text:
Newlyweds: Nick & Jessica

Newlyweds: Nick & Jessica is a reality television show on MTV that follows the daily lives of singers Jessica Simpson and former 98 Degrees member Nick Lachey, a celebrity musical artist couple married in October 2002. The show first aired in August 2003 and ran through March 2005, for a total of three seasons and 41 episodes.

Newlyweds Clean House [1.01]
[Nick and Jessica are sitting on the couch and watching sports on TV while eating tuna for lunch]
 * Jessica: Is this chicken I have or is it fish? I know it's tuna, but it says chicken... by the sea... is that stupid?

[Long pause, with Nick giving Jessica a dirty look]
 * Jessica: What?! Don’t make fun of me right now; I’m not in the mood.
 * Nick: You act like you’ve never had tuna before.
 * Jessica: I’ve had tuna fish, like, sandwiches and stuff, like this...
 * Nick: Baby, you and I have eaten tuna like this before.
 * Jessica: Why is it called "Chicken by the Sea" or "in the Sea"?
 * Nick: "Chicken of the Sea" is the brand.
 * Jessica: Oh...
 * Nick: You know, 'cause a lot of people eat tuna, it's like a lot of people eat chicken? So it's like the chicken of the sea.
 * Jessica: Okay. I understand now. I was-I read it wrong... [giggles]

The Dancers [1.02]
[Nick and Jessica are in their hotel room with Jessica's mother]
 * Jessica: I just wanna lay here and like watch a movie or something, 'cause I'm so tired...
 * Nick: There might be a basketball game in a little bit...
 * Jessica: No, I said watch a movie.
 * Nick: There might be a basketball game in a little bit...
 * Jessica: No, I said watch a movie.
 * Nick: That's like a movie...
 * Jessica's mom: It can't be.
 * Jessica: Mm-Mm.
 * Nick: There's all kinds of drama in basketball...
 * Jessica: Well, I mean-I mean, if Teen Wolf was on, I'd watch that.
 * Nick: Well, you can watch a movie, I'll go next door with the dancers, and we'll watch basketball.
 * Jessica's mom: Ohhhhh, ohhhhh, ohhhhh, that's so good!
 * Nick: They love watching basketball with me.

Newlyweds Go Camping [1.03]

 * Jessica: I take my bag everywhere I go; every single place I go. You know, it's my pet; pet Louis. I don't know, is that weird, taking my Louis Vuitton bag camping?

 * Jessica: I have bubbles in my tummy, I think. I need to stretch.
 * Lea: Oh, so you're gonna go in the tent and fart, is that what you're saying?
 * Jessica: No, it's just air, it's not stink.
 * Drew and Lea: Right, right, right.
 * Jessica: Promise.
 * Drew: I tried that one all the time.

Newlyweds Go Golfing [1.04]

 * Jessica:My boobs are in the way, My boobs make a curve.

 * Jessica Simpson: What if I accidentally hit somebody? Because my dad took one of his friends golfing, and it was, like, one of his first times and he knocked out a duck. Like, I'm scared that's going to happen.

The Platypus [1.05]
[Jessica and her friend are in the car; Jessica is behind the wheel and is having a hard time trying to close her garage door before they leave]
 * Jessica: I'm not gonna hit anybody, right? Alright, let's get out of here. [tries to open the garage door with the remote, but it won't move] Again? Why is my thing... [tries again] Oh, please!
 * Lea: It was doing this the other day, wasn't it?
 * Jessica: [continuing to struggle with her garage door remote after the door goes up and then down] What? That was weird...

 [Nick and Jessica are at an amusement park, and playing a carnival game; Nick ends up winning a stuffed platypus doll for Jessica]
 * Jessica: Isn't it plat-a-ma-pus, or is it platypus?
 * Nick: It's not a plat-a-ma-pus, it's a platypus.
 * Jessica: Oh, I always thought it was a platypus; I always thought it was plat-a-ma-pus.
 * Nick: That's something else.
 * Jessica: I got a platypus!

 [Nick, Jessica, and their friends are getting out of their SUV to go to a nightclub party; one of their friends farted, and it had everybody else moaning and gasping for air]
 * Drew: Ugh, aw, oh...
 * Jessica: He had gas issues all over the place...
 * Lea: They all had gas issues...
 * Drew: Oh, Eric, you stink! You're a rotten-aw man, you...

 [Jessica, Lea, and Katie are eating brunch]
 * Jessica: I'm think I need to go... drop some kids into the pool.
 * Katie: Oh, come on, you know some of us are still trying to eat. The pool's closed. It's adult swim.
 * Jessica: I'll give 'em an adult.

[They all laugh as Jessica departs to use the bathroom]

Newlyweds on Vacation [1.06]
[Nick, Jessica, Drew, and Lea are looking at dolphins]
 * Jessica: They have holes in their heads?
 * Lea: Yes, they do!

 [Nick, Jessica, Drew, and Lea are eating dinner at a restaurant]
 * Lea: [referring to the buffalo wings on the table] Try these?
 * Jessica: I don't eat buffalo.
 * Lea: It's not buffalo, you idiot! Oh my god...
 * Jessica: It's not?
 * Lea: No, it's chicken!
 * Jessica: Well, it's-then, why do they call it buffalo wings?
 * Nick: Baby, come on, you know it.
 * Jessica: I don't know this!
 * Drew: 'Cause barbecue wings started in Buffalo, or something like that... You don't find it weird that buffaloes don't have wings?
 * Jessica: Never thought about it.

Newlyweds Decorate [1.07]

 * Jessica: I'm not a good tryer-clothers-er-on-er; my stylists hate me; I mean, they love me, of course, but I always complain.

The Video Shoot [1.08]

 * Jessica: You married me.
 * Nick: Don't remind me!

Newlyweds Birthday [1.09]

 * Jessica: Twenty-three is old. It's almost 25, which is almost mid-20s.

Jessica Cooks Dinner [1.10]

 * Jessica: Lea had dinner on the table, and I had dinner in grocery sacks. I'm sorry.

Unidentified episodes

 * Jessica: Ooh, I love this scent.
 * Lea: What is it?
 * Jessica: Do you remember what scent this is? [reads label] Ah...oh, it says it's unscented...

 * Jessica: What does it mean when you take a really big breath and it hurts? [inhales big] It hurts really bad right here.
 * Nick: It means you shouldn't talk for a day and a half.

 [Jessica tries to tuck in her napkin]
 * Jessica: Not there.
 * Nick: Oh, I'm sorry.
 * Jessica: You'll mess up my cleavage.
 * Nick: Impossible.

 * Nick: Do you remember, right after we got married - I tried to get some in the car and you weren't having it?
 * Jessica: Well, no! I wanted my first time to be in a bed. You think I'd wait that long and then go at it in a car? Ew.

 [Nick and Jessica are getting out of their car]
 * Jessica: Why don't you open the car door for me anymore? At the begining of our marriage, you were so eager to open the door for me.
 * Nick: Because at the beginning of our marriage, I got laid.

 * Jessica: Well, I'm gonna take a shower. And wash off everybody's foot jam.
 * Nick: [snickers] Foot- foot jam?
 * Jessica: Yeah, I mean, I was in a pool of water all day long that everybody's feet was in.
 * Nick: Isn't it toe jam?
 * Jessica: Whatever.

 [Nick, Jessica, and their family and friends are riding in the car]
 * Jessica: You know what I did in 7th grade history? The history teacher was asking people if they knew all the continents, and I was so excited; I was like, "Damn it, it's the first day of 7th grade, I'm in junior high, and I know this answer!", and I raised my hand; I was the first one, and I said, "A-E-I-O-U!"

[A friend laughs]
 * Nick: Mind you, those aren't even consonants! They're vowels!

 [Nick and Drew both notice a bad smell in the foyer and accuse each other of farting, but then Drew sees Jessica coming out of the bathroom, indicating that she stunk up the bathroom so bad that the smell seeped out and spread into the foyer]
 * Nick: [reacting with surprise and shock after Drew tells him that Jessica had just stunk up the bathroom really bad] Jessica-it was Jessica?!
 * Drew: [nods his head with amusement and points to Jessica with his thumb] She's there... [walks away laughing]

[Nick shakes his head in disbelief and walks over to Jessica to confront her just as she enters the foyer]
 * Nick: Baby, what did you do...? I was-I just thought Drew farted out here... oh my gosh... [he and Jessica head for the bathroom while Jessica giggles in amusement and tries to act innocent] Turn this-there's a fan; turn the fan on!
 * Jessica: [not wanting to take responsibility for the smell] But baby, I didn't see any fan in there!
 * Nick: [after inhaling the smell directly at its source] OH MY GOD!!!!! Oh-ho... [Nick and Jessica turn around and quickly head away from the bathroom; Jessica giggles while Nick holds his nose and slams the bathroom door behind them, and then walks back into the foyer while gagging and gasping for air, and then points the finger of shame at Jessica] You should be ashamed of yourself!
 * Jessica: [proud of the nasty smell she produced in the bathroom and amused at Nick's reaction to it] I don't feel good.
 * Nick: Obviously, I don't either anymore... [Jessica playfully slaps Nick on his arm] God... [points in the direction of where Drew just went off to] I just thought I asked Drew if he farted; he was like "you sure you didn't?"! [grossed out, embarrassed, and astonished that his wife could produce such an awful smell, he bends over and puts his head down] Mmmmmm...

