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“Women HAVE a history that has been systematically suppressed. Our collective spirituality has largely been tainted to fit the needs of men and those in power. This has a profound effect on the self-esteem of girls and the women they become. This influence can be seen in their life choices, partners and financial security for the rest of their lives. It also has an effect on the way their future partners will view them - and ultimately treat them. Our girls deserve better. The time to introduce feminism and woman-centered spirituality to ALL children is now.”
― Trista Hendren

“Why must the woman apologize for not having a baby just because she happened to get pregnant? It's as if we think motherhood is the default setting for a woman's life from first period to menopause, and she needs a note from God not to say yes to every zygote that knocks on her door.”
― Katha Pollitt, Pro: Reclaiming Abortion Rights

“Women’s history is the primary tool for women’s emancipation.”
― Gerda Lerner

“The vagina is obliterated from the imagery of femininity in the same way that the signs of independence and vigor in the rest of her body are suppressed.”
― Germaine Greer, The Female Eunuch

“The huge difficulty that so many women and men have in seeing femininity and masculinity as socially constructed rather than natural, attests to the strength and force of culture. Women are, of course, understood to be ``different'' from men in many ways, ``delicate, pretty, intuitive, unreasonable, maternal, non-muscular, lacking an organizing character''. Feminist theorists have shown that what is understood as ``feminine'' behaviour is not simply socially constructed, but politically constructed, as the behaviour of a subordinate social group. Feminist social constructionists understand the task of feminism to be the destruction and elimination of what have been called ``sex roles'' and are now more usually called ``gender''.”
― Sheila Jeffreys, Beauty and Misogyny: Harmful Cultural Practices in the West

“How am I supposed to be this honest? I know you’re not a Magic 8 Ball. You’re just some lady that wrote a book. I fall asleep with that book in my arms because words protect hearts and I’ve got this ache in my chest that won’t go away. I read Raging Flower and now I dream of raised fists and solidarity marches led by matriarchs fueled by café con leche where I can march alongside cigar-smoking doñas and Black Power dykes and all the world’s weirdos and no one is left out. And no one is living a lie.”
― Gabby Rivera

“All the men added together made the solid world-- they were the marbles in the jar, and women were whatever sand or water or air claimed the space left between them. That's how I saw things as a young woman, that was my women's studies. Now I've come to know that women are like vodka poured over men, who melt away like ice cubes.”
― Bonnie Jo Campbell

“Misogyny was born of fear of women. It spawned the ideology of male superiority. But this was ideology, not statement of fact; as such, it could not be confirmed, but was open to constant doubt. Male status was not immutable. Myths of matriarchies and Amazons societies showed female dominance. Three of the eleven extant comedies of Aristophanes show women in successful opposition to men. ... These were the nightmares of victors: that someday the vanquished would arise and treat their ex-masters as they themselves had been treated.”
― Sarah B. Ponderous

“Great artistic works are often based on solving several psychological problems simultaneously. In literature this is often accomplished by splitting apart the conflict and assigning each aspect to a different character. Marjie Rynearson, for instance, wrote an award-winning play, Jenny, about the meeting and reconciliation of two women: the mother of a murder victim and the mother of the murderer. Within the dialogue between the two characters she sought to resolve two sets of problems: the rage and grief of the victim's mother, and the horror, guilt, and grief of the murderer's mother. She worked on the play for several years, and only when it was finished did she realize that through it she was struggling to resolve her feelings about the suicide of her best friend. Rynearson had simultaneously been, in effect, both the friend of the victim and the friend of the perpetrator of the killing. The power of the work lay in its simultaneous resolution of conflicting problems.”
― Linda Austin, What's Holding You Back 8 Critical Choices For Women's Success

“The story of women in antiquity should be told now, not only because it is a legitimate aspect of social history, but because the past illuminates contemporary problems in relationships between men and women. ... It is most significant to note the consistency with which some attitudes toward women and the roles women play in Western society have endured through the centuries.”
― Sarah B. Pomeroy, Goddesses, Whores, Wives and Slaves: Women in Classical Antiquity

“We preach body confidence, but we live in a culture that doesn’t quite know what to do with a woman who actually likes the way she looks. It’s considered arrogant and even unfeminine. Think of the recent hit One Direction song that made the claim that a woman was beautiful precisely because she didn’t know she was beautiful. We need to question a culture that tells women they must be beautiful to be loved, but that they shouldn’t actually feel beautiful or we’ll find them conceited.”
― Renee Engeln, Beauty Sick: How the Cultural Obsession with Appearance Hurts Girls and Women

“There was a time when my life seemed so painful to me that reading about the lives of other women writers was one of the few things that could help. I was unhappy, and ashamed of it; I was baffled by my life. For several years in my early thirties, I would sit in my armchair reading books about these other lives. Sometimes when I came to the end, I would sit down and read the book through from the beginning again. I remember an incredible intensity about all this, and also a kind of furtiveness—as if I were afraid that someone might look through the window and find me out. Even now, I feel I should pretend that I was reading only these women's fiction or their poetry—their lives as they chose to present them, alchemized as art. But that would be a lie. It was the private messages I really liked—the journals and letters, and autobiographies and biographies whenever they seemed to be telling the truth. I felt very lonely then, self-absorbed, shut off. I needed all this murmured chorus, this continuum of true-life stories, to pull me through. They were like mothers and sisters to me, these literary women, many of them already dead; more than my own family, they seemed to stretch out a hand.”
― Kennedy Fraser, Ornament and Silence

“Often, when I'm with her I have a tingling sensation of the present moment, even- or especially- when she reaches into her remarkable memory for tales of long-gone
times. She has always rejected the idea of eternity, and even the idea of living, like Wells and Gorky, for future generations, in favor of living in the here and now. "The most ferocious immanance," she called it... the hours of its operation mattered to her. She wished to know precisely when the water gushed and when it lay still. She watches the world and herself in the world (mind, body, feelings) with great intensity. "I always wanted to know myself before I die," she writes. "I worship time! I cherish it!" she told me now. "As a child, I felt it, the weight of time.”
― Kennedy Fraser, Ornament and Silence

“Shutting down behind self-pity and secret shame; sacrificing themselves to childish mothers and selfish men; vaguely yearning, self-medicating; painting someone else's pictures; obediently tracing the magic circle. afraid, entranced. There are so many different ways to drown.”
― Kennedy Fraser, Ornament and Silence