Lip service: why vagina is the perfect word

The word “vagina” is medical enough to sound grown up and blunt enough not be cutesy. It is still jarring in normal conversation but you can mention it on the Six O’Clock News. Which, when you think about it, is close to what feminism should be like.

The Vagina: a Literary and Cultural History
Emma Rees
Bloomsbury, 352pp, £19.99
 
There’s a painting in the Musée d’Orsay that stands out from the impressionist and realist masterpieces that surround it, even to the most ardent philistine. Called L’Origine du monde (“the origin of the world”), it was painted by Gustave Courbet in 1866 and it features a reclining female torso, legs open. John Updike described its subject as “a matted Rorschach blot – beneath blanched thighs/of a fat and bridal docility/a curved and rosy closure says, ‘Ici!’”.
 
I like the painting. There is something defiant, unapologetic and unpornographic about it; you get the feeling something is looking back at you, staring you down. (I was tempted to write, “The labia follow you round the room!” which is why I will never replace Craig Raine as this magazine’s premier artistic genital correspondent.)
 
Emma Rees’s The Vagina has now ruined L’Origine du monde for me by revealing that it was once owned by Jacques Lacan, the most impenetrable of the mid-century French analysts of language. A painting whose beauty derives from its straightforwardness should never have been in the possession of a man who wrote sentences such as: “The phallus, that is, the image of the penis, is negativity in its place in the specular image.”
 
But I digress. It is my contention that you will know quite instinctively if you are the target reader for a book describing itself as a literary and cultural history of vaginas. (Vaginae? Vaginodes?) How does this description of Judy Chicago’s art make you feel? “Each plate, a vulvar motif at its centre, represents a woman’s yearning for autonomy and recognition away from patriarchy’s eradications and constraints.”
 
If you found that intriguing, rather than snigger-worthy or arcanely academic, you will enjoy what’s on offer here. There is a learned digression on other words for vagina (“silk igloo”, “whisker biscuit” and “Melvin” were news to me) and a survey of depictions of female genitalia in folk tales, film, literature, art and television. The focus is inevitably western and anglophone, or it would have required far more than 350 pages, but the examples are well chosen and engaging.
 
Perhaps the best and most accessible part of the book is its early discussion of the language we use to talk about female genitalia. Rees seems pragmatic about the impossibility of reclaiming “cunt” from misogynists who regard it as the most offensive swear word possible (I should add that she doesn’t trouble the asterisk key).
 
She rightly condemns all the cutesy littlegirlisms beloved of advertisers – usually when they are trying to convince women that they smell, or sweat, or are otherwise disgusting, and need to buy something so that they will not be cast out from society as menstruating pariahs. “Expert care for down there,” trills the deodorising brand Femfresh. “Mini, twinkle, hoo haa, fancy, yoni, lady garden . . . va jay jay, kitty, nooni, la la, froo froo . . . Whatever you call it, love it!”
 
Rees’s earnestness is nowhere near as grating as this sort of infantilism. These are grown women who have smear tests and we expect them to simper, “Doctor, I’m worried about my . . . nooni. You know, my . . . fancy.” Give me strength. (My only consolation is that so many people took issue with the campaign at the time, leading to one advertising trade mag running the headline “Femfresh suffers social media vagina backlash”. They should probably put some cream on that.)
 
Anyway, “vagina” seems to me to be a good word for what we need. At this point, some pedant usually jumps up to say, “I think you’ll find the word you need is ‘vulva’.” To them, I say: let it go. Put it in the dusty file of relics, next to “decimate” and “begs the question”.
 
Yes, technically “vagina” refers to the birth canal only, not the whole kit and caboodle, but it’s a good, plain word and people understand it. There’s a reason why a certain strand of the modern feminist movement – Eve Ensler in The Vagina Monologues; Caitlin Moran asking, “Do you have a vagina? . . . Would you like to be in charge of it?” in How to Be a Woman; the Vagenda, the NS bloggers whose name comes from the idea of “a vagina with an agenda” – has embraced it.
 
