Most mutually exclusive definitions of pornography and literature rest on four separate arguments. One is that the utterly singleminded way in which works of pornography address the reader, proposing to arouse him sexually, is antithetical to the complex function of literature. It may then be argued that pornography’s aim, inducing sexual excitement, is at odds with the tranquil, detached involvement evoked by genuine art. But this turn of the argument seems particularly unconvincing, considering the respected appeal to the reader’s moral feelings intended by “realistic” writing, not to
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