What has been forgotten is that there were major intellectual breakthroughs in the 1960s, thanks to North American writers of an older generation. There was a rupture in continuity, since most young people influenced by those breakthroughs did not enter the professions.

Younger women have no problem in reconciling beauty with ambitions as a professional woman.

Except for naval and air exercises, our military should be stationed on American soil, where service men and women can lead normal lives in close proximity to family and friends.

Madonna can still produce a catchy pop song, but she hasn't expanded her artistic vocabulary since the 1990s. Her concerts are glitzy extravaganzas of special effects overkill. She leaves little space in them for emotional depth or unscripted rapport with the audience.

If men are obsolete, then women will soon be extinct -- unless we rush down that ominous Brave New World path where women clone themselves by parthenogenesis, as famously do Komodo dragons, hammerhead sharks, and pit vipers.

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.

The prostitute is not, as feminists claim, the victim of men, but rather their conqueror, an outlaw, who controls the sexual channels between nature and culture