[Jessica walks away laughing and Nick heads to the foyer doors and starts swaying one from side-to-side to fan the air and deodorize the area]
 * Nick: Open that door and open this one; good God!

title: Newlyweds: Nick & Jessica


text:
User:Stefan Kögl

see w:User:Stefan Kögl

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: User:Stefan Kögl


text:
Whitley Strieber

Louis Whitley Strieber (born June 13, 1945) is an American writer best known for his horror novels The Wolfen and The Hunger and for Communion, a purported non-fiction account of his alleged experiences with non-human entities. He has maintained a dual career of author of fiction and advocate of paranormal concepts through his best-selling non-fiction books, his Unknown Country web site, and his Internet podcast, Dreamland.

Quotes

 * It’s time for us to wake up and face the truth, that we are a captive species on a prison planet, but the fact that we are so close to understanding the science of our imprisonment means that we are also just beginning to touch the key that locks the door, and if we are strong, if we defy and defeat the sinister forces that rule us now, we have a chance at last to unlock this place and do what we are able to do, that we are richly capable of doing, that those who love us—and they are out there, too—have hoped and sought that we should do from time immemorial.
 * Whitley Strieber The Danger of Being Right unknowncountry.com June 16, 2016

 * They know how to use chance
 * InnerViews - Hosted by Sean Stone (speaking on evolution interference by xeno-entities - see synchronicity)

The Hunger (1981)

 * Odysseus returned at last, neither dead nor alive, somehow still attached to this ruined corpse—a spirit perhaps unwanted among spirits and forced to remain in the dead house of its body.

title: Whitley Strieber


text:
User talk:204.167.92.26

Ali Sina edits
Whether one agrees with, or likes what Ali Sina says or not, this project is a place for the gathering of quotes. You have been deleting genuine quotes from the Ali Sina article, and placing the quote ABOUT him above the quotes BY him, which ignores the standard formating and editing procedures. Much of what he says may be very biased, mis-leading, bigoted, and repugnant, but it is not the policy here to exclude genuine quotes of anyone merely for those reasons. Much of what he says are things that I certainly cannot agree with, but someone found these quotes notable and placed them there, and I see no clear reason to remove them, nor to place criticism about him first in the article, against the formatting procedures on all other articles. Certainly one would not want to insist on a new format that would place Al Sina's and other criticisms of Muhammad above the quotations by him, or of the Qur'an above the quotations from it. ~ Achilles † 23:22, 27 December 2005 (UTC)

title: User talk:204.167.92.26


text:
Ingo Molnar

Ingo Molnar is a Hungarian Linux kernel hacker.

Quotes

 * Don't forget that Linux became only possible because 20 years of OS research was carefully studied, analyzed, discussed and thrown away.
 * From a message to the Linux Kernel mailing list in 1999.

 * I have a very simple question to people … who seem to suffer from excessive narcissism: please name three other persons who are smarter and more capable than you, in the field you work in. (In most cases they are utterly unable to answer that question honestly.)
 * A comment at LWN.net in 2011.

title: Ingo Molnar


text:
User talk:24.193.4.66

~ Kalki 08:48, 28 December 2005 (UTC)

title: User talk:24.193.4.66


text:
User talk:67.191.27.152

~ Kalki 08:54, 28 December 2005 (UTC)

title: User talk:67.191.27.152


text:
James McNeill Whistler

James Abbott McNeill Whistler (10 July 1834 – 17 July 1903) was an American-born, British-based painter and etcher. Finding a parallel between painting and music, Whistler entitled many of his paintings 'arrangements', 'harmonies', and 'nocturnes'.

Quotes of James Whistler

 * sorted chronologically, by date of the quotes of James Whistler

 * “The story of the beautiful,” said Whistler, with the swagger that made all but his contemporaries love him, “is already complete—hewn in the marbles of the Parthenon, and broidered, with the birds, upon the fan of Hokusai—at the foot of Fuji-yama.”
 * as quoted in Will Durant, Our oriental heritage.

1870 - 1903

 * John Ruskin: 'The labour of two days is that for which you ask two hundred guineas?' Whistler: 'No. I ask it for the knowledge I have gained in the work of a lifetime.'
 * Whistler v. Ruskin (1878)

 * Why should not I call my works 'symphonies', 'arrangements', 'harmonies', and 'nocturnes'?.. .The vast majority of English folk cannot and will not consider a picture as a picture, apart from any story which it may be supposed to tell. My picture of 'Harmony in Grey and Gold' is an illustration of my meaning – as snow scene with a single black figure and lighted tavern. I care nothing for the past, present, or future of the black figure, placed there because the black was wanted at that spot. All that I know is that my combination of grey and gold is the basis of the picture, Now this is precisely what my friends cannot grasp.
 * Quote in a letter to 'The World', London 22 Mai, 1878; as cited in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 186

 * If the man who paints only the tree, or flower, or other surface he sees before him were an artist, the king of artists would be the photographer. It is for the artist to do something beyond this: in portrait painting to put on canvas something more than the face the model wears for that one day: to paint the man, in short, as well as his features; in arrangement of colours to treat a flower as his key, not as his model. This is now understood indifferently well – at least by dressmakers. In every costume you see attention is paid to the key-note of colour which runs through the composition, as the chant of the Anabaptists through the 'Prophète', or the Hugenots' hymn in the opera of that name.
 * In a letter to 'The World', London 22 Mai, 1878; as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 186

 * Shall the painter then.. ..decide upon painting? Shall he be the critic and sole authority? Aggressive as is this supposition, I fear that, in the length of time, his assertion alone has established what even the gentleman of the quill accept as the canons of art, and recognize as the masterpieces of work. Seurat's painting of the Grande Jatte proved extremely influential.
 * quote of Whistler, (1892) In: Gentle Art of making Enemies, James Abbott McNeill Whistler, G. P. Putnam's Sons, New York, 1922, p. 30

 * May I therefore acknowledge the tender glow of health induced by reading, as I sat here in the morning sun, the flattering attention paid me by your gentleman of ready wreath and quick biography!
 * After a Dutch newspaper prematurely! reported his death in 1902

his lecture 'Ten O'Clock' (1885)

 * Art is a goddess of dainty thought, reticent of habit, abjuring all obtrusiveness, purposing in no way to better others. She is, withal selfishly occupied with her own perfection only — having no desire to teach.

 * Art is upon the Town!

 * Listen! There was never an artistic period. There was never an art-loving nation.

 * Nature is usually wrong.

 * [another part / version of Whistler's lecture:] Nature contains the elements, in colour and form, of all pictures, as the keyboard contains the notes of all music. But the artist is born to pick, and choose, and group with science, these elements, that the result may be beautiful—as the musician gathers his notes, and forms his chords, until he bring forth from chaos glorious harmony. To say to the painter, that Nature is to be taken as she is, is to say to the player, that he may sit on the piano. That Nature is always right, is an assertion, artistically, as untrue, as it is one whose truth is universally taken for granted. Nature is very rarely right, to such an extent even, that it might almost be said that Nature is usually wrong: that is to say, the condition of things that shall bring about the perfection of harmony worthy a picture is rare, and not common at all.
 * in: James McNeill Whistler (1834–1903), Weinberg, H. Barbara, 'Heilbrunn Timeline of Art History'. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/whis/hd_whis.htm (April 2010)

'The Gentle Art of Making Enemies' (1890)

 * Quote of Whistler from The Gentle Art of Making Enemies : As Pleasingly Exemplified In Many Instances, Wherein The Serious Ones Of This Earth, Carefully Exasperated, Have Been Prettily Spurred On To Unseemliness And Indiscretion, While Overcome By An Undue Sense Of Right

 * The rare few, who, early in life, have rid themselves of the friendship of the many.
 * Dedication

 * To say of a picture, as is often said in its praise, that it shows great and earnest labor, is to say that it is incomplete and unfit for view.
 * Propositions, 2

 * Industry in art is a necessity - not a virtue - and any evidence of the same, in the production, is a blemish, not a quality; a proof, not of achievement, but of absolutely insufficient work, for work alone will efface the footsteps of work.
 * Propositions, 2

 * The masterpiece should appear as the flower to the painter—perfect in its bud as in its bloom - with no reason to explain it's presence - no mission to fulfill - a joy to the artist, a delusion to the philanthropist - a puzzle to the botanist - an accident of sentiment and alliteration to the literary man.
 * Propositions, 2

 * As music is the poetry of sound, so is painting the poetry of sight, and the subject-matter has nothing to do with harmony of sound or of colour. The great musicians knew this. Beethoven and the rest wrote music — simply music; symphony in this key, concerto or sonata in that.. .Art should be independent of all claptrap — should stand alone, and appeal to the artistic sense of eye or ear, without confounding this with emotions entirely foreign to it, as devotion, pity, love, patriotism, and the like. All these have no kind of concern with it; and that is why I insist on calling my works 'arrangements' and 'harmonies.'
 * Propositions, 2
 * (also in a letter to 'The World', London 22 Mai, 1878; as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 186)

 * It is for the artist.. ..in portrait painting to put on canvas something more than the face the model wears for that one day; to paint the man, in short, as well as his features.
 * Propositions, 2

 * One cannot continually disappoint a Continent.
 * Propositions, 2

 * I am not arguing with you — I am telling you.
 * Propositions, 2

'A Chat with Mr. Whistler' (1895)

 * One is always finding out more.
 * (quote from p. 118)

Posthumously published

 * Oscar Wilde: 'I wish I had said that' Whistler: 'You will, Oscar, you will.'
 * L.C. Ingleby, Oscar Wilde (1907). This is a paraphrased version of the quotation that has come to be accepted. For a chronology of sources see Quote Investigator.

