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Quote by Maya Amlin

“Not all men rape women, not all men are thieves, not all men are chicken, not all men wanna be in your jeans. And that's alright because it's rude to generalize so not all men are bad, I understand but all women and how they're absurd? Now that's just a fact.”

Quote by Maya Amlin

Book:If I Have A Daughter One Day
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If I Have A Daughter One Day

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Maya Amlin

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“Erniedrigte Frauen funktionierten wie die Monsterkurve. Man knickte sie, knickte sie wieder, und sofort vervielfacht sich ihre Monstrosität, raumfüllend, selbstausweichend. Verlassene Frauen nahmen monströse Züge an. Verstoßene Frauen wurden zu Furien, zu Drachen, ein quasi natürlicher Prozess, der allerdings beinhaltete, dass diese Frauen auch schon zuvor als Drache respektive als Furie galten. Jeder wusste, dass es solchen Frauen nur recht geschah, man wunderte sich meist, dass es nicht früher dazu gekommen war, dass der Mann es überhaupt so lange ausgehalten hatte, kein Wunder, dass er nur noch wegwollte, volles Verständnis, zum Glück keine Kinder. Spürte sie denn etwas, das Wachsen von Hauern, von Hörnern, den triefenden Geifer, das schlangengleich kriechende, kringelnde Haar?”

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Book:Chor der Erinnyen: Roman | Die Parallelgeschichte zum Bestseller »Die Kieferninseln«
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“Ryne forestalled any possibility of righting matters, tossing her a fat coin and giving her a slap on the bottom to send her off. Lira offered him a dimpled smile as she slipped the silver into the neck of her dress, but she left sending smoky glances over her shoulder at Lan that made him sigh. If he tried to say no now, she might well pull a knife over the insult. 'So your luck still holds with women, too.' Ryne's laugh had an edge. Perhaps he fancied her himself. 'The Light knows, they can't find you handsome; you get uglier every year. Maybe I ought to try some of that coy modesty, let women lead me by the nose.”

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Book:New Spring
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“The average woman, unless she is particularly ill-favoured, regards loving and being loved as a normal part of life. If a man says he loves her she believes him. Indeed some women are convinced they are adored by men who can be seen by all to be running in the opposite direction. For homosexuals this is not so. Love and admiration have to be won against heavy odds. Any declaration of affection requires proof. So many approaches made to them are insincere—even hostile. What better proof of love can there be than money? A ten-shilling note shows incontrovertibly just how mad about you a man is. Even in the minds of some women a confusion exists between love and money if the quantity is large enough. They evade the charge of mercenariness by using the cash they extort from one man to deal a bludgeoning blow of humiliation upon another. Some homosexuals attempt this gambit, but it is risky. The giving of money is a masculine act and blurs the internal image.”

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Book:The Naked Civil Servant
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“The whole set of stylizations that are known as 'camp' (a word that I was hearing then for the first time) was, in 1926, self-explanatory. Women moved and gesticulated in this way. Homosexuals wished for obvious reasons to copy them. The strange thing about 'camp' is that it has become fossilized. The mannerisms have never changed. If I were now to see a woman sitting with her knees clamped together, one hand on her hip and the other lightly touching her back hair, I should think, 'Either she scored her last social triumph in 1926 or it is a man in drag.' Perhaps 'camp' is set in the 'twenties because after that differences between the sexes—especially visible differences—began to fade. This, of course, has never mattered to women in the least. They know they are women. To homosexuals, who must, with every breath they draw, with every step they take, demonstrate that they are feminine, it is frustrating. They look back in sorrow to that more formal era and try to re-live it. The whole structure of society was at that time much more rigid than it has ever been since, and in two main ways. The first of these was sexual. The short skirts, bobbed hair and flat chests that were in fashion were in fact symbols of immaturity. No one ever drew attention to this, presumably out of politeness. The word 'boyish' was used to describe the girls of that era. This epithet they accepted graciously. They knew that they looked nothing like boys. They also realized that it was meant to be a compliment. Manliness was all the rage. The men of the 'twenties searched themselves for vestiges of effeminacy as though for lice. They did not worry about their characters but about their hair and their clothes. Their predicament was that they must never be caught worrying about either. I once heard a slightly dandified friend of my brother say, 'People are always accusing me of taking care over my appearance.' The sexual meaning of behaviour was only sketchily understood, but the symbolism of clothes was recognized by everyone. To wear suede shoes was to be under suspicion. Anyone who had hair rather than bristle at the back of his neck was thought to be an artist, a foreigner or worse. A friend of mine who was young in the same decade as I says that, when he was introduced to an elderly gentleman as an artist, the gentleman said, 'Oh, I know this young man is an artist. The other day I saw him in the street in a brown jacket.' The other way in which society in the 'twenties was rigid was in its class distinctions. Doubtless to a sociologist there were many different strata merging here and there but, among the people that I was now getting to know, there were only two classes. They never mingled except in bed. There was 'them', who acted refined and spoke nice and whose people had pots of money, and there was 'us', who were the salt of the earth.”

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Book:The Naked Civil Servant
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