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By the time I was eight I was taking classical piano lessons and I wanted to be a concert pianist. But that didn't work out. I graduated from high school and my formal education ended.
Ah, if only there were two of me, she thought, one who spoke and the other who listened, one who lived and one who watched, how I would love myself! I would envy no one.
Tragedies are all right for a while: you are concerned, you are curious, you feel good. And then it gets repetitive, it doesn't advance, it grows dreadfully boring: it is so very boring, even for me.
To create a language all of a piece which would be a women's language, that I find quite insane. There does not exist a mathematics which is only a women's mathematics, or a feminine science.
it is not the inferiority of women that has caused their historical insignificance; it is rather their historical insignificance that has doomed them to inferiority.
If the unconscious must express itself it will do so through the work that you do consciously or subconsciously, with words, with what you have to say.
There was a time, in the nineteenth century, for example, when women spoke mostly about the house, children, birth, and so forth, because it was their domain. That's changing a little, now.
The individuals who seem to us most outstanding, who are honored with the name of genius, are those who have proposed to enact the fate of all humanity in their personal existences.
What is very troubling is that people who have tried to write literature, even, for example, proletarian writers, seem to write within the norms of the dominant class.
It's so easy to be mistaken about the future. Sometimes there are avant-gardes which believe themselves to be the avant-garde and which later find themselves to be absolutely dated.
To protest in the name of morality against 'excesses' or 'abuses' is an error which hints on active complicity. There are no 'abuses' or 'excesses' here, simpily an all-pervasive system.