AIDS and Its Metaphors, (1989), ch. 6, p. 149
Contexto: Authoritarian political ideologies have a vested interest in promoting fear, a sense of the imminence of takeover by aliens — and real diseases are useful material. Epidemic diseases usually elicit a call to ban the entry of foreigners, immigrants. And xenophobic propaganda has always depicted immigrants as bearers of disease (in the late nineteenth century: cholera, yellow fever, typhoid fever, tuberculosis). … Such is the extraordinary potency and efficacy of the plague metaphor: it allows a disease to be regarded both as something incurred by vulnerable "others" and as (potentially) everyone's disease.
Susan Sontag: Frases en inglés (página 3)
Susan Sontag era profesora, directora de cine, guionista y escritora estadounidense. Frases en inglés.Frankfurt Book Fair speech (2003)
“Never before was the relation of masters and slaves so consciously aestheticized.”
"Fascinating Fascism" (1974), published in The New York Review of Books (6 February 1975) and reprinted in Sontag's Under the Sign of Saturn (1980), p. 105
Contexto: Sadomasochism has always been the furthest reach of the sexual experience: when sex becomes most purely sexual, that is, severed from personhood, from relationships, from love. It should not be surprising that it has become attached to Nazi symbolism in recent years. Never before was the relation of masters and slaves so consciously aestheticized. Sade had to make up his theater of punishment and delight from scratch, improvising the decor and costumes and blasphemous rites. Now there is a master scenario available to everyone. The color is black, the material is leather, the seduction is beauty, the justification is honesty, the aim is ecstasy, the fantasy is death.
Frankfurt Book Fair speech (2003)
Contexto: To have access to literature, world literature, was to escape the prison of national vanity, of philistinism, of compulsory provincialism, of inane schooling, of imperfect destinies and bad luck. Literature was the passport to enter a larger life; that is, the zone of freedom.
Literature was freedom. Especially in a time in which the values of reading and inwardness are so strenuously challenged, literature is freedom.
“Reality has come to seem more and more like what we are shown by cameras.”
"The Image-World", p. 161
On Photography (1977)
Contexto: Reality has come to seem more and more like what we are shown by cameras. It is common now for people to insist upon their experience of a violent event in which they were caught up — a plane crash, a shoot-out, a terrorist bombing — that "it seemed like a movie." This is said, other descriptions seeming insufficient, in order to explain how real it was. While many people in non-industrialized countries still feel apprehensive when being photographed, divining it to be some kind of trespass, an act of disrespect, a sublimated looting of the personality or the culture, people in industrialized countries seek to have their photographs taken — feel that they are images, and are made real by photographs.
“From now to the end of consciousness, we are stuck with the task of defending art.”
"Against Interpretation" (1964), p. 5
Against Interpretation and Other Essays (1966)
Contexto: None of us can ever retrieve that innocence before all theory when art knew no need to justify itself, when one did not ask of a work of art what it said because one knew (or thought one knew) what it did. From now to the end of consciousness, we are stuck with the task of defending art. We can only quarrel with one or another means of defense. Indeed, we have an obligation to overthrow any means of defending and justifying art which becomes particularly obtuse or onerous or insensitive to contemporary needs and practices.
This is the case, today, with the very idea of content itself. Whatever it may have been in the past, the idea of content is today mainly a hindrance, a nuisance, a subtle or not so subtle philistinism.
“Compassion is an unstable emotion. It needs to be translated into action, or it withers.”
Regarding the Pain of Others (2003), p. 101,
Contexto: Compassion is an unstable emotion. It needs to be translated into action, or it withers. The question is what to do with the feelings that have been aroused, the knowledge that has been communicated. People don't become inured to what they are shown — if that's the right way to describe what happens — because of the quantity of images dumped on them. It is passivity that dulls feeling.
Illness As Metaphor (1978), foreword, p. 3,
Contexto: Illness is the night-side of life, a more onerous citizenship. Everyone who is born holds dual citizenship, in the kingdom of the well and in the kingdom of the sick. Although we all prefer to use only the good passport, sooner or later each of us is obliged, at least for a spell, to identify ourselves as citizens of that other place.