 * You shouldn't say it is not good. You should say you do not like it; and then, you know, you're perfectly safe.
 * Quoted by Don C. Seitz in Whistler Stories (1913)

 * 'I know of only two painters in the world,' said a newly introduced feminine enthusiast to Whistler, 'yourself and Velasquez.' 'Why,' answered Whistler in dulcet tones, 'why drag in Velasquez?'
 * D.C. Seitz, Whistler Stories (1913)

 * Yes, madam, Nature is creeping up. [in response to a lady who said that a landscape reminded her of his work]
 * D.C. Seitz, Whistler Stories (1913)

 * Two and two continue to make four, in spite of the whine of the amateur for three, or the cry of the critic for five.
 * Whistler v. Ruskin

 * I say I can't thank you too much for the name 'Nocturne' as a title for my moonlights! You have no idea what an irritation it proves to the critics and consequent pleasure to me — besides it is really so charming and does so poetically say all that I want to say and no more than I wish.
 * Anderson and Koval, p. 186; as quoted on the English Wikipedia

 * A group from Glasgow sought in 1891 to purchase his portrait of Thomas Carlyle was shocked that Whistler's price was 1000 guineas. A spokesman countered that the portrait was not even life size. Whistler replied, 'But, you know, few men are life size.'
 * Tom Prideaux and Time-Life Books, The World of Whistler (1970)

Quotes about James McNeill Whistler

 * sorted chronologically, by date of the quotes about James Whistler

 * For Mr Whistler's own sake, no less than for the protection of the purchaser, Sir Coutts Lindsay ought not to have admitted works into the gallery in which the ill-educated conceit of the artist so nearly approached the aspect of willful imposture. I have seen, and heard, much of cockney impudence before now; but never expected to hear a coxcomb ask two hundred guineas for flinging a pot of paint in the public's face. [reacting on Whistler's painting: 'Nocturne in Black and Gold – The Falling Rocket' (c. 1875) - an almost abstract city-scene, exposed in an exhibition at London's Grosvenor Gallery in 1877]
 * John Ruskin's denunciation of Whistler, in 'Fors Clavigera' No 79, in June 1877; as quoted in 'Artists v. critics, round one', Jonathan Jones

 * Whistler makes dry-points mostly, and sometimes regular etchings, but the suppleness you find in them, the pithiness and delicacy which charm you derive from the inking which is done by Whistler himself j no professional printer could substitute for him, for inking is an art in itself and completes the etched line. Now we would like to achieve suppleness before the printing. I saw two prints exhibited in Paris a year or two ago; they were rather delicate, meager and thin-looking, one would have to see a whole collection in order to judge them, for doubtless he [Whistler] has done some that are first rate.
 * Quote of Camille Pissarro, Osny (Val-d'Oise), 28 February 1883, in a letter to his son Lucien; from Camille Pissarro - Letters to His Son Lucien ed. John Rewald, with assistance of Lucien Pissarro; from the unpublished French letters; transl. Lionel Abel; Pantheon Books Inc. New York, second edition, 1943, p. 23

 * ..not merely for its clever satire and amusing jests.. ..but for the pure and perfect beauty of many of its passages..  ..for that he is indeed one of the very greatest masters of painting, in my opinion. And I may add that in this opinion Mr. Whistler himself entirely concurs.
 * Quote of Oscar Wilde, on reading Whistler's first book, Ten O'clock Lecture in 1885; as quoted in James McNeill Whistler, Lisa N. Peters, Smithmark, New York, 1996, pg. 57; as quoted on Wikipedia

 * Whistler [at the Paris Impressionism-exhibition, of M. Petit, May 1887] has some very fine bits of sketches in paint, forty-two!! He was honored with the best places, he also has a large portrait of a lady, the painting is completely black. Nor is there any luminosity either. Whistler, by the way, does not care for luminosity. His little sketches show fine draftsmanship. In the corridor he has some very good, in fact, quite superior etchings, they are even luminous, which is strange for an artist who does not aim at this in his color.
 * Quote of Camille Pissarro, in a letter, Paris, 14 May, 1887, to his son Lucien; in Camille Pissarro - Letters to His Son Lucien ed. John Rewald, with assistance of Lucien Pissarro; from the unpublished French letters; transl. Lionel Abel; Pantheon Books Inc. New York, second edition, 1943, p. 108

 * He did better than attract a few followers and imitators; he influenced the whole world of art. Consciously, or unconsciously, his presence is felt in countless studios; his genius permeates modern artistic thought.
 * Quote of Charles Caffin (1906), as cited in James McNeill Whistler, Lisa N. Peters, Smithmark, New York, 1996, pg. 57; as quoted on Wikipedia.

 * In our beginnings, Fantin, Whistler and I were all on the same road, the road from Holland [Dutch 17th century painters]
 * Quote of Edgar Degas - recalled by Paul Poujaud (in his letter to Marcel Guérin, 11 July 1936); as quoted by Colin B. Bailey, in The Annenberg Collection: Masterpieces of Impressionism and Post-impressionism, publish. Metropolitan Museum of Art, New York, 2009, p. 54
 * Degas is recalling his early works of the 1860's

 * His landscapes of those years [mid-1860s] reveal that he had rejected his earlier commitment to transcribing nature in the manner of Courbet, and was responding instead to formalist imperatives, including flat, decorative surfaces, subtle tonal harmonies, and allusive, rather than literal, subjects. Taking a cue from a critic who had referred to his early portrait of his mistress, 'The White Girl' (1862; National Gallery of Art, Washington, D.C.), as a 'symphony in white,' Whistler began to envision and entitle his works with the abstract language of music, calling them symphonies, compositions, harmonies, nocturnes, arrangements, and so forth.
 * Quote of H. Barbara Weinberg, in: James McNeill Whistler (1834–1903), 'Heilbrunn Timeline of Art History'. New York: The Metropolitan Museum of Art, 2000–. (April 2010)

title: James McNeill Whistler


text:
Home Alone

Home Alone is an American 1990 film about a boy named Kevin McCallister (Macaulay Culkin), who is accidentally left at home for the holidays while the rest of his family goes to Paris. He must then protect his house from two intruders that have gone on a breaking and entering spree through the neighborhood.
 * Directed by Chris Columbus. Written by John Hughes.

Rated
PG - ( music playing, involving, survival, evolved, immediate, innovative, aquel, liquid, the churchill catholic clock chiming tower bell rings at once and music song ends )

Kevin McCallister

 * I took a shower, washing every body part with actual soap, including all my major crevices, including in between my toes and in my belly button, which I never did before but sort of enjoyed. I washed my hair with adult-formula shampoo and used cream rinse for that just-washed shine. I can't seem to find my toothbrush, so I'll pick one up when I go out today. Other than that, I'm in good shape. [applies aftershave; pretends to scream]
 * This is my house! I have to defend it!
 * I made my family disappear.
 * I hope that I never see any of you jerks again!
 * Did anyone order me plain cheese?
 * You guys give up? Or ya thirsty for more?

Dialogue

 * Kate: There are 15 people in this house. You're the only one who has to make trouble.
 * Kevin: I'm the only one getting dumped on.
 * Kate: You're the only one actin' up. Now, get upstairs.
 * Kevin: I am upstairs, dummy. The third floor?
 * Kate: Go.
 * Kevin: It's scary up there.
 * Kate: Don't be silly. Fuller will be up in a little while.
 * Kevin: I don't wanna sleep with Fuller. You know about him. He wets the bed. He'll pee all over me. I know it!
 * Kate: Fine. We'll put him somewhere else.
 * Kevin: I'm sorry.
 * Kate: It's too late. Get upstairs.
 * Kevin: Everyone in this family hates me.
 * Kate: Then maybe you should ask Santa for a new family.
 * Kevin: I don't want a new family. I don't want any family. Families suck!
 * Kate: Just stay up there. I don't wanna see you again for the rest of the night.
 * Kevin: I don't wanna see you again for the rest of my whole life. And I don't wanna see anybody else, either.
 * Kate: [hurt] I hope you don't mean that. You'd feel pretty sad if you woke up tomorrow morning and you didn't have a family.
 * Kevin: No, I wouldn't.
 * Kate: Then say it again. Maybe it'll happen.
 * Kevin: I hope that I never see any of you jerks again! [runs upstairs in a huff, and Kate closes the door]

( tree branch breaks, power lines and alarm clock resetting )

 * Kevin: I made my family disappear! [has a flashback to what his family told him the night before]
 * Megan: Kevin, you're completely helpless.
 * Linnie: You know, Kevin, you're what the French call les incompétents.
 * Buzz: Kevin, I'm going to feed you to my tarantula.
 * Jeff: Kevin, you are such a disease!
 * Kate: There are 15 people in this house, and you're the only one who has to make trouble.
 * Frank: Look what you did, you little jerk!
 * Kevin: [smiles] I made my family disappear.

 * [the McCallisters hurriedly head out of the house for the vans to the airport]
 * Frank: There's no way on Earth we're gonna make this plane. It leaves in 45 minutes.
 * Peter: Think positive, Frank.
 * Frank: You be positive. I'll be realistic.

