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The Beauty Myth

Book by Naomi Wolf · 8 quotes · Self Esteem, Beauty, Fashion Industry

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The Beauty Myth Quotes

“For the first time in history, children are growing up whose earliest sexual imprinting derives not from a living human being, or fantasies of their own; since the 1960s pornographic upsurge, the sexuality of children has begun to be shaped in response to cues that are no longer human. Nothing comparable has ever happened in the history of our species; it dislodges Freud. Today's children and young men and women have sexual identities that spiral around paper and celluloid phantoms: from Playboy to music videos to the blank females torsos in women's magazines, features obscured and eyes extinguished, they are being imprinted with a sexuality that is mass-produced, deliberately dehumanizing and inhuman.”

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“She may resent Playboy because she resents feeling ugly in sex--or, if "beautiful," her body defined and diminished by pornography. It inhibits in her something she needs to live, and gives her the ultimate anaphrodisiac: the self-critical sexual gaze. Alice Walker's essay "Coming Apart" investigates the damage done: Comparing herself to her lover's pornography, her heroine "foolishly" decides that she is not beautiful.”

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“Consumer culture is best supported by markets made up of sexual clones, men who want objects and women who want to be objects, and the object desired ever-changing, disposable, and dictated by the market. The beautiful object of consumer pornography has a built-in obsolescence, to ensure that as few men as possible will form a bond with one woman for years or for a lifetime, and to ensure that women's dissatisfaction with themselves will grow rather than diminish over time. Emotionally unstable relationships, high divorce rates, and a large population cast out into the sexual marketplace are good for business in a consumer economy. Beauty pornography is intent on making modern sex brutal and boring and only as deep as a mirror's mercury, anti-erotic for both men and women.”

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“Until recently the locus of sexual fantasy was peopled with images actually glimpsed or were sensations actually felt, or private imaginings taken from suggestions in the real world, a dream well where weightless images from it floated, transformed by imagination. It prepared children, with these hints and traces of other people's bodies, to become adults and enter the landscape of adult sexuality and meet the lover face to face. Lucky men and women are able to keep a pathway clear to that dream well, peopling it with scenes and images that meet them as they get older, created with their own bodies mingling with other bodies; they choose a lover because of a smell from a coat, a way of walking, the shape of a lip, belong in their imagined interior and resonate back in time deep into the bones that recall childhood and early adolescent imagination.”

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“This is not a conspiracy theory; it doesn’t have to be. Societies tell themselves necessary fictions in the same way that individuals and families do. Henrik Ibsen called them “vital lies,” and psychologist Daniel Goleman describes them working the same way on the social level that they do within families: “The collusion is maintained by directing attention away from the fearsome fact, or by repackaging its meaning in an acceptable format.” The costs of these social blind spots, he writes, are destructive communal illusions. Possibilities for women have become so open-ended that they threaten to destabilize the institutions on which a male-dominated culture has depended, and a collective panic reaction on the part of both sexes has forced a demand for counterimages.”

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“Come incominciare? Dobbiamo essere sfrontate e avide. Inseguire il piacere. Evitare il dolore. Indossare, toccare, mangiare e bere quello che ci fa piacere. Tollerare le scelte delle altre donne. Ricercare il sesso che vogliamo e combattere furiosamente contro quello che non vogliamo. Scegliere le nostre cause. E quando avremo infranto e cambiato le regole in modo che non venga scosso il nostro senso della nostra bellezza, canteremo questa bellezza, la sventoleremo e ci crogioleremo in essa: secondo una politica sensuale, donna é bello. [...] La prossima fase del nostro movimento in avanti come donne singole, come donne unite e come abitanti del nostro corpo e di questo pianeta, dipende da quello che decideremo di vedere quando ci guarderemo allo specchio.”

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