"Freud was right to see the centrality of the image of the phallic mother and to connect it directly with the castration complex. But he was wrong to make the sexual side of the problem the central core of it, to take what is derivative (the sexual) and make it primary (the existential dilemma). The wish for the phallic mother, the horror of the female genitals, may well be a universal experience of mankind, for girls as well as boys. But the reason is that the child wants to see the omnipotent mother, the miraculous source of all his protection, nourishment, and love, as a really godlike creature complete beyond the accident of a split into two sexes. The threat of the castrated mother is thus a threat to his whole existence in that his mother is an animal thing and not a transcendent angel. The fate that he then fears, that turns him away from the mother in horror, is that he too is a “fallen” bodily creature, the very thing that he fights to overcome by his anal training. The horror of the female genitals, then, is the shock of the tiny child who is all at once—before the age of six—suddenly turned into a philosopher, a tragedian who must be a man long before his time and who must draw on reserves of wisdom and strength that he doesn’t have. Again, this is the burden of the “primal scene”: not that it awakens unbearable sexual desires in the child or aggressive hate and jealousy toward the father, but rather that it thoroughly confuses him about the nature of man."