 * Johnny: Who is it?
 * Snakes: It's me, Snakes. I got the stuff.
 * Johnny: Leave it on the doorstep, and get the hell out here.
 * Snakes: All right, Johnny. But what about my money?
 * Johnny: What money?
 * Snakes: Acey said you had some dough for me.
 * Johnny: Is that a fact? How much do I owe you?
 * Snakes: Acey said 10%.
 * Johnny: Too bad Acey ain't in charge no more.
 * Snakes: What do you mean?
 * Johnny: He's upstairs, takin' a bath. He'll call you when he gets out. Hey! I tell you what I'm gonna give you, Snakes. [takes out his Tommy Gun] I'm gonna give you to the count of 10, to get your ugly, yellow, no-good keister off my property, before I pump your guts full of lead!
 * Snakes: [about to leave] All right, Johnny. I'm sorry. I'm going!
 * Johnny: 1... 2... 10! [opens fire at Snakes and laughs maniacally] Keep the change, ya filthy animal.

 * Kevin: All right! Buzz's live savings.

 * Kevin: Oh, no! I'm very scared!
 * Harry: [to Kevin] It's too late for you, kid! We're already in the house! I'm gonna get you!

 * Harry: Hiya, pal. We outsmarted you this time. Get over here!
 * Marv: What are we gonna do him, Harry?!
 * Harry: We'll do exactly what we did to us. I'm gonna burn his head with his blowtorch.
 * Marv: Then we can smash his face with an iron!
 * Harry: I'd like to slap him right in the face with a paint can, maybe!
 * Marv: Or shove a nail through his foot!
 * Harry: The first thing I'm gonna do is bite off every one of those little fingers, one at a time. [Marv laughs but gets whacked by a shovel and Harry gets whacked by a shovel]
 * Old Man Marley: Come on, let's get you home. [sirens wailing outside]
 * Kevin: Wow, this is great.
 * Officer 1: Nice move. Always leavin' the water running. Now we know each and every house that you guys have hit.
 * Officer 2: Yeah, you know, we've been looking for you two guys for a long time.
 * Marv: Yeah, well, remember, we're the Wet Bandits. Wet Bandits. That's W-E-T--
 * Harry: Shut up! Shut up! Get in the car! Hands off the head, pal!
 * Officer 1: Come on!
 * [Kevin waves goodbye and smirks as the police car drives way with Marv and Harry in it]

 * [last lines; Kevin is looking at Old Man Marley out the window and they both wave at each other]
 * Buzz: [off-screen, furiously] KEVIN, WHAT DID YOU DO TO MY ROOM!?
 * [scared by this, Kevin runs off]

Taglines

 * A Family Comedy Without The Family.
 * When Kevin's Family Left For Vacation, They Forgot One Minor Detail: Kevin. But Don't Worry... He Cooks. He Cleans. He Kicks Some Butt.
 * This Non-Family Comedy is a Real Scream.

Cast
The McCallister Family

 * John Heard as Peter
 * Catherine O'Hara as Kate
 * Macaulay Culkin as Kevin
 * Kristin Minter as Heather
 * Devin Ratray as Buzz
 * Virginia Smith as Gegorette

 * Kieran Culkin as Fuller
 * Hillary Wolf as Megan
 * Michael C. Maronna as Jeff
 * Angela Goethals as Linnie
 * Senta Moses as Tracy
 * Terrie Snell as Aunt Leslie

title: Home Alone


text:
Vision Quest

Vision Quest is a 1985 film about a high school wrestler in Spokane, Washington who has trouble focusing on his training regimen when a beautiful young drifter takes up temporary residence at his home.
 * Directed by Harold Becker. Written by Terry Davis and Darryl Ponicsan.

All he needed was a lucky break. Then one day she moved in.

Louden Swain

 * My name's Louden, Louden Swain. Last week I turned 18. I wasn't ready for it. I haven't done anything yet. So I made this deal with myself. This is the year I make my mark.

 * [about Carla] She's got all the best things I like in girls and all the best things I like in guys.

 * But all I ever settled for is that we're born to live and then to die, and... we got to do it alone, each in his own way. And I guess that's why we got to love those people who deserve it like there's no tomorrow. 'Cause when you get right down to it - there isn't.

Carla

 * [Just before Louden is set to wrestle Shute] Hey, Louden? [Louden glances up] Kick his ass.

Margie Epstein

 * What a blast to the First Amendment! The first thing they do is shut down the press and imprison the intellectuals. I LOVED YOUR PIECE ON THE CLITORIS! I SHOWED IT TO MY MOTHER!

Dialogue

 * Louden: Droppin' all the way down to 168. Gonna take on Shute.
 * Kuch: SHUTE? Shute's a monster, man! A genuine teratoid! Get real! His own father has to use a livewire to keep him from fuckin' the fireplace!

 * Elmo: [looks at Louden's book] What the fuck is this?
 * Louden: What? You don't recognize it?
 * Elmo: Wait a minute! This is cooze!
 * Louden: Yeah, I'm thinking very seriously of becoming a gynecologist
 * Elmo: A cooze doctor in outer space? Man, you're flippin' out!

 * Margie: [after reading Louden's article about the clitoris] I'm speechless. You've broken new ground here, Louden! This is professional stuff! We're gonna' draaaggg this dinky school paper right into the twentieth century! I mean, where do you get your ideas?
 * Louden: Well, I've been thinking a lot about that stuff lately.
 * Margie: Oooohhh, we're gonna' make history here!

 * Mr. Tanneran: I think you're dehydrated.
 * Louden: No, I'm just the victim of a screwed-up nitrogen imbalance. Plus, I think I've contracted priapism.
 * Mr. Tanneran: What's priapism?
 * Louden: It's a disease of a constant erection. I read about it in my rare diseases book.
 * [Mr. Tanneran laughs]
 * Louden: It's not funny, believe me! The girl of my dreams lives under my own roof, but she thinks I'm just a kid, a dumb jock, all of which is more or less true. I'm dying, Mr. Tanneran, just like that girl in the poem... only quicker, and with a hard-on.

 * Louden: Can 800 million Chinamen be wrong?
 * Mr. Tanneran: Frequently.

 * Louden: I was at the hotel. They told me you took the night off. I thought you were sick or something.
 * Elmo: [chuckles] Of course I took the night off, dummy. Isn't this the night you wrestle Shute?
 * Louden: You took the night off for that?
 * Elmo: Yeah. Shaved and got a haircut and everything.
 * Louden: You never took a night off to see me wrestle before. They're gonna dock you for that.
 * Elmo: Hey, kid - money ain't everything.
 * Louden: Yeah, it's not that big a deal, Elmo. I mean, it's six lousy minutes on the mat, if that.
 * Elmo: You ever hear of Pelé?
 * Louden: Yeah, he's a, a soccer player.
 * Elmo: A very famous soccer player. [pause] I was in the room here one day... watchin' the Mexican channel on TV. I don't know nothin' about Pelé. I'm watchin' what this guy can do with a ball and his feet. Next thing I know, he jumps in the air and flips into a somersault and uh, he kicks the ball in - upside down and backwards... I mean the goddamn goalie never knew what the fuck hit him. Pelé gets excited and he rips off his jersey and starts running around the stadium waving it around over his head. Everybody's screaming in Spanish. I'm here, sitting alone in my room, and I start crying. [pause] Yeah, that's right, I start crying. Because another human being, a species which I happen to belong to, could kick a ball, and lift himself, and the rest of us sad-assed human beings, up to a better place to be, if only for a minute... Let me tell ya, kid - it was pretty goddamned glorious. It ain't the six minutes... it's what happens in that six minutes.

 * Louden: Hey, Carla? I'd do it all again.
 * Carla: So would I.

Cast

 * Matthew Modine - Louden Swain
 * Linda Fiorentino - Carla
 * Michael Schoeffling - Kuch
 * Ronny Cox - Louden's Dad
 * Harold Sylvester - Mr. Tanneran
 * Charles Hallahan - Coach
 * J.C. Quinn - Elmo
 * Daphne Zuniga -Margie Epstein
 * Frank Jasper - Brian Shute
 * R.H. Thomson - Kevin
 * Raphael Sbarge - Schmoozler
 * Forest Whitaker - Balldozer
 * Roberts Blossom - Grandpa
 * James Gammon - Kuch's Dad
 * Madonna - Club singer

title: Vision Quest


text:
User talk:68.194.188.64

When people are not interested in responsibly contributing to the development of Wikiquote incidents of their deliberate vandalism can result in IP addresses being blocked from editing. ~ Kalki 22:08, 28 December 2005 (UTC)

title: User talk:68.194.188.64


text: Template:Quotation

title: Template:Quotation


text:
Andrea Dworkin

Andrea Rita Dworkin (September 26, 1946 – April 9, 2005) was an American radical feminist and writer.

Quotes

 * I'm a radical feminist, not the fun kind.
 * "Dworkin on Dworkin," an interview originally published in Off Our Backs, reprinted in Radically Speaking: Feminism Reclaimed Ed. by Renate Klein and Diane Bell.

 * The nature of women's oppression is unique: women are oppressed as women, regardless of class or race; some women have access to significant wealth, but that wealth does not signify power; women are to be found everywhere, but own or control no appreciable territory; women live with those who oppress them, sleep with them, have their children—we are tangled, hopelessly it seems, in the gut of the machinery and way of life which is ruinous to us.
 * Woman Hating, ch. 9, p. 23, E.P. Dutton, New York (1974)

 * The common erotic project of destroying women makes it possible for men to unite into a brotherhood; this project is the only firm and trustworthy groundwork for cooperation among males and all male bonding is based on it.
 * Our Blood (1973) p.16.

