"Can the high level of violence in patriarchal cultures be attributed to people's chronic, if largely unconscious, rage over the denial of their freedom and pleasure? To what extent is sanctioned or officially condoned violence — from war and capital punishment to lynching, wife-beating and the rape of "bad" women to harsh penalties for "immoral" activities like drug-taking and nonmarital sex to the religious and ideological persecution of totalitarian states — in effect a socially approved outlet for expressing that rage, as well as a way of relieving guilt by projecting one's own unacceptable desires onto scapegoats?"

“The notion that there might be any need for, or possibility of, profound changes in the institutions that shape American life work, family, technology, the primacy of the car and the single-family house — is foreign to the mainstream media that define our common sense. And so conflicts that cannot be addressed politically have expressed themselves by other means. From public psychodramas like the O. J. Simpson trial, the Lewinsky scandal and Columbine to disaster movies, talk shows and "reality TV," popular culture carries the burden of our emotions about race, feminism, sexual morality, youth culture, wealth, competition, exclusion, a physical and social environment that feels out of control.”

“Commentary on Maxine Greene's The Dialectic of Freedom”

“Ellen Willis Remembered" The Common Ills”

“My education was dominated by modernist thinkers and artists who taught me that the supreme imperative was courage to face the awful truth, to scorn the soft-minded optimism of religious and secular romantics as well as the corrupt optimism of governments, advertisers, and mechanistic or manipulative revolutionaries. I learned that lesson well . Yet the modernists’ once-subversive refusal to be gulled or lulled has long since degenerated into a ritual despair at least as corrupt, soft-minded, and cowardly — not to say smug — as the false cheer it replaced. The terms of the dialectic have reversed: now the subversive task is to affirm an authentic post-modernist optimism that gives full weight to existent horror and possible apocalyptic disaster, yet insists — credibly — that we can, well, overcome. The catch is that you have to be an optimist in the first place not to dismiss such a project as insane.”

“The idea that lack of paternal guidance can explain today's masculinity crisis doesn't make sense. I suspect rather that underneath the sons' charge that their fathers did not teach them how to be men lies another, unadmitted complaint — that their fathers taught them only too well how to be men, and they are choking on the lesson. These men, as boys, faced the age-old tradeoff: If you undergo the painful process of renouncing the "feminine" aspects of your humanity and follow your father into manhood you will share in the spoils of the superior half of the race. Now, as men, they find that the spoils are far more meager than expected. No wonder they feel betrayed.”

“Hell No, I Won't Go: End the War on Drugs", Village Voice”