What Pornography Knows offers a new history of pornography based on forgotten bawdy fiction of the eighteenth century, its nineteenth-century republication, and its appearance in 1960s paperbacks. Through close textual study, Lubey shows how these texts were edited across time to become what we think pornography is-a genre focused primarily on sex. Originally, they were far more variable, joining speculative philosophy and feminist theory to sexual description. Lubey's readings show that pornography always had a social consciousness-that it knew, long before anti-pornography feminists said it, that women and nonbinary people are disadvantaged by a society that grants sexual privilege to men. Rather than glorify this inequity, Lubey argues, the genre's central task has historically been to expose its artifice and envision social reform. Centering women's bodies, pornography refuses to divert its focus from genital action, forcing readers to connect sex with its social outcomes. Lubey offers a surprising take on a deeply misunderstood cultural form: pornography transforms sexual description into feminist commentary, revealing the genre's deep knowledge of how social inequities are perpetuated as well as its plans for how to rectify them.

Excitable Imaginations offers a new approach to the history of pornography. Looking beyond a counter-canon of bawdy literature, Kathleen Lubey identifies a vigilant attentiveness to sex across a wide spectrum of literary and philosophical texts in eighteenth-century Britain. Esteemed public modes of writing such as nationalist poetry, moral fiction, and empirical philosophy, as well as scandalous and obscene writing, persistently narrate erotic experiences desire, voyeurism, seduction, orgasm. The recurring turn to sexuality in literature and philosophy, she argues, allowed authors to recommend with great urgency how the risque delights of reading might excite the imagination to ever greater degrees of educability on moral and aesthetic matters. Moralists such as Samuel Richardson and Adam Smith, like their licentious counterparts Rochester, Haywood, and Cleland, purposefully evoke salacious fantasy so that their audiences will recognize reading as an intellectual act that is premised on visceral pleasure. Eroticism in texts like Pamela and Memoirs of a Woman of Pleasure, in Lubey s reading, did not compete with instructive literary aims, but rather was essential to the construction of the self-governing Enlightenment subject."

What Pornography Knows offers a new history of pornography based on forgotten bawdy fiction of the eighteenth century, its nineteenth-century republication, and its appearance in 1960s paperbacks. Through close textual study, Lubey shows how these texts were edited across time to become what we think pornography is—a genre focused primarily on sex. Originally, they were far more variable, joining speculative philosophy and feminist theory to sexual description. Lubey's readings show that pornography always had a social consciousness—that it knew, long before anti-pornography feminists said it, that women and nonbinary people are disadvantaged by a society that grants sexual privilege to men. Rather than glorify this inequity, Lubey argues, the genre's central task has historically been to expose its artifice and envision social reform. Centering women's bodies, pornography refuses to divert its focus from genital action, forcing readers to connect sex with its social outcomes. Lubey offers a surprising take on a deeply misunderstood cultural form: pornography transforms sexual description into feminist commentary, revealing the genre's deep knowledge of how social inequities are perpetuated as well as its plans for how to rectify them.