247 quotes
Capitalism, gaudy and greedy, has been inherent in western aesthetics from ancient Egypt on. It is the mysticism and glamour of things, which take on a personality of their own. As an economic system, it is in the Darwinian line of Sade, not Rousseau.
Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990)
Feminism has tried to dismiss the femme fatale as a misogynist libel, a hoary cliche. But the femme fatale expresses woman's ancient and eternal control of the sexual realm. The specter of the femme fatale stalks all of men's relationships with women.
Sex, Art and American Culture : New Essays (1992)
Women's studies needed a syllabus and so invented a canon overnight. It puffed up clunky, mundane contemporary women authors into Oz-like, skywriting dirigibles. Our best women students are being force-fed an appalling diet of cant, drivel and malarkey.
Sex, Art and American Culture : New Essays (1992)
Let's get rid of Infirmary Feminism, with its bedlam of bellyachers, anorexics, bulimics, depressives, rape victims, and incest survivors. Feminism has become a catch-all vegetable drawer where bunches of clingy sob sisters can store their moldy neuroses.
The Quotable Bitch: Women Who Tell It Like It Really Is (2007)
At the opening of the Odyssey, Telemachus, inspired by the male-born Athena, searches for his father by turning against his mother. Jesus too publicly spurns his mother to be about his father’s business. Male adulthood begins with the breaking of female chains.
Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990)
The junk-bond era has also spawned something that calls itself New Historicism. This seems to be a refuge for English majors without critical talent or broad learning in history or political science. [...] To practice it, you must apparently lack all historical sense.
Sex, Art and American Culture : New Essays (1992)
When in doubt, I read Oscar Wilde.
Sex, Art and American Culture : New Essays (1992)
Nature exists, whether academics like it or not. And in nature, procreation is the single, relentless rule. That is the norm. Our sexual bodies were designed for reproduction. Penis fits vagina: no fancy linguistic game-playing can change that biologic fact.
Vamps and Tramps (1994)
In 'A Room of One's Own', Virginia Woolf satirically describes her perplexity at the bulging card catalog of the British Museum: why, she asks, are there so many books written by men about women but none by women about men? The answer to her question is that from the beginning of time men have been struggling with the threat of woman's dominance.
Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990)
Sexuality and eroticism are the intricate intersection of nature and culture. Feminists grossly oversimplify the problem of sex when they reduce it a matter of social convention: readjust society, eliminate sexual inequality, purify sex roles, and happiness and harmony will reign. Here feminism, like all liberal movements of the past two hundred years, is heir to Rousseau.
Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990)
I believe that the shocking toll of AIDS on gay men in the West was partly due to their Seventies delusionism that a world without women was possible. All-male energies, unbalanced and ravenous, literally tore the body apart.
Vamps and Tramps (1994)
No one is “born gay.” The idea is ridiculous, but it is symptomatic of our overpoliticized climate that such assertions are given instant credence by gay activists and their media partisans. I think what gay men are remembering is that they were born different.
Vamps and Tramps (1994)
Judaism’s campaign to make divinity invisible has never fully succeeded. Images are always eluding moral control, creating the brilliant western art tradition. Idolatry is fascism of the eye. The western eye will be served, with or without the consent of conscience.
Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990)
A woman simply is, but a man must become. Masculinity is risky and elusive. It is achieved by a revolt from woman, and is confirmed only by other men. Feminist fantasies about the ideal “sensitive” male have failed. Manhood coerced into sensitivity is no manhood at all.
Sex, Art and American Culture : New Essays (1992)
Charisma is the radiance produced by the interaction of male and female elements in a gifted personality. The charismatic woman has a masculine force and severity. The charismatic man has an entrancing female beauty. Both are hot and cold, glowing with presexual self-love.
Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990)
Ten thousand years ago, when man the nomad took root in one place, he brought animals with him into human service. But domestication was to be his fate too, as he fell under architecturally reinforced female control.
The venerable emeritus professors still at Yale when I entered graduate school [in the 1960s] may have been reserved, puritanical WASPs, but they were men of honor who had given their lives to scholarship. Today in the elite schools, honor and ethics are gone.
Vamps and Tramps (1994)
I'm absolutely a feminist. The reason other feminists don't like me is that I criticize the movement, explaining that it needs a correction. Feminism has betrayed women, alienated men and women, replaced dialogue with political correctness.
Playboy interview (1995)
Serial or sex murder, like fetishism, is a perversion of male intelligence. It is a criminal abstraction, masculine in its deranged egoism and orderliness. It is the asocial equivalent of philosophy, mathematics and music. There is no female Mozart because there is no female Jack the Ripper.
Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990)
The Bobbit case, which brought to life the ancient mythic archetype of woman as castrator, demonstrated that women are as aggressive as men and that sex is a dark, dangerous force of nature. But of course the feminist establishment, stuck in its battered-woman blinders, learned nothing as usual from this lurid refutation of its normal views. Classic art works like Bizet’s Carmen tell us more about the irrationality of love, jealousy and revenge than do all the pat formulas of the counseling industry.
Vamps and Tramps (1994)