In the past fifteen years, Marxist approaches towards literature have enjoyed increasing vogue. To be… — Camille Paglia
In the past fifteen years, Marxist approaches towards literature have enjoyed increasing vogue. To be conscious of the social context of art seems to automatically entail a leftist orientation. But a theory is possible that is both avant-garde and capitalist. Marxism was one of Rousseau’s nineteenth-century progeny, energized by faith in the perfectabilty of man. Its belief that economic forces are the primary dynamic force in history is Romantic naturism in disguise. … Marxism is the bleakest of anxiety-formations against the power of cthonian mothers.
p. 36Source: Wikiquote · CC BY-SA 4.0
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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.
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In 'A Room of One's Own', Virginia Woolf satirically describes her perplexity at the bulging card catalog of the British Museum: why, she asks, are there so many books written by men about women but none by women about men? The answer to her question is that from the beginning of time men have been struggling with the threat of woman's dominance.
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The reason Wilde did his best work after turning homosexual is that women simply reinforced his own feminine sentimentality. … Heterosexuality inhibited his imagination because woman is physically and psychologically internal.
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