2
" In the 1970s, while researching in the Library of Congress, I found an obscure history of religious architecture that assumed a fact as if it were common knowledge: the traditional design of most patriarchal buildings of worship imitates the female body. Thus, there is an outer and inner entrance, labia majora and labia minora; a central vaginal aisle toward the altar; two curved ovarian structures on either side; and then in the sacred center, the altar or womb, where the miracle takes place - where males gives birth.
Though this comparison was new to to me, it struck home like a rock down a well. Of course, I thought. The central ceremony of patriarchal religions is one in which men take over the yoni-power of creation by giving birth symbolically. No wonder male religious leaders so often say that humans were born in sin - because we were born to female creatures. Only by obeying the rules of the patriarchy can we be reborn through men. No wonder priests and ministers in skirts sprinkle imitation birth fluid over our heads, give us new names, and promise rebirth into everlasting life. No wonder the male priesthood tries to keep women away from the altar, just as women are kept away from control of our own powers of reproduction. Symbolic or real, it's all devoted to controlling the power that resides in the female body. "
― Eve Ensler , The Vagina Monologues
9
" Slowly, it dawned on me that nothing was more important than stopping violence toward women—that the desecration of women indicated the failure of human beings to honor and protect life and that this failing would, if we did not correct it, be the end of us all. I do not think I am being extreme. When you rape, beat, maim, mutilate, burn, bury, and terrorize women, you destroy the essential life energy of the planet. You force what is meant to be open, trusting, nurturing, creative, and alive to be bent, infertile, and broken. "
― Eve Ensler , The Vagina Monologues
13
" My vagina was green water, soft pink fields, cow mooing sun resting sweet boyfriend touching lightly with soft piece of blond straw.
There is something between my legs. I do not know what it is. I do not know where it is. I do not touch. Not now. Not anymore. Not since.
My vagina was chatty, can't wait, so much, so much saying, words talking, can't quit trying, can't quit saying, oh yes, oh yes.
Not since I dream there's a dead animal sewn in down there with thick black fishing line. And the bad dead animal smell cannot be removed. And its throat is slit and it bleeds through all my summer dresses.
My vagina singing all girl songs, all goat bells ringing songs, all wild autumn field songs, vagina songs, vagina home songs.
Not since the soldiers put a long thick rifle inside me. So cold, the steel rod canceling my heart. Don't know whether they're going to fire it or shove it through my spinning brain. Six of them, monstrous doctors with black masks shoving bottles up me too. There were sticks, and the end of a broom.
My vagina swimming river water, clean spilling water over sun-baked stones over stone clit, clit stones over and over.
Not since I heard the skin tear and made lemon screeching sounds, not since a piece of my vagina came off in my hand, a part of the lip, now one side of the lip is completely gone.
My vagina. A live wet water village. My vagina my hometown.
Not since they took turns for seven days smelling like feces and smoked meat, they left their dirty sperm inside me. I became a river of poison and pus and all the crops died, and the fish.
My vagina a live wet water village.
They invaded it. Butchered it and burned it
down.
I do not touch now.
Do not visit.
I live someplace else now.
I don't know where that is. "
― Eve Ensler , The Vagina Monologues