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Doing it by the book: the eccentric pioneers of sex studies

From Marie Stopes to Alfred Kinsey, we can still learn from the masters of sex, as new exhibition “The Institute of Sexology” at the Wellcome Trust illustrates.

A late-19th century photo from Richard von Krafft-Ebing's archive of sexual "deviation"

The Wellcome Collection’s latest show begins sensationally – but not in the way one might expect. “The Institute of Sexology” is the first exhibition in a £17.5m expansion of the collection and occupies a new gallery dedicated to year-long shows. To the 21st-century ear, the title has something of a snigger about it and you might head to Euston thinking you’ll find a gallery draped in velvet, in boudoir purples and pinks. But it is decked out in sober, neutral greys; what drapery there is gives the place the studious feel of an airy library. And the sensation that opens the show is evoked by destruction: the burning of Magnus Hirschfeld’s library by the Nazis in May 1933.

Hitler had been in power for just three months when rioters, with the blessing of the new government, broke into the Insti­tut für Sexualwissenschaft, which had been founded by Hirschfeld, a physician and sexologist in Berlin during the liberal years of the Weimar Republic. It was a unique collection of books, documents, photographs and objects. Hirschfeld was a pioneer in the campaign to end discrimination against homosexuals; it was a place that promoted scientific knowledge as a way to further the quest for justice, particularly with regard to the treatment of sexual minorities. On one wall of the opening section of this exhibition is a screen showing footage of the pyre on which years of his work were destroyed. Hirschfeld, who was both gay and Jewish, had escaped to France. He saw the film in a newsreel and said that watching it was like witnessing his own funeral.

It is immediately evident that there is no sniggering to be done here. Consciously echoing Hirschfeld’s institute, this is the first UK exhibition to bring together the advance guard in the study of sex, from Havelock Ellis to Margaret Mead, from Sigmund Freud to William Masters and Virginia Johnson, from Marie Stopes to Wilhelm Reich. What strikes the visitor most powerfully is the risks these men and women took, personally and professionally, to investigate an impulse that – frankly – drives us all and to which we owe our existence.

The exhibition is divided into sections. In “the Library”, Hirschfeld’s work is joined by that of Richard von Krafft-Ebing and Havelock Ellis, who in their different ways further investigated ideas of sexual “deviance”. But items here from the Wellcome’s own collection reveal that 19th- and early-20th-century western attitudes to sex were not necessarily representative of attitudes in other times and places.

Also displayed are erotic carvings from Japan and rank upon rank of little Roman phalli – happy symbols of prosperity and luck – and a Peruvian “pottery jug of a masturbating skeleton”, as the label states, from around 100-800AD. Each section of the show is mirrored by work from a present-day artist; in this case, the eloquent black-and-white images of the South African photographer Zanele Muholi, who documents the lives of lesbians, the transgender community and others who challenge received notions of sexuality in her native country.

In “the Consulting Room”, we meet Freud, Marie Stopes and Jean-Martin Charcot, the 19th-century Frenchman who is often called the father of neurology. A sequence of his photographs of a shrieking woman, taken in 1890, labelled Bâillements hystériques (or “hysterical yawns”), reflects the perception of “hysteria” as “a female disease”. Freud’s work, his invention of psychoanalysis, created a space where intimate subjects could be brought out into the open, as they were even more so, most vigorously by Marie Stopes, a pioneer of family planning.

Box of delights: 1930s Japanese sex aids

A jolly poster takes off from the rhyme “Oranges and Lemons”: “I can tell you today,/Hear our Saint Marie say:/When the People will breed/No more mouths than they feed.” Not everyone approved. There are a few of the thousands of letters Stopes received on show; while many are grateful for her openness, not all of them are. One reads: “Go back to your own country and preach your dirty methods there.”

What the writer of that letter would have made of Wilhelm Reich is anyone’s guess. Reich, an Austrian psychoanalyst, became a countercultural hero for his championing of sexual permissiveness and the exhibition displays his “orgone accumulator” – the reflectively lined box that Reich believed generated vital libidinous energy in those who sat in it. Up close, it is hard to believe that the box (which looks like a home-made cross between an outhouse and a camping oven) could produce any sort of energy, other than the DIY kind necessary to construct it. Just opposite, there’s a pleasing clip from the Woody Allen film Sleeper (1973), with its “Orgasmatron”, an amusing rip-off of Reich’s device. (This is a show with some flashes of humour, for all its serious intent.)

