Women Authors From The United States

"Pan's Labyrinth works on so many levels that it seems to change shape even as you watch it. It is, at times, a joyless picture, and its pall of sadness can begin to weigh you down."

"[I]t's guilty of the very thing that makes kids hate history as a subject when it's taught badly: The Da Vinci Code makes the past feel like a dull, grainy, faraway thing, instead of something vibrant and alive."

"Children of Men is a solemn, haunting picture, but it's also a thrilling one, partly because of the sheer bravado with which it's made. It left me feeling more fortified than drained. [Director Alfonso] Cuarón, the most openhearted of directors, prefers to give rather than take away."

"This is a sturdy little cop thriller, and even when it stretches the bounds of plausibility, you go with it, partly because you believe -- almost against your better judgment -- in what the characters are doing."

"Extravagant in movie terms but stingy in emotional ones, it embodies all of [director Steven] Spielberg's bad impulses and almost none of his good ones: It's a grand display of how well he knows how to work us over, and yet the desperation with which he tries to get to us is repulsive."

"I suspect this picture is pretty close to what fans were hoping for, and for their sake, I'm glad it's markedly better than the two that preceded it. But Revenge of the Sith is still crap."

"Batman Begins leaks existential phoniness from the first frame."

"While 9 Songs is sexually explicit in the basic sense, its directness is what's most fascinating, and ultimately most moving, about it."

"This film Phantom takes everything that's wrong with Broadway and puts it on the big screen in a gaudy splat."

"Oldboy makes us feel a part of something bigger than ourselves. It's a grand, gritty, indelible experience, the sort of picture that mimics great literature in the way it envelops you in a well-told story while also evoking subtle but strong gradations of emotion."

"Monster is a compassionate picture without any obvious agenda. And it's effective precisely because it's not a polemic."

"I can't remember ever feeling so glad that a movie was finally over. [Director George] Lucas may have held my imagination hostage for two hours, but reclaiming it afterward wasn't hard at all."

"Who would have thought that [director] Cameron Crowe had a movie as bad as Vanilla Sky in him? It's a punishing picture, a betrayal of everything that Crowe has proved he knows how to do right."

"It's a movie barely fit for a cretin, much less a King. ... If you hear a door slam in the theater, you'll know that Elvis has left the building -- in disgust."

"It's mournful and troubling in a way that goes beyond ordinary movie manipulation. It burns clean."

"[Director James] Cameron manhandles the real story, scavenging it for his own puny narrative purposes. It's a film made with boorish confidence and zero sensitivity, big and dumb and hulking."

"It would be destined for the trash heap of Shakespeare adaptations, if not for its female lead, and its heart, 17-year-old Claire Danes."

"Everything about Pee-Wee's Big Adventure, from its toy-box colors to its superb, hyper-animated Danny Elfman score to the butch-waxed hairdo and wooden-puppet walk of its star and mastermind is pure pleasure."

"We've moved away from being a culture of people who think about movies to one made up of people who believe that spouting a list of preferences is the same as registering an opinion."

"Women's desire is a mysterious, feral thing, and if you think you've got it figured out because you've looked at a few Georgia O'Keeffe paintings, you're not even close."

"Fashion makes the fur fly."

"Old man, forswear that dogged rumba Go home and yield to Christian slumba."

"Whatever an author puts between the two covers of his book is public property; whatever of himself he does not put there is his private property, as much as if he had never written a word."

"The total depravity of inanimate things."

"Every person is responsible for only the good within his abilities, and for no more, and no one can tell whose sphere is the largest."

"Many contemporary women writers and artists have attempted to work with new images drawn from an explicitly feminist consciousness or from a female sensibility pulled from the experiences of daily life and made explicit in the context of the women's liberation movement. The struggle to do this requires both the break-up of the interior colonization and the actualization of a women-centered reality. Erica Jong described this process in her own work as she came of age as a writer in the 1970s: "I spent my whole bookish life identifying with writers and nearly all the writers who mattered were men. Even though there were women writers and even though I read them and loved them, they did not seem to matter. If they were good, they were good in spite of being women. If they were bad, it was because they were women. I had, in short, internalized all the dominant cultural stereotypes, and the result was that I could scarcely even imagine a woman as an author." Once Jong could name the problem, however, and see herself as a writer, the content of her work changed: "I stopped writing about ruins and nightingales. I was able to make poetry out of the everyday activities of my life: peeling onions, a trip to the gynecologist, a student demonstration, my own midnight terrors and dreams-all things I would have previously dismissed as trivial.""

"Never follow a dog act. You know you're on the skids when you play yourself in the movie version of your life."

