Excerpts from "Notes on Camp"

I'm easing out of "school mode" and into "play mode." Reading this was a nice transition. I think I'll watch Glitter tonight.

10. 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.

11. Camp is the triumph of the epicene style. (The convertibility of "man" and "woman," "person" and "thing.") But all style, that is, artifice, is, ultimately, epicene. Life is not stylish. Neither is nature.

18. 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.

22. Considered a little less strictly, Camp is either completely naive or else wholly conscious (when one plays at being campy). An example of the latter: Wilde's epigrams themselves.
"It's absurd to divide people into good and bad. People are either charming or tedious." - Lady Windemere's Fan

26. Camp is art that proposes itself seriously, but cannot be taken altogether seriously because it is "too much." Titus Andronicus and Strange Interlude are almost Camp, or could be played as Camp. The public manner and rhetoric of de Gaulle, often, are pure Camp.

34. Camp taste turns its back on the good-bad axis of ordinary aesthetic judgment. Camp doesn't reverse things. It doesn't argue that the good is bad, or the bad is good. What it does is to offer for art (and life) a different -- a supplementary -- set of standards.

38. Camp is the consistently aesthetic experience of the world. It incarnates a victory of "style" over "content," "aesthetics" over "morality," of irony over tragedy.

55. Camp taste is, above all, a mode of enjoyment, of appreciation - not judgment. Camp is generous. It wants to enjoy. It only seems like malice, cynicism. (Or, if it is cynicism, it's not a ruthless but a sweet cynicism.) Camp taste doesn't propose that it is in bad taste to be serious; it doesn't sneer at someone who succeeds in being seriously dramatic. What it does is to find the success in certain passionate failures.

58. The ultimate Camp statement: it's good because it's awful . . . Of course, one can't always say that. Only under certain conditions, those which I've tried to sketch in these notes.