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The bestselling author of Sexual Personae and Sex, Art, and American Culture is back with a fiery new collection of essays on everything from art and celebrity to gay activism, Lorena Bobbitt to Bill and Hillary. These essays have never appeared in book form, and many will be appearing in print for the first time.
- Sales Rank: #574270 in Books
- Published on: 1994-10-11
- Released on: 1994-10-11
- Ingredients: Example Ingredients
- Original language: English
- Number of items: 1
- Dimensions: 7.98" h x 1.03" w x 5.17" l, .98 pounds
- Binding: Paperback
- 560 pages
From Publishers Weekly
Either you like the polysexual, pagan Paglia, or you don't-and this collection by the author of Sexual Personae isn't going to change that. Perfectly aware of her image, Paglia early on compares herself to Ross Perot, Rush Limbaugh and Howard Stern, in her "raging egomania and volatile comic personae tending toward the loopy." On this outing, Paglia revisits the same fire hydrants, sniffs the competition and then marks them once more as her own. Pornography continues to be great; Lacanians, bad; Freud, underrated; feminists, undersexed. Although her main essay "No Law in the Arena," is not as solid as "Junk Bonds and Corporate Raiders," the analysis of academe that anchored Sex, Art, and American Culture, many of her essays expand on her gritty common-sense understanding of the nasty realities of sex. Particularly good are "Rebel Love: Homosexuality"; "Lolita Unclothed" and "Woody Allen Agonistes." Paglia is at her bilious ad feminem best skewering one-time idol Susan Sontag in "Sontag, Bloody Sontag," or Catharine MacKinnon ("the dull instincts and tastes of a bureaucrat") and Andrea Dworkin ("The Girl with the Eternal Cold") in "The Return of Carry Nation." As usual, there's much about tabloid icons-Amy Fisher, Lorena Bobbit, Jackie O-but Paglia herself has become just such an icon, appearing in movies and TV specials whose transcripts she rather tediously includes. Still, when Paglia is good, she is palatable; when Paglia is bad, she's terrific. Author tour.
Copyright 1994 Reed Business Information, Inc.
From Library Journal
Only five "new essays" appear in this second collection from Paglia (Sex, Art, and American Culture, LJ 10/1/92), a hodgepodge of book reviews, television and film scripts, previously published articles, excerpted transcripts to television talk shows and interviews, and other bits and pieces, accompanied by an inventory of press mentions and cartoons offered to document her celebrity. Paglia's overheated expostulations against censorship, "Stalinist feminists," and other bugbears of political correctness are interspersed with fierce arguments in favor of sexual license. Commenting on pop culture, she expounds her libertarian view, rejecting state regulation of abortion, prostitution, sodomy, drug use, and pornography, disdaining state "social-welfare meddling in public education" and "rigid antimale feminist ideology." For Paglia fans.
Cynthia Harrison, Federal Judicial Ctr., Washington, D.C.
Copyright 1994 Reed Business Information, Inc.
From Kirkus Reviews
Those who missed them in Playboy, The New Republic, and other media can catch up with culture diva Paglia's latest performances here. The special effects are as spectacular as ever; the act, however, is getting old. As in her previous collection, Sex, Art, and American Culture (not reviewed), Paglia fills this volume with every magazine piece of hers from the last few years, transcripts of her TV appearances, an annotated bibliography of media references to her, and even a section of cartoons in which she was featured. Paglia's production is like a three-ring circus. There's competent journalistic cultural criticism on one side, encompassing appreciations of figures like Sandra Bernhard and Amy Fisher, and reviews of books by Madonna and Edward Said. Paglia's well-publicized polemic against feminist and gay movement dogma, which continues here, hasn't gained any subtlety. Her loose use of the opprobrium ``Stalinist'' will strike those misguided readers who take her essays on ``culture war'' topics seriously as genuinely offensive. In another ring, there's batty scholarship. A long essay written especially for this volume offers a ``pagan theory of sexuality'' for the contemporary world. Those seeking rigor will be warned off by the fact that Paglia's title for this piece is taken from dialogue in the movie Ben Hur. The really compelling action comes in the center ring, where the carnival of Paglia's construction of her own persona never stops. Her straightforwardly autobiographical writing is brilliant. One moving memoir celebrates the formative influence on her of four gifted and rebellious gay male friends; another hilariously revisits the promise and the pomposity of the Susan Sontag whom the young Camille Paglia idolized. Inspired by Sontag, Paglia exclaims that ``we need more women stars who can run their own studios!'' Paglia herself has become a star, and as such she inevitably fascinates. But she often seems miscast as an intellectual leader, mirroring as she does another aspect of her image of Sontag: ``no argument, only collage.'' -- Copyright �1994, Kirkus Associates, LP. All rights reserved.
Most helpful customer reviews
0 of 0 people found the following review helpful.
Great essays but they seem to be lacking the historical ...
By Victoria Heal
Great essays but they seem to be lacking the historical perspective that one expects from Paglia. Maybe She got busy entertaining people... haha Still, She is hot - so says the peanut gallery! haha
34 of 41 people found the following review helpful.
Paglia as performance artist; worthy addition
By Giuseppe C.
Quite simply, Paglia is one of the best literary/cultural critics of the past two decades. Her prose is jargon-free and perpetually potent; her subject range reveals perhaps the singlemost interdisciplinary mind of our generation. Unfortunately, her political "incorrectness" gives those unwilling to be challenged by her insights an excuse not to read her. The mere mention of her name in academic or women's studies circles is enough to insure condemnation of the offender--merely adding substance to her critique of the present state of these two institutions. She is both a shibboleth and a pariah. (I was publicly spanked for invoking her name at a national symposium; then later congratulated privately by several younger women.)
Paglia has many personae. "Vamps and Tramps" may be a suitable introduction for some but it is actually more appropriate for the initiated Paglia-ite. "Vamps" is the "rap-music," "performance-artist" Paglia; "Sex, Art, and Decadence" is the frequently provocative and compelling popular essayist; "Sexual Personae" is the prolix, Nietzschean original thinker; her study of Hitchcock's "The Birds" is the disciplined yet passionate and provocative scholar. Any of these latter three volumes would be preferable as a starter for the reader wishing to discover why Camille can credibly claim the top position among current literary scholars and cultural critics.
21 of 25 people found the following review helpful.
The world won't listen
By Tyro
Camille Paglia's image is a blessing and a curse. Like Chris Rock, she can get away with telling the truth about our repressed, hypersensitive culture. Unfortunately, her audience expects her to say shocking things, therefore her broadsides have lost some of their impact. Her enemies, the Mackinnons and Dworkins, won the culture wars long ago. Their beliefs are now written into law, taught in college and inscribed in police procedure manuals. Critics like Paglia are a recognized but ineffectual voice, easily dismissed by the establishment. For these reasons, Ms. Paglia's essays and journalistic pieces may be slightly disappointing. The interviews and transcripts, however, are the real pleasure; they recreate the "dissident feminist" at her fearless, truth-telling best.
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