"It seems to me that having now created an entire literature of female rage, an entire literature of female introspection, women writers are ready to enter the next phase-the phase of empathy. Without forgetting how hard-won our rage was, without forgetting how many puritanical voices would still like to censor our sexuality, I think we must consider ourselves free to explore the whole world of feeling in our writings-and not to be trapped forever in the phase of discovering buried anger...The time has come to let go of that rage; the time has come to realize that curiosity is braver than rage, that exploration is a nobler calling than war."

"No one ever found wisdom without also being a fool."

"My job is not to paralyze myself by anticipating judgment but to do the best I can and let the judgment fall where it may."

"I must gratefully acknowledge that the second wave of the feminist movement liberated my writing and was a liberating influence upon my whole life. How? Not by supplying me with dogma, but by making it easier for me to look into myself and assume that what I felt as a woman was also shared by other women (and men). For one of the most positive by-products of the so-called second wave of the feminist movement was its discovery of a new audience of readers-readers both female and male-who came to realize that literary history as we previously knew it was the history of the literature of the white, the affluent, the male, and that the female side of experience had been almost completely omitted (except as seen through the eyes of the traditional victors in the war between the sexes-men)."

"Righteousness has no place in literature. Of course the keen observer of her culture will feel deeply about the oppression she sees around her, the inhumanity of man to man, of man to woman, but her vision of it must be essentially personal, not abstractly political."

"The human need for companionship and sexuality is far stronger than any intellectual theory"

"I would like to see a world in which male writers wrote without masculinist bias, in which for example Hemingway's masculinist mythology (and that of many other contemporary American male writers) was perceived as quite as bizarre and hysterical as the most absurd excesses of militant feminist fiction, and in which consciousness had become so truly androgynous that the adjective itself would be puzzlingly obsolete."

"As a writer, I feel that the very source of my inspiration lies in my never forgetting how much I have in common with other women, how many ways in which we are all-successful or not-similarly shackled. I do not write about superwomen who have transcended all conflict; I write about women who are torn, as most of us are torn, between the past and the future, between our mothers' frustrations and the extravagant hopes we have for our daughters. I do not know what a writer would write about if all her characters were superwomen, cleansed of conflict. Conflict is the soul of literature."

"Every poem, every page of fiction I have written, has been written with anxiety, occasionally panic, always uncertainty about its reception."

"when I look back on the years since I left college, and I try to sum up what I have learned, it is precisely that: not to fear change, not to expect my life to be immutable."

"The myths about women were mostly ways of keeping us out of touch with our own strength, and this confused many generations of women."

"Nothing is more destructive of the spirit and ultimately of creativity than false meekness, anger that does not know its own name. And nothing is more freeing for a woman (or for a woman writer) than giving up the pleasures of masochism and beginning to fight. But we must always remember that fighting is only a first step. As Virginia Woolf points out in A Room of One's Own, many women's books have been destroyed by the rage and bitterness at their own centers. Rage opens the doors into the spirit, but then the spirit must be nurtureed."

"when I go to read my work at colleges, I find the students reading and discussing contemporary writing by women as if there never had been a time when a Distinguished Critic could say "Women can't be writers"-even in jest. I am grateful and glad for that change, but it has not been won without pain."

"Sexism is somewhat better hidden now-though it is far from eradicated."

"school is a microcosm of our society's values."

"For women writers the systematic discouragement even to attempt to become writers has been so constant and pervasive a force that we cannot consider their literary productions without somehow assessing the effects of that barrage of discouragement. Often discouraged in the home, often at school, often by families and spouses, the rare woman writer who does not lose her determination along the way is already a survivor. That one should next have to face the systematic discouragement of a male-oriented literary establishment is absurd and sad but nonetheless a real fact of life for many women writers.* (No one has chronicled this repression better than Tillie Olsen in her splendid book Silences (1978).) The truth is that many of us are doomed to do our best work in an atmosphere of condescension and loneliness. Yet perhaps there is some sense in which that lack of establishment approval is a blessing, for an artist must learn (the sooner the better) that he or she works for the work itself, not for approval, and it is easier to establish that sense of creative independence when approval is lacking than when one is seduced by it."

"For women writers the systematic discouragement even to attempt to become writers has been so constant and pervasive a force that we cannot consider their literary productions without somehow assessing the effects of that barrage of discouragement."

"...if you don't risk anything, you risk even more."

"Because I loved myself, I was loved."

"Hate generalizes; love is particular."

"Since flesh can't stay, we pass the words along."

"Birth is the start of loneliness and loneliness the start of poetry..."

"The best slave does not need to be beaten. She beats herself."