Disposable Rocket Essay

Inhabiting a male body is much like having a bank account; as long as it’s healthy, you don’t think much about it. Compared to the female body, it is a low-maintenance proposition: a shower now and then, trim the fingernails every ten days, a haircut once a month. Oh yes, shaving — scraping or buzzing away at your face every morning. Byron, in Don Juan, thought the repeated nuisance of shaving balanced out the periodic agony, for females, of childbirth. Women are, his lines tell us,

Condemn’d to child-bed, as men for their sinsHave shaving too entail’d upon their chins, —A daily plague, which in the aggregate May average on the whole with parturition.

From the standpoint of reproduction, the male body is a delivery system, as the female is a mazy device for retention. Once the delivery is made, men feel a faint but distinct falling-off of interest. Yet against the enduring female heroics of birth and nurture should be set the male’s superhuman frenzy to deliver his goods: he vaults walls, skips sleep, risks wallet, health, and his political future all to ram home his seed into the gut of the chosen woman. The sense of the chase lives in him as the key to life. His body is, like a delivery rocket that falls away in space, a disposable means. Men put their bodies at risk to experience the release from gravity.

When my tenancy of a male body was fairly new — of six or so years’ duration — I used to jump and fall just for the joy of it. Falling — backwards, downstairs — became a specialty of mine, an attention-getting stunt I was practicing into my thirties, at suburban parties. Falling is, after all, a kind of flying, though of briefer duration than would be ideal. My impulse to hurl myself from high windows and the edges of cliffs belongs to my body, not my mind, which resists the siren call of the chasm with all its might; the interior struggle knocks the wind from my lungs and tightens my scrotum and gives any trip to Europe, with its Alps, castle parapets, and gargoyled cathedral lookouts, a flavor of nightmare. . . .

Any accounting of male-female differences must include the male’s superior recklessness, a drive not, I think, toward death, as the darker feminist cosmogonies would have it, but to test the limits, to see what the traffic will bear — a kind of mechanic’s curiosity. The number of men who do lasting damage to their young bodies is striking; war and car accidents aside, secondary-school sports, with the approval of parents and the encouragement of brutish coaches, take a fearful toll of skulls and knees. We were made for combat, back in the post-simian, East African days, and the bumping, the whacking, the breathlessness, the pain-smothering adrenaline rush, form a cumbersome and unfashionable bliss, but bliss nevertheless. Take your body to the edge, and see if it flies.

The male sense of space must differ from that of the female, who has such interesting, active, and significant inner space. The space that interests men is outer. The fly ball high against the sky, the long pass spiraling overhead, the jet fighter like a scarcely visible pinpoint nozzle laying down its vapor trail at forty thousand feet, the gazelle haunch flickering just beyond arrow-reach, the uncountable stars sprinkled on their great black wheel, the horizon, the mountaintop, the quasar — these bring portents with them, and awaken a sense of relation with the invisible, with the empty. The ideal male body is taut with lines of potential force, a diagram extending outward; the ideal female body curves around centers of repose. Of course, no one is ideal, and the sexes are somewhat androgynous subdivisions of a species: Diana the huntress is a more trendy body-type nowadays than languid, overweight Venus, and polymorphous Dionysus poses for more underwear ads than Mars. Relatively, though, men’s bodies, however elegant, are designed for covering territory, for moving on.

An erection, too, defies gravity, flirts with it precariously. It extends the diagram of outward direction into downright detachability — objective in the case of the sperm, subjective in the case of the testicles and penis. Men’s bodies, at this juncture, feel only partly theirs; a demon of sorts has been attached to their lower torsos, whose performance is erratic and whose errands seem, at times, ridiculous. It is like having a (much) smaller brother toward whom you feel both fond and impatient; if he is you, it is you in curiously simplified and ignoble form. This sense, of the male body being two of them, is acknowledged in verbal love play and erotic writing, where the penis is playfully given its own name, an individuation not even the rarest rapture grants a vagina. Here, where maleness gathers to a quintessence of itself, there can be no insincerity, there can be no hiding; for sheer nakedness, there is nothing like a hopeful phallus; its aggressive shape is indivisible from its tender-skinned vulnerability. The act of intercourse, from the point of view of a consenting female, has an element of mothering, of enwrapment, of merciful concealment, even. The male body, for this interval, is tucked out of harm’s way.

To inhabit a male body, then, is to feel somewhat detached from it. It is not an enemy, but not entirely a friend. Our essence seems to lie not in cells and muscles but in the traces our thoughts and actions inscribe on the air. The male body skims the surface of nature’s deep, wherein the blood and pain and mysterious cravings of women perpetuate the species. Participating less in nature’s processes than the female body, the male body gives the impression — false — of being exempt from time. Its powers of strength and reach descend in early adolescence, along with acne and sweaty feet, and depart, in imperceptible increments, after thirty or so. It surprises me to discover, when I remove my shoes and socks, the same paper-white hairless ankles that struck me as pathetic when I observed them on my father. I felt betrayed when, in some tumble of touch football twenty years ago, I heard my tibia snap; and when, between two reading engagements in Cleveland, my appendix tried to burst; and when, the other day, not for the first time, there arose to my nostrils out of my own body the musty attic smell my grandfather’s body had.

A man’s body does not betray its tenant as rapidly as a woman’s. Never as fine and lovely, it has less distance to fall; what rugged beauty it has is wrinkle-proof. It keeps its capability of procreation indecently long. Unless intense athletic demands are made on it, the thing serves well enough to sixty, which is my age now. From here on, it’s chancy. There are no breasts or ovaries to admit cancer to the male body, but the prostate, that awkwardly located little source of seminal fluid, shows the strain of sexual function with fits of hysterical cell replication, and all that beer and potato chips add up in the coronary arteries. A writer, whose physical equipment can be minimal, as long as it gets him to the desk, the lectern, and New York City once in a while, cannot but be grateful to his body, especially to his eyes, those tender and intricate sites where the brain extrudes from the skull, and to his hands, which hold the pen or tap the keyboard. His body has been, not himself exactly, but a close pal, potbellied and balding like most of his other pals now. A man and his body are like a boy and the buddy who has a driver’s license and the use of his father’s car for the evening; he goes along, gratefully, for the ride.


From More Matter: Essays and Criticism, by John Updike. Copyright © 1999 by John Updike. Used by permission of Alfred A. Knopf, an imprint of the Knopf Doubleday Publishing Group, a division of Penguin Random House LLC. All rights reserved.

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John Updike was an American author best known for his novels chronicling middle-class American life. One of only three authors to have twice won the Pulitzer Prize, he died in 2009.

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