lubricate the artificial female genitals. But "fucking" Barbie is, after all, still masturbation, and the narrator can only cum to his satisfaction in the space — made grossly literal — of male interiority — made grossly literal.

I was on top, trying to get between her legs, almost breaking her in half. Decades after the publication of Hard Coreher seminal study of video pornography, Linda Williams wondered about the tendency of academic "porn studies" to eschew the more formal term "pornography" in favor of the vernacular "porn.

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The allure of the "erotic doll" isn't that it can be mistaken for a flesh-and-blood woman, but that it infinitely accommodates and enables the self-gratifying creative manipulations of men. I wanted Ken to be the vessel for my secret supply. After the novel's lackluster reception, Ross, a black, queer Philadelphia native, moved from New York City to Los Angeles to write for The Richard Pryor Show, but the loosely-promised job fell through when the show imploded.

The book is full of jokes that hinge on rapid-fire code switching, and dig deeply into shorthand and unfootnoted archives of Jewish-American, African-American, Yiddish, Classical Greek, and mathematical knowledge. The novel is a postmodern picaresque, leading readers through a series of elaborate, only tangentially connected gags. Alongside the doll fabricated for sex, we have an American lineage of other women-shaped objects, made for children and lacking genitalia, yet hardly sexless: the gutta percha, the topsy-turvy, and the Barbie dolls.

I took him into the bathroom women want sex carpio soaked him in warm water and Ivory liquid. The unflinching sexual explicitness of the story is both unsettling and funny because the object of sexual desire is itself a sexless object. Barbie's plastic curves, seemingly begging for rough play, turn the boy on; Barbie's plastic curves, stubbornly slick and impenetrable, likewise horrify him. It doesn't stick to plastic. Fran Ross's novel Oreo raises questions about the structural and thematic relationship between the comic and the pornographic: how different is the punchline from the money shot?

Conversations with Professor Lindau tend to go as follows:. It is a pornographic object that is "graphic" in multiple and seemingly contradictory ways — at once explicit and abstracted, sexy and schematic, disgusting and disinterested. The open question its gaping openings beg is what — or who — is the true butt of the joke. I turned Barbie's back to me so I could do women want sex carpio without having to look at her face. I came all over Barbie, all over her and a little bit in her hair. Seeming to aim at verisimilitude, the sex doll always risks both the pitfalls of the uncanny valley and ethical censure.

Though replete with well-choreographed physical and linguistic gags, the book diverges from William Solomon's formulation of "slapstick modernism," in which "the overarching aim of the witty novelist is thus to help facilitate his prospective readers' adjustment to their discourse-saturated environment, a pedagogical task that is accomplished when they are taught not to trust respected authority figures and the institutions they control.

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I was holding a cum-covered Barbie in my hand like I didn't know where she came from. I came in Ken and then I remembered he wasn't mine. This sort of showy self-indulgence has been a hallmark of much canonical literature of the postmodern era by white men, 40 but was evidently harder to stomach — and sell — from and about a black woman. The novel overflows with polyglot wordplay, satirical diagrams, and an encyclopedic knowledge of both slang and scientific words for genitalia male and female.

Centering the titillating, hilarious, even stomach-turning figure of the sex doll — which flirts with yet withholds certain pleasures mimetic representation, affective legibility, and narrative containment — can reframe our understanding of the masturbatory dynamics of postmodern prose and the place of gender, sex, and race within it. Its form is at once sensuous and antiseptic.

Published inOreo went out of print within the year. Sex in Oreo hinges on a Bellmeresque play between the sentence and the body as equally doll-like, language and flesh manipulated in equally abstract and mechanized ways, as the difference between human sexual subject and inanimate sexual object becomes more and more laughably difficult to determine. In Oreothe would-be sex doll, a thing at once slapstick, pornographic, and decidedly postmodern, disconcertingly plays — and women want sex carpio — back; offputtingly getting itself off on being a graphic object.

He ejaculates inside Ken's hollow torso:. Gutta percha is "a form of resilient rubber used in nineteenth-century dolls to enable them to survive rough play that would destroy a doll made of porcelain or wax.

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The book's porno-graphic relationship with sex begins with, and continually references a geometrically-inclined extended etymological joke. This puts him in cozy literary company with many a man who has lusted after a doll. Which raises a definitional question: Can any plaything be a sex doll? He threw the unresisting Oreo to the floor, stretched her legs wide in the ready-set position of a nutcracker, took aim, tried to jam his pole into her vault and — much to his and everyone else's surprise — met with a barrier that propelled him backward and sent him bounding off the nearest wall.

I brushed his insides with Jennifer's toothbrush and left him alone in a cold-water rinse. The minoritarian subject revels in her own objecthood and plays back. Fran Ross writes for herself, appropriating the structures of "bad" narrative to flip, topsy-turvy, stories that have long used bodies like hers as props, made for rough play. Robin Bernstein argues that "the materiality of black rubber dolls configures blackness as an elastic form of subjectivity women want sex carpio can withstand blows without breaking.

