susan sontag essay collections

Against Interpretation: And Other Essays

Reprint years, other versions.

No versions found

Buy this book

PhilArchive

External links.

Available at Amazon.com

Through your library

Sign in / register and customize your OpenURL resolver
Configure custom resolver

Internet Archive Audio

This Just In
Grateful Dead
Old Time Radio
78 RPMs and Cylinder Recordings
Audio Books & Poetry
Computers, Technology and Science
Music, Arts & Culture
News & Public Affairs
Spirituality & Religion
Radio News Archive

Flickr Commons
Occupy Wall Street Flickr
NASA Images
Solar System Collection
Ames Research Center

All Software
Old School Emulation
MS-DOS Games
Historical Software
Classic PC Games
Software Library
Kodi Archive and Support File
Vintage Software
CD-ROM Software
CD-ROM Software Library
Software Sites
Tucows Software Library
Shareware CD-ROMs
Software Capsules Compilation
CD-ROM Images
ZX Spectrum
DOOM Level CD

Smithsonian Libraries
FEDLINK (US)
Lincoln Collection
American Libraries
Canadian Libraries
Universal Library
Project Gutenberg
Children's Library
Biodiversity Heritage Library
Books by Language
Additional Collections

Prelinger Archives
Democracy Now!
Occupy Wall Street
TV NSA Clip Library
Animation & Cartoons
Arts & Music
Computers & Technology
Cultural & Academic Films
Ephemeral Films
Sports Videos
Videogame Videos
Youth Media

Search the history of over 866 billion web pages on the Internet.

Mobile Apps

Wayback Machine (iOS)
Wayback Machine (Android)

Browser Extensions

Archive-it subscription.

Explore the Collections
Build Collections

Save Page Now

Capture a web page as it appears now for use as a trusted citation in the future.

Please enter a valid web address

Donate Donate icon An illustration of a heart shape

The Double Standard Of Aging by Susan Sontag

Bookreader item preview, share or embed this item, flag this item for.

Graphic Violence
Explicit Sexual Content
Hate Speech
Misinformation/Disinformation
Marketing/Phishing/Advertising
Misleading/Inaccurate/Missing Metadata

THE DOUBLE STANDARD OF AGING By Susan Sontag

( Essay published in The Saturday Review, September 23, 1972, pp. 29-38 )

plus-circle Add Review comment Reviews

3,418 Views

20 Favorites

DOWNLOAD OPTIONS

In collections.

Uploaded by Mhptl17 on May 30, 2021

Susan Sontag Papers

About this collection.

Susan Sontag was an American writer, director, and political activist. She was born in New York City on January 16, 1933, and was raised in Tucson and Los Angeles. In 1949, she graduated from North Hollywood High School and began her undergraduate work at the University of California, Berkeley. After one term, she transferred to the University of Chicago, where she graduated in 1951. She married Philip Rieff in 1950. Their son, David Rieff, was born in 1952. In 1957, she received a Master's degree in philosophy from Harvard (Radcliffe), and studied on a fellowship at St. Anne's College, Oxford, and the University of Paris-Sorbonne until 1958. She divorced Philip Rieff the same year. In 1959, she discontinued her doctoral work and moved to New York City with her son. Sontag worked for Commentary Magazine and held positions as instructor and lecturer at City College of New York, Sarah Lawrence College, and Columbia University until around 1966. During this time, she began writing film and literature reviews, essays, and stories for publication in The Partisan Review and other prominent journals. Throughout her life, her short stories and numerous essays on art, literature, politics, and culture appeared in several publications in the United States and abroad. Most of these works were collected into seven books: Against Interpretation and Other Essays (1966), Styles of Radical Will (1969), I, Etcetera (1978), Under the Sign of Saturn (1980), A Susan Sontag Reader (1982), Where the Stress Falls (2001), and At the Same Time (2007). Sontag published four novels: The Benefactor (1963), Death Kit (1967), The Volcano Lover (1992) and In America (2000), which won the National Book Award. Her non-fiction books explored and challenged aspects of modern society: On Photography (1977), which won the National Book Critics Circle Award, Illness as Metaphor (1978), inspired by her own experience with breast cancer, AIDS and Its Metaphors (1989), and Regarding the Pain of Others (2003), on war photography. Sontag wrote and directed four films: Duet for Cannibals (1969), Brother Carl (1971), Promised Lands (1974) and Unguided Tour (1983). She directed several plays, including Samuel Beckett's Waiting for Godot in Sarajevo in 1993; and she wrote several plays including Alice in Bed (1993) and Lady from the Sea (1999), productions of which have been staged across the United States and internationally. As a human rights activist she traveled to Cuba, China, Vietnam, and Bosnia. She also served as president of the PEN American Center from 1987-1989. Her works have been translated into over thirty languages. She received honors and awards throughout her life, including the Jerusalem Prize (2001) and the Friedenspreis (2003) for her body of work. She died of cancer on December 28, 2004, and is buried in Montparnasse Cemetery in Paris.

