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The Atlantic Monthly | October 1986
 
Tools of Torture

"The secret of torture, like the secret of French cuisine, is that nothing is unthinkable"
 
by Phyllis Rose
 
.....
 
n a gallery off the rue Dauphine, near the parfumerie where I get my massage, I happened upon an exhibit of medieval torture instruments. It made me think that pain must be as great a challenge to the human imagination as pleasure. Otherwise there's no accounting for the number of torture instruments. One would be quite enough. The simple pincer, let's say, which rips out flesh. Or the headcrusher, which breaks first your tooth sockets, then your skull. But in addition I saw tongs, thumbscrews, a rack, a ladder, ropes and pulleys, a grill, a garrote, a Spanish horse, a Judas cradle, an iron maiden, an Inquisitor's chair, a breastbreaker, and a scourge. You don't need complicated machinery to cause incredible pain. If you want to saw your victim down the middle, for example, all you need is a slightly bigger than usual saw. If you hold the victim upside down so the blood stays in his head, hold his legs apart, and start sawing at the groin, you can get as far as the navel before he loses consciousness.

Even in the Middle Ages, before electricity, there were many things you could do to torment a person. You could tie him up in an iron belt that held the arms and legs up to the chest and left no point of rest, so that all his muscles went into spasm within minutes and he was driven mad within hours. This was the twisting stork, a benign-looking object. You could stretch him out backward over a thin piece of wood so that his whole body weight rested on his spine, which pressed against the sharp wood. Then, you could stop up his nostrils and force water into his stomach through his mouth. Then, if you wanted to finish him off, you and your helper could jump on his stomach, causing internal hemorrhage. This torture was called the rack. If you wanted to burn someone to death without hearing him scream, you could use a tongue lock, a metal rod between the jaw and collarbone that prevented him from opening his mouth. You could put a person in a chair with spikes on the seats and arms, tie him down against the spikes, and beat him, so that every time he flinched from the beating he drove his own flesh deeper onto the spikes. This was the Inquisitor's chair. If you wanted to make it worse, you could heat the spikes. You could suspend a person over a pointed wooden pyramid and whenever he started to fall asleep, you could drop him onto the point. If you were Ippolito Marsili, the inventor of this torture, known as the Judas cradle, you could tell yourself you had invented something humane, a torture that worked without burning flesh or breaking bones. For the torture here posed to be sleep deprivation.

The secret of torture, like the secret of French cuisine, is that nothing is unthinkable. The human body is like foodstuff, to be grilled, pounded, filleted. Every opening exists to be stuffed, all flesh to be carved off the bone. You take an ordinary wheel, a heavy wooden wheel with spokes. You lay the victim on the ground with blocks of wood at strategic points under his shoulders, legs, and arms. You use the wheel to break every bone in his body. Next you tie his body onto the wheel. With all its bones broken, it will be pliable. However, the victim will not be dead. If you want to kill him, you hoist the wheel aloft on the end of a pole and leave him to starve. Who would have thought to do this with a man and a wheel? But, then, who would have thought to take the disgusting snail, force it to render its ooze, stuff it in its own shell with garlic butter, bake it, and eat it?

ot long ago I had a facial—only in part because I thought I needed one. It was research into the nature and function of pleasure. In a dark booth at the back of the beauty salon, the aesthetician put me on a table and applied a series of ointments to my face, some cool, some warmed. After a while she put something into my hand, cold and metallic. "Don't be afraid, madame," she said. "It is an electrode. It will not hurt you. The other end is attached to two metal cylinders, which I roll over your face. They break down the electricity barrier on your skin and allow the moisturizers to penetrate deeply." I didn't believe this hocus-pocus. I didn't believe in the electricity barrier or in the ability of these rollers to break it down. But it all felt very good. The cold metal on my face was a pleasant change from the soft warmth of the aesthetician's fingers. Still, since Algeria it's hard to hear the word electrode without fear. So when she left me for a few minutes with a moist, refreshing cheesecloth over my face, I thought, What if the goal of her expertise had been pain, not moisture? What if the electrodes had been electrodes in the Algerian sense? What if the cheesecloth mask were dipped in acid?

