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Quote by Molly Haskell

“It was a split [between the way I was saw myself…and the way I was expected to behave] that brought up to date the age-old dualism between body and soul, virgin and whore. (Haskell xiii)”

Quote by Molly Haskell

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Molly Haskell
Molly Haskell

Molly Haskell, born on September 29, 1939, is a renowned film critic. She is known for her in-depth film analysis and unique perspective, making significant contributions to film history and theory. more

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“We lied and manipulated and pretended to be helpless and were guilty of conspiring in our own idealization – and our own oppression. For whatever else may have been our goals, we still assumed that the need men and women had for each other, and its satisfaction, was indissolubly linked to their roles as conqueror and conquered, and we accepted all the implications that followed from that first parsing of human nature into active and passive…. The yins and yangs of heterosexual romance, the power differential between the ‘stronger’ and the ‘weaker’ sex… (xv).”

FeminismWomen In Film
Book:From Reverence to Rape: The Treatment of Women in the Movies
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“In the dark melodramas of the forties, woman came down from her pedestal and she didn’t stop when she reached the ground. She kept going – down, down, like Eurydice, to the depths of the criminal world, the enfer of the film noir – and then compelled her lover to glance back and betray himself…. But for all her guts and valor, and for all her unredeemable venality…she hadn’t a soul she could call her own. She was, in fact, a male fantasy. She was playing a man’s game in a man’s world of crime and carnal innuendo, where her long hair was the equivalent of a gun, where sex was the equivalent of evil. And where her power to destroy was projection of man’s feeling of impotence. Only this could never be spelled out; hence the subterfuge and melodrama. She is to her thirties’ counterpart as night – or dusk – is to day. And the difference between their worlds, between the drawing room of romantic comedy and the underground of melodrama, is the difference between flirtation and fornication … or rape” (Haskell 191).”

FeminismWomen In Film
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“- Няма друго място като морето, господа. Тези, които цял живот изкарват на сушата, никога няма да го разберат. Морето е първично, понякога е жестоко, друг път - нежно, и никога - предсказуемо.”

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Book:Magician: Master
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“He closed his eyes. This bed was a wedding gift from friends he had not seen in years. He tried to remember their names, but they were gone. In it, or on it, his marriage had begun and, six years later, ended. He recognized a musical creak when he moved his legs, he smelled Julie on the sheets and banked-up pillows, her perfume and the close, soapy essence that characterized her newly washed linen. Here he had taken part in the longest, most revealing, and, later, most desolate conversations of his life. He had had the best sex ever here, and the worst wakeful nights. He had done more reading here than in any other single place - he remembered Anna Karenina and Daniel Deronda in one week of illness. He had never lost his temper so thoroughly anywhere else, nor had been so tender, protective, comforting, nor, since early childhood, been so cared for himself. Here his daughter had been conceived and born. On this side of the bed. Deep in the mattress were the traces of pee from her early-morning visits. She used to climb between then, sleep a little, then wake them with her chatter, her insistence on the day beginning. As they clung to their last fragments of dreams, she demanded the impossible: stories, poems, songs, invented catechisms, physical combat, tickling. Nearly all evidence of her existence, apart from photographs, they had destroyed or given away. All the worst and the best things that had ever happened to him had happened here. This was where he belonged. Beyond all immediate considerations, like the fact that his marriage was more or less finished, there was his right to lie here now in the marriage bed.”

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Book:The Child in Time
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“I spent the last Friday of summer vacation spreading hot, sticky tar across the roof of George Washington High. My companions were Dopey, Toothless, and Joe, the brain surgeons in charge of building maintenance. At least they were getting paid. I was working forty feet above the ground, breathing in sulfur fumes from Satan's vomitorium, for free. Character building, my father said. Mandatory community service, the judge said. Court-ordered restitution for the Foul Deed. He nailed me with the bill for the damage I had done, which meant I had to sell my car and bust my hump at a landscaping company all summer. Oh, and he gave me six months of meetings with a probation officer who thought I was a waste of human flesh. Still, it was better than jail. I pushed the mop back and forth, trying to coat the seams evenly. We didn't want any rain getting into the building and destroying the classrooms. Didn't want to hurt the school. No, sir, we sure didn't.”

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Book:Twisted
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“The reason why camps proved economically profitable had been foreseen as far back as Thomas More, the great-grandfather of socialism, in his Utopia. The labor of the zeks was needed for degrading and particularly heavy work, which no one, under socialism, would wish to perform. For work in remote and primitive localities where it would not be possible to construct housing, schools, hospitals, and stores for many years to come. For work with pick and spade—in the flowering of the twentieth century. For the erection of the great construction projects of socialism, when the economic means for them did not yet exist.”

Utopia1974Hard LaborPrison LaborFor Profit PrisonsWe Are Building
Book:The Gulag Archipelago, 1918-1956: An Experiment in Literary Investigation, Books III-IV
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