Both the boy and girl turn away from the mother as a sort of automatic reflex of their own needs for growth and independence. But the “horror, terror, contempt” they feel is, as we said, part of their own fantastic perceptions of a situation they can’t stand. This situation is not only the biological dependency and physicalness represented by the mother, but also the terrible revelation of the problem of the child’s own body. The mother’s body not only reveals a sex that threatens vulnerability and dependency—it reveals much more: it presents the problem of two sexes and so confronts the child with the fact that his body is itself arbitrary. It is not so much that the child sees that neither sex is “complete” in itself or that he understands that the particularity of each sex is a limitation of potential, a cheating of living fulness in some ways—he can’t know these things or fully feel them. It is again not a sexual problem; it is more global, experienced as the curse of arbitrariness that the body represents. The child comes upon a world in which he could just as well have been born male or female, even dog, cat, or fish—for all that it seems to matter as regards power and control, capacity to withstand pain, annihilation, and death. The horror of sexual differentiation is a horror of “biological fact,” as Brown so well says. It is a fall out of illusion into sobering reality. It is a horror of assuming an immense new burden, the burden of the meaning of life and the body, of the fatality of one’s incompleteness, his helplessness, his finitude. And this, finally, is the hopeless terror of the castration complex that makes men tremble in their nightmares. It expresses the realization by the child that he is saddled with an impossible project; that the causa-sui pursuit on which he is launched cannot be achieved by body-sexual means, even by protesting a body different from the mother. The fortress of the body, the primary base for narcissistic operations against the world in order to insure one’s boundless powers, crumbles like sand. This is the tragic dethroning of the child, the ejection from paradise that the castration complex represents. Once he used any bodily zone or appendage for his Oedipal project of self-generation; now, the very genitals themselves mock his self-sufficiency.

It is a pregnant complex, gleaming up from the unconscious, of mother-fixation, sexual desire, and fear.

As for woman, her inferiority complex manifests itself in a rejection out of shame of her femininity: it is not the absence of a penis that unleashes this complex but the total situation; the girl envies the phallus only as a symbol of the privileges granted to boys; the father’s place in the family, the universal predominance of males, and upbringing all confirm her idea of masculine superiority. Later, in the course of sexual relations, even the coital posture that places the woman underneath the man is an added humiliation. She reacts by a “masculine protest”; she either tries to masculinize herself or uses her feminine wiles to go into battle against man. Through motherhood she can find in her child the equivalent of the penis. But this supposes that she must first accept herself completely as woman, and thus accept her inferiority. She is far more deeply divided against herself than is man.

Every male copulating with a woman returns to his origins in the womb. Goethe postponed intercourse until he was forty. This must be related to his self-imposed distance from his forceful mother. To refuse phallic penetration is to refuse surrender to the female matrix.

This idealization of motherhood is essentially a means of keeping women from developing a sexual consciousness and from breaking through the barriers of sexual repression, of keeping alive their sexual anxieties and guilt feelings. The very existence of woman as a sexual being would threaten authoritarian ideology; her recognition and social affirmation would mean its collapse.

A mother-complex is not got rid of by blindly reducing the mother to human proportions. Besides that we run the risk of dissolving the experience "Mother" into atoms, thus destroying something supremely valuable and throwing away the golden key which a good fairy laid in our cradle. That is why mankind has always instinctively added the pre-existent divine pair to the personal parents—the "god"father and "god"-mother of the newborn child—so that, from sheer unconsciousness or shortsighted rationalism, he should never forget himself so far as to invest his own parents with divinity.

It is not the thing you fear that you must deal with, it is the mother of the thing you fear. The very thing that has given birth to the nightmare.

The fact is that the woman’s experience of a repetition of castration at menopause is a real one—not in the narrow focus that Freud used, but rather in the broader sense of Rank, the existentialists, and Brown. As Boss so well said, “castration fear” is only an inroad or an aperture whereby the anxiety inherent in all existence may break into one’s world. It will be easy for us to understand at this point that menopause simply reawakens the horror of the body, the utter bankruptcy of the body as a viable causa-sui project—the exact experience that brings on the early Oedipal castration anxiety. The woman is reminded in the most forceful way that she is an animal thing; menopause is a sort of “animal birthday” that specifically marks the physical career of degeneration. It is like nature imposing a definite physical milestone on the person, putting up a wall and saying “You are not going any further into life now, you are going toward the end, to the absolute determinism of death.” As men don’t have such animal birthdays, such specific markers of a physical kind, they don’t usually experience another stark discrediting of the body as a causa-sui project. Once has been enough, and they bury the problem with the symbolic powers of the cultural world-view. But the woman is less fortunate; she is put in the position of having all at once to catch up psychologically with the physical facts of life. To paraphrase Goethe’s aphorism, death doesn’t keep knocking on her door only to be ignored (as men ignore their aging), but kicks it in to show himself full in the face.

