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Girls Who Like Boys Who Like Boys

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Abstract

The introductory chapter provides an overview of previous research that has examined women who engage with m/m pornography and erotica, and reflects on the response of the women who participated in this study to both existing research and popular perceptions of women who like m/m erotic media. The chapter goes on to explore the issues raised by conducting research with an often misrepresented community (Tablesaw, The pervy survey. Dreamwidth blog, http://tablesaw.dreamwidth.org/421853.html, 2009; Jenkins, Textual poachers: Television fans and participatory culture, Routledge, 1992) while at the same time being an active member of that community and using online community spaces (I am a writer of gay male erotic fiction and slashfic which I have published online and in print anthologies). Against the backdrop of a rich history of scholarship that examines the benefits and pitfalls of researching a community while being part of it, the chapter looks at how the respondents themselves reacted to my involvement and positionality, and how this affected their decision to participate in the research (or not).

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Notes

  1. 1.

    Much of Chivers’ research was carried out measuring sexual response in women using vaginal photoplethsymography. A plethsymograph is a two-inch long glassine tube that is inserted into the vagina, beams light against the vaginal walls, and measures the illumination that reflects back. In this way, it measures the blood flow to the vagina. Surges of blood bring about a process called vaginal transudation, the seeping of moisture through the cells of the canal’s lining. So, indirectly, the photoplethysmograph gauges vaginal wetness. A problematic aspect of comparative research carried out using vaginal photoplethysmography is it focuses on measuring vaginal blood flow, dilation, and lubrication, and then compares these data with data from penile photoplethysmography, which measures penile blood flow. This treats the vagina and penis as fundamentally ‘the same’ in terms of what they can tell us about sexual arousal. However, as Alice Dreger (2014) points out, ‘the vagina is not the homologue to the penis… The penis’s homologue is the clitoris’. She goes on to explain that this is why it is the clitoris which becomes erect when a woman is sexually excited, and why many women need clitoral stimulation to achieve orgasm. Dreger uses the analogy of automatic salivary response vs. taste preference with regards to exposure to food to better explain her issue with most sexual arousal studies, pointing out that our mouths may automatically start salivating to both coffee and peanut butter, but this doesn’t tell us anything about tastes, that is, what we actually enjoy consuming. She states that ‘sex researchers have been doing the equivalent of comparing women’s salivary responses to various foods to men’s gastric responses to those same foods’. Research studies carried out using clitoral measurements instead of vaginal responses have found that clitoral photoplethysmographs (which measure clitoral blood volume) tend to be more sensitive to inhibition of sexual response in contrast to vaginal devices (Gerritsen et al., 2009, p. 1678), leading researchers to conclude that ‘VPA [the vaginal response] may be a more automatic, preparatory response rather than a measure of genital arousal per se’. However, there has not yet been any systematic attempt to replicate the results of the studies coming out of Chivers’ lab to see if the results pertaining to women’s flat arousal profiles to heterosexual, lesbian, and m/m pornography can be replicated using clitoral measurements.

  2. 2.

    Although there are many slash stories devoted to f/f relationships—called ‘femslash’—the term ‘slash’ generally refers to m/m relationships. This division is not unproblematic; Webb (2012, p. 18) notes that ‘it’s a shame that even in a literature dominated by female writers and readers the feminine is segregated—that the masculine is still default and the feminine still requires a prefix’.

  3. 3.

    Yaoi is an acronym for the phrase ‘yama nashi, ochi nashi, imi nashi’ (no climax, no resolution, no meaning) which was coined in the late 1980s to describe the more explicit forms of BL manga. The term refers to the fact that some of these short stories were not meant to be viewed as fully developed narratives, but were rather just scenes and snippets, oishii tokoro dake (only the yummy parts). What constituted a ‘yummy part’ was usually a scene involving sexual contact between the two male protagonists. As such yaoi has much in common with PWP stories (Plot? What plot? or, alternatively, porn without plot) in slash fic.

  4. 4.

    Fanshipping (sometimes just shipping), a term derived from the word ‘relationship’, is the desire by fans for two or more people, either real-life people or fictional characters, to be in a relationship, romantic or otherwise.

  5. 5.

    The tweets have since been deleted, but you can read a response to them here: http://www.devonhunter.info/archives/tag/spencer-reed/ (accessed 5 December 2017).

  6. 6.

    Acafan: an academic who self-identifies as a fan.

  7. 7.

    Although not always: see Malamuth (1996) and Tolman and Diamond (2001) for a more nuanced overview of SEM, gender differences, and evolutionary psychology.

  8. 8.

    F-lock refers to the process of changing the settings on your Livejournal blog so that only people you have accepted as ‘friends’ can see it—in effect, it means you can ‘lock’ everything you have written on your personal page, including previously publicly available posts, so it is only accessible to your ‘friends’.

  9. 9.

    AO3 [Archive of Our Own] is a multi-fandom archive designed to host web-based fan fiction as well as fandom nonfiction. The archive contained 2 million fanworks as of 20 December 2015. See http://fanlore.org/wiki/Archive_of_Our_Own (accessed 5 December 2017).

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    Lucy Neville

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Neville, L. (2018). Welcome to the Freak Show. In: Girls Who Like Boys Who Like Boys. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-69134-3_1

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