There is a difference between having your own movement and cutting yourself off politically from all other movements. This last form of feminist isolationism is attractive in its simplicity. It appears to offer an option which implies that you concentrate on your own struggle and wait for some absolute future when men and women have progressed towards equality. It is of course a profoundly liberal utopian notion. ‘Progress’ is seen as some kind of single linear advance towards a goal. There is no sense of a movement living and working in history, learning though a dialectical interaction of its own efforts in objective circumstances. It forgets that the consciousness of particular groups amongst the oppressed is only partial. While this consciousness must be realized and expressed in their own movement, if the attempt is not continually to extend and connect this partial consciousness to the experience of other oppressed groups, it cannot politicize itself in a revolutionary sense. It becomes locked within its own particularism.

The game is a dominance game called I Must Impress This Woman. Failure makes the active player play harder. Wear a hunched back or a withered arm; you will then experience the invisibility of the passive player. I'm never impressed -- no woman ever is -- it's just a cue that you like me and I'm supposed to like that. If you really like me, maybe I can get you to stop. Stop; I want to talk to you! Stop; I want to see you! Stop; I'm dying and disappearing!SHE: Isn't it just a game?HE: Yes, of course.SHE: And if you play the game, it means you like me, doesn't it?HE: Of course.SHE: Then if it's just a game and you like me, you can stop playing. Please stop.HE: No.SHE: Then I won't play.HE: Bitch! You want to destroy me. I'll show you. (He plays harder)SHE: All right. I'm impressed.HE: You really are sweet and responsive after all. You've kept your femininity. You're not one of those hysterical feminist bitches who wants to be a man and have a penis. You're a woman.SHE: Yes. (She kills herself)

The glance of women resembles certain combinations of wheels, which are tranquil in appearance yet formidable. You pass close to them every day, peaceably and with impunity, and without a suspicion of anything. A moment arrives when you forget that the thing is there. You go and come, dream, speak, laugh. All at once you feel yourself clutched; all is over. The wheels hold you fast, the glance has ensnared you. It has caught you, no matter where or how, by some portion of your thought which is fluttering loose, by some distraction which had attacked you. You are lost. The whole of you passes into it. A chain of mysterious forces takes possession of you. You struggle in vain; no more human succor is possible. You go on falling from gearing to gearing, from agony to agony, from torture to torture, you, your mind, your fortune, your future, your soul; and, according to whether you are in the power of a wicked creature, or of a noble heart, you will not escape from this terrifying machine otherwise than disfigured with shame, or transfigured by passion.

All of the great mythologies and much of the mythic story-telling of the world are from the male point of view. When I was writing The Hero with a Thousand Faces and wanted to bring female heroes in, I had to go to the fairy tales. These were told by women to children, you know, and you get a different perspective. It was the men who got involved in spinning most of the great myths. The women were too busy; they had too damn much to do to sit around thinking about stories. [...]In the Odyssey, you'll see three journeys. One is that of Telemachus, the son, going in quest of his father. The second is that of the father, Odysseus, becoming reconciled and related to the female principle in the sense of male-female relationship, rather than the male mastery of the female that was at the center of the Iliad. And the third is of Penelope herself, whose journey is [...] endurance. Out in Nantucket, you see all those cottages with the widow's walk up on the roof: when my husband comes back from the sea. Two journeys through space and one through time.

غريب أن ترى كم أن النساء لا يملكن أي إحساس بالحقائق..إنهن يعشن في عوالمهن الخاصة..عوالم لم توجد قط و لن توجد..لكنها جميلة جدا..و هي حقيقة قبلناها نحن معشر الرجال و رضينا بها منذ فجر الخليقة..