“The Classroom” introduces Alfred Kinsey; “the Lab” Virginia Masters and William Johnson, who have lately found renewed fame thanks to the Showtime series Masters of Sex, starring Lizzy Caplan and Michael Sheen. Kinsey (who got his own movie a decade ago starring Liam Neeson) started with the study of gall wasps before moving to human sexuality; his plans for a lab to explore that subject never materialised but during his lifetime he collected over 18,000 sexual histories. In the 1950s, William Dellenback took photographs of some of Kinsey’s subjects – or rather of their sexual organs, sometimes held open by the men and women being photographed for better display. There is something peculiarly striking in the way a woman’s manicure or her wedding ring reveals the era – not the 1950s we think we know. It was Masters and Johnson who first established a lab: if you’ve ever wondered what a penile strain gauge or a vaginal photoplethysmograph looks like, you will discover the answer here.

But “the Home” is where most people experience sex (even though, after seeing this exhibition, one hesitates to generalise). Among the most striking displays in this show are the original drawings done by Chris Foss for Alex Comfort’s Joy of Sex, first published in 1972. The images – of those resplendently unwaxed and unshaven 1970s lovers, Foss’s fellow artist Charles Raymond and his wife, Edeltraud – are iconic now but I was not prepared for the loveliness of the draft drawings, their delicate lines on heavy, ochre paper. They have never been exhibited before. As Comfort noted bluntly, commercial pornography was “not much help with sex practice for real lovers”, something that is as true now as it was then, or perhaps even truer. Alongside Foss’s drawings are Timothy Archibald’s bold, large-format colour photographs from a series entitled Sex Machines: Photographs and Interviews. Here is American ingenuity as you may never have thought of it before; what looks like a workbench actually has a dildo at one end. Three cheers for the pioneer spirit.

Another image from Richard von Krafft-Ebing's archive

That’s the spirit required to do such work, as the show constantly demonstrates. The curators, Honor Beddard and Kate Forde, stress that the exhibition is intended to start a debate about the sex research that still takes place. The controversy that such research can cause is still apparent, as when Margaret Thatcher’s government, in 1989, pulled the funding from the National Survey of Sexual Attitudes and Lifestyles, instigated by Anne Johnson, a specialist in the epidemiology and prevention of sexually transmitted infections. “Thatcher halts survey on sex”, announced the headline in the Sunday Times, displayed here along with a story from the Sunday Telegraph about the “lady authors” of this scandalous survey. The piece puts great emphasis not on the women’s work but on their appearance, noting, for instance, Julia Field’s “iron-grey hair and spectacles”.

On 18 November, Public Health England published the statistics for HIV figures in the UK. Rates of infection are continuing to rise: there are now nearly 110,000 people living with HIV in the UK. Roughly a quarter (26,100) are unaware of their infection – and therefore are at risk of passing on the virus to others through unprotected sex. It is proof, if proof were needed, of just how important it is to pursue open and honest conversations about sex and sexuality.

The exhibition closes with a shelf filled with books, all titles written by the subjects of the exhibition in the course of a century and a half. Every volume has been covered with a plain white wrapper, as if to hide the contents – but this is only an echo of shame, as each has its title printed on that wrapper in clear black ink. Clarity and openness have always distinguished the work of the Wellcome Trust; this show is an eye-catching and yet suitably serious way to relaunch the expansion of the Wellcome Collection, which will come to full fruition early next year when all of its public spaces reopen. Alan Gregg, an officer of the Rockefeller Foundation, which helped fund Alfred Kinsey’s work, wished Kinsey to have “the freedom to observe, to reflect, to experiment and to bear witness”. We are lucky to have this fine exhibition, which celebrates that freedom. 

“The Institute of Sexology” is at the Wellcome Collection, London NW1, until 20 September 2015. The catalogue is published by the Wellcome Collection (£24.99)

Erica Wagner is a New Statesman contributing writer and a judge of the 2014 Man Booker Prize. A former literary editor of the Times, her books include Ariel's Gift: Ted Hughes, Sylvia Plath and the Story of “Birthday Letters” and Seizure.