 * Undernourished, intelligence becomes like the bloated belly of a starving child: swollen, filled with nothing the body can use.
 * Right Wing Women, ch.2 (1978)

 * While gossip among women is universally ridiculed as low and trivial, gossip among men, especially if it is about women, is called theory, or idea, or fact.
 * Right Wing Women, ch.2 (1978)

 * Under patriarchy, every woman's son is her potential betrayer and also the inevitable rapist or exploiter of another woman.
 * Our Blood (1976)

 * Seductive mirages of progress notwithstanding, nowhere in the world is apartheid practiced with more cruelty and finality than in Saudi Arabia. Of course, it is women who are locked in and kept out, exiled to invisibility and object powerlessness within their own country. It is women who are degraded systematically from birth to early death, utterly and total and without exception deprived of freedom. It is women who are sold into marriage or concubinage, often before puberty; killed if their hymens are not intact on the wedding night; kept confined, ignorant, pregnant, poor, without choice or recourse. It is women who are raped and beaten with full sanction of the law. It is women who cannot own property or work for a living or determine in any way the circumstances of their own lives. It is women who are subject to a despotism that knows no restraint. Women, locked out and locked in. Mr Carter, enchanted with his good friends, the Saudis. Mr Carter, a sincere advocate of human rights. Sometimes even a feminist with a realistic knowledge of male hypocrisy and a strong stomach cannot believe the world she lives in.
 * "A Feminist Looks at Saudi Arabia" (1978)

 * By the time we are women, fear is as familiar to us as air. It is our element. We live in it, we inhale it, we exhale it, and most of the time we do not even notice it. Instead of "I am afraid", we say, "I don't want to", or "I don't know how", or "I can't."
 * Speech at Queens College, City University of New York (March 12, 1975). "The Sexual Politics of Fear and Courage", ch. 5, Our Blood (1976)

 * The fact that we are all trained to be mothers from infancy on means that we are all trained to devote our lives to men, whether they are our sons or not; that we are all trained to force other women to exemplify the lack of qualities which characterizes the cultural construct of femininity.
 * Speech at Queens College, City University of New York (March 12, 1975). "The Sexual Politics of Fear and Courage", ch. 5, Our Blood (1976)

 * For a mother the project of raising a boy is the most fulfilling project she can hope for. She can watch him, as a child, play the games she was not allowed to play; she can invest in him her ideas, aspirations, ambitions, and values—or whatever she has left of them; she can watch her son, who came from her flesh and whose life was sustained by her work and devotion, embody her in the world. So while the project of raising a boy is fraught with ambivalence and leads inevitably to bitterness, it is the only project that allows a woman to be—to be through her son, to live through her son.
 * Speech, first delivered at Queens College, City University of New York (March 12, 1975). "The Sexual Politics of Fear and Courage", ch. 5, Our Blood (1976)

 * A man can be a hero if he is a scientist, or a soldier, or a drug addict, or a disc jockey, or a crummy mediocre politician. A man can be a hero because he suffers and despairs; or because he thinks logically and analytically; or because he is "sensitive"; or because he is cruel. Wealth establishes a man as a hero, and so does poverty. Virtually any circumstance in a man's life will make him a hero to some group of people and has a mythic rendering in the culture—in literature, art, theater, or the daily newspapers.
 * Speech at Queen's College, City University of New York (March 12, 1975). "The Sexual Politics of Fear and Courage", ch. 5, published in Our Blood (1976)

 * Romantic love, in pornography as in life, is the mythic celebration of female negation. For a woman, love is defined as her willingness to submit to her own annihilation.... The proof of love is that she is willing to be destroyed by the one whom she loves, for his sake. For the woman, love is always self-sacrifice, the sacrifice of identity, will, and bodily integrity, in order to fulfill and redeem the masculinity of her lover.
 * Speech at Massachusetts Institute of Technology, Cambridge (September 26, 1975). "The Root Cause", ch. 9, Our Blood (1976)

 * I represent the morbid side of the women's movement. I deal with the shit, the real shit.
 * Feminism: An Agenda, (1983)

 * The female life-force is characterized as a negative one: we are defined as inherently masochistic. [. . .] Sexual masochism actualizes female negativity, just as sexual sadism actualizes male positivity. A woman’s erotic femininity is measured by the degree to which she needs to be hurt, needs to be possessed, needs to be abused, needs to submit, needs to be beaten, needs to be humiliated, needs to be degraded.
 * The Root Cause (1976)

 * The genius of any slave system is found in the dynamics which isolate slaves from each other, obscure the reality of a common condition, and make united rebellion against the oppressor inconceivable.
 * Our Blood 1976 as quoted in The Suffering Will Not Be Televised: African American Women and Sentimental Political Storytelling by Rebecca Wanzo

 * I think the essence of romantic love for women is being the special one, and that's an absolutely terrible trap. If the lover treats certain other people badly, you will be treated that badly, too.
 * Norah Vincent, Sex, Love and Politics: Andrea Dworkin, in New York Press, vol. 11, no. 5, Feb. 4–10, 1998, p. 40, col. 4 (main title and subtitle may have been in either order, per id., p. [1])
 * Q: People think you are very hostile to men. A: I am. Q: Doesn't that worry you? A: From what you said, it worries them.
 * Nervous Interview (1979) Dworkin wrote both the questions and the answers

 * Feminists are often asked whether pornography causes rape. The fact is that rape and prostitution caused and continue to cause pornography. Politically, culturally, socially, sexually, and economically, rape and prostitution generated pornography; and pornography depends for its continued existence on the rape and prostitution of women.
 * Pornography and Male Supremacy (1981), Letters from a War Zone, p 230.

 * I want to see this men's movement make a commitment to ending rape because that is the only meaningful commitment to equality. It is astonishing that in all our worlds of feminism and antisexism we never talk seriously about ending rape. Ending it. Stopping it. No more. No more rape. In the back of our minds, are we holding on to its inevitability as the last preserve of the biological? Do we think that it is always going to exist no matter what we do? All of our political actions are lies if we don't make a commitment to ending the practice of rape. This commitment has to be political. It has to be serious. It has to be systematic. It has to be public. It can't be self-indulgent.
 * "I Want a Twenty-Four Hour Truce During Which There Is No Rape" (1983)

 * Anti-feminism is also operating whenever any political group is ready to sacrifice one group of women, one faction, some women, some kinds of women, to any element of sex-class oppression: to pornography, to rape, to battery, to economic exploitation, to reproductive exploitation, to prostitution. There are women all along the male-defined political spectrum, including both extreme ends of it, ready to sacrifice some women, usually not themselves, to the brothels or the farms. The sacrifice is profoundly anti-feminist; it is also profoundly immoral...
 * "Anti-feminism," Right Wing Women (1983), pp. 230-231.

 * When a word is used to provoke hatred, it does not matter what the word actually means. What matters is only what the haters insist it means—the meaning they give it, the common prejudices they exploit.
 * "The Power of Words" (1978)

 * It is no secret that fear and hatred of homosexuals permeate our society. But the contempt for lesbians is distinct. It is directly rooted in the abhorrence of the self defined woman, the self-determining woman, the woman who is not controlled by male need, imperative, or manipulation. Contempt for lesbians is most often a political repudiation of women who organize in their own behalf to achieve public presence, significant power, visible integrity.
 * "The Power of Words" (1978)

 * Enemies of women, those who are determined to deny us freedom an dignity, use the word lesbian to provoke a hatred of women who do not conform. This hatred rumbles everywhere. This hatred is sustained and expressed by virtually every institution. When male power is challenged, this hatred can be intensified and inflamed so into violence. The threat is omnipresent because violence against women is culturally applauded. And so the word lesbian, hurled or whispered as accusation, is used to focus male hostility on women who dare to rebel, and it is also used to frighten and bully women who have not yet rebelled.
 * "The Power of Words" (1978)

 * All around us there are other women, seemingly not hurt, making small talk, acting normal, which means happy, not discontent, certainly not devastated. Girls are still being socialised not to identify with—feel empathy for—other females: she got hurt because she did x, y, z—I didn’t, so I didn’t get hurt; she’s at fault, I’m not; the punishment fits her crime; blame her, exonerate him. This continuing, culturally applauded socialisation of women not to empathize with other women is a malignant part of the culture of men, dead white ones or not. Women are perceived to be appalling failures when we are sad. Women are pathetic when we are angry. Women are ridiculous when we are militant. Women are unpleasant when we are bitter, no matter what the cause. Women are deranged when women want justice. Women are man-haters when women want accountability and respect from men. Women are trash when women let men do what men want Women are shrews or puritans when we do not.
 * ‘Suffering and Speech’ in Catherine A MacKinnon and Andrea Dworkin (eds) In Harm’s Way: The Pornography Civil Rights Hearings.

 * Any man will follow any feminine looking thing down any dark alley; I've always wanted to see a man beaten to a shit bloody pulp with a high-heeled shoe stuffed up his mouth, sort of the pig with the apple; it would be good to put him on a serving plate but you'd need good silver.
 * Andrea (narrating), in Mercy: A Novel (1990)
 * Sometimes misleadingly quoted out of context without mentioning that it was narrated by a protagonist in a work of fiction.

 * (On prostitution:) Incest is boot camp. Incest is where you send the girl to learn how to do it. So you don't, obviously, have to send her anywhere, she's already there and she's got nowhere else to go. She's trained. And the training is specific and it is important: not to have any real boundaries to her own body; to know that she's valued only for sex; to learn about men what the offender, the sex offender, is teaching her.
 * "Prostitution and Male Supremacy" (1993), Michigan Journal of Gender and Law 1(1):1–12. Reprinted in Life and Death (1997), p 139–51.
 * Often paraphrased as "Incest is boot camp for prostitution".

