A Quote by Martha Shelley

A woman who doesn't care what men think of her - ah, this is dangerous. This is the worst conceivable insult to the male ego. — © Martha Shelley
A woman who doesn't care what men think of her - ah, this is dangerous. This is the worst conceivable insult to the male ego.

Quote Author

Martha Shelley
Born: 1943
A young woman is dead. I don’t care. You probably don’t care. The police don’t care. The papers don’t care. The punks for the most part don’t care. The only people that care are (I suppose) her parents and (I’m almost certain) the boy accused of murdering her.
Ah, wasteful woman, she who may On her sweet self set her own price, Knowing man cannot choose but pay, How has she cheapened paradise; How given for nought her priceless gift, How spoiled the bread and spilled the wine, Which, spent with due respective thrift, Had made brutes men and men divine.
But truly, women are amazing. Think about it this way: a woman can grow a baby inside her body. Then a woman can deliver the baby through her body. Then, by some miracle, a woman can feed a baby with her body. When you compare that to the male’s contribution to life, it’s kind of embarrassing, really.
To say anything about women and men without marking oneself as either feminist or anti-feminist, male-basher or apologist for men seems as impossible for a woman as trying to get dressed in the morning without inviting interpretations of her character. Sitting at the conference table musing on these matters, I felt sad to think that we women didn't have the freedom to be unmarked that the men sitting next to us had. Some days you just want to get dressed and go about your business. But if you're a woman, you can't, because there is no unmarked woman.
While the male wants to conquer the world, the woman has a take on her immediate world that is so sparklingly refreshing that the male cannot even think of it.
A woman has all too much substance in a man's eyes at the best of times. That is why men like women to be slim. Her lack of flesh negates her. The less of her there is, the less notice he need take of her. The more like a male she appears to be, the safer he feels.
I think the biggest insult, the worst way you can offend a Mexican, is to insult their mother. A mother is the most sacred thing in life.
Ugly. Is irrelevant. It is an immeasurable insult to a woman, and then supposedly the worst crime you can commit as a woman. But ugly, as beautiful, is an illusion.
I think the defect actually lies with male artists. Male artists often border on idiocy, while it's important for a woman not to be that way, if possible. Women are outstanding in science, just as good as men.
Politics is a very male-dominated, male-driven profession. I was not just a woman but a young woman, and I suppose you end up trying to behave in a way that you think is expected of you.
By the care she lavishes on her toilet, by the concern she has for her beauty set off by her adornment, a woman regards herself as an object always trying to attract men's attention.
The bonding of women that is woman-loving, or Gyn/affection, is very different from male bonding. Male bonding has been the glue of male dominance. It has been based upon recognition of the difference men see between themselves and women, and is a form of the behaviour, masculinity, that creates and maintains male power… Male comradeship/bonding depends upon energy drained from women.
I think at 17, if I'd have seen a show that was really geared towards a woman's sexuality and her finding that and not the male, and not the woman being sexualized, it would have been so interesting to see that growing up.
It's the sick and twisted male fantasy that we want classy ladies out in the world that make us look good, but in the bedroom, men want subservient women who please all of their whims. It's the typical bullshit of male ego.
And that's the insult of it, how always it comes back to a woman being a "good" mother in the world's eyes or a "bad" mother, how everything in a woman's life is funneled through her body between her legs.
It seems kosher and OK to treat women as objects because the business of cinema is about images and when you have fragmented images of a woman's bosom and her swiveling hip and her twisting navel, it robs the woman of all autonomy and subjects her to the male gaze.
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