“Women are mere "beauties" in men's culture so that culture can be kept male. When women in culture show character, they are not desirable, as opposed to the desirable. A beautiful heroine is a contradiction in terms, since heroism is about individuality, interesting and ever changing, while "beauty" is generic, boring, and inert. While culture works out moral dilemmas, "beauty" is amoral: If a woman is born resembling an art object, it is an accident of nature, a fickle consensus of mass perception, a peculiar coincidence--but it is not a moral act. From the "beauties" in male culture, women learn a bitter amoral lesson--that the moral lessons of their culture exclude them.”

“The mass depiction of the modern woman as a "beauty" is a contradiction: Where modern women are growing, moving, and expressing their individuality, as the myth has it, "beauty" is by definition inert, timeless, and generic. That this hallucination is necessary and deliberate is evident in the way "beauty" so directly contradicts women's real situation.”

“Culture stereotypes women to fit the myth by flattening the feminine into beauty-without-intelligence or intelligence-without-beauty; women are allowed a mind or a body but not both.”

“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.”

“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.”

“The anthropologist Margaret Mead concluded in 1948, after observing seven different ethnic groups in the Pacific Islands, that different cultures made different forms of female sexual experience seem normal and desirable. The capacity for orgasm in women, she found, is a learned response, which a given culture can help or can fail to help its women to develop. Mead believed that a woman's sexual fulfillment, and the positive meaning of her sexuality in her own mind, depend upon three factors:1: She must live in a culture that recognizes female desire as being of value;2: Her culture must allow her to understand her sexual anatomy;3: And her culture must teach the various sexual skills that give women orgasms.”

“A cultural fixation on female thinness is not an obsession about female beauty but an obsession about female obedience.”