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Quote by Gloria Leonard

Author

Gloria Leonard

Gloria Leonard, born as Gloria Broman, was an American pornographic actress. Born on August 28, 1940, and passed away on February 3, 2014, Leonard was active in the adult film industry during the 1970s and early 1980s. She gained fame for her performances in several classic films, including 'Deep Throat'. more

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“Julie Plec: Those episodes are always so fun to do because you know you're building the entire episode around an event. To be able to lean hard into a big, beautiful romantic wedding knowing that at the end of the next episode, half of those people would be dead, was great. We love that; we love taking happiness and then destroying it very quickly.”

“Consider: Anyone can turn his hand to anything. This sounds very simple, but its psychological effects are incalculable. The fact that everyone between seventeen and thirty-five or so is liable to be (as Nim put it) "tied down to childbearing," implies that no one is quite so thoughly "tied down" here as women, elsewhere, are likely to be -- psuchologically or physically. Burden and privilege are shared out pretty equally; everybody has the same risk to run or choice to make. Therefore nobody here is quite so free as a free male anywhere else.”

“Consider: Anyone can turn his hand to anything. This sounds very simple, but its psychological effects are incalculable. The fact that everyone between seventeen and thirty-five or so is liable to be (as Nim put it) "tied down to childbearing," implies that no one is quite so thoughly "tied down" here as women, elsewhere, are likely to be -- psychologically or physically. Burden and privilege are shared out pretty equally; everybody has the same risk to run or choice to make. Therefore nobody here is quite so free as a free male anywhere else.”

“The archetype of all fiction is the sexual act. In saying this I do not mean merely to remind the reader of the connection between all art and the erotic in human nature. Nor do I intend simply to suggest an analogy between fiction and sex. For what connects fiction-and music-with sex is the fundamental orgastic rhythm of tumescence and detumescence, of tension and resolution, of intensification to the point of climax and consummation. In the sophisticated forms of fiction, as in the sophisticated practice of sex, much of the art consists of delaying climax within the framework of desire in order to prolong the pleasurable act itself. When we look at fiction with respect to its form alone, we see a pattern of events designed to move toward climax and resolution, balanced by a counter-pattern of events designed to delay this very climax and resolution.”