Sexual inequality: in search of the female orgasm

Male sexual dysfunction is a multi-million pound business, while women are taught that scented candles and ylang-ylang should get them in the mood. There has to be another way.

The female orgasm has always been shrouded in overpriced lingerie and mystery. Why doesn't it happen the same way as it does for men? Why can't biology just make everything a little bit fairer and stick the clitoris inside the vagina, so we can all have a whale of a time during straightforward penetration? What the hell is the G-spot and how does it contribute? And, perhaps most cruelly, what's the necessity for its existence at all?

Of course, there was a time when so-called medical professionals genuinely thought that women were having them on, rather than having it off, when they spoke about experiencing orgasms. It took years for the powers-that-be to accept that men and women undergo very similar feelings, generated by very similar muscular contractions, when at the peak of a particularly fun game of ins-and-outs. But the female orgasm is a lot more difficult to prove, identify, and quantify than the very visual proof of a male climax. This has given rise to a twofold problem: medically, almost all research into female sexual experience becomes fixated on developing the “female Viagra” and other such money-spinners, which is at best reductive. And socially, we normalise the idea that girl-cum is so very mysterious, so hidden and so rare that we should all accept its absence or scarcity between the sheets, and put it down to a case of biological misfortune.

But is the female orgasm really that elusive? For most women, it doesn't happen as reliably or mechanically as in the case of most males (general consensus: stick some kind of implement down there and something will happen.) But at the end of the day, the clitoral tissue is basically the head of the penis, being as it is a foundation of penis formation in foetal development. In other words, we've got some good plumbing going on down there. And so we shouldn't take it lying down (pun intended) when a partner or a newspaper tells us – as they are wont to do, now and then - that we should have seen cumming as a bonus, not an expectation.

In her amazing analysis of sexual history, Bonk, Mary Roach noted that if a woman's clitoris is more than a thumb's distance away from the entrance of her vagina, it renders it virtually impossible for her to climax through penetration alone. Self-reporting suggests that the lucky few comprise about 25 per cent of the female population, so we'll most likely never be able to solve the woes of female sexual dysfunction with bendy vibrators or extra-ribbed condoms. Our orgasms may be almost identical to men's in terms of sensation, but the road to them is different. And that difference shouldn't be an excuse for dismissal: unfamiliar territory should be explored and understood in its own context, rather than fobbed off as “probably unfathomable”.

If we start to see the world in terms of the sphinx-like orgasm and the unknowable clit, it just doesn't bode well for anybody's sex life. If, as was reported this week in Jezebel, women are reporting in their droves that they hardly ever achieve the big O during casual sexual encounters, then something about our culture has gone awry. This is a culture that has boldly trod where men previously feared to tread: we've discussed premature ejaculation, erectile dysfunction, and the menopausal dips in sex drive with an increasing awareness and sensitivity, all the while acknowledging that almost all of us will come across sexual roadblocks in our lifetime.

We live in a world where solutions to losing your boner are plastered across tube trains, and Viagra is as well known a drug as Paracetamol. But when it comes to women being unable to reach orgasm, we are all too often sold the line that it's just part and parcel of being female, most likely our own fault for being so unlike men. The message is that cumming, if you're one of the ladies, is an addition rather than a legitimate demand.

When women speak to women in the media about their orgasmic woes, it isn't much better. Magazine tips on female masturbation always suggest lighting candles or treating yourself to your favourite bubble bath before an attempt to hit the point of no return, as if your vulva is genetically programmed to recognise and respond to a romantic setting (with the actual partner presumably an unnecessary appendage.) Rags for teenage girls suggest that you have to scatter rose petals across your duvet and bang on the whale music rather than merely tune into your sexual identity when it comes to a spot of wanking (although J-17 did once manage to dedicate a feature to tackling the issue head-on, pillow-mounting tips and all, which was a welcome break from a media shitfest in which a couple of drops of ylang-ylang was supposed to get you seeing stars). It all seems a bit of a tall order. Nowadays, most men don't even have to pay for the dinner to expect a mutually enjoyable session of heavy petting in the carpark, so the idea that you have to court your own clitoris like a fleshy pink princess is really pushing the boundaries of twee.

