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Whoever invented marriage was an ingenious tormentor. It is an institution committed to the dulling of the feelings. The whole point of marriage is repetition. The best it aims for is the creation of strong, mutual dependencies.
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
Strong
Whoever
Dulling
Feelings
Mutual
Tormentor
Best
Aim
Dependency
Whole
Committed
Ingenious
Institutions
Aims
Marriage
Repetition
Creation
Institution
Point
Invented
Dependencies
More quotes by Susan Sontag
Sanity is a cozy lie.
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Paintings invariably sum up photographs usually do not. Photographic images are pieces of evidence in an ongoing biography or history. And one photograph, unlike one painting, implies that there will be others.
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The basic unit for contemporary art is not the idea, but the analysis of and extension of sensations.
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People tend to become cynical about even the most appalling crisis if it seems to be dragging on, failing to come to term.
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Unfortunately, moral beauty in art - like physical beauty in a person - is extremely perishable. It is nowhere so durable as artistic or intellectual beauty. Moral beauty has a tendency to decay very rapidly into sententiousness or untimeliness.
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The shock of photographed atrocities wears off with repeated viewings, just as the surprise and bemusement felt the first time one sees a pornographic movie wear off after one sees a few more.
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A large part of the popularity and persuasiveness of psychology comes from its being a sublimated spiritualism: a secular, ostensibly scientific way of affirming the primacy of spirit over matter.
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There is an aggression implicit in every use of the camera.
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Modern discussions of the possibility of tragedy are not exercises in literary analysis they are exercises in cultural diagnostics, more or less disguised.
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Everyone who lives in an industrialized society is obliged gradually to give up the past, but in certain countries, such as the United States and Japan, the break with the past has been particularly traumatic.
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To photograph is to appropriate the thing photographed. It means putting oneself into a certain relation to the world that feels like knowledge-and therefore, like power.
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The danger, when not too dangerous, fascinate.
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That even an apocalypse can be made to seem part of the ordinary horizon of expectation constitutes an unparalleled violence that is being done to our sense of reality, to our humanity.
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Few ever see what is not already inside their heads.
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The happening operates by creating an asymmetrical network of surprises, without climax or consummation, this is the alogism of dreams rather than the logic of most art.
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All photographs aspire to the condition of being memorable - that is, unforgettable.
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The fantasies inspired by TB in the last century, by cancer now, are responses to a disease thought to be intractable and capricious--that is, a disease not understood--in an era in which medicine's central premise is that all diseases can be cured.
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The history of art is a sequence of successful transgressions.
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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.
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Currently intellectuals in Western Europe and North America are extremely demoralized and shaken by the rise of a virulent conservative tendency (which some have even joined).
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