Andrea Dworkin Quotes - Page 5

Freedom is not an abstaction, nor is a little of it enough. A little more is not enough either. Having less, being less, empoverished in freedom and rights, women then invariably have less self-respect: less self-respect than any human being needs to live a brave and honest life.

The cultural institutions which embody and enforce those interlocked aberrations-for instance, law, art, religion, nation-states, the family, tribe, or commune based on father-right-these institutions are real and they must be destroyed.

I love, cherish, and respect women in my mind, in my heart, and in my soul. This love of women is the soil in which my life is rooted. It is the soil of our common life together. My life grows out of this soil. In any other soil, I would die. In whatever ways I am strong, I am strong because of the power and passion of this nurturant love.

I also had nightmares. Somehow all the feelings I didn't feel when each thing had actually happened to me I did feel when I slept.

Feminist art is not some tiny creek running off the great river of real art. It is not some crack in an otherwise flawless stone. It is, quite spectacularly, art which is not based on the subjugation of one half of the species.

Erotica is simply high-class pornography; better produced, better conceived, better executed, better packaged, designed for a better class of consumer.

I love books the way I love nature. ... I can imagine now that a time will come, that it is almost upon us, when no one will love books ... It is no accident, I think, that books and nature (as we know it) may disappear simultaneously from human experience. There is no mind-body split.

Women have been taught that, for us, the earth is flat, and that if we venture out, we will fall off the edge. Some of us have ventured out nevertheless, and so far we have not fallen off. It is my faith, my feminist faith, that we will not.

We as women know that there are no disembodied processes; that all history originates in human flesh; that all oppression is inflicted by the body of one against the body of another; that all social change is built on the bone and muscle, and out of the flesh and blood, of human creators.

The traditional flowers of courtship are the traditional flowers of the grave, delivered to the victim before the kill. The cadaver is dressed up and made up and laid down and ritually violated and consecrated to an eternity of being used.

So you go away from where you were afraid. Some stay; some go; it's a big difference, leaving the humiliations of childhood, the morbid fear. We didn't have much to say to each other, the ones that left and the ones that stayed. Children get shamed by fear but you can't tell the adults that; they don't care. They make children into dead things like they are. If there's something left alive in you, you run. You run from the poor little child on her knees; fear burned the skin off all right; she's still on her knees, dead and raw and tender.

Feminist art is not some tiny creek running off the great river of real art. It is not some crack in an otherwise flawless stone. It is, quite spectacularly I think, art which is not based on the subjugation of one half of the species. It is art which will take the great human themes -love, death, heroism, suffering, history itself -and render them fully human. It may also, though perhaps our imaginations are so mutilated now that we are incapable even of the ambition, introduce a new theme, one as great and as rich as those others -should we call it joy?

Standards of beauty describe in precise terms the relationship that an individual will have to her own body. They prescribe her mobility, spontaneity, posture, gait, the uses to which she can use her body. They define precisely the dimension of her physical freedom and psychological development, intellectual possibility, and creative potential is an umbilical one.

It is a tragedy beyond the power of language to convey when what has been imposed on women by force becomes a standard of freedom for women: and all the women say it is so.

There is nothing as dangerous as an unembodied principle: no matter what blood flows, the principle comes first. The First Amendment absolutists operate precisely on unembodied principle.

There is no place on earth, no day or night, no hour or minute, when one is not a Jew or a woman.

Feminist art... will take the great human themes – love, death, heroism, suffering, history itself – and render them fully human.

Being stigmatied by sex is being marked by its meaning in a human life of loneliness and imperfection, where some pain is indelible.

One needs either equality or political and economic superiority.

Writing is alchemy. Dross becomes gold. Experience is transformed. Pain is changed. Suffering may become song. The ordinary or horrible is pushed by the will of the writer into grace or redemption, a prophetic wail, a screed for justice, an elegy of sadness or sorrow. ... There is always a tension between experience and the thing that finally carries it forward, bears its weight, holds it in. Without that tension, one might as well write a shopping list.

Families make possible the super-exploitation of women by training them to look upon their work outside the home as peripheral to their 'true' role.

One can know everything and still be unable to accept the fact that sex and murder are fused in the male consciousness, so that the one without the imminent possibly of the other is unthinkable and impossible.

Men use the night to erase us.

For a mother the project of raising a boy is the most fulfilling project she can hope for.

I dream that love without tyranny is possible