128 ordspråk av Susan Sontag

Susan Sontag

Susan Sontag

Susan Sontag föddes den 16 januar 1933 och dog den 28 december 2004 - amerikansk författarinna.
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What pornography is really about, ultimately, isn't sex but death.

Most people in this society who aren't actively mad are, at best, reformed or potential lunatics.

What is most beautiful in virile men is something feminine; what is most beautiful in feminine women is something masculine

My idea of a writer: someone interested in 'everything,'

Anything in history or nature that can be described as changing steadily can be seen as heading toward catastrophe.

A family's photograph album is generally about the extended family and, often, is all that remains of it.

Perversity is the muse of modern literature

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

AIDS obliges people to think of sex as having, possibly, the direst consequences: suicide. Or murder.

What pornographic literature does is precisely to drive a wedge between one's existence as a sexual being - while in ordinary life a healthy person is one who prevents such a gap from opening up

In most modern instances, interpretation amounts to the philistine refusal to leave the work of art alone. Real art has the capacity to make us nervous. By reducing the work of art to its content and then interpreting that, one tames the work of art. Interpretation makes art manageable, conformable.

Guns have metamorphosed into cameras in this earnest comedy, the ecology safari, because nature has ceased to be what it always had been , what people needed protection from. Now nature tamed, endangered, mortal , needs to be protected from people.

We live under continual threat of two equally fearful, but seemingly opposed, destinies: unremitting banality and inconceivable terror. It is fantasy, served out in large rations by the popular arts, which allows most people to cope with these twin specters.

Al forms of consensus about ''great'' books and ''perennial'' problems, once stabilized, tend to deteriorate eventually into something philistine. The real life of the mind is always at the frontiers of ''what is already known.'' Those great books don't only need custodians and transmitters. To stay alive, they also need adversaries. The most interesting ideas are heresies.

Industrial societies turn their citizens into image-junkies; it is the most irresistible form of mental pollution. Poignant longings for beauty, for an end to probing below the surface, for a redemption and celebration of the body of the world. Ultimately, having an experience becomes identical with taking a photograph of it.

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