Susan Sontag: Most

Susan Sontag was American writer and filmmaker, professor, and activist. Explore interesting quotes on most.
Susan Sontag: 336   quotes 33   likes

“Interpretation is not (as most people assume) an absolute value, a gesture of mind situated in some timeless realm of capabilities.”

Susan Sontag

Source: Against Interpretation and Other Essays (1966), p. 6
Context: 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.

People

“From "old" Europe's point of view, America seems bent on squandering the admiration — and gratitude — felt by most Europeans.”

Susan Sontag

Frankfurt Book Fair speech (2003)
Context: 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.

Gratitude

“Communism is in itself a variant, the most successful variant, of Fascism. Fascism with a human face.”

Susan Sontag

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
Context: 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.

Communication , Success

“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.”

Susan Sontag

Regarding the Torture of Others (2004)
Context: 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.

People , Time

“Needing to have reality confirmed and experience enhanced by photographs is an aesthetic consumerism to which everyone is now addicted. Industrial societies turn their citizens into image-junkies; it is the most irresistible form of mental pollution.”

Susan Sontag book On Photography

Source: On Photography

Reality

“What, I ask, drives me to disorder? How can I diagnose myself? All I feel, most immediately, is the most anguished need for physical love and mental companionship”

Susan Sontag

Source: Reborn: Journals and Notebooks, 1947-1963

Love , Feeling

“Most of my reading is rereading.”

Susan Sontag

Source: Conversations with Susan Sontag

Reading

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

Susan Sontag

"Notes on 'Camp'" (1964), note 9, p. 279 http://books.google.com/books?id=e3qgRrVlEH4C&q=%22What+is+most+beautiful+in+virile+men+is+something+feminine+what+is+most+beautiful+in+feminine+women+is+something+masculine%22&pg=PA279#v=onepage; originally published in Partisan Review, Vol. 31 No. 4 http://books.google.com/books?id=qEwqAQAAMAAJ&q=%22What+is+most+beautiful+in+virile+men+is+something+feminine+what+is+most+beautiful+in+feminine+women+is+something+masculine%22&pg=PA519#v=onepage, ( Fall 1964 http://www.bu.edu/partisanreview/books/PR1964V31N4/HTML/#519/z)
Against Interpretation and Other Essays (1966)

Women , Men , Beauty

“It is not suffering as such that is most deeply feared but suffering that degrades.”

Susan Sontag book AIDS and Its Metaphors

AIDS and Its Metaphors, (1989), ch. 4, p. 125, Farrar, Straus and Giroux ISBN 0-312-42013-7
AIDS and Its Metaphors was later published in combination with Illness As Metaphor. This combined edition is the one referenced here.

Fear , Suffering

“Since it is hardly likely that contemporary critics seriously mean to bar prose narratives that are unrealistic from the domain of literature, one suspects that a special standard is being applied to sexual themes. … There is nothing conclusive in the well-known fact that most men and women fall short of the sexual prowess that people in pornography are represented as enjoying; that the size of organs, number and duration of orgasms, variety and feasibility of sexual powers, and amount of sexual energy all seem grossly exaggerated. Yes, and the spaceships and the teeming planets depicted in science-fiction novels don’t exist either. The fact that the site of narrative is an ideal topos disqualifies neither pornography or science-fiction from being literature. … The materials of the pornographic books that count as literature are, precisely, one of the extreme forms of human consciousness. Undoubtedly, many people would agree that the sexually obsessed consciousness can, in principle, enter into literature as an art form. … But then they usually add a rider to the agreement which effectively nullifies it. They require that the author have the proper “distance” from his obsessions for their rendering to count as literature. Such a standard is sheer hypocrisy, revealing one again that the values commonly applied to pornography are, in the end, those belonging to psychiatry and social affairs rather than to art. (Since Christianity upped that ante and concentrated on sexual behavior as the root of virtue, everything pertaining to sex has been a “special case” in our culture, evoking particularly inconsistent attitudes.) Van Gogh’s paintings retain their status as art even if it seems his manner of painting owed less to a conscious choice of representational means than to his being deranged and actually seeing reality the way he painted it. … What makes a work of pornography part of the history of art rather than of trash is not distance, the superimposition of a consciousness more conformable to that of ordinary reality upon the “deranged consciousness” of the erotically obsessed. Rather, it is the originality, thoroughness, authenticity, and power of that deranged consciousness itself, as incarnated in a work.”

Susan Sontag book Styles of Radical Will

“The Pornographic Imagination,” pp. 45-47
Styles of Radical Will (1966)

Women , Men , People , Books

“The tide of undecipherable signatures of mutinous adolescents which has washed over and bitten into the facades of monuments and the surface of public vehicles in the city where I live: graffiti as an assertion of disrespect, yes, but most of all simply an assertion… the powerless saying: I'm here, too.”

Susan Sontag

"The Pleasure of the Image" (1985) from Writers on Artists edited by Daniel Halpern (1988), p. 98, North Point Press ISBN 0-86547-340-4

“Total experiences, of which there are many kinds, tend again and again to be apprehended only as revivals or translations of the religious imagination. To try to make a fresh way of talking at the most serious, ardent, and enthusiastic level, heading off the religious encapsulation, is one of the primary intellectual tasks of future thought.”

Susan Sontag book Styles of Radical Will

“The Pornographic Imagination,” p. 69
Styles of Radical Will (1966)

Way , Imagination , Future

“Between two fantasy alternatives, that Holbein the Younger had lived long enough to have painted Shakespeare or that a prototype of the camera had been invented early enough to have photographed him, most Bardolators would choose the photograph. This is not just because it would presumably show what Shakespeare really looked like, for even if the photograph were faded, barely legible, a brownish shadow, we would probably still prefer it to another glorious Holbein. Having a photograph of Shakespeare would be like having a nail from the True Cross.”

Susan Sontag book On Photography

"The Image-World", p. 154
On Photography (1977)

Painting

“Etymologically, patient means sufferer. It is not suffering as such that is most deeply feared but suffering that degrades. That illness can be not an epic of suffering but the occasion of some kind of self-transcendence is affirmed by sentimental literature and, more convincingly, by case histories offered by doctor-writers. Some illnesses seem more apt than others for this kind of meditation.”

Susan Sontag book AIDS and Its Metaphors

Source: AIDS and Its Metaphors, (1989), ch. 4, p. 125, Farrar, Straus and Giroux ISBN 0-312-42013-7 ; later published in combination with Illness As Metaphor. This combined edition is the one referenced here.

History , Suffering , Self-confidence , Literature