I declared earlier in this document that, 'with one exception,' there was no cuteness among The Seven. Sherry was the exception, although a serious qualification must be appended to this statement. Physically she was attractive, not to the point of being a harrowing beauty, but enough to put her over the line between women of average or even 'good' looks into the company of those who possessed across-the-room attraction. (If anyone believes that I'm perpetuating some arbitrary or twisted image of the world, that's fine with me - I wish them well in their transactions with social reality.) The qualification to which I made reference above is this: if you happened to cross that room on the other side of which stood Sherry, what you confronted was...I can't even name it - some kind of thing inhabiting the body of an attractive woman, an alien from some diseased planet or a creature of low evolutionary stature that by some curious means had insinuated itself into a human being at some stage in her development, the result being this Sherry-thing.

Jake did a quick run-through of women in his mind, not of the ones he had known or dealt with in the past few months of years so much as all of them: their concern with the surface of things, with objects and appearances, with their surroundings and how they looked and sounded in them, with seeming to be better and to be right while getting everything wrong, their automatic assumption of the role of injured party in any clash of wills, their certainty that a view is the more credible and useful for the fact that they hold it, their use of misunderstanding and misrepresentation as weapons of debate, their selective sensitivity to tones of voice, their unawareness of the difference in themselves between sincerity and insincerity, their interest in importance (together with noticeable inability to discriminate in that sphere), their fondness for general conversation and directionless discussion, their pre-emption of the major share of feeling, their exaggerated estimate of their own plausibility, their never listening and lots of other things like that, all according to him.

In all ages woman has been the source of all that is pure, unselfish, and heroic in the spirit and life of man.....poetry and fiction are based upon woman's love, and the movements of history are mainly due to the sentiments or ambitions she has inspired......there is no aspiration which any man here to-night entertains, no achievement he seeks to accomplish, no great and honorable ambition he desires to gratify, which is not directly related to either or both a mother or a wife. From the hearth-stone around which linger the recollections of our mother, from the fireside where our wife awaits us, come all the purity, all the hope, and all the courage with which we fight the battle of life. The man who is not thus inspired, who labors not so much to secure the applause of the world as the solid and more precious approval of his home, accomplishes little of good for others or of honor for himself. I close with the hope that each of us may always have near us: 'A perfect woman, nobly planned,To warn, to comfort, and command,And yet a spirit still, and brightWith something of an angel light.

It occurs to me that she is not unique--that all women compare lives. We are aware of whose husband works more, who helps more around the house, who makes more money, who is having more sex. We compare our children, taking note of who is sleeping through the night, eating their vegetables, minding their manners, getting into the right schools. We know who keeps the best house, throws the best parties, cooks the best meals, has the best tennis game. We know who among us is the smartest, has the fewest lines around her eyes, has the best figure--whether naturally or artificially. We are aware of who works full-time, who stays at home with the kids, who manages to do it all and make it look easy, who shops and lunches while the nanny does it all. We digest it all and then discuss with our friends. Comparing and then confiding; it is what women do.The difference, I think, lies in why we do it. Are we doing it to gauge our own life and reassure ourselves that we fall within the realm of normal? Or are we being competitive, relishing others' shortcomings so that we can win, if only by default?

I think that a kind of guilt works at a subconscious level in the minds of the Bengalis regarding the women tortured during the Liberation War. The War went on only for nine months, it was the responsibility of the people of that liberated nation that the period of torture was lengthened beyond that for these women. This is presented to the reader in my novel Talaash, by narrating the story of 30 years of that post-War abuse. Maybe because there was a subconscious guilt about it, readers didn't reject it, they've tried to assimilate it to their own emotions. Such an indication is quite clear in the testimonials of the jury board, reviews of Talaash or reader feedback that I've received on a personal level. Talaash is perhaps a successful book in that it awakened sleeping consciences. But if such a situation should arise again, there's no guarantee that they're not going to behave the same way. In fact, it's more than probable that they will. Because the fault at the root, that issue of satittyo or the honor of women—that remains unresolved. (Interview in Eclectica Magazine, 2007)