Collection Overview

Find this collection.

Craft and Criticism
Fiction and Poetry
News and Culture
Lit Hub Radio
Reading Lists

Literary Criticism
Craft and Advice
In Conversation
On Translation
Short Story
From the Novel
Bookstores and Libraries
Film and TV
Art and Photography
Freeman’s
The Virtual Book Channel
Behind the Mic
Beyond the Page
The Cosmic Library
The Critic and Her Publics
Emergence Magazine
Fiction/Non/Fiction
First Draft: A Dialogue on Writing
The History of Literature
I’m a Writer But
Lit Century
Tor Presents: Voyage Into Genre
Windham-Campbell Prizes Podcast
Write-minded
The Best of the Decade
Best Reviewed Books
BookMarks Daily Giveaway
The Daily Thrill
CrimeReads Daily Giveaway

The Books of Susan Sontag, Ranked

A fickle superfan’s guide to the dark lady of letters.

There is no way for this not to be a throwdown. You are going to disagree with what I say about her fiction, especially the early stuff. We are going to clash about which essays are best. From that, we will inevitably diverge on which of her essay collections (to me, her most important work) is most vital. As for the monographs, several of them dazzle, but how to find their proper spots among her works is rough going.

These are all books Sontag released in her lifetime ( At the Same Time was already edited but not published when she died in 2004). I’m working off the list of the bibliography on the Susan Sontag Foundation website, sans the anthology and the film scripts (it’s so Sontag to have included the two obscure film scripts she wrote among her oeuvre). I have also not ranked the book Sontag’s latest biographer, Benjamin Moser, among many others, attributed to Sontag: her ex-husband Philip Rieff’s career-making Freud: The Mind of the Moralist . I also have not included the essential and revelatory diaries which were published after her death: Reborn: Journals 1947-1963 and As Consciousness Is Harnessed to Flesh , 1964-1980 as they represent a whole new phase of Sontag’s career. With her gift for always being in the zeitgeist, Sontag ensured that she’d be talked about well into her afterlife.

14. The Benefactor (1963) and Death Kit (1967) TIE

Why did Sontag feel she had to write experimental fiction? Was there something in the water in the 1960s that makes books like this so prevalent? This is the worst of Sontag: pretentious, overly serious, and the worst sin of all, boring.

13 . Alice in Bed (1993)

This was a close call: Sontag’s play might be worse. Poor Alice James: a miserable life in the shadow of her famous brothers and then this. At least she has Jean Strouse in her corner.

12 . I, etcetera (1977)

There’s no need to write about Sontag’s short stories. In summary, they are really not good.

11. The Way We Live Now (1991)

It’s cheating that this counts as its own entry, when it’s essentially just a short story about AIDS that got a lot of play. If someone brought it to your graduate fiction workshop they would get an earful about whether the narrative holds up (it doesn’t). Thus it’s hanging around here with the other Sontag fiction flotsam.

10. In America (1999)

The book that got Sontag accused of plagiarism is probably best known as that. As a novel it’s overwritten and overdramatic, but not quite over-the-top enough to be camp, which would have saved the whole debacle. Sontag’s saga—and boy, does it read like a saga—of immigrant actress Maryna Zalewska (real name: Helena Modjeska) and her rise to stardom in the late 19th-century lacks the heft I expect from a Sontag book. It’s intellectually bereft; it never finds the right tone. The book’s reception was not all negative, however: it won the 1999 National Book Award for Fiction.

