Camille Paglia: Sexuality

Camille Paglia is American writer. Explore interesting quotes on sexuality.
Camille Paglia: 652 quotes46 likes

“Because of the nature of the penis, men have performance anxiety, whereas no woman ever has to prove herself in this way. So men's egos are totally involved in performance, in doing, achieving. An erection is a kind of achievement. So is peeing. As I've said, a boy has to learn to aim in order to no longer be infantile. So it's an accomplishment. The male orgasm is short-lived and transient — and that's the irony of men's sexuality. It's ironic that feminism looks at the penis as power and violence when in fact it is very weak.”

Camille Paglia

Playboy interview (May 1995)

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

Camille Paglia

Source: Sex, Art and American Culture : New Essays (1992), p. 23

“Feminism has tried to dismiss the femme fatale as a misogynist libel, a hoary cliche. But the femme fatale expresses woman's ancient and eternal control of the sexual realm. The specter of the femme fatale stalks all of men's relationships with women.”

Camille Paglia

Source: Sex, Art and American Culture : New Essays (1992), p. 15

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

Camille Paglia

Source: Sex, Art and American Culture : New Essays (1992), p. 10

“From Stonewall to the first AIDS alert was only twelve short years. In the Eighties and early Nineties, displaced anxiety over the horror of AIDS turned gay activists into raging nihilists and monomaniacs, who dishonestly blamed the disease on the government and trampled on the rights of the gay majority, and whose errors of judgement materially aided the rise and consolidation of the far right. AIDS did not appear out of nowhere. It was a direct result of the sexual revolution, which my generation unleashed with the best intentions, but whose worst effects were to be suffered primarily by gay men.”

Camille Paglia

Source: Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality", p. 68

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

Camille Paglia

Source: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 672

“Women will never succeed at the level or in the numbers they deserve until they get over their genteel reluctance to take abuse in the attack and counterattack of territorial warfare. The recent trend in feminism, notably in sexual harassment policy, has been to overrely on regulation and legislation rather than to promote personal responsibility. Women must not become wards and supplicants of authority figures. Freedom means rejecting dependency.”

Camille Paglia

Source: Vamps and Tramps (1994), p. x

“I am reverential to great stars. I don't want sexual congress with them. The writer in me reveres the artist in them.”

Camille Paglia

Playboy interview (May 1995)

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

Camille Paglia

Source: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 26

“It would be ridiculous to claim that gay men are interested only on other gay men and would never ogle straight men in barracks showers. When I heard this one on TV, I burst out laughing. Anyone who belongs to a health club knows better. Sexual tension and appraisal are constants, above all among gay men, who never stop cruising everything in sight. Seduction of straight studs is a highly erotic motif in gay porn.”

Camille Paglia

Source: Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality", p. 87

“I feel that the moment a date happens that it’s a social encounter that is potentially a sexual encounter. And the question of sex needs to be negotiated from the first moment on.”

Camille Paglia

Source: Sex, Art and American Culture : New Essays (1992), The Rape Debate, Continued, p. 70

“My position on date rape is partly based on my study of The Faerie Queen, as detailed in a full chapter in Sexual Personae: in 1590, the poet Edmund Spencer already sees that passive, drippy, naive women constantly get themselves into rape scenarios, while talented, intelligent, alert women, his warrior heroines, spot trouble coming and boldly trounce their male assailants. My feminism stresses courage, independence, self-reliance, and pride.”

Camille Paglia

Source: Sex, Art and American Culture : New Essays (1992), p. 304

“As a philosopher sympathetic to Foucault recently remarked to me, Foucault failed in each of his major inquiries and, in desperation, went further afield from his areas of expertise. The History of Sexuality is a disaster. Page after page is sheer fantasy, unsupported by the ancient or modern historical record.”

Camille Paglia

Source: Sex, Art and American Culture : New Essays (1992), Junk Bonds and Corporate Raiders : Academe in the Hour of the Wolf, p. 187

“The female body’s unbearable hiddenness applies to all aspects men’s dealings with women. What does it look like in there? Did she have an orgasm? Is it really my child? Who was my real father? Mystery surrounds women’s sexuality. This mystery is the main reason for the imprisonment man has imposed on women. Only by confining his wife in a locked harem guarded by eunuchs could he be certain that her son was also his.”

Camille Paglia

Source: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 22

“The old “double standard” gave men a sexual liberty denied to women. Marxist feminists reduced the historical cult of woman’s virginity to her property value, her worth on the male marriage market. I would argue instead that there was and is a biological basis to the double standard. The first medical reports on the disease killing male homosexuals [i. e., AIDS] indicated men most at risk were those with a thousand partners over their lifetime. Incredulity. Who could such people be? Why, it turns out, everyone one knew. Serious, kind, literate men, not bums or thugs.”

Camille Paglia

Source: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 27

“An erection is a thought and the orgasm an act of the imagination. The male has to will his sexual authority before the woman who is a shadow of his mother and of all women. Failure and humiliation constantly wait in the wings. No woman has to prove herself a woman in the grim way a man has to prove himself a man. He must perform, or the show does not go on. Social convention is irrelevant. A flop is a flop.”

Camille Paglia

Source: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 20

“Sexual Personae seeks to demonstrate the unity and continuity of western culture — something that has inspired little belief since the period before World War I.”

Camille Paglia

Source: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. xiii

“Romanticism, like the Rousseauist Swinging Sixties, misunderstands the Dionysian as the pleasure principle, when it is in fact the gross continuum of pleasure-pain. Worshiping nature and seeking political and sexual freedom, Romanticism ends in imaginative entrammelment of every kind. Perfect freedom is intolerable and therefore impossible.”

Camille Paglia

Source: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 231

“Following the sexual revolution of the Sixties, dating has become a form of Russian roulette. Some girls have traditional religious values and mean to remain virgins until marriage. Others are leery of AIDS, unsure of what they want, but can be convinced. For others, anything goes: they’ll jump into bed on the first date. What’s a guy to do?”

Camille Paglia

Source: Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality", p. 35

“Sexuality and eroticism are the intricate intersection of nature and culture. Feminists grossly oversimplify the problem of sex when they reduce it a matter of social convention: readjust society, eliminate sexual inequality, purify sex roles, and happiness and harmony will reign. Here feminism, like all liberal movements of the past two hundred years, is heir to Rousseau.”

Camille Paglia

Source: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 1