Quotes About Camp

Just so you know, I've trusted you since camp.

Prose fills a space, like a liquid poured in from the top, but poetry occupies it, arrays itself in formation, sets up camp and refuses to budge.

Love rules the court, the camp, the grove, And men below, and saints above For love is heaven, and heaven is love.

Love rules the court, the camp, the grove, and men below, and the saints above, for love is heaven, and heaven is love.

'Camp' is a vision of the world in terms of style - but a particular style. It is the love of the exaggerated.

This is a camp. For children. Which means we have a duty of care. I'm responsible for every single person on these grounds. No strangers around the kids. No people kayaking at night on the lake.

The bowl was always warm, and Sydney liked to sleep in it. Occasionally, since it was old, the thing would come on by itself for a moment using whatever residual magic was nearby, and the entire camp would get a fine view of Sydney licking his balls until someone noticed and shut the telcaster off.

A sad, plangent music. In the British camp, Sharpe thought, they would be singing, but no one was singing here.

were in the camp, given a day's rest after leading the last failed assault. Will Skeat hated failure.

I've paid the price; I definitely have a reputation that precedes me, and there is a camp that plots my demise. But then again... it's funner that way.

As far back as I can remember, I had an interest in fashion. I used to go to sleepaway camp, and they'd provide a list of things that you had to bring, and I always wanted to be a bit more creative than the list allowed. Like, if they required chinos, I wanted to hand-paint them.

There is a history of gay people pretending to be straight. I want to balance the sides. I'm a straight person pretending to be gay. I've had a lot of people to imitate. It's easy when you're British; we're camp by nature, anyway.

I adore simple pleasures, they are the last refuge of the complex. - A Woman of No Importance 45. Detachment is the prerogative of an elite; and as the dandy is the 19th century's surrogate for the aristocrat in matters of culture, so Camp is the modern dandyism. Camp is the answer to the problem: how to be a dandy in the age of mass culture.

Time liberates the work of art from moral relevance, delivering it over to the Camp sensibility . . . Another effect: time contracts the sphere of banality. (Banality is, strictly speaking, always a category of the contemporary.) What was banal can, with the passage of time, become fantastic.

Camp sees everything in quotation marks. It's not a lamp, but a lamp; not a woman, but a woman. To perceive Camp in objects and persons is to understand Being-as-Playing-a-Role. It is the farthest extension, in sensibility, of the metaphor of life as theater.

One must distinguish between naïve and deliberate Camp. Pure Camp is always naive. Camp which knows itself to be Camp (camping) is usually less satisfying.

The connoisseur of Camp has found more ingenious pleasures. Not in Latin poetry and rare wines and velvet jackets, but in the coarsest, commonest pleasures, in the arts of the masses.

The ultimate Camp statement: it's good because it's awful

To talk about camp is therefore to betray it. If the betrayal can be defended, it will be for the edification it provides, or the dignity of the conflict it resolves.

I am strongly drawn to Camp, and almost as strongly offended by it. That is why I want to talk about it, and why I can. For no one who wholeheartedly shares in a given sensibility can analyze it; he can only, whatever his intention, exhibit it.

In naïve, or pure, Camp, the essential element is seriousness, a seriousness that fails. Of course, not all seriousness that fails can be redeemed as Camp. Only that which has the proper mixture of the exaggerated, the fantastic, the passionate, and the naïve.

Not all homosexuals have Camp taste. But homosexuals, by and large, constitute the vanguard –and the most articulate audience– of Camp.

It's absurd to divide people into good and bad. People are either charming or tedious. - Lady Windemere's Fan 23. In naïve, or pure, Camp, the essential element is seriousness, a seriousness that fails. Of course, not all seriousness that fails can be redeemed as Camp. Only that which has the proper mixture of the exaggerated, the fantastic, the passionate, and the naïve.

Camp is art that proposes itself seriously, but cannot be taken altogether seriously because it is too much.