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.

Response to criticism of Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson, as quoted in "20Q: Camille Paglia" by Warren Kalbacker in Playboy magazine (October 1991); also in Gauntlet 4 (1992), p. 133

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 www.officialyankeesproshop.com/WOMENS-ALEX-RODRIGUEZ-JERSEY.html 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.

When asked "why you write about sex?" Paglia on AOL (11 September 1996)

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.

As quoted in Sexuality and Gender (2002) by Christine R. Williams and Arlene Stein, p. 213

I plan to vote for Barack Obama in the Pennsylvania primary because he is a rational, centered personality who speaks the language of idealism and national unity. Obama has served longer as an elected official than Hillary. He has had experience as a grass roots activist, and he is also a highly educated lawyer who will be a quick learner in office. His international parentage and childhood, as well as his knowledge of both Christianity and Islam, would make him the right leader at the right time. And his wife Michelle is a powerhouse. The Obamas represent the future, not the past. When social controls weaken, man's innate cruelty bursts forth. The rapist is created not by bad social conditioning influences but by a failure of social conditioning. Feminists, seeking to drive power relations out of sex, have set themselves against nature. In western culture, there are no nonexploitative relationships. Everyone has killed in order to live. Nature's universal law of creation from destruction operates in mind as in matter. As Freud, Nietzsche's heir, asserts, identity is conflict. Each generation drives its plow over the bones of the dead.

Sex cannot be understood because nature cannot be understood. Science is a method of logical analysis of nature's operations. It has lessened human anxiety about the cosmos by demonstrating the materiality of nature's forces, and their frequent predictability. But science is always playing catch up ball. Nature breaks its own rules whenever it wants. Science cannot avert a single thunderbolt. Western science is a product of the Apollonian mind: its hope is that by naming and classification, by the cold light of intellect, archaic night can be pushed back and defeated.

Woman was an idol of belly magic. She seemed to swell and give birth by her own law. From the beginning of time, woman has seemed an uncanny being. Man honored but feared her. She was the black maw that had spat him forth and would devour him anew. Men, bonding together, invented culture as a defense against female nature. Sky cult was the most sophisticated step in this process, for its switch of the creative locus from earth to sky is a shift from belly magic to head magic. And from this defensive head magic has come the spectacular glory of male civilization, which has lifted woman with it. The very language and logic modern woman uses to assail patriarchal culture were the invention of men.

Nature is a Darwinian spectacle of the eaters and the eaten. All phases of procreation are ruled by appetite: sexual intercourse, from kissing to penetration, consists of movements of barely controlled cruelty and consumption. The long pregnancy of the human female and the protracted childhood of her infant, who is not self sustaining for seven years or more, have produced the agon of psychological dependency that burdens the male for a lifetime. Man justifiably fears being devoured by woman, who is nature's proxy.

That nature acts differently upon the sexes Womens Derek Jeter Jersey is proved by the test case of modern male and female homosexuality, illustrating how the sexes function separately outside social conventions. The results, according to statistics of sexual frequency: male satyriasis and female nesting. The male homosexual has more sex than his heterosexual counterpart; the female homosexual less often than hers, a radical polarization of the sexes along a single continuum of shared sexual nonconformity. Male aggression and lust are the energizing factors in culture. They are men's tools of survival in the pagan vastness of female nature.

The old "double standard" gave men a sexual liberty denied to women. Marxist feminists reduced the historical cult of woman's virginity to her property value, her worth on the male marriage market. I would argue instead that there was and is a biological basis to the double standard. Incredulity. Who could such people be? Why, it turns out, everyone one knew. Serious, kind, literate men, not bums or thugs.

Pornography's male born explicitness renders visible what is invisible, woman's chthonic internality. It tries to shed Apollonian light on woman's anxiety provoking darkness. The vulgar contortionism of pornography is the serpentine tangle of Medusan nature. Pornography is human imagination in tense theatrical action; its violations are a protest against the violations of our freedom by nature. The banning of pornography, rightly sought by Judeo Christianity, would be a victory over the west's stubborn paganism. But pornography cannot be banned, only driven underground, where its illicit charge will be enhanced.

In the past fifteen years, Marxist approaches towards literature have enjoyed increasing vogue. To be conscious of the social context of art seems to automatically entail a leftist orientation. But a theory is possible that is both avant garde and capitalist. Marxism was one of Rousseau's nineteenth century progeny, energized by faith in the perfectabilty of man. Its believed that economic forces are the primary dynamic force in history is Romantic naturism in disguise. Marxism is the bleakest of anxiety formations against the power of cthonian mothers.

We could make an epic catalog of male achievements, from paved roads, indoor plumbing, and washing machine to eyeglasses, antibiotics and disposable diapers. We enjoy safe, fresh milk and meat, and vegetables and tropical fruits heaped in snowbound cities. When I cross the George Washington Bridge or any of America's great bridges, I think: men have done this. Construction is a sublime male poetry. When I see a see a giant crane passing on a flatbed truck, I pause in awe and reverence as would for a church processions.

The book of Genesis is a male declaration of independence from the ancient mother cults. Its challenge to nature, so sexist to modern ears, marks one of the crucial moments in western history. Mind can never be free of matter. Only by mind imagining itself free can culture advance. The mother cults, by reconciling man to nature, entrapped him in matter. Everything great in western civilization has come from struggling against our origins. Genesis is rigid and unjust, but it gave man hope as a man. It remade the world by male dynasty, canceling the power of mothers.