 * I'm going to ask you to remember the prostituted, the homeless, the battered, the raped, the tortured, the murdered, the raped-then-murdered, the murdered-then-raped; and I am going to ask you to remember the photographed, the ones that any or all of the above happened to and it was photographed and now the photographs are for sale in our free countries. I want you to think about those who have been hurt for the fun, the entertainment, the so-called speech of others; those who have been hurt for profit, for the financial benefit of pimps and entrepreneurs. I want you to remember the perpetrator and I am going to ask you to remember the victims: not just tonight but tomorrow and the next day. I want you to find a way to include them -- the perpetrators and the victims -- in what you do, how you think, how you act, what you care about, what your life means to you. Now, I know, in this room, some of you are the women I have been talking about. I know that. People around you may not. I am going to ask you to use every single thing you can remember about what was done to you -- how it was done, where, by whom, when, and, if you know -- why -- to begin to tear male dominance to pieces, to pull it apart, to vandalize it, to destabilize it, to mess it up, to get in its way, to fuck it up. I have to ask you to resist, not to comply, to destroy the power men have over women, to refuse to accept it, to abhor it and to do whatever is necessary despite its cost to you to change it.
 * Remember, resist, do not comply (1995)

 * [I]t's one thing to talk about the redistribution of wealth. It's quite another thing to talk about the redistribution of power. That's more what interests me.
 * Norah Vincent, Sex, Love and Politics, id., p. 41, col. 1.

 * Michael Moorcock: Several reviewers accused you of saying that all intercourse was rape. I haven't found a hint of that anywhere in the book. Is that what you are saying? Dworkin: No, I wasn't saying that and I didn't say that, then or ever.… My point was that as long as the law allows statutory exemption for a husband from rape charges, no married woman has legal protection from rape. I also argued, based on a reading of our laws, that marriage mandated intercourse—it was compulsory, part of the marriage contract. Under the circumstances, I said, it was impossible to view sexual intercourse in marriage as the free act of a free woman.
 * Interview in New Statesman & Society (21 April 1995), discussing her books Intercourse and Right Wing Women.

 * I have been asked, politely and not so politely, why I am myself. This is an accounting any woman will be called on to give if she asserts her will. In the home the question will be couched in a million cruelties, some subtle, some so egregious they rival the injuries of organized war. … It must be admitted that those who want me to account for myself are intrigued in hostile, voyeuristic ways, and their projections of me are not the usual run-of-the-mill rudeness or arrogance to which writers, especially women writers, become accustomed. The work would be enough, even for the unfortunate sad sacks mentioned above. So here's the deal as I see it: I am ambitious—God knows, not for money; in most respects but not all I am honorable; and I wear overalls: kill the bitch. But the bitch is not yet ready to die. Brava, she says, alone in a small room.
 * "Preface," Heartbreak: The Political Memoir of a Feminist Militant (2002)

 * [Interviewer:] What would you say is the most overrated virtue? [Dworkin:] Compliance and conformity.... [B]eing normal is seriously overrated.
 * Norah Vincent, Sex, Love and Politics, id., p. 40, col. 2
 * [S]ex is often a hostile act, often an exercise of power over somebody else.
 * Norah Vincent, Sex, Love and Politics, id., p. 40, col. 1.

 * Pornography is used in rape—to plan it, to execute it, to choreograph it, to engender the excitement to commit the act.
 * Testimony before the New York Attorney General's Commission on Pornography in 1986.

 * The pornographers actually use our bodies as their language. We are their speech. . . . Protecting what they 'say' means protecting what they do to us, how they do it. It means protecting their sadism on our bodies, because that is how they write: not like a writer at all; like a torturer.
 * Women Transforming Communications.
 * Rape is a question of access. Men will rape woman to whom they have access. The stranger in rape is used in a very important political way especially in organizing woman on the right: the stranger is used as a scapegoat. In the United States the stranger is black and he is a rapist. In Nazi Germany the stranger was a Jew and he was a rapist.This use of rape associated with a stranger is a basic component of racism. Women's fears of rape are legitimate. Those fears are manipulated to serve the ends of racism. We now see the same scapegoat strategy being used against homosexual men, who are accused of child molestation when most child molestation is of little girls. It is not that homosexual men do not rape. They do. So do black men and Jewish men. Men in all classes and of all races and ethnicities rape, which is not to say that all men rape. It is to say that all men benefit from rape, because all men benefit from the fact that women are not free in this society; that women cower; that women are afraid; that women cannot assert the rights that we have, limited as those rights are, because of the ubiquitous presence of rape.'''
 * "Feminism: An Agenda" (1983)
 * I have spent 20 years writing these books. Had I wanted to say men are beasts and scream, that takes 30 seconds.
 * Modern Times Interview of Andrea Dworkin With Larry Josephson, on "Modern Times" (American Public Radio, 1992) (radio program) (transcript of tape (end of tape missing)), as accessed Sep. 5, 2010.

 * I know a hell of a lot about intercourse. I wish I knew less.
 * Norah Vincent, Sex, Love and Politics, id., p. 40, col. 4.

 * (Dworkin's statements quoted:) Her own experiences—as a rape victim, a prostitute and a battered wife—only added to the trenchancy of her views, but she reacted with fury to suggestions that such traumas had made it difficult for her to be objective. "I've never heard Solzhenitsyn asked if he can be objective about the gulag," she snarled. "As if not paying attention to rape and wife battery were some kind of objectivity."
 * Andrea Dworkin, in The Telegraph, April 13, 2005, 12:02 a.m. (section "News", subsection "Obits", subsubsection "Culture"), as accessed February 15, 2013 (obituary).

Pornography, Men Possessing Women (1979)

 * Men characterize pornography as something mental because their minds, their thoughts, their dreams, their fantasies, are more real to them than women's bodies or lives; in fact, men have used their social power to characterize a $10-billion-a-year trade in women as fantasy.

 * Pornography is the essential sexuality of male power: of hate, of ownership, of hierarchy; of sadism, of dominance.

 * Pornography incarnates male supremacy. It is the DNA of male dominance. Every rule of sexual abuse, every nuance of sexual sadism, every highway and byway of sexual exploitation, is encoded in it.

 * ...pornography is the orchestrated destruction of women's bodies and souls; rape, battery, incest, and prostitution animate it; dehumanization and sadism characterize it; it is war on women, serial assaults on dignity, identity, and human worth; it is tyranny. Each woman who has survived knows from the experience of her own life that pornography is captivity–the woman trapped in the picture used on the woman trapped wherever he's got her.
 * Introduction, p xxvii.

 * [I]n the male sexual lexicon, which is the vocabulary of power, erotica is simply high-class pornography: better produced, better conceived, better executed, better packaged, designed for a better class of consumer. As with the call girl and the streetwalker, one is turned out better but both are produced by the same system of sexual values and both perform the same sexual service.
 * p 10.

 * Male supremacy is fused into language, so that every sentence as language, is permeated by the linguistic and perceptual values developed expressly to subordinate women. Men have defined the parameters of every subject.
 * p. 17
 * Money speaks, but it speaks in a male voice. In the hands of women, money stays literal; count it out it buys what it is worth or less. In the hands of men, money buys women, sex, status, dignity, esteem, recognition, loyalty, all manner of possibility.
 * p. 20.

 * Wife beating and marital rape, pervasive here as elsewhere, are predicated on the conviction that a man's ownership of his wife licenses whatever he wishes to do to her: her boy belongs to him to use for his own sexual release, to beat, to impregnate. The male power of owning by virtue of its historical centrality, is barely constrained b the modest legal restrictions put on it.
 * p 18.

 * Men are distinguished from women by their commitment to do violence rather than to be victimized by it. Men are regarded for leaning the practice of violence in virtually any sphere of activity by money, admiration, recognition, respect, and the genuflection of others honoring their sacred and proven masculinity. In male culture, police are heroic and so are outlaws; males who enforce standards are heroic and so are those who violate them. The conflict between these groups embody the male commitment to violence: conflict is action; action is masculine.
 * p 53.
 * Men are rewarded for learning the practice of violence in virtually any sphere of activity by money, admiration, recognition, respect, and the genuflection of others honoring their sacred and proven masculinity.
 * p 53.

 * Men renounce whatever they have in common with women so as to experience no commonality with women; and whatis left according to men, is one piece of flesh a few inches long, the penis.'
 * p 53.
 * Boys and Men do experience sexual abuse at the hands of men. The honmophobes distorting concentration on this fact, which cannot and must not be denied, neatly eliminates from view the primary victim of male sexual abuse: women and girls. This is congruent with the fact that crimes against females are ultimately viewed as expressions of male normalcy, while crimes against men and boys are viewed as perversions of that same normalcy. Society's general willingness to do anything necessary to protect boys and men from male sexual aggression is testimony to the value of a male life. Society's general refusal to do anything meaningful to protect women and girls from male sexual aggression is testimony to the worthlessness of a female life. A male life must be protected for its own sake. A female life warrants protection only when the female belongs to a male, as wife, daughter, mistress, whore; it is the owner who has a right to have his rights over his females protected from other men. A female's bodily integrity or well-being is not protected because of the value of the woman as a human being in her own right.
 * p 57.

 * Pornography reveals that male pleasure is inextricably tied to victimizing, hurting, exploiting; that sexual fun and sexual passion in the privacy of the male imagination are inseparable from the brutality of male history. The private world of sexual dominance that men demand as their right and their freedom is the mirror image of the public world of sadism and atrocity that men consistently and self-righteously deplore. It is in the male experience of pleasure that one finds the meaning of male history.
 * p 69.

