Camille Paglia Quotes

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.

Leaving sex to the feminists is like letting your dog vacation at the taxidermist.

As texting has become the default discourse for an entire generation, the ability to read real-life facial expressions and body language is alarmingly atrophying.

The only antidote to the magic of images is the magic of words.

The feminist line is, strippers and topless dancers are degraded, subordinated, and enslaved; they are victims, turned into objects by the display of their anatomy. But women are far from being victims — women rule; they are in total control … the feminist analysis of prostitution says that men are using money as power over women. I'd say, yes, that's all that men have. The money is a confession of weakness. They have to buy women's attention. It's not a sign of power; it's a sign of weakness.

Men are run ragged by female sexuality all their lives. From the beginning of his life to the end, no man ever fully commands any woman. It's an illusion. Men are pussy-whipped. And they know it. That's what the strip clubs are about; not woman as victim, not woman as slave, but woman as goddess.

I have been studying it [sexuality] since before it became fashionable. At the Yale Grad School, for example, where I was from 1968 to 1972, I was literally the only person in the humanities departments doing a dissertation on sex — hard to believe now, but I was a real pioneer and I took the career hit for it. It was considered tacky, low, not serious — my dears, I was absolutely scouring the Yale archives for every bit of dirt on homosexuality, sadomasochism, transvestism — you name it. That is the basis of the research for my first book, Sexual Personae, which was my dissertation.

It was intended to please no one and to offend everyone. The entire process of the book was to discover the repressed elements of contemporary culture, whatever they are, and palpate them. One of the main premises was to demonstrate that pornography is everywhere in major art. Art history as written is completely sex free, repressive and puritanical. I want precision and historical knowledge, but at the same time, I try to zap it with pornographic intensity.