Speech, Town Hall, New York City (6 Februaty 1982), reported in "Susan Sontag Provokes Debate on Communism" http://www.nytimes.com/books/00/03/12/specials/sontag-communism.html, The New York Times (27 February 1982), p. 27
Contexto: Not only is Fascism (and overt military rule) the probable destiny of all Communist societies — especially when their populations are moved to revolt — but Communism is in itself a variant, the most successful variant, of Fascism. Fascism with a human face.
“The end of the world. This is not the end of the world.”
"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.
Regarding the Torture of Others (2004)
Contexto: The charges against most of the people detained in the prisons in Iraq and Afghanistan being nonexistent — the Red Cross reports that 70 to 90 percent of those being held seem to have committed no crime other than simply being in the wrong place at the wrong time, caught up in some sweep of "suspects" — the principal justification for holding them is "interrogation." Interrogation about what? About anything. Whatever the detainee might know. If interrogation is the point of detaining prisoners indefinitely, then physical coercion, humiliation and torture become inevitable.
Remember: we are not talking about that rarest of cases, the "ticking time bomb" situation, which is sometimes used as a limiting case that justifies torture of prisoners who have knowledge of an imminent attack. This is general or nonspecific information-gathering, authorized by American military and civilian administrators to learn more of a shadowy empire of evildoers about whom Americans know virtually nothing, in countries about which they are singularly ignorant: in principle, any information at all might be useful. An interrogation that produced no information (whatever information might consist of) would count as a failure.
“Literature is dialogue; responsiveness.”
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.
“The truth is balance, but the opposite of truth, which is unbalance, may not be a lie.”
Review of Selected Essays by Simone Weil, The New York Review of Books (1 February 1963)
Contexto: The need for truth is not constant; no more than is the need for repose. An idea which is a distortion may have a greater intellectual thrust than the truth; it may better serve the needs of the spirit, which vary. The truth is balance, but the opposite of truth, which is unbalance, may not be a lie.
"Susan Sontag: The Rolling Stone Interview" with Jonathan Cott (1978; published 4 October 1979)
Contexto: One of my oldest crusades is against the distinction between thought and feeling... which is really the basis of all anti-intellectual views: the heart and the head, thinking and feeling, fantasy and judgment. We have more or less the same bodies, but very different kinds of thoughts. I believe that we think much more with the instruments provided by our culture than we do with our bodies, and hence the much greater diversity of thought in the world. Thinking is a form of feeling; feeling is a form of thinking.
“Ours is an age which consciously pursues health, and yet only believes in the reality of sickness.”
Review of Selected Essays http://www.nybooks.com/articles/13783 by Simone Weil, The New York Review of Books (1 February 1963)
Contexto: Ours is an age which consciously pursues health, and yet only believes in the reality of sickness. The truths we respect are those born of affliction. We measure truth in terms of the cost to the writer in suffering — rather than by the standard of an objective truth to which a writer's words correspond. Each of our truths must have a martyr.
Contexto: One of my oldest crusades is against the distinction between thought and feeling... which is really the basis of all anti-intellectual views: the heart and the head, thinking and feeling, fantasy and judgment. We have more or less the same bodies, but very different kinds of thoughts. I believe that we think much more with the instruments provided by our culture than we do with our bodies, and hence the much greater diversity of thought in the world. Thinking is a form of feeling; feeling is a form of thinking.
"Susan Sontag: The Rolling Stone Interview" with Jonathan Cott (1978; published 4 October 1979)
"Why Are We in Kosovo?", The New York Times (2 May 1999)
Contexto: Stop the War and Stop the Genocide, read the banners being waved in the demonstrations in Rome and here in Bari. For Peace. Against War. Who is not? But how can you stop those bent on genocide without making war?
“In photographing dwarfs, you don't get majesty & beauty. You get dwarfs.”
On Photography (1977)
Contexto: Whitman thought he was not abolishing beauty but generalizing it. So, for generations, did the most gifted American photographers, in their polemical pursuit of the trivial and the vulgar. But among American photographers who have matured since World War II, the Whitmanesque mandate to record in its entirety the extravagant candors of actual American experience has gone sour. In photographing dwarfs, you don't get majesty & beauty. You get dwarfs.
"America, Seen Through Photographs, Darkly", p. 29
“Interpretation is the revenge of the intellect upon art.”
Fuente: Against Interpretation and Other Essays (1966), p. 7