This article first appeared in the 27 November 2014 issue of the New Statesman, The rise of the insurgents

Martin O’Neill for New Statesman
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1966 and all that

A year of World Cup glory, meeting Paul McCartney and eating placenta.

Fifty years ago this Saturday, on 30 July 1966, I was at Wembley. I have my ticket and my programme to prove it. I also have my 1966 ­diary, which I am looking at now. I was 30, weighed ten stone and eight pounds, and my waist was 32 inches – about as hard to believe now as England winning another World Cup final.

I am still in the same house, all these decades later, but my telephone number then was GUL 4685. GUL was short for Gulliver, I can’t remember why. In my list of contacts at the end of my diary is Melvyn Bragg, who was another recent arrival in London from Cumbria, like myself and my wife, on PRO 0790. PRO stood for Prospect, I think, which was the exchange name for somewhere over the river, possibly Kew.

My office number was TER 1234. I always thought that was a great and memorable number. It’s only now, thinking about it, that I realise that TER – meaning Terminus –
probably related to King’s Cross, which the Sunday Times was near in those days.

At the top of the charts in July 1966 were the Kinks with “Sunny Afternoon”, which I can well remember, as it was so ironically chirpy, and Georgie Fame with “Getaway”. I liked Georgie Fame – low-key, cool – but I can’t remember that tune. Both were replaced in August by the Beatles’ “Yellow Submarine”/“Eleanor Rigby”.

My day job in July 1966, on the Sunday Times staff, was writing the Atticus column. It still exists, but in a smaller, more skittery format. Previous incumbents included Ian Fleming, John Buchan and Sacheverell Sitwell, who was reputed to have got free Mateus rosé for life after giving the wine its first mention in an English newspaper.

I had been on the paper since 1960, after spending two years as a so-called graduate trainee journalist, mainly in Manchester, which was a laugh. There was no training and there were no lessons in law. You had a mentor for a few weeks and then you got on with it.

In my first few years as the boy on Atticus, I never had my name in the paper. I had to write dreary paragraphs about who might be our next man in Washington, or the bishop of London, or the master of Balliol, as if I cared. I wanted to write about footballers, gritty northern novelists, pop stars.

When I started at the Sunday Times, I felt for a while that people were prejudiced against me, because I was northern and working class and had gone to grammar school and a provincial university (Durham). Everyone else seemed to have been at Oxbridge and gone to public school.

But this prejudice was all in my head, imagined, just as it had been when I used to go from Durham to visit my girlfriend, Margaret – whom I married in 1960 – at Oxford. I was convinced that some of her posh friends were being condescending ­towards me. Total nonsense, but I had a chip on my shoulder for some years. Gone, all gone, just like my 32-inch waist. (I am now 12 stone and the new shorts I bought last week have a 38-inch waist. Oh, the horror.) If anything, these past 50 years, any prejudice has been in my favour.

Harold Wilson was the prime minister in 1966. His northern accent was even stronger than mine. I still have a letter from him, dated 21 March 1963, after I interviewed him for Atticus. In the letter, he ­describes the 1938 FA Cup final in which Preston beat Huddersfield Town 1-0, scoring in the last minute of extra time. At the bottom of the page, in handwriting, he’d added: “after hitting the crossbar”.

What I remember most about the interview was George Brown, who was deputy to
Wilson as Labour leader at the time, hanging around outside his office, drunk. Marcia Williams, Wilson’s secretary, was going around tut-tutting, making faces, complaining about George. I thought she shouldn’t have done, not in front of me, as I was a total stranger and a hack. (I don’t think we called ourselves hacks in those days, which is the normal, half-ironic self-description today.)

Harold was a football man and also a real know-all, forever boasting about his memory for facts and figures. The contents of this letter illustrate both aspects of his character. It led me later to collect a letter or autograph from every prime minister, going back to Robert Walpole. Only took me ten years.

There is a myth that England’s 1966 win helped Labour stay in power – which does not quite stand up. The general election was in March – four months before the final. But Wilson did milk England’s victory, identifying himself and the nation with our English champions.