9. At the Same Time: Essays and Speeches (2007)

At the Same Time collects 16 essays and speeches all written in the last years of Sontag’s life, and they just don’t have the same playfulness or provocations as her earlier political essays do. Important takeaway: the Sontag of the oughts can be kind of a drag. This collection would benefit greatly from one of Sontag’s signature hagiographies, her essays championing semi-obscure European writers. Without her literary hero-worship, it’s a lot of political posturing and one of her favorite subjects: torture, torture, and more torture.

8. Where the Stress Falls (2001)

Again, the Sontag of the oughts is kind of a drag. What saves this book are the lively pieces about writing. Yes, more on Barthes, please. What a cunning little essay on Borges. You are really the only one who likes Walser that much. The photography and film essays have some highlights as well. But the dreaded Overly Serious Sontag emerges in her essay on staging Beckett in Sarajevo (for a hilarious and indelible image of Overly Serious Sontag at her prime let’s-see-if-existentialism-can-save-the-former-Yugoslavia see Terry Castle’s wonderful essay on Sontag, “Desperately Seeking Susan,” in her collection The Professor ). Overall, a mixed bag.

7. The Volcano Lover (1992)

I don’t love The Volcano Lover so much as I acknowledge Sontag’s need to write it, to be a Real Novelist like her heroes after all of her years in the thrush of the essay and monograph. I also can find things in it to like: I’m a collector, like Sontag and like her hero, the Cavaliere, so I appreciate and understand the impulse. The Volcano Lover is a love story—at its core is the romance between the married Emma Hamiliton and Lord Nelson—but curiously for the hyperliterate Sontag it’s also about the ways people express themselves nonverbally as through collecting, as though our fascinations define us as much as our affairs.

6. Regarding the Pain of Others (2003)

Regarding the Pain of Others is like a glorious peanut butter cup of On Photography and Illness as Metaphor (don’t worry, we are getting to the good stuff). In it Sontag explores fecund territory for her: the intersections of pain and the visual; of empathy and self-esteem; of what both blinds us and fascinates us about scenes of torture and death.

Another place where Sontag is an ideal tour guide is this world historical museum of atrocity. She takes the reader (I quote here from Sontag’s extensive Wikipedia page, someone has really done the heavy lifting on this) “from Goya’s “The Disasters of War” to photographs of the American Civil War, lynchings of blacks in the South, and the Nazi death camps, to contemporary horrific images of Bosnia, Sierra Leone, Rwanda, Israel and Palestine, and New York City on September 11, 2001.” That covers it, no?

5. Illness as Metaphor (1978) and AIDS and its Metaphors (1988) TIE

Sontag wrote the fierce Illness as Metaphor during her first experience with cancer, which is one of the most Sontag-esque things she could have done. Instead of succumbing to the depression which accompanies illness, Sontag used her diagnosis as kindling for this stunning book. She writes beautifully about cancer but despite it being her ailment (which she never reveals) the star of the book is really tuberculosis—in fact, her descriptions of famous tubercular writers made teenaged me hope a little bit that the four-pronged needle test I got every year would swell. Her dilation of the metaphors around these diseases is breathtaking, borrowing passages from afflicted writers like Keats, Thomas Mann, and DH Lawrence. Given the thoroughness and lucidity of her thinking about illness and her strong ties to the gay community (Sontag was a closeted bisexual), it seems a given that she would pounce on how the AIDS crisis was characterized from its earliest days. The books now seem as though they were meant to be read together, notes of the plagues of different artistic generations.

4. Styles of Radical Will (1969)

Of the books of early essays Styles of Radical Will seems to me to be the most dated. That’s probably due to the inclusion of Sontag’s reportage on Vietnam, “Trip to Hanoi.” There are some insightful moments in “Trip” but it’s not what Sontag does best: she’s always better at the life of the mind than of lived experience (this is part of her problem with her fiction, it never feels properly lived-in). Notable nevertheless are “The Pornographic Imagination”—another timely topic in the sexual revolutionary days of 1969—and Sontag is cozy in her role as literary tour guide in “Thinking Against Oneself: Reflections on Cioran.”

3. On Photography (1977)

Sontag reinvented how to write about visual art in this winner of the National Book Critics’ Circle Award for Criticism. She said On Photography was “a progress of essays about the meaning and career of photographs.” What does it mean to be a progress? The book is not chronological but shoves its tentacles in any period where photographs really mattered—the Civil War, Steiglitz, Arbus, as a means of capturing beauty, and in the horrors of contemporary photojournalism (her ideas about war photography sadly got a lot of play, all the way up to the photographs of the torture at Abu Grahib). What’s easier to decipher is Sontag’s sense of photographs having a career, the way they keep working to make their subjects relevant. Photographs of her certainly did, from the brash and beautiful young critic on the cover of Against Interpretation to the louche portraits of her supine by Peter Hujar.