It is recognised now that Freud never gave proper attention, even in man, to growth of the ego or self: 'the impulse to master, control or come to self-fulfilling terms with the environment'. Analysts who have freed themselves from Freud's bias and joined other behavioural scientists in studying the human need, and that interference with it, in any dimension, is the source of psychic trouble. The sexual is only one dimension of the human potential. Freud saw women only in terms of their sexual relationship with men. But in all those women in whom he saw sexual problems, there must have been very severe problems of blocked growth, growth short of full human identity — an immature, incomplete self. Society as it was then, by explicit denial of education and independence, prevented women from realising their full potential, or from attaining those interests and ideals that might stimulated their growth. Freud reported these deficiencies, but could only explain them as the toll of 'penis envy'. He saw that women who secretly hungered to be man's equal would not enjoy being his object; and in this, he seemed to be describing a fact. But when he dismissed woman's yearning for equality as 'penis envy', was he not merely stating his own view that woman could never really be man's equal, any more than she could wear his penis?

At first the child is amused by his anus and feces, and gaily inserts his finger into the orifice, smelling it, smearing feces on the walls, playing games of touching objects with his anus, and the like. This is a universal form of play that does the serious work of all play: it reflects the discovery and exercise of natural bodily functions; it masters an area of strangeness; it establishes power and control over the deterministic laws of the natural world; and it does all this with symbols and fancy. With anal play the child is already becoming a philosopher of the human condition. But like all philosophers he is still bound by it, and his main task in life becomes the denial of what the anus represents: that in fact, he is nothing but body so far as nature is concerned. Nature’s values are bodily values, human values are mental values, and though they take the loftiest flights they are built upon excrement, impossible without it, always brought back to it. As Montaigne put it, on the highest throne in the world man sits on his arse. Usually this epigram makes people laugh because it seems to reclaim the world from artificial pride and snobbery and to bring things back to egalitarian values. But if we push the observation even further and say men sit not only on their arse, but over a warm and fuming pile of their own excrement—the joke is no longer funny. The tragedy of man’s dualism, his ludicrous situation, becomes too real. The anus and its incomprehensible, repulsive product represents not only physical determinism and boundness, but the fate as well of all that is physical: decay and death.

The female body’s unbearable hiddenness applies to all aspects men’s dealings with women. What does it look like in there? Did she have an orgasm? Is it really my child? Who was my real father? Mystery surrounds women’s sexuality. This mystery is the main reason for the imprisonment man has imposed on women. Only by confining his wife in a locked harem guarded by eunuchs could he be certain that her son was also his.

Female castration results in concentration of her feelings upon her male companion, and her impotence in confrontations with her own kind. Because all her love is guided by the search for security, if not for her offspring then for her crippled and fearful self, she cannot expect to find it in her own kind, whom she knows to be weak and unsuitable.

The sexual wishes in regard to the mother become more intense and the father is perceived as an obstacle to the mother; this gives rise to the Oedipus complex.

"Besides intercourse (when the Image-repertoire goes to the devil), there is that other embrace, which is a motionless cradling: we are enchanted, bewitched: we are in the realm of sleep, without sleeping; we are within the voluptous infantilism of sleepiness: this is the moment for telling stories, the moment of the voice which takes me, siderates me, this is the return to the mother ("in the loving calm of your arms," says a poem set to music by Duparc). In this companionable incest, everything is suspended: time, law, prohibition: nothing is exhausted, nothing is wanted: all desires are abolished, for they seem definitively fulfilled.
Yet, within this infantile embrace, the genital unfailingly appears; it cuts off the diffuse sensuality of the incestuous embrace; the logic of desire begins to function, the will-to-possess returns, the adult is superimposed upon the child. I am then two subjects at once: I want maternity and genitality. (The lover might be defined as a child getting an erection: such was the young Eros.)"