Susan Sontag Quotes

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.

Passion paralyzes good taste.

Love words, agonize over sentences. And pay attention to the world.

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.

We can't imagine how dreadful, how terrifying war is; and how normal it becomes. Can't understand, can't imagine. That's what every soldier, and every journalist and aid worker and independent observer who has put in time under fire, and had the luck to elude the death that struck down others nearby, stubbornly feels. And they are right.

It is passivity that dulls feeling.

There is simply too much injustice in the world. And too much remembering (of ancient grievances: Serbs, Irish) embitters. To make peace is to forget. To reconcile, it is necessary that memory be faulty and limited.

I must change my life so that I can live it, not wait for it.

Literature was the passport to enter a larger life; that is, the zone of freedom. Literature was freedom. Especially in a time in which the values of reading and inwardness are so strenuously challenged, literature is freedom.

Today is such a time, when the project of interpretation is largely reactionary, stifling. Like the fumes of the automobile and of heavy industry which befoul the urban atmosphere, the effusion of interpretations of art today poisons our sensibilities. 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.

Even more. It is the revenge of the intellect upon the world. To interpret is to impoverish, to deplete the world - in order to set up a shadow world of 'meanings.' It is to turn the world into this world. ('This world'! As if there were any other.)

The world, our world, is depleted, impoverished enough. Away with all duplicates of it, until we again experience more immediately what we have.

Result of self-consciousness: audience and actor are the same. I live my life as a spectacle for myself, for my own edification. I live my life but I don't live in it. The hoarding instinct in human relations.

Etymologically, 'patient' means sufferer.

A capitalist society requires a culture based on images. It needs to furnish vast amounts of entertainment in order to stimulate buying and anesthetise the injuries of class, race, and sex. And it needs to gather unlimited amounts of information, the better to exploit natural resources, increase productivity, keep order, make war, give jobs to bureaucrats. The camera's twin capacities, to subjectivise reality and to objectify it, ideally serve these needs as strengthen them. Cameras define reality in the two ways essential to the workings of an advanced industrial society: as a spectacle (for masses) and as an object of surveillance (for rulers). The production of images also furnishes a ruling ideology. Social change is replaced by a change in images. The freedom to consume a plurality of images and goods is equated with freedom itself. The narrowing of free political choice to free economic consumption requires the unlimited production and consumption of images.

Life is not about significant details, illuminated a flash, fixed forever.

Photographs are.

It’s not ‘natural’ to speak well, eloquently, in an interesting articulate way. People living in groups, families, communes say little — have few verbal means. Eloquence — thinking in words — is a byproduct of solitude, deracination, a heightened painful individuality.