For God's sake hold your tongue, and let me love.
To save the theatre, the theatre must be destroyed, the actors and actresses must all die of the plague. They poison the air, they make art impossible. It is not drama that they play, but pieces for the theatre. We should return to the Greeks, play in the open air; the drama dies of stalls and boxes and evening dress, and people who come to digest their dinner.
I train myself mentally with visualization. The morning of a tournament, before I put my feet on the floor, I visualize myself making perfect runs with emphasis on technique, all the way through to what my personal best is in practice.... The more you work with this type of visualization, especially when you do it on a day-to-day basis, you'll actually begin to feel your muscles contracting at the appropriate times.
A man can be a hero if he is a scientist, or a soldier, or a drug addict, or a disc jockey, or a crummy mediocre politician. A man can be a hero because he suffers and despairs; or because he thinks logically and analytically; or because he is sensitive; or because he is cruel. Wealth establishes a man as a hero, and so does poverty. Virtually any circumstance in a man's life will make him a hero to some group of people and has a mythic rendering in the culture -- in literature, art, theater, or the daily newspapers.
Romantic love, in pornography as in life, is the mythic celebration of female negation. For a woman, love is defined as her willingness to submit to her own annihilation. The proof of love is that she is willing to be destroyed by the one whom she loves, for his sake. For the woman, love is always self-sacrifice, the sacrifice of identity, will, and bodily integrity, in order to fulfill and redeem the masculinity of her lover.
In this society, the norm of masculinity is phallic aggression. Male sexuality is, by definition, intensely and rigidly phallic. A man's identity is located in his conception of himself as the possessor of a phallus; a man's worth is located in his pride in phallic identity. The main characteristic of phallic identity is that worth is entirely contingent on the possession of a phallus. Since men have no other criteria for worth, no other notion of identity, those who do not have phalluses are not recognized as fully human.
Women are an enslaved population -- the crop we harvest is children, the fields we work are houses. Women are forced into committing sexual acts with men that violate integrity because the universal religion -- contempt for women -- has as its first commandment that women exist purely as sexual fodder for men.
The fact that we are all trained to be mothers from infancy on means that we are all trained to devote our lives to men, whether they are our sons or not; that we are all trained to force other women to exemplify the lack of qualities which characterizes the cultural construct of femininity.
The will to domination is a ravenous beast. There are never enough warm bodies to satiate its monstrous hunger. Once alive, this beast grows and grows, feeding on all the life around it, scouring the earth to find new sources of nourishment. This beast lives in each man who battens on female servitude.
Feminist art is not some tiny creek running off the great river of real art. It is not some crack in an otherwise flawless stone. It is, quite spectacularly I think, art which is not based on the subjugation of one half of the species. It is art which will take the great human themes --love, death, heroism, suffering, history itself --and render them fully human. It may also, though perhaps our imaginations are so mutilated now that we are incapable even of the ambition, introduce a new theme, one as great and as rich as those others --should we call it joy?