Susan Faludi
Susan C. Faludi (born April 18, 1959) is an American humanist, journalist and author. She won a Pulitzer Prize for Explanatory Journalism in 1991, for a report on the leveraged buyout of Safeway Stores, Inc., a report that the Pulitzer Prize committee commended for depicting the "human costs of high finance".
Faludi was born to a Jewish family in Queens, New York in 1959 and grew up in Yorktown Heights, New York. Her mother was a homemaker and journalist and is a long-time New York University student. Her father is a photographer who had emigrated from Hungary, a survivor of the Holocaust. Susan graduated from Harvard University in 1981, where she wrote for The Harvard Crimson, and became a journalist, writing for The New York Times, Miami Herald, Atlanta Journal Constitution, San Jose Mercury News, and The Wall Street Journal, among other publications. Throughout the eighties she wrote several articles on feminism and the apparent resistance to the movement. Seeing a pattern emerge, Faludi wrote Backlash, which was released in late 1991. In 2008-2009, Faludi was a fellow at the Radcliffe Institute for Advanced Study. She lives with fellow author Russ Rymer. Since January 2013, Faludi has been a contributing editor at The Baffler magazine in Cambridge, Massachusetts.
(from Wikipedia)
“When an attack on home soil causes cultural paroxysms that have nothing to do with the attack, when we respond to real threats to our nation by distrusting ourselves with imagined threats to femininity and family life, when we invest our leaders with a cartoon masculinity and require of them bluster in lieu of a capacity for rational calculation, and when we blame our frailty in 'fifth column' feminists - in short, when we base our security on a mythical male strength that can only increase itself against a mythical female weakness - we should know that we are exhibiting the symptoms of a lethal, albeit curable, cultural affliction (p. 295).”
“When the enemy has no face, society will invent one.”
“The "feminine" woman is forever static and childlike. She is like the ballerina in an old-fashioned music box, her unchanging features tiny and girlish, her voice tinkly, her body stuck on a pin, rotating in a spiral that will never grow.”