 * Those leftists who champion Sade might do well to remember that prerevolutionary France was filled with starving people. The feudal system was both cruel and crude. The rights of the aristocracy to the labor and bodies of the poor were unchallenged and not challengeable. The tyranny of class was absolute. The poor sold what they could, including themselves, to survive. Sade learned and upheld the ethic of his class.
 * p 72.
 * Women, for centuries not having access to pornography and now unable to bear looking at the muck on the supermarket shelves, are astonished. Women do not believe that men believe what pornography says about women. But they do. From the worst to the best of them, they do.
 * p 167.

 * The new pornography is left-wing; and the new pornography is a vast graveyard where the Left has gone to die. The Left cannot have its whores and its politics too.
 * p 209.

Intercourse (1987)

 * Intercourse is a world that moves through the sexed world of dominance and submission. It moves in descending circles, not in a straight line, and as in a vortex each spiral goes down deeper.
 * Introduction
 * The public censure of women as if we are rabid because we speak without apology about the world in which we live is a strategy of threat that usually works. Men often react to women's words—speaking and writing—as if they were acts of violence' sometimes men react to women's words with violence. So we lower our voices. Women whisper. Women apologize. Women shut up. Women trivialize what we know. Women shrink. Women pull back. Most women have experienced enough dominance from men—control, violence, insult, contempt—that no threat seems empty.
 * Introduction
 * Men must make women afraid and compliant, including through beatings; women must be housebound and servile. The men, then, can attend orgies or engage in any other sexual activity.
 * Chapter 1, "Repulsion"

 * Sexual intercourse is not intrinsically banal, though pop culture magazines like Esquire and Cosmopolitan would suggest that it is. It is intense, often desperate. The internal landscape is violent upheaval, a wild and ultimately cruel disregard of human individuality, a brazen, high-strung wanting that is absolute and imperishable, not attached to personality, no respecter of boundaries; ending not in sexual climax but in a human tragedy of failed relationships, vengeful bitterness in an aftermath of sexual heat, personality corroded by too much endurance of undesired, habitual intercourse, conflict, a wearing away of vitality in the numbness finally of habit or compulsion or the loneliness of separation.
 * Chapter 2, "Skinless"

 * Sex is the dim echo of that original nakedness, primal, before anything else that is also human; later, isolated in an identity, hidden by it, in insensate because of it, one is a societal human being ruled by conformity and convention, not naked.
 * Chapter 2

 * In Amerika, there is the nearly—or so it appears—that sex (fucking) is good and that liking it is right: morally right; a sign of human health; nearly a standard for citizenship. Even those who believe in original sin and have a theology of hellfire and damnation express the Amerikan creed, an optimism that glows in the dark: sex is good, healthy, wholesome, pleasant fun; we like it, we enjoy it, we want it, we are cheerful abut it; it is as simple as we are, the citizens of this strange country with no memory and no mind.
 * Chapter 4, "Communion"
 * There is no imagination in fetishlike sexual conformity; and no questions are being asked in political discourse on sex about hope and sorrow,  intimacy and anguish, communion and loss. Imagination is both aggressive and delicate, a mode of cognition unmatched in its ability to reveal the hidden meanings in reality now and  the likely shape of tomorrow. Imagination is not a synonym for sexual fantasy, which is only—pathetically—a programmed tape loop repeating repeating in the narcoleptic mind. Imagination finds new meanings, new forms; complex and empathetic values and acts. The person with imagination is pushed forward by it into a world of possibility and risk, a distinct world of meaning and choice; not into a  nearly bare junkyard of symbols manipulated to evoke rote responses. The paring down of the vocabulary of human affect to fuck-related expletives  suggests that one destroys the complexity of human response by destroying the language that communicates its existence.
 * Chapter 4

 * Truth is harder to bear than ignorance, and so ignorance is valued more—also because the status quo depends on it; but love depends on self-knowledge and self-knowledge depends on being able to bear the truth.
 * Chapter 4

 * No one deserves brutality because of what they are, their condition of birth, including being born female; and the women in this book are not asking for it—instead they are risking as much as any man risks to live, to love.
 * Chapter 4

 * Intercourse is commonly written about and comprehended as a form of possession or an act of possession in which, during which, because of which, a man inhabits a woman, physically covering her and overwhelming her and at the same time penetrating her; and this physical relational—over her and inside her 0 is his possession oh her. He has her, or when is is done, he has had her. By thrusting into her, he takes her over. His thrusting into her is taken to be her capitulation to him as a conqueror; it is a physical surrender of herself to him; he occupies and rules her, expresses his elemental dominance over her, by his possession of her in the fuck.
 * Chapter 5, "Possession"

 * This is nihilism; or this is truth. He has to push past his boundaries. There is the outline of a body, distinct, separate, its integrity an illusion, a tragic deception, because unseen there is a slit between the legs, and he has to push into it. There is never a real privacy of the body that can coexist withe intercourse: with being entered. The vagina itself is muscled and the muscles have to be pushed apart. The thrusting is persistent invasion. She is opened up, split down the center. She is occupied—physically, internally, in her privacy.
 * Chapter 7, "Occupation/Collaboration"
 * Life can be better for women—economic and political conditions improved—and at the same time the status of women can remain resistant, in deed impervious, to change: so far in history this is precisely the paradigm for social change as it relates to the conditions of women. Reforms are made, important ones' but the status of women relative to men does not change. Women are still less significant, have less privacy, less integrity, less self-determination. This means that women have less freedom.
 * Chapter 7
 * Freedom is not an abstraction, nor is a little of it enough. A little more of it is not enough either. Having less, being less, impoverished in freedom and rights, women then inevitably have less self-respect: less self-respect than men have and less self-respect than any human being needs to live a brave and honest life. Intercourse as domination battens of that awful absence of self respect.
 * Chapter 7
 * A woman has a body that is penetrated in intercourse: permeable, its corporeal solidness a lie. The discourse of male truth—literature, science, philosophy, pornography—calls that penetration violation. This it does with some consistency and some confidence. Violation is a synonym for intercourse. At the same time, the penetration is taken to be a use, not an abuse; a normal use; it is appropriate to enter her, to push into ("violate") the boundaries of her body. She is human, of course, but by a standard that does not include physical privacy.
 * Chapter 7

 * But the hatred of women is a source of sexual pleasure for men in its own right. Intercourse appears to be the expression of that contempt in pure form, in the form of a sexed hierarchy; it requires no passion or heart because it is power without invention articulating the arrogance of those who do the fucking. Intercourse is the pure, sterile, formal expression of men's contempt for women; but that contempt can turn gothic and express itself in many sexual and sadistic practices that eschew intercourse per se. Any violation of a woman's body can become sex for men; this is the essential truth of pornography.
 * Chapter 7

 * Being female in this world is having been robbed of he potential for human choice by men who love to hate s. One does not make choices in freedom. Instead, one conforms in body type and behavior and values to become an object of male sexual desire, which requires an abandonment of a wide-ranging capacity for choice Objectification may well be the most singly destructive aspect of gender hierarchy, specially as it exists in relation to intercourse.
 * Chapter 7

 * Can intercourse exist without the woman herself turning herself into a thing, which she must do because men cannot fuck equals and men must fuck: because one price of dominance is that one impotent in the face of equality?
 * Chapter 7

 * To become the object, she takes herself and transforms herself into a thing: all freedoms are diminished and she is caged, even in the cage docile, sometimes physically maimed, movement is limited: she physically becomes the thing he wants to fuck.
 * Chapter 7

 * Society says with the authority of its police power how intercourse will and will not occur. Any act so controlled by the state, proscribed and prescribed in detail, cannot be private in the ordinary sense. Privacy is essentially a sphere of freedom immune from regulation by the state. In that sense, intercourse has never occurred in private.
 * Chapter 8, "Law"
 * Women do not know how to be women exactly; men constantly fail to be men.
 * Chapter 8
 * Law steps in where nature fails: virtually everywhere. Laws create nature—a male nature and a female nature and natural intercourse—by telling errant, unnatural human beings what to do and what not to do to protect and express their real nature—the real man, the real female, the real hierarchy that nature or God created putting man on top.
 * Chapter 8
 * Laws creates male dominance, and maintain it, as a social environment. Male dominance is the environment we know, in which we must live. It is our air, water, earth. Laws shape our perceptions and knowledge of what male dominance is, of how it works, of what it means to us. Laws shape the experiences the experiences we have before we have them Laws significantly predetermine how we will feel, will understand, what will happen to us in life. Laws establish or humans the terms of our symbiosis with male dominance: what it takes from us to sustain itself as an overall environmental system.
 * Chapter 8
 * Inferiority is not banal or incidental even when it happens to women. It is not a petty affliction like bad skin or circles under the eyes. it is not a superficial flaw in an otherwise perfect picture. It is not a minor irritation, nor it is it a trivial inconvenience, an occasional aggravation, or a regrettable but (frankly) harmless lapse in manners. It is not a "point of view" that some people with soft skins find "offensive." It is the deep and destructive devaluing of a person in life, a shredding of dignity and self-respect, an imposed exile from human worth and human recognition, the forced alienation of a person from even the possibility of wholeness or internal integrity.
 * Chapter 9, "Dirt/Death"

Scapegoat: The Jews, Israel, and Women's Liberation (2000)
N.Y.: Free Press, 2000, ISBN 0-684-83612-2

 * Berlin says: "… You cannot combine full liberty with full equality—full liberty for the wolves cannot be combined with full liberty for the sheep...." …. Are women sheep ("led like sheep to the slaughter")? Must women become wolves? Is violence against women a direct result of the fact that there is no inevitable, painful, retaliatory consequence for hurting women?
 * pp. 245–246.

