“Although the backlash is not a movement, that doesn't make it any less destructive. In fact, the lack of orchestration, the absence of a single string-puller, only makes it harder to see — and perhaps more effective. A backlash against women's rights succeeds to the degree that it appears not to be political, that it appears not to be a struggle at all. It is most powerful when it goes private, when it lodges in a woman's mind and turns her vision inward, until she imagines the pressure is all in her head, until she begins to enforce the backlash, too — on herself.”

— Susan Faludi , book Backlash: The Undeclared War Against American Women

Page 16.
Backlash (1992)

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Susan Faludi 8

American feminist 1959

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“Backlash happens to be the title of a 1947 Hollywood movie in which a man frames his wife for a murder he's committed. The backlash against women's rights works in much the same way: its rhetoric charges feminists with all the crimes it perpetrates. The backlash line blames the women's movement for the “feminization of poverty” ñwhile the backlash's own instigators in Washington pushed through the budget cuts that helped impoverish millions of women, fought pay equity proposals, and undermined equal opportunity laws. The backlash line claims the women's movement cares nothing for children's rightsñwhile its own represetatives in the capital and state legislatures have blocked one bill after another to improve child care, slashed billions of dollars in federal aid for children, and relaxed state licensing standards for day care centers. The backlash line accuses the women's movement of creating a generation of unhappy single and childless womenñbut its purveyors in the media are the ones guilty of making single and childless women feel like circus freaks.”

Susan Faludi book Backlash: The Undeclared War Against American Women

Page 17.
Backlash (1992)

“Both sexes work on their lines before they appear onstage. His lines are a lifetime of work; her introductory 'line' is her appearance--or her lack of lines. Just as careers give men power, so beauty gives women power. But just as the comparison between herself and the most beautiful women makes a woman feel powerless, so the comparison between himself and the most successful men makes a man feel powerless.”

Warren Farrell (1943) author, spokesperson, expert witness, political candidate

Source: Why Men Are the Way They Are (1988), p. 106.

“[N]o one appeared to wonder whether this S-M proliferation was a lesbian copy of a faggot imitation of patriarchal backlash against feminism.”

Robin Morgan (1941) American feminist writer

"The Politics of Sado-Masochistic Fantasies", in Going Too Far: The Personal Chronicle of a Feminist, p 235.

“Better not to invent her in her absence. Better to wait until she's actually here. Then he can make her up as she goes along.”

Margaret Atwood book The Blind Assassin

Source: The Blind Assassin

“Women are so often segregated to their sexuality, and how they appear. In fact, there’s a lot of talk, even now, I think in most jobs this is true…people will say, when a woman rises to power, they ask, ‘who did she sleep with?’ You know, it couldn’t possibly be about her acumen, it couldn’t possibly be about her intelligence. It’s got to be about her body, because that’s how women get ahead.”

Jennifer Beals (1963) American actress and a former teen model

Interview at Chatelaine.com (February 2011) http://www.chatelaine.com/en/videos/26327--interview-with-jennifer-beals/

“It is, of course, men who are more likely to inhibit themselves for the sake of appearing to be sensible and dependable.[…] If pressed, I will agree that more women than men wish to appear wonderfully sensitive and intuitive, and may stop being realistic […] in order to deceive themselves and other people. On the other hand, women in general tend to be more realistic and yet in certain matters more open-minded than men, more ready to resist that pressure of opinion. They are less likely to be put into blinkers by ideas.
Moreover […] as a rule the average woman notices far more than the average man; she has a better eye for detail than he has; she makes a more alert witness.”

J.B. Priestley (1894–1984) English writer

Source: Man and Time (1964), Ch. 8, p. 182

“"But tell me how it is that she could be so beautiful without any heart at all — without any place even for a heart to live in." "I cannot quite tell," she said; "but I am sure she would not look so beautiful if she did not take means to make herself look more beautiful than she is. And then, you know, you began by being in love with her before you saw her beauty … But the chief thing that makes her beautiful is this: that, although she loves no man, she loves the love of any man; and when she finds one in her power, her desire to bewitch him and gain his love (not for the sake of his love either, but that she may be conscious anew of her own beauty, through the admiration he manifests), makes her very lovely—with a self-destructive beauty…"”

George MacDonald book Phantastes

On the Alder Tree
Phantastes (1858)

“Elizabeth had never been more at a loss to make her feelings appear what they were not. It was necessary to laugh, when she would rather have cried.”

Jane Austen book Pride and Prejudice

Source: Pride and Prejudice

“The making of a true Home is really our peculiar and inalienable right; a right which no man can take from us, for a man can no more make a Home than a drone can make a hive. He can build a castle or a palace, but, poor creature! be he wise as Solomon and rich as Croesus, he cannot turn into a Home. No masculine mortal can do that. It is a woman, and only a woman; a woman all by herself if she likes, and without any man to help her, who can turn a House into a Home.”

Frances Power Cobbe (1822–1904) Irish writer, social reformer, anti-vivisection activist and leading suffragette

Lecture IV, pp. 114-115
The Duties of Women (1881)

“Marie falls back upon her idea, obdurately, and says, "A woman only lives by love and for love. When she's no longer good for that she's no longer anything."
She repeats, "You see — I'm nothing any more."
Ah, she is at the bottom of her abyss! She is at the extremity of a woman's mourning! She is not thinking only of me. Her thought is higher and vaster. She is thinking of all the woman she is, of all that love is, of all possible things when she says, "I'm no longer anything." And I — I am only he who is present with her just now, and no help whatever is left her to look for from any one.
I should like to pacify and console this woman who is gentleness and simplicity and who is sinking there while she lightly touches me with her presence — but exactly because she is there I cannot lie to her, I can do nothing against her grief, her perfect, infallible grief.
"Ah!" she cries, "if we came to life again!"”

Henri Barbusse (1873–1935) French novelist

Light (1919), Ch. XIX - Ghosts

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