It goes without saying that most partners aim to please; it was way back in 2003 when Outkast sang in “Hey Ya”, with characteristic honesty, that they “don't want to meet your mamma, just want to make you cum-ah”. While that might not have seemed like the most profound message at the time, it spoke enough about the kind of sexual liberation that we all need: one where our bodies aren't seen as linked by some glittery umbilical cord to old-fashioned courtship, teddy bears clutching cuddly hearts, and boxes of Thornton's chocolate. Instead, they're flesh-and-flood manifestations of human sexuality that deserve equal participation in an amorous encounter.

Your nearest squeeze should never dismiss your lack of orgasmic incidence because “women never cum anyway, and we didn't have a scented candle”, and neither should your doctor or your nearest sociological researcher. Everyone deserves a partner who takes more than a passing interest in making sure that the sesh was reciprocal - and the science of sexuality needs to become less pharmacologically inclined if we are to see the appearance of genuinely helpful advice. While we may have progressed in leaps and bounds since the dark days when our hymens were seen as our husband's rightful property, the sexual landscape remains unequal. And everyone deserves a damn good orgasm, so let's get experimenting.

 

An exhibit about male and female orgasm at the Amora Sex Academy in London in 2007. Photograph: Getty Images

Rhiannon Lucy Cosslett and Holly Baxter are co-founders and editors of online magazine, The Vagenda.

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Love a good box set? Then you should watch the Snooker World Championships

The game relies on a steady arm, which relies on a steady nerve. The result is a slow creeping tension needs time and space to be properly enjoyed and endured. 

People are lazy and people are impatient. This has always been so – just ask Moses or his rock – but as illustrated by kindly old Yahweh, in those days they could not simply answer those impulses and stroll on.

Nowadays, that is no longer so. Twitter, YouTube and listicles reflect a desire for complex and involved issues, expansive and nuanced sports – what we might term quality – to be condensed into easily digestible morsels for effort-free enjoyment.

There is, though, one notable exception to this trend: the box set. Pursuing a novelistic, literary sensibility, it credits its audience with the power of sentience and tells riveting stories slowly, unfolding things in whichever manner that it is best for them to unfold.

In the first episode of the first series of The Sopranos, we hear Tony demean his wife Carmela's irritation with him via the phrase “always with the drama”; in the seventh episode of the first series we see his mother do likewise to his father; and in the 21st and final episode of the sixth and final series, his son uses it on Carmela. It is precisely this richness and this care that makes The Sopranos not only the finest TV show ever made, but the finest artefact that contemporary society has to offer. It forces us to think, try and feel.

We have two principal methods of consuming art of this ilk - weekly episode, or week-long binge. The former allows for anticipation and contemplation, worthy pursuits both, but of an entirely different order to the immersion and obsession offered by the latter. Who, when watching the Wire, didn’t find themselves agreeing that trudat, it's time to reup the dishwasher salt, but we’ve run out, ain’t no thing. Losing yourself in another world is rare, likewise excitement at where your mind is going next.

In a sporting context, this can only be achieved via World Championship snooker. Because snooker is a simple, repetitive game, it is absorbing very quickly, its run of play faithfully reflected by the score.

But the Worlds are special. The first round is played over ten frames – as many as the final in the next most prestigious competition – and rather than the usual week, it lasts for 17 magical days, from morning until night. This bestows upon us the opportunity to, figuratively at least, put away our lives and concentrate. Of course, work and family still exist, but only in the context of the snooker and without anything like the same intensity. There is no joy on earth like watching the BBC’s shot of the championship compilation to discover that not only did you see most of them live, but that you have successfully predicted the shortlist.

It is true that people competing at anything provides compelling drama, emotion, pathos and bathos - the Olympics proves this every four years. But there is something uniquely nourishing about longform snooker, which is why it has sustained for decades without significant alteration.

The game relies on a steady arm, which relies on a steady nerve. The result is a slow creeping tension needs time and space to be properly enjoyed and endured. Most frequently, snooker is grouped with darts as a non-athletic sport, instead testing fine motor skills and the ability to calculate angles, velocity and forthcoming shots. However, its tempo and depth is more similar to Test cricket – except snooker trusts so much in its magnificence that it refuses to compromise the values which underpin it.

Alfred Hitchcock once explained that if two people are talking and a bomb explodes without warning, it constitutes surprise; but if two people are talking and all the while a ticking bomb is visible under the table, it constitutes suspense. “In these conditions,” he said, “The same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: ‘You shouldn't be talking about such trivial matters. There is a bomb beneath you and it is about to explode!’”