It is possible that the reverse effect happened in 1970, when Wilson was chucked out and Edward Heath came in. England’s defeat at the 1970 World Cup by West Germany was just four days before the June general election.

***

I got my ticket for the 1966 World Cup final – for one of the best seats, priced at £5 – from my friend James Bredin, now dead, who was the boss of Border Television. Based in Carlisle, Border covered the Scottish Borders and the Isle of Man. It was a thriving, thrusting regional ITV station, now also deceased.

James’s chauffeur came to pick me up and waited for us after the match, a sign of the importance and affluence of even minor ITV stations. Border contributed quite a bit to the network, such as Mr and Mrs, starring Derek Batey, who presented 450 editions of this very popular national show. Batey was a local lad who started his show business life as an amateur ventriloquist in the little market town of Brampton, Cumbria, before becoming Carlisle’s Mr Show Business. He was so polished – lush hair, shiny suits, so starry, so glittery – that I always wondered why he was not in London, in the West End.

Border TV also produced some excellent documentaries that were networked across the ITV region, two of which I presented. One was about walking along Hadrian’s Wall and the other was about George Stephenson. For a while in the 1970s, I began to think I was going to become a TV presenter, despite being not much good. I was lousy at acting, which you need for television, and disliked asking questions to which I already knew the answers. And it took so much time. For each programme, we spent eight weeks on location with a crew of eight, just to make a one-hour documentary. Now they
do docs in a week with just two people.

For half an hour, I also imagined that I was going to become a playwright. In 1967, I had a play in the BBC’s Wednesday Play slot, awfully prestigious at the time, called The Playground. It was one of those shows that were filmed live and then wiped, so I have never seen it since, nor has anybody else. I blamed that for blighting my playwriting career, though till I was looking in my 1966 diary and saw that I was working on that play, I’d forgotten about its existence. As we go through life, we forget all the paths not trodden.

I’ve boasted endlessly about being at the 1966 Wembley final, and it was so exciting, but I can’t remember many of the details. I must have been aware of Geoff Hurst’s second goal being a bit dodgy, as there were loud complaints from the German fans, but as Sir Geoff, as he then wasn’t, went on to score a third goal, it didn’t really matter. At the time, I considered that the England-Portugal semi-final had been a better game, with our Bobby Charlton scoring two goals against one from Eusebio, but of course winning a final is winning a final and the excitement and the patriotic pride continued for weeks and months. We felt as if it had been our right to win – after all, did we not give the game to the world, lay down the first rules, show all those foreigners how to play our game?

The result was that we usually ignored all the new ideas and developments that were emerging from Europe and South America, carrying on with our old ways, stuffing our faces with steak before a game and knocking back six pints afterwards, a bit like Alf Tupper in the Rover comic. He lived on fish and chips, but on the race track he could beat anyone.

Those funny Continental players started playing in funny lightweight boots, more like slippers or ballet shoes, which seemed barmy to us. How we scoffed. How can you play properly, far less kick someone properly, unless your ankles are encased in hard leather as tough as steel? Who cared if they weighed a ton, especially in wet weather? We Brits were tough.

The top First Division stars of 1966 earned about £200 a week, including bonuses, and lived in £20,000 houses, semi-detached, on new estates with Tudor overtones. The top players drove Jaguars. But most were lucky to afford a Ford Cortina. I had one myself for a while. Awfully smart, or so I thought at the time.

Their basic wages were little more than double that of the best-paid working men, such as a foreman bricklayer or a successful plumber. Their neighbours on their estates were bank mangers or salesmen, a higher scale socially than their own background, but still fairly modest. Not like today. Footballers don’t even have neighbours any more. They are cocooned in their own gated mansions, with personal staff, gardeners, nannies, accountants, lawyers, agents.

Yet despite their modest lifestyles in those days, there were celebrity players, such as Bobby Moore, Bobby Charlton and, before them, Billy Wright, all household names, loved and admired, recognised everywhere.

None of them had an agent in 1966. The nearest thing to it was the system that operated if a team got to the FA Cup final. They would then agree to divvy up the peripheral proceeds, such as money from giving newspaper interviews, posing for staged corny photographs, opening shops, or selling their spare tickets to touts (which they were not supposed to do). They’d appoint some dodgy friend of one of the senior players to arrange the deals and collect the monies for them. Times, they always change. Otherwise, what’s the point, eh?

