Even the best critical writing on Emily Dickinson underestimates her. She is frightening. To come to her directly from Dante, Spenser, Blake, and Baudelaire is to find her sadomasochism obvious and flagrant. Birds, bees, and amputated hands are the dizzy stuff of this poetry. Dickinson is like the homosexual cultist draping himself in black leather and chains to bring the idea of masculinity into aggressive visibility.

Elizabeth Taylor is pre-feminist woman. This is the source of her continuing greatness and relevance. She wields the sexual power that feminism cannot explain and has tried to destroy. Through stars like Taylor, we sense the world-disordering impact of legendary women like Delilah, Salome, and Helen of Troy. Feminism has tried to dismiss the femme fatale as a misogynist libel, a hoary clich?. But the femme fatale expresses women's ancient and eternal control of the sexual realm. The specter of the femme fatale stalks all men's relations with women.

Science is a method of logical analysis of nature's operations. It has lessened human anxiety about the cosmos by demonstrating the materiality of nature's forces, and their frequent predictability.

The more woman aims for personal identity and autonomy ... the fiercer will be her struggle with nature - that is, with the intractable physical laws of her own body. And the more nature will punish her: 'Do not dare to be free! For your body does not belong to you.'

Young people today are flooded with disconnected images but lack a sympathetic instrument to analyze them as well as a historical frame of reference in which to situate them. I am reminded of an unnerving scene in Stanley Kubrick's epic film, 2001: A Space Odyssey, where an astronaut, his air hose cut by the master computer gone amok, spins helplessly off into space.

Though men may be deep, mentally they are slow.

What is pretty in nature is confined to the thin skin of the globe upon which we huddle. Scratch that skin, and nature's daemonic ugliness will erupt.