Susan Sontag: Frases en inglés (página 2)

"Unguided Tour", in The New Yorker (31 October 1977), final lines; also in I, Etcetera (1977)
Contexto: A curious word, wanderlust. I'm ready to go.
I've already gone. Regretfully, exultantly. A prouder lyricism. It's not Paradise that's lost.
Advice. Move along, let's get cracking, don’t hold me down, he travels fastest who travels alone. Let's get the show on the road. Get up, slugabed. I'm clearing out of here. Get your ass in gear. Sleep faster, we need the pillow.
She's racing, he's stalling.
If I go this fast, I won't see anything. If I slow down —
Everything. — then I won't have seen everything before it disappears.
Everywhere. I've been everywhere. I haven't been everywhere, but it's on my list.
Land's end. But there's water, O my heart. And salt on my tongue.
The end of the world. This is not the end of the world.

Fuente: As Consciousness is Harnessed to Flesh: Journals and Notebooks, 1964-1980

Fuente: Regarding the Pain of Others

Variante: to take a photograph is to participate in another person's mortality, vulnerability, mutability. precisely by slicing out this moment and freezing it, all photographs testify to time's relentless melt.
Fuente: On Photography

Frankfurt Book Fair speech (2003)
Contexto: Literature is dialogue; responsiveness. Literature might be described as the history of human responsiveness to what is alive and what is moribund as cultures evolve and interact with one another.
Writers can do something to combat these clichés of our separateness, our difference — for writers are makers, not just transmitters, of myths. Literature offers not only myths but counter-myths, just as life offers counter-experiences — experiences that confound what you thought you thought, or felt, or believed.

"Susan Sontag Finds Romance," interview by Leslie Garis, The New York Times (2 August 1992)
Contexto: To me, literature is a calling, even a kind of salvation. It connects me with an enterprise that is over 2,000 years old. What do we have from the past? Art and thought. That's what lasts. That's what continues to feed people and give them an idea of something better. A better state of one's feelings or simply the idea of a silence in one's self that allows one to think or to feel. Which to me is the same.

"The Risk Taker" http://books.guardian.co.uk/departments/politicsphilosophyandsociety/story/0,,635799,00.html, profile/interview by Gary Younge, The Guardian (19 January 2002)
Contexto: I guess I think I'm writing for people who are smarter than I am, because then I'll be doing something that's worth their time. I'd be very afraid to write from a position where I consciously thought I was smarter than most of my readers.

Frankfurt Book Fair speech (2003)
Contexto: All modern wars, even when their aims are the traditional ones, such as territorial aggrandizement or the acquisition of scarce resources, are cast as clashes of civilizations — culture wars — with each side claiming the high ground, and characterizing the other as barbaric. The enemy is invariably a threat to "our way of life," an infidel, a desecrator, a polluter, a defiler of higher or better values. The current war against the very real threat posed by militant Islamic fundamentalism is a particularly clear example.

Fuente: Against Interpretation and Other Essays (1966), p. 6
Contexto: Interpretation is not (as most people assume) an absolute value, a gesture of mind situated in some timeless realm of capabilities. Interpretation must itself be evaluated, within a historical view of human consciousness. In some cultural contexts, interpretation is a liberating act. It is a means of revising, of transvaluing, of escaping the dead past. In other cultural contexts, it is reactionary, impertinent, cowardly, stifling.

"Why Are We in Kosovo?", The New York Times (2 May 1999)
Contexto: Not surprisingly, the Serbs are presenting themselves as the victims. (Clinton equals Hitler, etc.) But it is grotesque to equate the casualties inflicted by the NATO bombing with the mayhem inflicted on hundreds of thousands of people in the last eight years by the Serb programs of ethnic cleansing.
Not all violence is equally reprehensible; not all wars are equally unjust.
No forceful response to the violence of a state against peoples who are nominally its own citizens? (Which is what most "wars" are today. Not wars between states.) The principal instances of mass violence in the world today are those committed by governments within their own legally recognized borders. Can we really say there is no response to this?

Salon interview (2001)
Contexto: But just because I am a critic of Israeli policy — and in particular the occupation, simply because it is untenable, it creates a border that cannot be defended — that does not mean I believe the U. S. has brought this terrorism on itself because it supports Israel. I believe bin Laden and his supporters are using this as a pretext. If we were to change our support for Israel overnight, we would not stop these attacks.
I don't think this is what it's really about. I think it truly is a jihad, I think there is such a thing. There are many levels to Islamic rage. But what we're dealing with here is a view of the U. S. as a secular, sinful society that must be humbled, and this has nothing to do with any particular aspect of American policy. In my view, there can be no compromise with such a vision. And, no, I don't think we have brought this upon ourselves, which is of course a view that has been attributed to me.