The toothed vagina is no sexist hallucination: every penis is made less by every vagina, just as mankind, male and female, is devoured by mother nature. The vagina dentata is part of the Romantic revival of pagan myth. It subliminally present in Poe's voracious maelstrom and dank, scythe swept pit. It overtly appears in the bible of French Decadence, Huysmans's A Rebours (1884), where a dreamer is magnetically drawn towards mother nature's open thighs, the "bloody depths" of a carnivorous flower rimmed by "swordblades."

The Nefertiti bust is one of the most popular art works in the world. It is printed on scarves and molded in necklace pendants and coffee table miniatures. But never in my experience is the bust exactly reproduced. The copyist softens it, feminizes it and humanizes it. The actual bust is intolerably severe. It is too uncanny an object for domestic display. Even art books lie. The bust is usually posed in profile or at an angle, so that the missing left pupil is hidden or shadowed. What happened to the eye?

The Apollonian and Dionysian, two great western principles, govern sexual personae in life and art. My theory is this: Dionysus is identification, Apollo objectification. Dionysus is the empathic, the sympathetic, emotion transporting us into other people, other palaces, other times. Apollo is the hard, cold separation of western personality and categorical thought. Dionysus is energy, ecstasy, hysteria, promiscuity, emotionalism heedless indiscriminateness of idea or practice. Apollo is obsessiveness, voyeurism, idolatry, fascism frigidity and aggression of the eye, petrification of objects. The quarrel between Apollo and Dionysus is the quarrel between the higher cortex and the older limbic and reptilian brains.

The Orestia shows that society is a defense against nature. Everything intelligible institutions, objects, persons, ideas is the result of Apollonian clarification, adjudication, and action. Western politics, science, psychology and art are creations of arrogant Apollo. Through every century, winning or losing, western mind has struggled to keep nature at bay. The Orestia's sexist transition from matriarchy to patriarchy records the rebellion every imagination must make against nature. Without that rebellion, we as a species are condemned to regression or stasis. Even rebelling, we cannot get far. But vying with fate is godlike.

Women have ironically enjoyed a greater symbolic, if not practical freedom. Thus it is that male and not female homosexuality has been harshly punished by law. A debater in Lucian declares, "Far better that a women, in the madness of her lust, should usurp the nature of man, than that man's noble nature should be so degraded as to play the woman." Similarly today, lesbian interludes are a staple of heterosexual pornography. Ever since man emerged from the dominance of nature, masculinity has been the most fragile and problematic of psychic states.

The Faerie Queene is the most extended and extensive meditation on sex in the history of poetry. It charts the entire erotic spectrum, a great chain of being rising from matter to spirit, from the coarsest lust to chastity and romantic idealism. The poem's themes of sex and politics are parallel: the psyche, like society, must be disciplined by good government. Spenser agrees with the classical and Christian philosophers on the primacy of reason over animal appetites. He looks forward to the Romantic poets, however, in the way that he shows the sex impulse as ultimately daemonic and barbaric, breeding witches and sorcerers of evil allure. Like the Odyssey, The Faerie Queene is a heroic epic in which the masculine must evade female traps or delays.

The sixteenth century transformed Middle English into modern English. Grammar was up for grabs. People made up vocabulary and syntax as they went along. Not until the eighteenth century would rules of English usage appear. Shakespearean language is a bizarre super tongue, alien and plastic, twisting, turning, and forever escaping. It is untranslatable, since it knocks Anglo Saxon root words against Norman and Greco Roman importations sweetly or harshly, kicking us up and down rhetorical levels with witty abruptness. No one in real life ever spoke like Shakespeare's characters. His language does not "make sense," especially in the greatest plays. Anywhere from a third to a half of every Shakespearean play, I conservatively estimate, will always remain under an interpretive cloud. Unfortunately, this fact is obscured by the encrustations of footnotes in modern texts, which imply to the poor cowed student that if only he knew what the savants do, all would be as clear as day. Every time I open Hamlet, I am stunned by its hostile virtuosity, its elusiveness and impenetrability. Shakespeare uses language to darken. He suspends the traditional compass points of rhetoric, still quite firm in Marlowe, normally regarded as Shakespeare's main influence. Shakespeare's words have "aura." This he got from Spenser, not Marlowe.

Gautier says, "Baudelaire abhorred philanthropy, progressivists, utilitarians, humanitarians and utopianists." In other words, Baudelaire condemned Rousseausism in all its forms. Today, Rousseausism has so triumphed that the arts and the avant garde are synonymous with liberalism, an error enforced Kids Alex Rodriguez Jersey by literature teachers, with their humanist bias. I follow the Decadents in trying to drive Rousseauist benevolence out of the discourse in art and literature. The Decadents satirized the liberal faith in progress with sizzling prophecies of catastrophe and cultural collapse.

Richard Chase declares, "No great poet has written so much bad verse as Emily Dickinson." He blames the Victorian cult of little women for the fact that "two thirds of her work" is seriously flawed: "Her coy and oddly childish poems of nature and female friendship are products of a time when one of the careers open to women was perpetual childhood." Dickinson's sentimental feminine poems remain neglected by embarrassed scholars. I would maintain, however, that her poetry is a closed system of sexual reference and that the mawkish poems are designed to dovetail with those of violence and suffering.

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. www.officialyankeesproshop.com/WOMENS-DEREK-JETER-JERSEY.html 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.

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 Hearburn.) 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.