The Better Angels of Our Nature: Why Vio - By Steven Pinker Page 0,21

you are probably familiar with the iconic ads for the Charles Atlas bodybuilding program, which ran in magazines and comic books starting in the 1940s. In the typical storyline, an ectomorph is assaulted on the beach in front of his girlfriend. He skulks home, kicks a chair, gambles a ten-cent stamp, receives instructions for an exercise program, and returns to the beach to wreak revenge on his assailant, restoring his standing with the beaming young woman (figure 1–1).

When it came to the product, Atlas was ahead of his time: the popularity of bodybuilding soared in the 1980s. But when it came to marketing, he belonged to a different era. Today the ads for gyms and exercise paraphernalia don’t feature the use of fisticuffs to restore manly honor. The imagery is narcissistic, almost homoerotic. Bulging pectorals and rippling abdominals are shown in arty close-up for both sexes to admire. The advantage they promise is in beauty, not might.

FIGURE 1–1. Everyday violence in a bodybuilding ad, 1940s

Even more revolutionary than the scorn for violence between men is the scorn for violence against women. Many baby boomers are nostalgic for The Honeymooners, a 1950s sitcom featuring Jackie Gleason as a burly bus driver whose get-rich-quick schemes are ridiculed by his sensible wife, Alice. In one of the show’s recurring laugh lines, an enraged Ralph shakes his fist at her and bellows, “One of these days, Alice, one of these days . . . POW, right in the kisser!” (Or sometimes “Bang, zoom, straight to the moon!”) Alice always laughs it off, not because she has contempt for a wife-beater but because she knows that Ralph is not man enough to do it. Nowadays our sensitivity to violence against women makes this kind of comedy in a mainstream television program unthinkable. Or consider the Life magazine ad from 1952 in figure 1–2.

Today this ad’s playful, eroticized treatment of domestic violence would put it beyond the pale of the printable. It was by no means unique. A wife is also spanked in a 1950s ad for Van Heusen shirts, and a 1953 ad for Pitney-Bowes postage meters shows an exasperated boss screaming at a stubborn secretary with the caption “Is it always illegal to kill a woman?” 53

FIGURE 1–2. Domestic violence in a coffee ad, 1952

And then there’s the longest-running musical, The Fantasticks, with its Gilbert-and-Sullivan-like ditty “It Depends on What You Pay” (whose lyrics were based on a 1905 translation of Edmond Rostand’s play Les Romanesques). Two men plot a kidnapping in which the son of one will rescue the daughter of the other:You can get the rape emphatic.

You can get the rape polite.

You can get the rape with Indians:

A very charming sight.

You can get the rape on horseback;

They’ll all say it’s new and gay.

So you see the sort of rape

Depends on what you pay.

Though the word rape referred to abduction rather than sexual assault, between the opening of the play in 1960 and the end of its run in 2002 sensibilities about rape changed. As the librettist Tom Jones (no relation to the Welsh singer) explained to me:As time went on, I began to feel anxious about the word. Slowly, ever so slowly, things began to register on me. Headlines in the papers. Accounts of brutal gang rapes. And of “date rapes” too. I began to think: “this isn’t funny.” True, we weren’t talking about “real rape,” but there is no doubt that part of the laughter came from the shock value of using the word in this comic manner.

In the early 1970s, the producer of the play refused Jones’s request to rewrite the lyrics but allowed him to add an introduction to the song explaining the intended meaning of the word and to reduce the number of repetitions of it. After the play closed in 2002 Jones rewrote the lyrics from scratch for a 2006 restaging, and he has legally ensured that only the new version may be performed in any production of The Fantasticks anywhere in the world.54

Until recently, children too were legitimate targets of violence. Parents not only spanked their children—a punishment that today has been outlawed in many countries—but commonly used a weapon like a hairbrush or paddle, or exposed the child’s buttocks to increase the pain and humiliation. In a sequence that was common in children’s stories through the 1950s, a mother warned a naughty child, “Wait till your father gets home,” whereupon the stronger parent would remove his belt and use it to flog the child. Other