Vamps & Tramps: New Essays

by Camille Paglia

Book Overview

The bestselling author of Sexual Personae and Sex, Art, and American Culture is back with a fiery new collection of essays on everything from art and celebrity to gay activism, Lorena Bobbitt to Bill... This description may be from another edition of this product.

• Format: Paperback
• Language: English
• ISBN: 0679751203
• ISBN13: 9780679751205
• Release Date: October 1994
• Publisher: Vintage
• Length: 560 Pages
• Weight: 0.80 lbs.
• Dimensions: 1.0" x 5.2" x 8.0"

Customer Reviews

Food for thought...debate...and brawl

One of the most controversial figures in contemporary society is explosive critic, art historian, pop philosopher, and author Camille Paglia. Her newest collection of essays, VAMPS AND TRAMPS, includes sharpened swords drawn and abruptly driven into the current direction of gay activism, feminist thought, and academia. Her criticism is fierce, at once educated and adolescent, she is a rebel thinker whose mind seems in constant overdrive. She's philsophy with cajones. In addition this book contains her thoughts on all aspects of sex and sexuality, AIDS, prostitution, abortion, rape, and homosexuality. VAMPS AND TRAMPS also contains a blistering essay on Susan Sontag, an examination of Lady Di's popularity, Foucault body-of-work slams, and much more. Never boring, this book of breathless vitality is volcanic. It also contains book reviews, interviews, cartoons, and even her 'Spy' advice column, all executed in her signature bloodthirsty style.

The world won't listen

Camille Paglia's image is a blessing and a curse. Like Chris Rock, she can get away with telling the truth about our repressed, hypersensitive culture. Unfortunately, her audience expects her to say shocking things, therefore her broadsides have lost some of their impact. Her enemies, the Mackinnons and Dworkins, won the culture wars long ago. Their beliefs are now written into law, taught in college and inscribed in police procedure manuals. Critics like Paglia are a recognized but ineffectual voice, easily dismissed by the establishment. For these reasons, Ms. Paglia's essays and journalistic pieces may be slightly disappointing. The interviews and transcripts, however, are the real pleasure; they recreate the "dissident feminist" at her fearless, truth-telling best.

Read This Book, OKAY?!

There was a time when I disliked The Paglia. Those days have long gone. Of all of her books this is by far the most intriguing and funny.There will be people, of lesser minds The Paglia would argue, who don't understand this book. They will call her conservative, they will shriek when you mention her name. They do not understand what she is saying. When you really read this book you will see that The Paglia is a brilliant writer able to communicate her ideas without the esoteric language many of her academic counterparts use. You will see that she is not conservative at all. It is just that there is a point when the far, far left is closer to the right than to the mild left, make no mistake The Paglia is on the left.I don't agree with everything The Paglia is. In some ways and in some of the essays, she is a crackpot. That said, she is not demanding that you agree with her, she is demanding that you think.The feverous energy that The Paglia has is illustrated well in this book, as is her usage of the word OKAY?! While reading it, you will jump from your chair, you will yell and move, and say OKAY?! and GET REAL CAMILLE! and when an author can drive you do that, she has potential.If you love her or if you hate her read the book. Read it if you hate her so that you can effectively critique her and if you love her read the book because it is funny and insightful and so very vitriolic.

Paglia as performance artist; worthy addition

Quite simply, Paglia is one of the best literary/cultural critics of the past two decades. Her prose is jargon-free and perpetually potent; her subject range reveals perhaps the singlemost interdisciplinary mind of our generation. Unfortunately, her political "incorrectness" gives those unwilling to be challenged by her insights an excuse not to read her. The mere mention of her name in academic or women's studies circles is enough to insure condemnation of the offender--merely adding substance to her critique of the present state of these two institutions. She is both a shibboleth and a pariah. (I was publicly spanked for invoking her name at a national symposium; then later congratulated privately by several younger women.)Paglia has many personae. "Vamps and Tramps" may be a suitable introduction for some but it is actually more appropriate for the initiated Paglia-ite. "Vamps" is the "rap-music," "performance-artist" Paglia; "Sex, Art, and Decadence" is the frequently provocative and compelling popular essayist; "Sexual Personae" is the prolix, Nietzschean original thinker; her study of Hitchcock's "The Birds" is the disciplined yet passionate and provocative scholar. Any of these latter three volumes would be preferable as a starter for the reader wishing to discover why Camille can credibly claim the top position among current literary scholars and cultural critics.

Paglia's rap-performance-artist persona (good addition).

Quite simply, Paglia is the best literary critic of the past two decades. Her prose is jargon-free and perpetually potent; her subject range reveals the most interdisciplin ary mind of our generation. Unfortunately, her political incorrectness gives those unwilling to be challenged by her difficulties an excuse not to read her. She is both a shibboleth and a pariah. The mere mention of her name in either feminist or academic circles is enough to insure condemnation of the offender--merely adding proof to her critique of the present state of these two institutions. "Vamps and Tramps" is the "rap music," "performance artist" Paglia, just as "Sex, Art, and Decadence" is the frequently provocative and compelling popular essayist and "Sexual Per- sonae" is the prolix, Nietzschean original thinker. Paglia has many personae. "Vamps and Tramps" may be a suitable introduction for some but it is actually more appropriate for the initiated Paglia-ites. Either of the first two volumes would be preferable as a starter for the reader who is serious about the Paglia who can claim the top position among current literary scholars and cultural critics.