Such is snooker. In more or less every break, there will at some point be at least one difficult shot, loss of position or bad contact – and there will always be pressure. Add to that the broken flow of things – time spent waiting for the balls to stop, time spent prowling around the table, time spent sizing up the table, time spent cleaning the white, time spent waiting for a turn – and the ability for things to go wrong is constantly in contemplation.

All the more so in Sheffield’s Crucible Theatre. This venue, in its 40th year of hosting the competition, is elemental to its success. Place is crucial to storytelling, and even the word “Crucible” – whether “a ceramic or metal container in which metals or other substances may be melted or subjected to very high temperatures,” “a situation of severe trial”, or Arthur Miller’s searing play – conjures images of destruction, injustice and nakedness. And the actual Crucible is perhaps the most atmospheric arena in sport - intimate, quiet, and home to a legendarily knowledgeable audience, able to calculate when a player has secured a frame simply by listening to commentary through an earpiece and applauding as soon as the information is communicated to them.

To temper the stress, snooker is also something incredibly comforting. This is partly rooted in its scheduling. Working day and late-night sport is illicit and conspiratorial, while its presence in revision season has entire cohorts committing to “just one more quick frame”, and “just one more quick spliff”. But most powerfully of all, world championship snooker triggers memory and nostalgia, a rare example of something that hasn’t changed, as captivating now as it was in childhood.

This wistfulness is complemented by sensory pleasure of the lushest order. The colours of both baize and balls are the brightest, most engaging iterations imaginable, while the click of cue on ball, the clunk of ball on ball and the clack of ball on pocket is deep and musical; omnipresent and predictable, they combine for a soundtrack that one might play to a baby in the womb, instead of whale music or Megadeth.

Repeating rhythms are also set by the commentators, former players of many years standing. As is natural with extended coverage of repetitive-action games, there are numerous phrases that recur:

“We all love these tactical frames, but the players are so good nowadays that one mistake and your opponent’s in, so here he is, looking to win the frame at one visit ... and it’s there, right in the heart of the pocket for frame and match! But where’s the cue ball going! it really is amazing what can happen in the game of snooker, especially when we’re down to this one-table situation.”

But as omniscient narrators, the same men also provide actual insight, alerting us to options and eventualities of which we would otherwise be ignorant. Snooker is a simple game but geometry and physics are complicated, so an expert eye is required to explain them intelligibly; it is done with a winning combination of levity and sincerity.

The only essential way in which snooker is different is the standard of play. The first round of this year’s draw featured eight past winners, only two of whom have made it to the last four, and there were three second-round games that were plausible finals.

And just as literary fiction is as much about character as plot, so too is snooker. Nothing makes you feel you know someone like studying them over years at moments of elation and desolation, pressure and release, punctuated by TV confessions of guilty pleasures, such as foot massages, and bucket list contents, such as naked bungee jumping.

It is probably true that there are not as many “characters” in the game as once there were, but there are just as many characters, all of whom are part of that tradition. And because players play throughout their adult life, able to establish their personalities, in unforgiving close-up, over a number of years, they need not be bombastic to tell compelling stories, growing and undergoing change in the same way as Dorothea Brooke or Paulie Gualtieri.

Of no one is this more evident that Ding Junhui, runner-up last year and current semi-finalist this; though he is only 30, we have been watching him almost half his life. In 2007, he reached the final of the Masters tournament, in which he faced Ronnie O’Sullivan, the most naturally talented player ever to pick up a cue – TMNTPETPUAC for short. The crowd were, to be charitable, being boisterous, and to be honest, being pricks, and at the same time, O’Sullivan was playing monumentally well. So at the mid-session interval, Ding left the arena in tears and O’Sullivan took his arm in consolation; then when Ding beat O’Sullivan in this year’s quarter-final, he rested his head on O’Sullivan’s shoulder and exchanged words of encouragement for words of respect. It was beautiful, it was particular, and it was snooker.

Currently, Ding trails Mark Selby, the “Jester from Leicester” – a lucky escape, considering other rhyming nouns - in their best of 33 encounter. Given a champion poised to move from defending to dominant, the likelihood is that Ding will remain the best player never to win the game’s biggest prize for another year.

Meanwhile, the other semi-final pits Barry Hawkins, a finalist in 2013, against John Higgins, an undisputed great and three-time champion. Higgins looks likely to progress, and though whoever wins through will be an outsider, both are eminently capable of taking the title. Which is to say that, this weekend, Planet Earth has no entertainment more thrilling, challenging and enriching than events at the Crucible Theatre, Sheffield.

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