In Paris, where the body is so pampered, torture seems particularly sinister, not because it's hard to understand but because—as the dark side of sensuality—it seems so easy. Beauty care is among the glories of Paris. Soins esthétiques include makeup, facials, massages (both relaxing and reducing), depilations (partial and complete), manicures, pedicures, and tanning, in addition to usual run of soins for the hair: cutting, brushing, setting, waving, styling, blowing, coloring, and streaking. In Paris, the state of your skin, hair, and nerves is taken seriously, and there is little of the puritanical thinking that tries to persuade us that beauty comes from within.

Nor do the French think, as American do, that beauty should be offhand and low-maintenance. Spending time and money on soins esthétiques is appropriate and necessary, not self-indulgent. Should that loving attention to the body turn malevolent, you have torture. You have the procedure—the aesthetic, as it were—of torture, the explanation for the rich diversity of torture instruments, but you do not have the cause.

Historically torture has been a tool of legal systems, used to get information needed for a trial or, more directly, to determine guilt or innocence. In the Middle Ages confession was considered the best of all proofs, and torture was the way to produce a confession. In other words, torture didn't come into existence to give vent to human sadism. It is not always private and perverse but sometimes social and institutional, vetted by the government and, of course, the Church. (There have been few bigger fans of torture than Christianity and Islam.) Righteousness, as much as viciousness, produces torture. There aren't squads of sadists beating down the doors to the torture chambers begging for jobs. Rather, as a recent book on torture by Edward Peters says, the institution of torture creates sadists; the weight of a culture, Peters suggests, is necessary to recruit torturers. You have to convince people that they are working for a great goal in order to get them to overcome their repugnance to the task of causing physical pain to another person. Usually the great goal is the preservation of society, and the victim is presented to the torturer as being in some way out to destroy it.

From another point of view, what's horrifying is how easily you can persuade someone that he is working for the common good. Perhaps the most appalling psychological experiment of modern times, by Stanley Milgram, showed that ordinary, decent people in New Haven, Connecticut, could be brought to the point of inflicting (as they thought) severe electric shocks on other people in obedience to an authority and in pursuit of a goal, the advancement of knowledge, of which they approved. Milgram used—some would say abused—the prestige of science and the university to make his point, but his point is chilling nonetheless. We can cluck over torture, but the evidence at least suggests that with intelligent handling most of us could be brought to do it ourselves.

In the Middle Ages, Milgram's experiment would have had no point. It would have shocked no one that people were capable of cruelty in the interest of something they believed in. That was as it should be. Only recently in the history of human thought has the avoidance of cruelty moved to the forefront of ethics. "Putting cruelty first," as Judith Shklar says in Ordinary Vices, is comparatively new. The belief that the "pursuit of happiness" is one of man's inalienable rights, the idea that "cruel and unusual punishment" is an evil in itself, the Benthamite notion that behavior should be guided by what will produce the greatest happiness for the greatest number—all these principles are only two centuries old. They were born with the eighteenth-century democratic revolutions. And in two hundred years they have not been universally accepted. Wherever people believe strongly in some cause, they will justify torture—not just the Nazis, but the French in Algeria.

Many people who wouldn't hurt a fly have annexed to fashion the imagery of torture—the thongs and spikes and metal studs—hence reducing it to the frivolous and transitory. Because torture has been in the mainstream and not on the margins of history, nothing could be healthier. For torture to be merely kinky would be a big advance. Exhibitions like the one I saw in Paris, which presented itself as educational, may be guilty of pandering to the tastes they deplore. Solemnity may be the wrong tone. If taking goals too seriously is the danger, the best discouragement of torture may be a radical hedonism that denies that any goal is worth the means, that refuses to allow the nobly abstract to seduce us from the sweetness of the concrete. Give people a good croissant and a good cup of coffee in the morning. Give them an occasional facial and a plate of escargots. Marie-Antoinette picked a bad moment to say "Let them eat cake," but I've often thought she was on the right track.

All of which brings me back to Paris, for Paris exists in the imagination of much of the world as the capital of pleasure—of fun, food, art, folly, seduction, gallantry, and beauty. Paris is civilization's reminder to itself that nothing leads you less wrong than your awareness of your own pleasure and a genial desire to spread it around. In that sense the myth of Paris constitutes a moral touchstone, standing for the selfish frivolity that helps keep priorities straight.

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Copyright © 2001 by The Atlantic Monthly Group. All rights reserved.
The Atlantic Monthly; October 1986; Tools of Torture: An essay on beauty and pain; Volume 258, No. 4; page 38-39.