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Read through the most famous quotes by topic #sex
Whatever is deeply, essentially female--the life in a woman's expression, the feel of her flesh, the shape of her breasts, the transformations after childbirth of her skin--is being reclassified as ugly, and ugliness as disease. These qualities are about an intensification of female power, which explains why they are being recast as a diminution of power. At least a third of a woman's life is marked with aging; about a third of her body is made of fat. Both symbols are being transformed into operable condition--so that women will only feel healthy if we are two thirds of the women we could be. How can an "ideal" be about women if it is defined as how much of a female sexual characteristic does not exist on the woman's body, and how much of a female life does not show on her face? ↗
The most effective weapon a parent has to control a child is the withdrawal of love or its threat. A young child between the ages of three and six is too dependent on parental love and approval to resist this pressure. Robert's mother, as we saw earlier, controlled him by "cutting him out." Margaret's mother beat her into submission, but it was the loss of her father's love that devastated her. Whatever the means parents use, the result is that the child is forced to give up his instinctual longing, to suppress his sexual desires for one parent and his hostility toward the other. In their place he will develop feelings of guilt about his sexuality and fear of authority figures. This surrender constitutes an acceptance of parental power and authority and a submission to the parents' values and demands. The child becomes "good", which means that he gives up his sexual orientation in favor of one directed toward achievement. Parental authority is introjected in the form of a superego, ensuring that the child will follow his parents' wishes in the acculturation process. In effect, the child now identifies with the threatening parent. Freud says, "The whole process, on the one hand, preserves the genital organ wards off the danger of losing it; on the other hand, it paralyzes it, takes its function away from it. ↗
#fear #freud #guilt #life #psychotherapy
Read any women's magazine and you'll see the same complaint over and over again: men - those little boys ten or twenty or thirty years on - are hopeless in bed. They are not interested in "foreplay"; they have no desire to stimulate the erogenous zones of the opposite sex; they are selfish, greedy, clumsy, unsophisticated. These complaints, you can't help feeling, are ironic. Back then, all we wanted was foreplay, and girls weren't interested. They didn't want to be touched, caressed, stimulated, aroused; in fact, they used to thump us if we tried. It's not really very suprising, then, that we're not much good at all that. We spent two or three long and extremely formative years being told very forcibly not even to think about it. Between the ages of fourteen and twenty-four, foreplay changes from being something that boys want to do and girls don't, to something that women want and men can't be bothered with. (Or so they say. Me, I like foreplay - mostly because the times when all I wanted to do was touch are alarmingly fresh in my mind.) The perfect match, if you ask me, is between the Cosmo woman and the fourteen-year-old boy. ↗
#age
Giovanni had awakened an itch, had released a gnaw in me. I realized it one afternoon, when I was taking him to work via the Boulevard Montparnasse. We had bought a kilo of cherries and we were eating them as we walked along. We were both insufferably childish and high-spirited that afternoon and the spectacle we presented, two grown men jostling each other on the wide sidewalk and aiming the cherry pits, as though they were spitballs, into each other's faces, must have been outrageous. And I realized that such childishness was fantastic at my age and the happiness out of which it sprang yet more so; for that moment I really loved Giovanni, who had never seemed more beautiful than he was that afternoon. ↗
In the case of Michel Angelo we have an artist who with brush and chisel portrayed literally thousands of human forms; but with this peculiarity, that while scores and scores of his male figures are obviously suffused and inspired by a romantic sentiment, there is hardly one of his female figures that is so,—the latter being mostly representative of woman in her part as mother, or sufferer, or prophetess or poetess, or in old age, or in any aspect of strength or tenderness, except that which associates itself especially with romantic love. Yet the cleanliness and dignity of Michel Angelo's male figures are incontestable, and bear striking witness to that nobility of the sentiment in him, which we have already seen illustrated in his sonnets. ↗
It's your world, but I make my way in it. At fifteen, no, I couldn't stand up to you. The age of illusions, when we know nothing, we hope for everything; we're wandering in a mist ... And the half of the world that's never had any use for us, suddenly is besieging us. You need us, you adore us, you're suffering for us. You want everything--except to know what we think. You look deep in our eyes--and put your hand up our dress. You call us, "Pretty thing." That confuses us. The most beautiful woman, the highest ranked, lives half dazzled by constant attention, half stifled by obvious contempt. We think all we're good for is pleasing you--till one day, long acquaintance with you dispels the last mist. In a clear light, we suddenly see you as you are--and generally we start preferring ourselves. At thirty, I could finally say no--or really say yes. That's when you begin backing away from us. Now I'm full-grown. I pursue my happiness the same as any man. ↗
#love #men #relationships #sex #women
I don't think I could ever live with either a man or a woman for a long time. Male and female are attractive to my mind, but when it comes to the sexual act I am afraid. In every situation I need a lot of stimulation before I am conquered by the forces of passion and lust. But confusion, before and after, is the dominant factor. I dreamed many times about a mature man with experience who would have the vigour of a boy but an adult's polished methods. Strangely enough, I also dreamed about women of my mother's age who were ideal lovers. These dreams came superimposed on one another. Sometimes the masculine element was dominant, sometimes the feminine one. At other times I wasn't sure. I saw a female body with male organs or a male body with female ones. These pictures, blended together in my mind, occasionally brought pleasure but more often pain. ↗
The more you face the truth, the angrier you will probably become. You have a right to be angry about being sexually abused. You have a right to be angry with the perpetrator, regardless of who it was, how long ago the sexual abuse occurred, or how much he/she has changed. ↗
How can so many (white, male) writers narratively justify restricting the agency of their female characters on the grounds of sexism = authenticity while simultaneously writing male characters with conveniently modern values? The habit of authors writing Sexism Without Sexists in genre novels is seemingly pathological. Women are stuffed in the fridge under cover of "authenticity" by secondary characters and villains because too many authors flinch from the "authenticity" of sexist male protagonists. Which means the yardstick for "authenticity" in such novels almost always ends up being "how much do the women suffer", instead of - as might also be the case - "how sexist are the heroes". And this bugs me; because if authors can stretch their imaginations far enough to envisage the presence of modern-minded men in the fake Middle Ages, then why can't they stretch them that little bit further to put in modern-minded women, or modern-minded social values? It strikes me as being extremely convenient that the one universally permitted exception to this species of "authenticity" is one that makes the male heroes look noble while still mandating that the women be downtrodden and in need of rescuing. -Comment at Staffer's Book Review 4/18/2012 to "Michael J. Sullivan on Character Agency ↗
#authenticity #fantasy #femlae-agency #genre #male-privledge
