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Real art has the capacity to make us nervous.
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
Real
Make
Philistines
Nervous
Capacity
Design
Art
More quotes by Susan Sontag
I'm only interested in people engaged in a project of self-transformation.
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I was fascinated by quotations and lists. And then I noticed that other people were fascinated by quotations and lists: people as different as Borges and Walter Benjamin, Novalis and Godard.
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Despite the illusion of giving understanding, what seeing through photographs really invites is an acquisitive relation to the world that nourishes aesthetic awareness and promotes emotional detachment.
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The highest vocation of photography is to explain man to man.
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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
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Art is a form of consciousness.
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Many things in the world have not been named and many things, even if they have been named, have never been described.
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His view of time, and of change, has become that of most elderly people: he hates change, since for him - for his body - any change is for the worse. And if there is to be change, then he wants it to happen quickly, so it does not use up too much of the time remaining to him.
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If literature has engaged me as a project, first as a reader, then as a writer, it is as an extension of my sympathies to other selves, other domains, other dreams, other territories.
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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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One set of messages of the society we live in is: Consume. Grow. Do what you want. Amuse yourselves.
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...to be a poet, requires a mythology of the self. The self described is the poet self, to which the daily self (and others) are often ruthlessly sacrificed. The poet self is the real self, the other one is the carrier and when the poet self dies, the person dies.
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Reading usually precedes writing. And the impulse to write is almost always fired by reading. Reading, the love of reading, is what makes you dream of becoming a writer.
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The freakish is no longer a private zone, difficult of access. People who are bizarre, in sexual disgrace, emotionally violent areseen daily on the newsstands, on TV, in the subways. Hobbesian man roams the streets, quite visible, with glitter in his hair.
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Marriage is a sort of tacit hunting in couples. The world all in couples, each couple in its own little house, watching its own little interests and stewing in its own little privacy - it's the most repulsive thing in the world. One's got to get rid of the exclusiveness of married love.
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What interests me is to understand the nature of the modern.
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That's what a community is: taking for granted certain assumptions, not having to start from zero every time. This is no longer true.
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The easiest thing in the world for me is to pay attention.
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Images have been reproached for being a way of watching suffering at a distance, as if there were some other way of watching.
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I am profoundly uncertain how to write. I know what I love and what I like, because it's a direct passionate response. But when I write, I'm very uncertain whether it's good enough. That is, of course, the writer's agony.
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