Quotes from book
Styles of Radical Will

Styles of Radical Will

Styles of Radical Will is a collection of essays by Susan Sontag published in 1969. Among the subjects discussed are film, literature, politics, and pornography. It is Sontag's second collection of non-fiction. Her first nonfiction book is Against Interpretation and Other Personal Essays, which was published in 1966.

“Religion is probably, after sex, the second oldest resource which human beings have available to them for blowing their mind.”

Susan Sontag book Styles of Radical Will

Source: Styles of Radical Will

“Elites presuppose masses.”

Susan Sontag book Styles of Radical Will

Styles of Radical Will

“The notion of art as the dearly purchased outcome of an immense spiritual risk, one whose cost goes up with the entry and participation of each new player in the game”

Susan Sontag book Styles of Radical Will

“The Pornographic Imagination,” p. 45
Styles of Radical Will (1966)

“In some respects the use of sexual obsessions as a subject for literature resembles the use of a literary subject whose validity for fewer people would contest: religious obsessions. So compared, the familiar fact of pornography’s definite, aggressive impact upon its readers looks somewhat different. Its celebrated intention of sexually stimulating readers is really a species of proselytizing. Pornography that is serious literature aims to “excite” in the same way that books which render an extreme form of religious experience aim to “convert.””

Susan Sontag book Styles of Radical Will

“The Pornographic Imagination,” pp. 47-48
Styles of Radical Will (1966)

“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)

“If within the last century art conceived as an autonomous activity has come to be invested with an unprecedented stature—the nearest thing to a sacramental human activity acknowledged by secular society—it is because one of the tasks art has assumed is making forays into and taking up positions on the frontiers of consciousness (often very dangerous to the artist as a person) and reporting back what’s there.”

Susan Sontag book Styles of Radical Will

“The Pornographic Imagination,” p. 45
Styles of Radical Will (1966)

“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)

“For Cioran the aphoristic style is less a principle of reality than a principle of knowing: that it’s the destiny of every profound idea to be quickly checkmated by another idea, which it itself has implicitly generated.”

Susan Sontag book Styles of Radical Will

“‘Thinking against oneself’: reflections on Cioran,” p. 79
Styles of Radical Will (1966)

“As Cioran correctly points out, a principal danger of being overcivilized is that one all to easily relapses, out of sheer exhaustion and the unsatisfied need to be “stimulated,” into a vulgar and passive barbarism. Thus, “the man who unmasks his fictions” through an indiscriminate pursuit of the lucidity that is promoted by modern liberal culture “renounces his own resources and, in a sense, himself. Consequently, he will accept other fictions which will deny him, since they will not have cropped up from his own depth.” There, he concludes, “no man concerned with his own equilibrium may exceed a certain degree of lucidity and analysis.””

Susan Sontag book Styles of Radical Will

“‘Thinking against oneself’: reflections on Cioran,” p. 85
Styles of Radical Will (1966)

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