"Just released in 1994 is Christina Hoff Sommers’s landmark study, Who Stole Feminism?, which uses ingenious detective work to unmask the shocking fraud and propaganda of establishment feminism and the servility of American media and academe to Machiavellian feminist manipulation. This bracingly precise, fact-based book should be required reading for every journalist. Sommers is a courageous academic philosopher who was one of the very first to systematically critique current feminist ideology and who took tremendous abuse for it. … Sommers has done a great service for women and for feminism, whose fundamental precepts she has clarified and strengthened."

“I hate dogma in any form. I hated it in the Catholic Church and Girl Scout troops of the 1950s, and I hate in in gay activism and established feminism today.”

“Society is a system of inherited forms reducing our humiliating passivity to nature. We may alter these forms, slowly or suddenly, but no change in society will change nature.”

“Many, perhaps most, very learned people prefer the company of their books to sitting in a crowd listening to history and art being mangled; furthermore, it is unlikely that the venerable scholars will stand up afterward to declare, “This lecture was a load of crap.” The more profound a professor’s distaste with the proceedings, the more likely he is to melt away at the end of the talk.”

“What women have to realize is their own dominance as a sex. That women’s sexual powers are enormous. All cultures have seen it. Men know it. Women know it. The only people who don’t know it are feminists. Desensualized, desexualized, neurotic women. I wouldn’t have said this twenty years ago because I was a militant feminist myself. But as the years have gone on, I began to see more and more that the perverse, neurotic psychodramas projected by these women is coming from their own problems with sex.”

“Gautier says, “Baudelaire abhorred philanthropy, progressivists, utilitarians, humanitarians and utopianists.” In other words, Baudelaire condemned Rousseausism in all its forms. Today, Rousseausism has so triumphed that the arts and the avant-garde are synonymous with liberalism, an error enforced by literature teachers, with their humanist bias. I follow the Decadents in trying to drive Rousseauist benevolence out of the discourse in art and literature. The Decadents satirized the liberal faith in progress with sizzling prophecies of catastrophe and cultural collapse.”

“Our feminist culture at the present moment is completely dependent on capitalism. My grandmother was still scrubbing clothes on the back porch on a washboard!”