***

In 1966, two big events occurred in my personal life. In May that year, my son, Jake, was born – at home, in what is now our kitchen. He arrived so quickly that the midwife hadn’t turned up yet and he emerged with the cord twisted around his neck. I managed to untie it, which I have maintained since kept him alive (a trick I had learned at fathers’ classes).

Fathers’ classes – wow, what a novelty that was in the 1960s. Who says we were all chauvinist pigs back then? (Today’s young, female star writers at the New Statesman, probably.) I attended my first ones, at the Royal Free Hospital in 1964, when our firstborn, Caitlin, was about to arrive. I remember immediately thinking when the invite came that I would get 1,000 words out of this – which I did, for the Sunday Times women’s pages.

Also at those first-ever fathers’ classes at the Royal Free was a young BBC producer whose wife was also about to give birth: Wilfred De’Ath. He, too, was desperate to get a piece out of it. (He now writes occasionally for the Oldie, and he appears to be down and out and living in France.)

After Jake’s birth, I got the midwife to give me the placenta and I ate it, fried with onions. Tasted like liver. Another 1,000 words.

The other event of note in my ever-so-exciting life in 1966 was meeting Paul McCartney. When “Eleanor Rigby” came out, I thought the words – not just the tune – were so wonderful. Possibly the best poetry of the year, I said, as if I knew anything about poetry. I went to see him for Atticus in his new house in St John’s Wood, which he still has, being a very conservative feller. I talked to him about the background to the lyrics, as opposed to his hair, which interviewers were still asking him about.

A few months later, at the end of 1966, I went to see him again, wearing a different cap, as a screenwriter. I’d had a novel published the previous year, Here We Go Round the Mulberry Bush, which was being made into a film, with Clive Donner directing. We went to see Paul at his house and discussed with him if he would do the theme tune. He turned us down in the end but it was while I was with him that I suggested that there should be a proper biography of the Beatles. He said Brian (Epstein, the band’s manager) would have to agree – and there and then sat me down and helped me write a suitable arse-licking letter to him.

I eventually saw Brian, after several cancellations, at his home in Belgravia and he played me the acetate of “Strawberry Fields Forever”. I was astounded. It seemed to break every rule of what was then considered pop music. I wondered if all Beatles fans
would take to it. But I could see that it was amazing and perhaps the Beatles weren’t finished, which was what some people were saying in 1966. At my publisher, Heinemann, which paid me £3,000 for the book, there was one director who maintained the Beatles bubble was about to burst.

Brian agreed to my project and offered a clause in the contract that we had not requested or even thought of. He said he would not give any other writer access to the Beatles for two years after my book came out. This was 1966. The book came out in 1968. Two years later, in 1970, the Beatles were no more. Without realising it at the time, I became the only authorised ­biographer of the Beatles.

***

So, 1966, a big year for me, so glad I kept that diary, and also a big year for the nation. I thought at the time that the Beatles were bound to fade, eventually, while England surely would dominate world football from now on. After their humbling by Iceland at this year’s World Cup, I now realise that England will never win the World Cup again in my life, what’s left of it. And probably not even another game.

The only way to rationalise it is to tell ourselves that we are ahead of the game. We are rubbish, but in turn it will happen to all the other so-called advanced nations.

You could say Brexit is a bit like that. We are ahead of the other leading European nations in going it alone, even though it is depressing and awful and shameful. We are advanced in wilfully turning ourselves into a rubbish nation. We are leading the way, as ever. Inger-land, Inger-land.

Hunter Davies’s memoir of the postwar years, “The Co-op’s Got Bananas!” (Simon & Schuster), was published in April, followed by “Lakeland: a Personal Journal” (Head of Zeus). His final book on the Fab Four, “The Beatles Book” (Ebury), will be published on 1 September

Hunter Davies is a journalist, broadcaster and profilic author perhaps best known for writing about the Beatles. He is an ardent Tottenham fan and writes a regular column on football for the New Statesman.

This article first appeared in the 28 July 2016 issue of the New Statesman, Summer Double Issue