Camille Paglia

The truth is that Foucault knew very little about anything before the seventeenth century and, in the modern world, outside France. His familiarity with the literature and art of any period was negligible. His hostility to psychology made him incompetent to deal with sexuality, his own or anybody else’s. The elevation of Foucault to guru status by American and British academics is a tale that belongs to the history of cults.

The more you know, the less you are impressed by Foucault.

Everyone of my generation who preached free love is responsible for AIDS.

Feminism’s claim that it discovered rape is simply false.

American feminism’s nose dive began when Kate Millet, that imploding beanbag of poisonous self-pity, declared Freud a sexist. Trying to build a sex theory without studying Freud, women have made nothing but mud pies.

The spiritual history of the Sixties has yet to be written.

Academic Marxism is a fantasy world, and unctuous compassion-sweepstakes, into which real workers or peasants never penetrate.

The piddling ignoramuses who deny that there is a distinct, discernible, objective western tradition are just woozy literati.

Women's studies needed a syllabus and so invented a canon overnight. It puffed up clunky, mundane contemporary women authors into Oz-like, skywriting dirigibles. Our best women students are being force-fed an appalling diet of cant, drivel and malarkey.

The junk-bond era has also spawned something that calls itself New Historicism. This seems to be a refuge for English majors without critical talent or broad learning in history or political science. [...] To practice it, you must apparently lack all historical sense.

The number one problem in academia today is not ignorant students but ignorant professors, who have substituted narrow “expertise” and “theoretical sophistication” (a preposterous term) for breadth and depth of learning in the world history of art and thought. … Art is a vast, ancient interconnected web-work, a fabricated tradition. Overconcentration on any one point is a distortion. This is one of the primary reasons for the dullness and ineptitude of so much twentieth-criticism, as compared to nineteenth-century belles-lettres.

Imperialism and slavery are no white male monopoly, but are everywhere from Egypt, Assyria, and Persia to India, China and Japan.