2. Against Interpretation (1966)

The temptation to put Sontag’s real debut at number one is a strong one, for “Notes on Camp” alone, which, to me, would earn any critic a lifetime membership at the grownup’s table. “Camp” is one of those essays I am astonished by every time: both in the sweep of the argument and how she got the details totally right . It is like spun sugar criticism fueled by pure intellect with a touch of the aesthetic—well, more than a touch, a heaping side. Everyone who knows what camp is feels a frisson of something when reading Sontag’s description, and, by now, in a post Ryan Murphy-world, we all know what camp is. Though there are some clunkers in this collection (the essay on science fiction doesn’t quite work), there is also the shrewd “On Style,” and the powerhouse “Against Interpretation” to solidify its place.

1. Under the Sign of Saturn (1980)

Is this such an oddball choice for number one? To me it is simply peak Sontag: after the successive intellectual explosions of Against Interpretation , Styles of Radical Will , On Photography , and Illness as Metaphor we get Sontag in some of her most brilliant personas: as literary tour guide to Elias Canetti; writing incisively on the paradoxical pleasures of the films of Leni Riefenstahl; as a sympathetic and appropriately melancholy reader of Walter Benjamin (the title refers to Benjamin, and to Sontag: both Capricorns, or Saturnine, as am I). Her eulogies for Paul Goodman and Roland Barthes are like literary petits fours, small and rich and altogether divine.

Share on Facebook (Opens in new window)
Click to share on Twitter (Opens in new window)
Click to share on Google+ (Opens in new window)
Click to share on LinkedIn (Opens in new window)
Click to share on Reddit (Opens in new window)
Click to share on Tumblr (Opens in new window)
Click to share on Pinterest (Opens in new window)
Click to share on Pocket (Opens in new window)

Next article, support lit hub..

Join our community of readers.

to the Lithub Daily

Follow us on Twitter

Stand With Us at the 2019 Border of Lights Virtual Vigil

RSS - Posts

Literary Hub

Created by Grove Atlantic and Electric Literature

How to Pitch Lit Hub

Advertisers: Contact Us

Support Lit Hub - Become A Member

Become a Lit Hub Supporting Member : Because Books Matter

For the past decade, Literary Hub has brought you the best of the book world for free—no paywall. But our future relies on you. In return for a donation, you’ll get an ad-free reading experience , exclusive editors’ picks, book giveaways, and our coveted Joan Didion Lit Hub tote bag . Most importantly, you’ll keep independent book coverage alive and thriving on the internet.

Become a member for as low as $5/month

Jump to Content

Collection Overview
Conditions Governing Access
Conditions Governing Use
Physical Characteristics and Technical Requirements
Immediate Source of Acquisition
UCLA Catalog Record ID
Preferred Citation
Processing Information
Biographical / Historical
Scope and Contents
Arrangement
Related Material
Online Items Available

Garage Library and the 0+ Space will be closed until September 1 for the installation of the project Open Storage: A Prologue.

Susan Sontag. Under the Sign of Saturn

Language Russian
Edition 3000
Binding Paperback

The collection comprises some of the key critical essays written by Susan Sontag between 1972 and 1980.

The book includes Sontag’s texts exploring her emotional experience of Paul Goodman’s death, intense memories of Roland Barthes, an essay on Walter Benjamin, and a thorough study of Antonin Artaud’s philosophy and art. It also features a critique of Hitler’s favorite film director Leni Riefenstahl (most famous for the propaganda pictures Triumph of the Will and Olympia ), as well as a brilliant analysis of the antifascist Hitler: A Film from Germany (1977) directed by Hans-Jürgen Syberberg. In these recognizably explicit texts, Sontag reflects on death, art, history, imagination, and writing as such.

Susan Sontag (1933 – 2004) was an American writer, critic, cultural philosopher and political activist. She achieved widespread recognition through her collections of essays, Against Interpretation (1966), On Photography (1977) and Regarding the Pain of Others (2004).

Against Interpretation 1-5

Against interpretation 1-5 lyrics.

