The Birth of Pleasure is reminiscent of Freud's Civilization and Its Discontents --but with one striking difference. Where Freud sees tragedy as inescapable (symbolized for him by the Oedipus myth), Gilligan sees a history of psychologically driven resistance, as manifested in the myth of Psyche and Cupid---a myth that ends with the birth of a daughter named Pleasure. She observes that as patriarchy forces a break in intimate relationships, thus inhibiting love, so love holds the power to uproot patriarchy. People can, and do, resist society's iron framework; they can find a true voice within themselves and heed what they know through experience.
The Birth of Pleasure isn't an easy read. It's a complex, idiosyncratic, many-chambered labyrinth of a book. The style is often elliptical, with sections linked together more by association than logical sequence. In fact, it may be that the book's critical reception--both positive and negative--stems as much from its medium as its message. Catharine Stimpson suggests that Gilligan is bucking a literary trend; these days, people have grown suspicious of bold, intellectual leaps, preferring straightforward, linear argument, written in plain, muscular prose, and backed up with scads of numbers. The Birth of Pleasure is clearly not that kind of book.
Despite the initial hailstorm of attack, The Birth of Pleasure may well be considered, as the positive response suggests, as much a classic in the realm of psychology and social commentary as In a Different Voice. Though it's too soon to have hard sales data, the book appears to be selling well--perhaps as well, or better, than In a Different Voice, when it first came out, and Vintage Press will soon publish a paperback version. Networker readers will have an opportunity to gauge their own response to Gilligan's message when she delivers a keynote address based on The Birth of Pleasure at our annual Symposium next March in Washington, D.C.
In a recent conversation, Gilligan, no stranger to public controversy, seemed cheerfully philosophical about the polarized response to her new book. Looking elegant and youthful--with her long skirt slit up the side and silver bracelets--she seems to have more affinity with the world of art and theater than social science. She laughs often as she speaks and has a way of drawing out the people around her, inviting confidences that makes it only too easy for the interviewer to want to tell her about his own life story. In the following interview with Networker editor Richard Simon, she talks about some of the connections between her life and work that she hasn't discussed in print before and offers her view of the historical transformation she believes we're now undergoing. Throughout. she projects a calm certainty, seeing her work as part of "a quiet revolution in the human sciences" that holds the potential of changing our view of ourselves and our lives.
-- Mary Sykes Wylie