Camille Paglia Quotes

Contemporary feminists, who are generally poor or narrowly trained scholars, insist on viewing history as a weepy scenario of male oppression and female victimization. But it is more accurate to see men, driven by sexual anxiety away from their mothers, forming group alliances by male bonding to create complex structures of society, art, science and technology.

Gay and straight men have much more in common than do gay men with lesbians or straight men with straight women. Every man must define his identity against his mother. If he does not, he he just falls back into her and is swallowed up. This is the agonizing myth-pattern in the comic, matricidal Psycho (1960), one of the hauntingly emblematic films of our time.

Meryl Streep, in her Protestant way, is stuck on words; she flashes clever accents as a mask for her deeper failures. (And she cannot deliver a Jewish line; she destroyed Nora Ephron’s snappy dialogue in Heartburn.) Streep’s work doesn’t travel. Try dubbing her for movie houses in India: there’d be nothing left, just that bony, earnest horse face moving its lips. Imagine, on the other hand, lesser technicians like Hedy Lammarr, Rita Hayworth, Lana Turner: these women have an international and universal appeal, crossing the centuries. They would have been beautiful in Egypt, Greece, Rome, medieval Burgundy, or eighteenth-century Paris. Susan Hayward played Bathsheba. Try to picture Streep in a Bible epic! Streep is incapable of playing the great legendary or mythological roles. She has no elemental power, no smouldering sensuality.

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.

For me, the Profumo affair symbolizes the evanescence of male government compared to women’s cosmic power.

Incompetent amateurs have given prostitution a bad name.

Madonna won my undying loyalty by reviving and re-creating the hard glamour of the studio-era Hollywood movie queens, figures of mythological grandeur. Contemporary feminism cut itself off from history and bankrupted itself when it spun its paranoid fantasy of male oppressors and female sex-object victims. Woman is the dominant sex. Woman’s sexual glamour has bewitched and destroyed men since Delilah and Helen of Troy.

When in doubt, I read Oscar Wilde.

Academic Marxists, with their elitist sense of superiority to popular taste, are the biggest snobs in America.

We do not need French post-structuralism, whose pedantic jargon, clumsy convolutions, and prissy abstractions have spread throughout academe and the arts and are now blighting the most promising minds of the next generation. This is a major crisis if there ever was one, and every sensible person must help bring it to an end.

Professors of humanities, with all their leftist fantasies, have little direct knowledge of American life and no impact whatever on public policy.

In today's impoverished dialogue, critiques of liberalism are often naively called "conservative," as if twenty-five hundred years of Western intellectual tradition presented no other alternatives.

Sappho is a great poet because she is a lesbian, which gives her erotic access to the Muse. Sappho and the homosexual-tending Emily Dickinson stand alone above women poets, because poetry's mystical energies are ruled by a hierach requiring the sexual subordination of her petitioners. Women have achieved more as novelists than as poets because the social novel operates outside the ancient marriage of myth and eroticism.

It is no coincidence that while some major female artists have married, very few have borne children. The issue is not conservation of energy but imaginative integrity. Art is its own self-swelling, proof that the mind is greater than the body.

Women have been discouraged from genres such as sculpture that require studio training or expensive materials. But in philosophy, mathematics, and poetry, the only materials are pen and paper. Male conspiracy cannot explain all female failures. I am convinced that, even without restrictions, there still would have been no female Pascal, Milton, or Kant. Genius is not checked by social obstacles: it will overcome. Men's egotism, so disgusting in the talentless, is the source of their greatness as a sex. [...] Even now, with all vocations open, I marvel at the rarity of the woman driven by artistic or intellectual obsession, that self-mutilating derangement of social relationship which, in its alternate forms of crime and ideation, is the disgrace and glory of the human species.