The problems of this world are only truly solved in two ways: by extinction or by duplication
Susan SontagI discovered that I am tired of being a person. Not just tired of being the person I was, but any person at all
Susan Sontag10 percent of any population is cruel, no matter what, and 10 percent is merciful, no matter what, and the remaining 80 percent can be moved in either direction.
Susan SontagTag: humanity mankind mercy cruelty
Depression is melancholy minus its charms.
Susan SontagTag: melancholy depression
The camera makes everyone a tourist in other people's reality, and eventually in one's own.
Susan SontagEtymologically, 'patient' means sufferer.
Susan SontagThe writer is either a practicing recluse or a delinquent, guilt-ridden one--or both. Usually both.
Susan SontagTag: writing
[O]ne person's 'barbarian' is another person's 'just doing what everybody else is doing.
Susan SontagTag: perception morality perspective society civilization prejudice culture normalcy double-standards standards barbarians
To paraphrase several sages: Nobody can think and hit someone at the same time.
Susan SontagTag: thinking violence sages hit
Most of Arbus's work lies within the Warhol aesthetic, that is, defines itself in relation to the twin poles of boringness and freakishness; but it doesn't have the Warhol style. Arbus had neither Warhol's narcissism and genius for publicity nor the self-protective blandness with which he insulates himself from the freaky nor his sentimentality. It is unlikey that Warhol, who comes from a working-class family, ever felt any ambivalence toward success which afflicted the children of the Jewish upper middle classes in the 1960s. To someone raised as a Catholic, like Warhol (and virtually everyone in his gang), a fascination with evil comes much more genuinely than it does to someone from a Jewish background. Compared with Warhol, Arbus seems strikingly vulnerable, innocent--and certainly more pessimistic. Her Dantesque vision of the city (and the suburbs) has no reserves of irony. Although much of Arbus's material is the same as that depicted in, say, Warhol's Chelsea Girls (1966)...For Arbus, both freaks and Middle America were equally exotic: a boy marching in a pro-war parade and a Levittown housewife were as alien as a dwarf or a transvestite; lower-middle-class suburbia was as remote as Times Square, lunatic asylums, and gay bars. Arbus's work expressed her turn against what was public (as she experienced it), conventional, safe, reassuring--and boring--in favor of what was private, hidden, ugly, dangerous, and fascinating. These contrasts, now, seem almost quaint. What is safe no long monopolizes public imagery. The freakish is no longer a private zone, difficult of access. People who are bizarre, in sexual disgrace, emotionally vacant are seen daily on the newsstands, on TV, in the subways. Hobbesian man roams the streets, quite visible, with glitter in his hair.
Susan SontagTag: photography hobbesian-man susan-sontag
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