"Why Are We in Kosovo?", The New York Times (2 May 1999)
Contexto: Not surprisingly, the Serbs are presenting themselves as the victims. (Clinton equals Hitler, etc.) But it is grotesque to equate the casualties inflicted by the NATO bombing with the mayhem inflicted on hundreds of thousands of people in the last eight years by the Serb programs of ethnic cleansing.
Not all violence is equally reprehensible; not all wars are equally unjust.
No forceful response to the violence of a state against peoples who are nominally its own citizens? (Which is what most "wars" are today. Not wars between states.) The principal instances of mass violence in the world today are those committed by governments within their own legally recognized borders. Can we really say there is no response to this?

Illness As Metaphor (1978), ch. 7 (pp. 55-56)
Contexto: There is a peculiarly modern predilection for psychological explanations of disease, as of everything else. Psychologizing seems to provide control over the experiences and events (like grave illnesses) over which people have in fact little or no control. Psychological understanding undermines the "reality" of a disease. That reality has to be explained. (It really means; or is a symbol of; or must be interpreted so.) For those who live neither with religious consolations about death nor with a sense of death (or of anything else) as natural, death is the obscene mystery, the ultimate affront, the thing that cannot be controlled. It can only be denied. A large part of the popularity and persuasiveness of psychology comes from its being a sublimated spiritualism: a secular, ostensibly scientific way of affirming the primacy of "spirit" over matter.

"Notes on 'Camp'" (1964), note 54, p. 291
Against Interpretation and Other Essays (1966)
Contexto: The discovery of the good taste of bad taste can be very liberating. The man who insists on high and serious pleasures is depriving himself of pleasure; he continually restricts what he can enjoy; in the constant exercise of his good taste he will eventually price himself out of the market, so to speak. Here Camp taste supervenes upon good taste as a daring and witty hedonism. It makes the man of good taste cheerful, where before he ran the risk of being chronically frustrated. It is good for the digestion.

"One culture and the new sensibility", p. 296
Against Interpretation and Other Essays (1966)
Contexto: Art today is a new kind of instrument, an instrument for modifying consciousness and organizing new modes of sensibility. And the means for practicing art have been radically extended.... Painters no longer feel themselves confined to canvas and paint, but employ hair, photographs, wax, sand, bicycle tires, their own toothbrushes and socks. Musicians have reached beyond the sounds of the traditional instruments to use tampered instruments and (usually on tape) synthetic sounds and industrial noises.

Salon interview (2001)
Contexto: As a secular person, and as a woman, I've always been appalled by the Taliban regime and would dearly like to see them toppled. I was a public critic of the regime long before the war started. But I've been told that the Northern Alliance is absolutely no better when it comes to the issue of women. The crimes against women in Afghanistan are just unthinkable; there's never been anything like it in the history of the world. So of course I would love to see that government overthrown and something less appalling put in its place.
Do I think bombing is the way to do it? Of course I don't. It's not for me to speculate on this, but there are all sorts of realpolitik outcomes that one can imagine.

Regarding the Torture of Others (2004)
Contexto: People do these things to other people. Not just in Nazi concentration camps and in Abu Ghraib when it was run by Saddam Hussein. Americans, too, do them when they have permission. When they are told or made to feel that those over whom they have absolute power deserve to be mistreated, humiliated, tormented. They do them when they are led to believe that the people they are torturing belong to an inferior, despicable race or religion. For the meaning of these pictures is not just that these acts were performed, but that their perpetrators had no sense that there was anything wrong in what the pictures show.

Frankfurt Book Fair speech (2003)
Contexto: From "old" Europe's point of view, America seems bent on squandering the admiration — and gratitude — felt by most Europeans. The immense sympathy for the United States in the aftermath of the attack on September 11, 2001 was genuine. (I can testify to its resounding ardor and sincerity in Germany; I was in Berlin at the time.) But what has followed is an increasing estrangement on both sides. The citizens of the richest and most powerful nation in history have to know that America is loved, and envied... and resented.

On the September 11, 2001 attacks The New Yorker: Talk of the Town (24 September 2001) https://archive.is/20130630002651/www.newyorker.com/talk/content/articles/010924ta_talk_wtc?010924ta_talk_wtc
Contexto: The voices licensed to follow the event seem to have joined together in a campaign to infantilize the public. Where is the acknowledgment that this was not a "cowardly" attack on "civilization" or "liberty" or "humanity" or "the free world" but an attack on the world's self-proclaimed superpower, undertaken as a consequence of specific American alliances and actions? How many citizens are aware of the ongoing American bombing of Iraq? And if the word "cowardly" is to be used, it might be more aptly applied to those who kill from beyond the range of retaliation, high in the sky, than to those willing to die themselves in order to kill others. In the matter of courage (a morally neutral virtue): whatever may be said of the perpetrators of Tuesday's slaughter, they were not cowards.