 * Do women need sovereignty—not only over their own bodies as currently understood in the United States ...; but control of a boundary further away from their bodies, a defended boundary? Do women need land and an army ...; or a feminist government in exile ...? Or is it simpler: the bed belongs to the woman; the house belongs to the woman; any land belongs to the woman; if a male intimate is violent he is removed from the place where she has the superior and inviolate claim, arrested, denied parole, and prosecuted. .... Could women "set a high price on our blood"? Could women set any price on our blood? Could women manage self-defense if not retaliation? Would self-defense be enough? Could women execute men who raped or beat or tortured women? .... [¶] .... Could the acts of women in behalf of women … have a code of honor woman-to-woman that weakens the male-dominant demands of nationalism or race-pride or ethnic pride? Could women commit treason to the men of their own group: put women first, even the putative enemy women? Do women have enough militancy and self-respect to see themselves as the central makers of legal codes, ethics, honor codes, and culture?
 * p. 246.

 * Can women make use of men's vulnerability not to marry but instead to destroy male power?
 * p. 248.

 * Could women's liberation ever be a revolutionary movement, not rhetorically but on the ground?
 * p. 248.

 * One needs either equality or political and economic superiority.
 * p. 336.

Letters from a War Zone: Writings 1976-1987

 * The women's movement is like other political movements in one important way. Every political movement is committed to the belie that there are certain kinds of pain that people should not have to endure. They are unnecessary. They are gratuitous. They are not part of the God-given order. They are not biologically inevitable. They are acts of human will. They are acts done by some human beings to other human beings.
 * "Feminism: An Agenda" (1983)
 * The pride comes from accomplishment. I have done what I wanted to do more than any other thing in life. I have become a writer, published two books of integrity and worth. I did not know what those two books would cost me, how very difficult it would be to write them, to survive the opposition to them.
 * "A Battered Wife Survives", (1978)
 * A take back the night march goes right to our emotional core. We women are especially supposed to be afraid of the night The night promises harm to women. For a woman to walk on the street at night is not only to risk abuse, but also—according to the values of male domination—to ask for it. The woman who transgresses the boundaries of night is an outlaw who breaks an elementary rule of civilized behavior: a decent woman does not go out—certainly not alone, certainly not only with other women—at night. A woman out in the night, not on a leash, is thought to be a slut or an uppity bitch who does not know her place.
 * "The Night and Danger" (1979)
 * If you believe that God made women to be submissive and inferior, then there is almost nothing that feminism can say to you about your place in society.
 * "Feminism: An Agenda" (1983)
 * The purpose of theory is to clarify the world in which we live, how it works, why things happen as they do. The purpose of theory is understanding. Understanding is energizing. It energizes to action. When theory becomes an impediment to action, it is time to discard the theory and return naked, that is, without theory, to the world of reality. People become slaves to theory because people are used to meeting expectations they have not originated—to doing what they are told, to having everything mapped out, to having reality prepackaged. People can have an antiauthoritarian intention and yet function in a way totally consonant with the demands of authority. The deepest struggle is to root out of us and the institutions in which we participate the requirement that we slavishly conform. But an adherence to ideology, to any ideology, can give us the grand illusion of freedom when in fact we are being manipulated and used by those whom the theory serves. The struggle for freedom has to be a struggle toward integrity defined in every possible sphere of reality—sexual integrity, economic integrity, psychological integrity, integrity of expression, integrity of faith and loyalty and heart. Anything that shortcuts us away from viewing integrity as an essential goal or anything that diverts our attention from integrity as a revolutionary value serves only to reinforce the authoritarian values of the world in which we live.
 * U.S. edition, pp. 127-128
 * The purpose of theory is to clarify the world in which we live, how it works, why things happen as they do. The purpose of theory is understanding. Understanding is energizing. It energizes to action. When theory becomes an impediment to action, it is time to discard the theory and return naked, that is, without theory, to the world of reality. People become slaves to theory because people are used to meeting expectations they have not originated—to doing what they are told, to having everything mapped out, to having reality prepackaged. People can have an antiauthoritarian intention and yet function in a way totally consonant with the demands of authority. The deepest struggle is to root out of us and the institutions in which we participate the requirement that we slavishly conform. But an adherence to ideology, to any ideology, can give us the grand illusion of freedom when in fact we are being manipulated and used by those whom the theory serves. The struggle for freedom has to be a struggle toward integrity defined in every possible sphere of reality—sexual integrity, economic integrity, psychological integrity, integrity of expression, integrity of faith and loyalty and heart. Anything that shortcuts us away from viewing integrity as an essential goal or anything that diverts our attention from integrity as a revolutionary value serves only to reinforce the authoritarian values of the world in which we live.
 * U.S. edition, pp. 127-128

About

 * In the 1980s, Ellen Willis led the so-called pro-sex radical feminists in their heated challenge to the antipornography movement. Countering the arguments of Andrea Dworkin, Catharine MacKinnon, and others that "sexual liberation is a male supremacist plot, Willis proclaimed that sexual liberation was the keystone of broader social and cultural change.
 * Joyce Antler Jewish Radical Feminism: Voices from the Women’s Liberation Movement (2020)

 * Andrea presented herself as a street fighter intellectual, a bohemian freedom fighter, and someone who wanted to get to the bottom of things. That quote about Malcolm X is apt. Malcolm pointed out “The problem is WHITE PEOPLE.”  Dworkin said, “The problem is MEN.”  And for all the  holes that can be poked in that cloth, there is something about that grain that is absolutely true, when you are the short end of the bolt.
 * "Andrea Dworkin Has Died" by Susie Bright, Susie Bright's Journal (blog), April 11, 2005.

 * Even if you believe that prostitution and pornography are fundamentally acceptable, the challenge of Dworkin is to explain why they should exist – rather than merely accepting their current existence as an argument for their continuation. We are creatures of culture and Intercourse is the promise that we are not doomed to the endless replication of misogyny, but can reinvent that culture in new and better shapes.
 * Sarah Ditum on Andrea Dworkin: Sex as terrorism, the New Statesman, May 15, 2014

 * I’m sorry Andrea Dworkin started a sexual revolution that she ended up repudiating. She never got to see people like me, Carol, and the rest of us little protégées who took her inspiration and flew to a new dimension. She got stuck, and then she got sick, and when you’re famous for one thing, no one wants to see you change unless you reject it all, like a pathetic sinner seeking redemption. She was too stubborn and too old-fashioned for that. Andrea Dworkin never would have admitted that she was a SuperStar. She was the animator of the ultimate porno horror loop, where the Final Girl never gets a chance to slay the monster, she only dies, dies, dies, with the cries of the angry mourners to remember her.
 * "Andrea Dworkin Has Died" by Susie Bright, Susie Bright's Journal (blog), April 11, 2005.

 * So now we come to what Andrea Dworkin wants and it is this: she wants women to have their own country. But that's mad, I said to her. Why bother discussing it? It isn't going to happen. To which she has a reply -- didn't they say that about Israel? And didn't the world think that Theodor Herzl, the founder of the Zionist movement, was a crank? The Jews got a country because they had been persecuted, said that enough was enough, decided what they wanted and went out and fought for it. Women should do the same. And if you don't want to live in Womenland, so what? Not all Jews live in Israel, but it is there, a place of potential refuge if persecution comes to call. Furthermore, Dworkin says, as the Jews fought for Israel so women have the right to execute -- that's right, execute -- rapists and the state should not intervene. I couldn't really believe she was serious, but she is.
 * "Take no prisoners", interview by Linda Grant, The Guardian (13 May 2000).

 * Andrea Dworkin, who was pelted and ridiculed for decades of her life, was another of those rare people who feel other people's pain as if it were their own. When she first sent me one of her books, I was all ready to snigger. But she could write, and think, and argue, and it was often a pleasure to disagree violently with her, which is more than I can say for some of her detractors. Like many clever and tormented people, she had the gift of getting the gist of supposedly complex questions. It wasn't OK with her that President Clinton had a special staff of private dicks to "handle" and to slander truth-telling women; it wasn't OK with her that Serbia used rape as a weapon of ethnic cleansing; and she wasn't neutral against a jihadist threat that wanted, and wants, to enslave and torture females. That she could be denounced as a "conservative" for holding any of those positions says much about the left to which she used to belong. If she was indeed crazy, I wish she had bitten more of her twisted sisters.
 * "Two Ibrahims and Two Women", by Christopher Hitchens, Slate (18 April 2005)

 * I am just thinking of Andrea Dworkin. I have really known Andrea since she was very young. I have known her since she was about eighteen years old. I used to love her very much. She was very dear to me. I mean when she writes about sexual life, it's horrible. And she did have some horrible experiences, you know, but I am not writing about her. That's all I can say. For me I really want to celebrate sexuality. (“Because that's the way you feel about it?”) And because I want to celebrate it. Because I think it's one of the greatest things invented [laughs], and it may be a pure invention that it is so great. I could be wrong, and Andrea could be right. But I think it should be. One of the things that bothers me with a lot of my sisters in movements that I have worked with is that their anger with men really has turned them not against men, which is all right as far as I am concerned, but against sex in general, so that even their lesbian experiences don't strike me as so hot as far as that's concerned.
 * 1995 interview in Conversations with Grace Paley

title: Andrea Dworkin