How to Format Lyrics:

Type out all lyrics, even repeating song parts like the chorus
Lyrics should be broken down into individual lines
Use section headers above different song parts like [Verse], [Chorus], etc.
Use italics ( <i>lyric</i> ) and bold ( <b>lyric</b> ) to distinguish between different vocalists in the same song part
If you don’t understand a lyric, use [?]

To learn more, check out our transcription guide or visit our transcribers forum

Against Interpretation is an essay written by American critic Susan Sontag. It is included in her 1966 collection Against Interpretation and Other Essays . This seminal essay argues that interpretation is an inherently harmful process that ignores the content of a piece of art in favor of its purported meaning. She riles against the pervasive Freudian and Marxist modes of interpretation, and invokes famous films (A Streetcar Named Desire, Last Year in Marienbad, and The Silence) as well as Pop Art and classical Greek philosophies of art.

Find answers to frequently asked questions about the song and explore its deeper meaning

Genius is the world’s biggest collection of song lyrics and musical knowledge

Susan Sontag

Susan Sontag (16 January 1933 – 28 December 2004) was an American writer and filmmaker, novelist, writer of screenplays, professor, literary icon, and political activist.

1.2 Short fiction
1.3 Monographs
1.4 Essay collections, lectures
1.5 Film books
1.7 Diaries
1.8 Edited books
1.9 Articles, papers, chapters, reviews
1.10 Bibliographies
2 Interviews
3 Films and Recordings
5 Documentaries

Works [ edit ]

(sometimes using ).

Novels [ edit ]

Il benefattore , trans. Ettore Capriolo, Milan: Mondadori, 1965, 376 pp. (Italian)
Le bienfaiteur , trans. Guy Durand and Gérard Durand, Paris: Seuil, 1965, 287 pp. (French)
Der Wohltäter , trans. Louise Eisler-Fischer, Reinbek bei Hamburg: Rowohlt, 1966, 286 pp.; Frankfurt am Main: Fischer, 1993. 286 pp (German)
De weldoener , trans. Caspar Hendriks, Antwerp and Utrecht: Bruna, 1968. 272 pp. (Dutch)
Välgöraren , trans. Margareta Ullberg, Stockholm: Norstedt, 1968, 277 pp. (Swedish)
El benefactor , Barcelona: Lumen, 1974. 297 pp. (Spanish)
Välgöraren: Roman , trans. Margareta Ullberg, Uppsala: Bromberg, 1980. 277 pp. (Swedish)
O benfeitor , trans. Ana Maria Capovilla, Porto Alegre: L&PM, 1989 [1990], 265 pp. (Brazilian Portuguese)
Dødens redskab , trans. Birte Svensson [and Austin Grandjean], Copenhagen: Gyldendal, 1968, 308 pp. (Danish)
Estuche de muerte , trans. Roberto Ruiz, Mexico, D.F.: Joaguín Mortiz, 1969, 373 pp. (Spanish)
Sista hjälpen , trans. Olov Jonason, Stockholm: Norstedt, 1969, 315 pp.; Uppsala: Bromberg, 1980, 315 pp. (Swedish)
Derniers recours , trans. Anne Minkowski, Paris: Seuil, 1970, 333 pp. (French)
Morte em questão , trans. Alvaro Cabral and Sérgio Pachá, Rio de Janeiro: Expressão e Cultura, 1970, 358 pp. (Brazilian Portuguese)
Shi no sōgu , trans. Kazue Saitō, Tokyo: Hayakawa Shobō & Co., 1970, 374 pp. (Japanese)
Il kit della morte , trans. Bruno Fonzi, Turin: Einaudi, 1973, 304 pp. (Italian)
Todesstation: Roman , trans. Jörg Trobitius, Munich: Hanser, 1985. 373 pp.; Munich: Deutscher Taschenbuch, 1987, 373 pp. (German)
Musta aurinko , trans. Marja Haapio, Helsinki: Kirjayhtymä, 1987, 390 pp. (Finnish)
Halálkészlet , trans. Zsófia László, Budapest: Európa Köngvkiadó, 1989. 368 pp. (Hungarian)
Zestaw do śmierci , trans. Anna Kołyszko, Warsaw: Państwowy Instytut Wydawniczy, 1989, 367 pp. (Polish)
A vulkán szerelmese , trans. József Szili, Kiadó: Holnap, 1993, 386 pp. (Hungarian)
Der Liebhaber des Vulkans: Roman , trans. Isabell Lorenz, Munich: Hanser, 1993. 548 pp. (German)
De vulkaanminnaar , trans. Heleen ten Holt, Baarn: Uitgeverij Anthos, 1993, 431 pp. (Dutch)
Manden der elskede vulkaner , trans. Kirsten Jørgensen, Copenhagen: Gyldendal, 1993, 407 pp. (Danish)
Mannen som elsket vulkaner: En roman , trans. Ingrid Haug, Oslo: Cappelens, 1993, 410 pp. (Norwegian)
O amante do vulcão , trans. Isa Mara Lando, Sao Paolo: Companhia das Letras, 1993. 422 pp. (Brazilian Portuguese)
Tulivuoren rakastaja , trans. Seppo Loponen, Helsinki: Kunstannusosakeyhtiö Otava, 1993, 432 pp. (Finnish)
En América , trans. Jordi Fibla, Barcelona: Alfaguara, 2002. (Spanish)