The word “vagina” is medical enough to sound grown up and blunt enough not be cutesy. It is still jarring in normal conversation but you can mention it on the Six O’Clock News. Which, when you think about it, is close to what feminism should be like.
The Tongariro Alpine crossing in New Zealand. Photo: elisfanclub/flickr, used under Creative Commons

Helen Lewis is deputy editor of the New Statesman. She has presented BBC Radio 4’s Week in Westminster and is a regular panellist on BBC1’s Sunday Politics.

This article first appeared in the 02 September 2013 issue of the New Statesman, Syria: The west humiliated

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The rise of the green mayor – Sadiq Khan and the politics of clean energy

At an event at Tate Modern, Sadiq Khan pledged to clean up London's act.

On Thursday night, deep in the bowls of Tate Modern’s turbine hall, London Mayor Sadiq Khan renewed his promise to make the capital a world leader in clean energy and air. Yet his focus was as much on people as power plants – in particular, the need for local authorities to lead where central governments will not.

Khan was there to introduce the screening of a new documentary, From the Ashes, about the demise of the American coal industry. As he noted, Britain continues to battle against the legacy of fossil fuels: “In London today we burn very little coal but we are facing new air pollution challenges brought about for different reasons." 

At a time when the world's leaders are struggling to keep international agreements on climate change afloat, what can mayors do? Khan has pledged to buy only hybrid and zero-emissions buses from next year, and is working towards London becoming a zero carbon city.

Khan has, of course, also gained heroic status for being a bête noire of climate-change-denier-in-chief Donald Trump. On the US president's withdrawal from the Paris Agreement, Khan quipped: “If only he had withdrawn from Twitter.” He had more favourable things to say about the former mayor of New York and climate change activist Michael Bloomberg, who Khan said hailed from “the second greatest city in the world.”

Yet behind his humour was a serious point. Local authorities are having to pick up where both countries' central governments are leaving a void – in improving our air and supporting renewable technology and jobs. Most concerning of all, perhaps, is the way that interest groups representing business are slashing away at the regulations which protect public health, and claiming it as a virtue.

In the UK, documents leaked to Greenpeace’s energy desk show that a government-backed initiative considered proposals for reducing EU rules on fire-safety on the very day of the Grenfell Tower fire. The director of this Red Tape Initiative, Nick Tyrone, told the Guardian that these proposals were rejected. Yet government attempts to water down other EU regulations, such as the energy efficiency directive, still stand.

In America, this blame-game is even more highly charged. Republicans have sworn to replace what they describe as Obama’s “war on coal” with a war on regulation. “I am taking historic steps to lift the restrictions on American energy, to reverse government intrusion, and to cancel job-killing regulations,” Trump announced in March. While he has vowed “to promote clean air and clear water,” he has almost simultaneously signed an order to unravel the Clean Water Rule.

This rhetoric is hurting the very people it claims to protect: miners. From the Ashes shows the many ways that the industry harms wider public health, from water contamination, to air pollution. It also makes a strong case that the American coal industry is in terminal decline, regardless of possibile interventions from government or carbon capture.

Charities like Bloomberg can only do so much to pick up the pieces. The foundation, which helped fund the film, now not only helps support job training programs in coal communities after the Trump administration pulled their funding, but in recent weeks it also promised $15m to UN efforts to tackle climate change – again to help cover Trump's withdrawal from Paris Agreement. “I'm a bit worried about how many cards we're going to have to keep adding to the end of the film”, joked Antha Williams, a Bloomberg representative at the screening, with gallows humour.

Hope also lies with local governments and mayors. The publication of the mayor’s own environment strategy is coming “soon”. Speaking in panel discussion after the film, his deputy mayor for environment and energy, Shirley Rodrigues, described the move to a cleaner future as "an inevitable transition".

Confronting the troubled legacies of our fossil fuel past will not be easy. "We have our own experiences here of our coal mining communities being devastated by the closure of their mines," said Khan. But clean air begins with clean politics; maintaining old ways at the price of health is not one any government must pay. 

'From The Ashes' will premiere on National Geograhpic in the United Kingdom at 9pm on Tuesday, June 27th.

India Bourke is an environment writer and editorial assistant at the New Statesman.

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