Marriage is an institution uniquely apt for the rearing and nourishing of children, an open-ended task calling parents to assume an attitude of love and commitment toward children. Conversely, divorce undermines the family unit and deprives children of an intact biological family.
Karl Marx recommended the abolition of marriage in his Communist Manifesto, stating it would naturally bring with it the dissolution of the system of free love, which he called public and private prostitution.
In other words, Marx thought that marriage was nothing but a form of “private prostitution.”
Inspired by such teachings, in the 1980s, the Australian Union of Students issued a Policy Statement arguing that “prostitution takes many forms and is not only the exchange of money for sex … Prostitution in marriage is the transaction of sex in return for love, security, and housekeeping.”
This idea that marriage is a form of prostitution is accepted by a number of feminist scholars.
In 2014, on ABC’s program Q+A, British-born feminist Jane Caro stated: “I would argue that traditional marriage is basically selling [women’s] bodies and their reproductive rights to their husbands is a form of prostitution.”
The radical feminist promotion of “sexual liberation” rests on the application of Marxist forms of critical analysis to groups of people who are identified by gender and then urged to overthrow their “oppressors.”
“Patriarchal” is the word often used to describe the traditional conventions observed by respectable members of society, which are dismissed as “oppressive.”
Therefore, Marxism holds that the institution of marriage, within its attendant sexual morals, must die out and be replaced by “free unions of love.”
For a woman to be a housewife is considered shameful, and some feminists will go so far as to suggest that children will be better off by being raised by the state in public facilities rather than at home with their biological parents.
Sexual politics introduced what American feminist Camille Paglia describes as “the Stalinist style of feminist criticism.”
This type of feminism, according to Paglia, “strides into great literature and arts with jackboots on and red pen in hand, checking off ‘racist,’ ‘sexist’ and ‘homophobic,’ peremptorily decreeing what should remain and what should be discarded.”
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