“Sexual satisfaction eases the stranglehold of materialism, since status symbols no longer look sexual, but irrelevant. Product lust weakens where emotional and sexual lust intensifies. The price we pay for artificially buoying up this market is our heart's desire. The beauty myth keeps a gap of fantasy between men and women. That gap is made with mirrors; no law of nature supports it. It keeps us spending vast sums of money and looking distractedly around us, but its smoke and reflection interfere with our freedom to be sexually ourselves.”

“Since middle-class Western women can best be weakened psychologically now that we are stronger materially, the beauty myth, as it has resurfaced in the last generation, has had to draw on more technological sophistication and reactionary fervor than ever before. The modern arsenal of the myth is a dissemination of millions of images of the current ideal; although this barrage is generally seen as a collective sexual fantasy, there is in fact little that is sexual about it. It is summoned out of political fear on the part of male-dominated institutions threatened by women's freedom, and it exploits female guilt and apprehension about our own liberation -- latent fears that we might be going too far.”

“For the first time in history, children are growing up whose earliest sexual imprinting derives not from a living human being, or fantasies of their own; since the 1960s pornographic upsurge, the sexuality of children has begun to be shaped in response to cues that are no longer human. Nothing comparable has ever happened in the history of our species; it dislodges Freud. Today's children and young men and women have sexual identities that spiral around paper and celluloid phantoms: from Playboy to music videos to the blank females torsos in women's magazines, features obscured and eyes extinguished, they are being imprinted with a sexuality that is mass-produced, deliberately dehumanizing and inhuman.”

“Consumer culture is best supported by markets made up of sexual clones, men who want objects and women who want to be objects, and the object desired ever-changing, disposable, and dictated by the market. The beautiful object of consumer pornography has a built-in obsolescence, to ensure that as few men as possible will form a bond with one woman for years or for a lifetime, and to ensure that women's dissatisfaction with themselves will grow rather than diminish over time. Emotionally unstable relationships, high divorce rates, and a large population cast out into the sexual marketplace are good for business in a consumer economy. Beauty pornography is intent on making modern sex brutal and boring and only as deep as a mirror's mercury, anti-erotic for both men and women.”

“Men who read it [beauty pornography] don't do so because they want women who look like that. The attraction of what they are holding is that it is not a woman, but a two-dimensional woman-shaped blank. The appeal of the material is not the fantasy that the model will come to life; it is precisely that she will not, ever. Her coming to life would ruin the vision. It is not about life.Ideal beauty is ideal because it does not exist; The action lies in the gap between desire and gratification. Women are not perfect beauties without distance. That space, in a consumer culture, is a lucrative one. The beauty myth moves for men as a mirage, its power lies in its ever-receding nature. When the gap is closed, the lover embraces only his own disillusion.”

“The last thing the consumer index wants men and women to do is to figure out how to love one another: The $1.5 trillion retail-sales industry depends on sexual estrangement between men and women, and is fueled by sexual dissatisfaction. Ads do not sell sex--that would be counterproductive, if it meant that heterosexual women and men turned to one another and were gratified. What they sell is sexual discontent.”

“To live in a culture in which women are routinely naked where men aren't is to learn inequality in little ways all day long. So even if we agree that sexual imagery is in fact a language, it is clearly one that is already heavily edited to protect men's sexual--and hence social--confidence while undermining that of women.”