Far from, in the words of one huffy Amazon reviewer, "adding little to the story," the text's moments of "explicit pornography" are key to understanding the games Ross plays with gender, race, sex, and form in the novel.

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Examining how Ross toys with the figure of the sex doll reveals to us how the status of the human under the intersecting women want sex carpio regimes of pornography and postmodernism relies on the same rough both approximate and violent translation of the visceral into the abstract — for climax and for laughs.

But there was nothing there, nothing to fuck except a small thin line that was supposed to be her ass crack. Unless, perhaps, you're Fran Ross, whose exuberant, gleeful narrative voice seems to get off on all of it, regardless of whether you are still along for the ride or not. The gag of Homes's story — a boy trying to figure out the logistics of how to fuck a Barbie — amplifies these dynamics of the pornographic or, possibly, the porno-graph-ick. The man aroused by the sex doll's openness to being manipulated is also recursively aroused by his own ability to make an object arousing.

Ross writes, in short, the sex doll who masturbates. The body is comparable to a sentence that appears to invite you to disarticulate it, so that its true contents may be recomposed through an endless series of anagrams. Critics have leveled nearly identical critiques against each for their "failures" to balance narrative and gag.

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The precocious Oreo is homeschooled and her English tutor, we learn, is "Professor Lindau, renowned linguist and blood donor [. The sex doll's potency in post American literature cannot be fully understood without bringing these sex-adjacent dolls — with their subtle yet pervasive scripts of racial and sexual violence — into the mix.

Through the figure of the sex doll, solo perhaps even solipsistic linguistic and sexual play become strange, masturbatory bedfellows.

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Kirk came out of his corner with his nose wide open. Oreo is a trip. The history of the sex doll is shrouded in rumor, speculation, and myth.

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As he advanced, his stallion did an impressive caracole right, a no-slouch caracole left, then majestically reared its head. He ranted fitfully about his girlfriend. It didn't stay on her. The moment is also, for readers "watching" this pubescent boy stare with terror at his sister's cum-slick Barbie doll, somewhat queasily hilarious, as it toggles between the gross and geometric poles of being "graphic.

I rubbed the thin line, the back of her legs and the space between her legs. Out of step with the s literary moment during which it was released, it was still as Marlon James argues, "too far ahead of its time" in — yet written in lightning prose that races along with impeccable comedic timing.

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Very quickly, I came. He didn't belong to me. After all, Sex is a wedge issue in Oreo. I wanted to fill Ken and put his head back on, like a perfume bottle. The image of the narrator's horror at his semen not adhering to the inanimate, plastic surface of the Barbie doll exemplifies the affective ambivalence of the sex doll as a porno-graphic object — arousingly explicit, and, by being coolly abstracted, equally appalling. What happens when the body orchestrating the abjection is one — black, female, and potentially queer — that has traditionally been on the receiving end of it?

The boy narrator of "A Real Doll" gets off on Barbie's plasticized surfaces, the s of her manufacture — he loves to tongue the raised "tattoo" of the graphic inscription of the Mattel copyright on her back, 30 while he quickly and disdainfully spits upon and rubs away the defacement of pubic hair Jennifer draws on her in marker. It feels well-nigh impossible to catch and "get" all of the jokes.

While some recent studies have aligned post prose with the mechanized logic of slapstick humor, what has been missing is a treatment of how the same structural logic — the abstracting ad absurdum of human bodies and their fleshly foibles — exists in the postmodern novel's preoccupation with moments of pornographic overexposure. Oreo 's sex scenes escalate from a dirty etymological reading, to an obscene phone call, to a bed trick qua standup routine, to a creatively foiled rape.

I was finished. Both pornography and comedy consist of climaxes strung together in what might, but for arbitrary time constraints, be an infinite series. Eclipsing her 19 th century progenitors, America's most darling and iconic smooth-crotched commodity first appeared in Barbie was named after the women want sex carpio of its creator, Ruth Handler, but modeled off the doll of a German comic strip prostitute named Lilli.

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The sinister, subtly sexual "cuteness" of the topsy-turvy doll is evocative of Sianne Ngai's description of that aesthetic category as "an aestheticization of powerlessness 'what we love because it submits to us' ," "a way of sexualizing beings and simultaneously rendering them unthreatening. Sex dolls depict women just well enough for discomfort, while turning a mirror back unflatteringly upon the men who consume them. The flavor of her past as a sex toy for men doesn't damage her appeal; on the contrary, it seems to guarantee her heterosexuality.

Helen Hester has recently argued that contemporary cultural expansions of pornography like "food porn" reveal that pornography is not exclusively a sexual category, but more generally hinges on objects, images, and experiences that provoke "queasy jouissance. Had the late Sir James Murray courageously included the word, and spelt it in full, in the great O. Why have we lost the graph in pornography? I came on Barbie and it was the most horrifying experience I ever had.