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

Susan Sontag

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Susan Sontag
Age: 71 †
Born: 1933
Born: January 16
Died: 2004
Died: December 28
Author
Essayist
Feminist
Film Critic
Film Director
Historian
Human Rights Activist
Journalist
Literary Critic
Novelist
Opinion Journalist
New York City
New York
Susan Rosenblatt
Changing
Historical
Swag
Toward
Swagger
Seen
Heading
History
Headings
Nature
Steadily
Change
Catastrophe
Anything
Described

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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 -
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One can be serious about the frivolous, frivolous about the serious.
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I love to read the way people love to watch television.
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Mallarme said that everything in the world exists in order to end in a book. Today everything exists to end in a photograph.
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The really important thing is not to reject anything.
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Today everything exists to end in a photograph.
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Although photography generates works that can be called art-it requires subjectivity, it can lie, it gives aesthetic pleasure-photography is not, to begin with, an art form at all. Like language, it is a medium in which works of art (among other things) are made.
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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.
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The past itself, as historical change continues to accelerate, has become the most surreal of subjects - making it possible... to see a new beauty in what is vanishing.
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Photography is, first of all, a way of seeing.
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Interpretation is the revenge of the intellectual upon art.
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The whole point of Camp is to dethrone the serious. Camp is playful, anti-serious. More precisely, Camp involves a new, more complex relation to the serious. One can be serious about the frivolous, frivolous about the serious.
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No 'we' should be taken for granted when the subject is looking at other people's pain.
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In a culture whose already classical dilemma is the hypertrophy of the intellect at the expense of energy and sensual capability, interpretation is the revenge of the intellect upon art.
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I believe that courage is morally neutral. I can well imagine wicked people being brave and good people being timid or afraid. I don't consider it a moral virtue.
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Lying is an elementary means of self-defense.
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A photograph is not only an image (as a painting is an image), an interpretation of the real it is also a trace, something directly stenciled off the real, like a footprint or a death mask.
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Some of the exuberance of my essay-writing has gone because I'm worried about the uses they could serve.
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The only interesting answers are those that destroy the questions.
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What I expect from writers-and from myself as a writer-is to articulate a complex view of things. To incite us to be more compassionate. To orchestrate our mourning. And to celebrate ecstasy.
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