48 ordspråk av Andrea Dworkin

Andrea Dworkin

Andrea Dworkin föddes den 26 september 1946
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All personal, psychological, social, and institutionalized domination on this earth can be traced back to its source: the phallic identities of men.

No woman needs intercourse; few women escape it.

The utopian male concept which is the premise of male pornography is this --since manhood is established and confirmed over and against the brutalized bodies of women, men need not aggress against each other; in other words, women absorb male aggression.

As long as there is rape. . . there is not going to be any peace or justice or equality or freedom. You are not going to become what you want to become or who you want to become. You are not going to live in the world you want to live in.

By the time we are women, fear is as familiar to us as air. It is our element. We live in it, we inhale it, we exhale it, and most of the time we do not even notice it. Instead of "I am afraid," we say, "I don't want to," or "I don't know how," or "I can't."

Women, for centuries not having access to pornography and now unable to bear looking at the muck on the supermarket shelves, are astonished. Women do not believe that men believe what pornography says about women. But they do. From the worst to the best of them, they do.

Women are an enslaved population / the crop we harvest is children, the fields we work are houses. Women are forced into committing sexual acts with men that violate integrity because the universal religion / contempt for women / has as its first commandment that women exist purely as sexual fodder for men.

Male supremacy is fused into the language, so that every sentence both heralds and affirms it.

Money speaks, but it speaks with a male voice.

Undernourished, intelligence becomes like the bloated belly of a starving child: swollen, filled with nothing the body can use.

''Women's fashion'' is a euphemism for fashion created by men for women.

Monroe, the consummate sexual doll, is empowered to act but afraid to act, perhaps because no amount of acting, however inspired, can convince the actor herself that her ideal female life is not a dreadful form of dying.

A commitment to sexual equality with males is a commitment to becoming the rich instead of the poor, the rapist instead of the raped, the murderer instead of the murdered.

No phallic hero, no matter what he does to himself or to another to prove his courage, ever matches the solitary, existential courage of the woman who gives birth.

The common erotic project of destroying women makes it possible for men to unite into a brotherhood; this project is the only firm and trustworthy groundwork for cooperation among males and all male bonding is based on it.

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