She sang, as requested. There was much about love in the ballad: faithful love that refused to abandon its object; love that disaster could not shake; love that, in calamity, waxed fonder, in poverty clung closer. The words were set to a fine old air -- in themselves they were simple and sweet: perhaps, when read, they wanted force; when well sung, they wanted nothing. Shirley sang them well: she breathed into the feeling, softness, she poured round the passion, force: her voice was fine that evening; its expression dramatic: she impressed all, and charmed one.On leaving the instrument, she went to the fire, and sat down on a seat -- semi-stool, semi-cushion: the ladies were round her -- none of them spoke. The Misses Sympson and the Misses Nunnely looked upon her, as quiet poultry might look on an egret, an ibis, or any other strange fowl. What made her sing so? They never sang so. Was it proper to sing with such expression, with such originality -- so unlike a school girl? Decidedly not: it was strange, it was unusual. What was strange must be wrong; what was unusual must be improper. Shirley was judged.

From her handbag she takes a round gilt compact with violets on the cover. She opens it, unclosing her other self, and runs her fingertip around the corners of her mouth, left one, right one; then she unswivels a pink stick and dots her cheeks and blends them, changing her shape, performing the only magic left to her.Rump on a packsack, harem cushion, pink on the cheeks and black discreetly around the eyes, as red as blood as black as ebony, a seamed and folded imitation of a magazine picture that is itself an imitation of a woman who is also an imitation, the original nowhere, hairless lobed angel in the same heaven where God is a circle, captive princess in someone's head. She is locked in, she isn't allowed to eat or shit or cry or give birth, nothing goes in, nothing comes out. She takes her clothes off or puts them on, paper doll wardrobe, she copulates under strobe lights with the man's torso while his brain watches from its glassed-in control cubicle at the other end of the room, her face twists into poses of exultation and total abandonment, that is all. She is not bored, she has no other interests.

Thus far, our responsibility for how we treat chickens and allow them to be treated in our culture is dismissed with blistering rhetoric designed to silence objection: “How the hell can you compare the feelings of a hen with those of a human being?” One answer is, by looking at her. It does not take special insight or credentials to see that a hen confined in a battery cage is suffering, or to imagine what her feelings must be compared with those of a hen ranging outside in the grass and sunlight. We are told that we humans are capable of knowing just about anything that we want to know—except, ironically, what it feels like to be one of our victims. We are told we are being “emotional” if we care about a chicken and grieve over a chicken’s plight. However, it is not “emotion” that is really under attack, but the vicarious emotions of pity, sympathy, compassion, sorrow, and indignity on behalf of the victim, a fellow creature—emotions that undermine business as usual. By contrast, such “manly” emotions as patriotism, pride, conquest, and mastery are encouraged.

Things were different back then. Today if a woman was asked to do the things we did back then, she would revolt, declare that she wasn’t anyone’s slave, wouldn’t be put upon in that fashion. But you have to remember that this was before automatic washers and dishwashers, before blenders and electric knives. If the carpet was going to get cleaned, someone, usually a woman, would have to take a broom to it, or would have to haul it on her shoulders to the yard and beat the dirt out of it. If the wet clothes were going to get dry, someone had to hang them in the yard, take them down from the yard, heat the iron on the fire, press them, and finally fold or hang them. Food was chopped by hand, fires were stoked by hand, water was carried by hand, anything roasted, toasted, broiled, dried, beaten, pressed, packed, or pickled, was done so by hand. Our version of a laborsaving device was called a spouse. If a man had a woman by his side, he didn’t have to clean and cook for himself. If a woman had a man by her side, she didn’t have to go out, earn a living, then come home and wrestle the house to the ground in the evening.

Още една жена, която не знае къде да отиде. Нощем не знаят къде да отидат, а сутрин изчезват преди да се събудиш. Тогава знаят къде да отидат. Познато, евтино отчаяние, което настъпва с нощта и изчезва с нея.