Susan Sontag

“My desire to write is connected with my homosexuality. I need the identity as a weapon, to match the weapon that society has against me. It doesn’t justify my homosexuality. But it would give me — I feel — a license.”

“Pop art: only possible in an affluent society, where one can be free to enjoy ironic consumption.”

“The function of criticism should be to show how it is what it is, even that it is what it is, rather than to show what it means.”

“It was from a weekly visit to the cinema that you learned (or tried to learn) how to strut, to smoke, to kiss, to fight, to grieve. Movies gave you tips about how to be attractive (...). But whatever you took home from the movies was only part of the larger experience of losing yourself in faces, in lives that were not yours - which is the more inclusive form of desire embodied in the movie experience. The strongest experience was simply to surrender to, to be transported by, what was on the screen”

“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.”

“To suffer is one thing; another thing is living with the photographed images of suffering, which does not necessarily strengthen conscience and the ability to be compassionate. It can also corrupt them. Once one has seen such images, one has started down the road of seeing more - and more. Images transfix. Images anesthetize.”

“Photographs shock insofar as they show something novel.”

“Mad people = People who stand alone and burn.I'm attracted to them because they give me permission to do the same.”

“We are told we must choose — the old or the new. In fact, we must choose both. What is a life if not a series of negotiations between the old and the new?"[Speech upon being awarded the Friedenspreis des Deutschen Buchhandels (Peace Prize of the German Book Trade), Frankfurt Book Fair, October 12, 2003]”

“I don't want to express alienation. It isn't what I feel. I'm interested in various kinds of passionate engagement. All my work says be serious, be passionate, wake up.”

“I'm only interested in people engaged in a project of self-transformation.”

“Every culture has its southerners -- people who work as little as they can, preferring to dance, drink, sing brawl, kill their unfaithful spouses; who have livelier gestures, more lustrous eyes, more colorful garments, more fancifully decorated vehicles, a wonderful sense of rhythm, and charm, charm, charm; unambitious, no, lazy, ignorant, superstitious, uninhibited people, never on time, conspicuously poorer (how could it be otherwise, say the northerners); who for all their poverty and squalor lead enviable lives -- envied, that is, by work-driven, sensually inhibted, less corruptly governed northerners. We are superior to them, say the northerners, clearly superior. We do not shirk our duties or tell lies as a matter of course, we work hard, we are punctual, we keep reliable accounts. But they have more fun than we do ... They caution[ed] themselves as people do who know they are part of a superior culture: we mustn't let ourselves go, mustn't descend to the level of the ... jungle, street, bush, bog, hills, outback (take your pick). For if you start dancing on tables, fanning yourself, feeling sleepy when you pick up a book, developing a sense of rhythm, making love whenever you feel like it -- then you know. The south has got you.”

“[T]o read was precisely to enter another world, which was not the reader's own, and come back refreshed, ready to bear with equanimity the injustices and frustrations of this one. Reading was balm, amusement -- not incitement.”

“We like to stress the commonness of heroes. Essences seem undemocratic. We feel oppressed by the call to greatness. We regard an interest in glory or perfection as a sign of mental unhealthiness, and have decided that high achievers, who are called overachievers, owe their surplus ambition to a defect in mothering (either too little or too much). We want to admire but think we have a right not to be intimidated. We dislike feeling inferior to an ideal. So away with ideals, with essences. The only ideals allowed are healthy ones -- those everyone may aspire to, or comfortably imagine oneself possessing.”

“The Cavaliere has retired to his study and reads, trying not to think about what is going on around him -- one of the principal uses of a book.”

“Why not eliminate schooling between age 12-16? It’s biologically + psychologically too turbulent a time to be cooped up inside, made to sit all the time. During these years, kids would live communally – doing some work, anyway being physically active, in the countryside(...)This simple change in the age specificity of schooling would a) reduce adolescent discontent, anomie, boredom, neurosis; b) radically modify the almost inevitable process by which people at 50 are psychologically and intellectually ossified (...)After all, since most people from now on are going to live to be 70, 75, 80, why should all their schooling be bunched together in the first 1/3 or 1/4 of their lives – so that it’s downhill all the way”

“To travel is to shop.”

“With genius, as with beauty -- all, well almost all, is forgiven.”

“This philistinism of interpretation is more rife in literature than in any other art. For decades now, literary critics have understood it to be their task to translate the elements of the poem or play or novel or story into something else. Sometimes a writer will be so uneasy before the naked power of his art that he will install within the work itself - albeit with a little shyness, a touch of the good taste of irony - the clear and explicit interpretation of it. Thomas Mann is an example of such an overcooperative author. In the case of more stubborn authors, the critic is only too happy to perform the job.”

“How much self-love comes in the guise of selfless devotion!”

“I got through my childhood in a delirium of literary exaltations.”

“There is nothing wrong with standing back and thinking. To paraphrase several sages: 'Nobody can think and hit someone at the same time.”

“That we are not totally transformed, that we can turn away, turn the page, switch the channel, does not impugn the ethical value of an assault by images. It is not a defect that we are not seared, that we do not suffer enough, when we see these images. Neither is the photograph supposed to repair our ignorance about the history and causes of the suffering it picks out and frames. Such images cannot be more than an invitation to pay attention, to reflect, to learn, to examine the rationalizations for mass suffering offered by established powers. Who caused what the picture shows? Who is responsible? Is it excusable? Was it inevitable? Is there some state of affairs which we have accepted up to now that ought to be challenged? All this, with the understanding that moral indignation, like compassion, cannot dictate a course of action.”

“Compassion is an unstable emotion. It needs to be translated into action, or it withers. The question of what to do with the feelings that have been aroused, the knowledge that has been communicated. If one feels that there is nothing 'we' can do -- but who is that 'we'? -- and nothing 'they' can do either -- and who are 'they' -- then one starts to get bored, cynical, apathetic.”

“Life is not about significant details, illuminated a flash, fixed forever.Photographs are.”

“Desire wills its perpetuation ad infinitum.”

“I perceive value, I confer value, I create value, I even create — or guarantee — existence. Hence, my compulsion to make “lists.” The things (Beethoven’s music, movies, business firms) won’t exist unless I signify my interest in them by at least noting down their names.Nothing exists unless I maintain it (by my interest, or my potential interest). This is an ultimate, mostly subliminal anxiety. Hence, I must remain always, both in principle + actively, interested in everything. Taking all of knowledge as my province.”

“Try not to live in a linguistic slum.”

“Read a lot. Expect something big, something exalting or deepening from a book. No book is worth reading that isn't worth re-reading.”

“Attention is vitality. It connects you with others. It makes you eager. Stay eager.”

“The only interesting ideas are heresies.”

“All great art contains at its center contemplation, a dynamic contemplation.”

“All aesthetic judgment is really cultural evaluation.”

“Can I love someone...and still think/fly? Love is flying, sown, floating. Thought is solitary flight, beating wings.”

“One can never ask anyone to change a feeling.”

“Self-respect. It would make me lovable. And it's the secret to good sex.”

“Nothing is mysterious, no human relation. Except love.”

“I like to feel dumb. That’s how I know there’s more in the world than me.”

“My library is an archive of longings.”

“It was not a question of knowledge...but of alertness, a fastidious transcription of what could be thought about something, once it swam into the stream of attention.”

“It hurts to love. It's like giving yourself to be flayed and knowing that at any moment the other person may just walk off with your skin.”

“The writer must be four people: 1) The nut, the obsede 2) The moron 3) The stylist 4) The critic. 1 supplies the material; 2 lets it come out; 3 is taste; 4 is intelligence.”

“The fear of becoming old is born of the recognition that one is not living now the life that one wishes.”

“The culture-heroes of our liberal bourgeois civilisation are anti-liberal and anti-bourgeois; they are writers who are repetitive, obsessive, and impolite, who impress by force - not simply by their tone of personal authority and by their intellectual ardor, but by the sense of acute personal and intellectual extremity. The bigots, the hysterics, the destroyers of the self - these are the writers who bear witness to the fearful polite time in which we live. Mostly it is a matter of tone: it is hardly possible to give credence to ideas uttered in the impersonal tones of sanity.”

“The beauty of modern cities consists in a sense of their power, cruelty, impersonality, massiveness, + variety (as in New York or London) seen against the architectural vestiges of a beautiful past.”

“Conventions vs. spontaneity. This is a dialectical choice, it depends on the assessment you make of your own times. If you judge that your own time is ridden with empty insincere formalities, you plump for spontaneity, for indecorous behavior even...Much of morality is the task of compensating for one's age. One assumes unfashionable virtues, in an indecorous time. In a time hollowed out by decorum, one must school oneself in spontaneity.”

“One criticizes in others what one recognizes and despises in oneself. For example, an artist who is revolted by another’s ambitiousness.”

“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.”

“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.”

“It is passivity that dulls feeling.”