Short fiction [ edit ]

"Doble, triple...", Revista de occidente (Madrid), 2d ser., 16 (Jan.–Feb.–Mar. 1967), pp. 334–345; rep. in Las mejores historias siniestras , ed. Laurette Naomi Pizer, Barcelona: Brugera, 1968, pp. 421-434. (Spanish)
"Kukla", trans. S. Tartakovsky, Literaturnaya gazeta (Moscow) no. 39 (1980), p. 15. (Russian)
"A bábu", trans. Éva Lendvay, Nagyvilág (Budapest) 25 (Dec. 1980), pp. 147–152. (Hungarian)
"Dvojník", trans. Ivana Doležalová, Světová literatura (Prague) No. 6 (1985), pp. 16–20. (Czech)
"Manekin", trans. Anna Kołyszko, Literature, na świecie (Warsaw) No. 10 (1988), pp. 166–181. (Polish)
"Ha-golem", trans. Moshe Ron, in: Mah ha-sipur shelkha: Sipurim ketsarim Amerika’iyim mi-shenot ha-60 veha-70 , ed. Moshe Ron, Tel Aviv: Am Oved, 1993, pp. 101-110. (Hebrew)
"Man with a Pain", Harper’s , Apr. 1964, pp. 72–75.
"The Will and the Way", Partisan Review 32 (Summer 1965), pp. 373–396.
"Projet d’un voyage en Chine", trans. Guy Durand, Tel quel (Paris) no. 54 (Summer 1973), pp. 68–84. (French)
"Projekt einer Reise nach China", trans. Marianne Frisch, Literaturmagazin (Hamburg) no. 10 (1979), pp. 270–92. (German)
"Projekt návštěvy Číny", Revolver revue (Prague) no. 6 (1986), 11 pp. (Czech)
"Plan podróy do Chin", trans. Anna Kołyszko, Literatura na świecie (Warsaw) no. 1 (1987), pp. 180–211. (Polish)
"Enquête", trans. Claire Malroux, Les lettres nouvelles (Paris), 5 Dec. 1975, pp. 122–141. (French)
"Kibeszámoló", trans. Ferenc Temesi, Nagyvilág (Budapest) 21 (Dec. 1976), pp. 163–174. (Hungarian)
"Hva jeg gjør", trans. Mona Lange, Gyldendals aktuelle magazin (Oslo) no. 2 (1979), p. 13. (Norwegian)
"Lagebesprechung", trans. Marianne Frisch, Merkur (Stuttgart) no. 33 (Jan. 1979), pp. 48–62. (German)
"Odszyfrowywanie", trans. Hanna Rowińska, in: Gabinet Luster: Krótka proza amerykańaska 1961–1977 , ed. Zbigniew Lewicki, 387–411. Warsaw: Czytelnik, 1980, pp. 387-411. (Czech)
"Zapiski (Raskaz)", trans. Hristina Kochemidova, S’vremennik No. 4 (1980), pp 365–78. (Bulgarian)
"Doctor Jekyll", Partisan Review 41 (Winter 1974): pp 539–552, pp 586–603.
"Baobao", trans. Wu Yin, Waiguo wenyi (Shanghai) no. 5 (Oct. 1982), pp 5–43. (Chinese)
"Náš maličký", trans. Ivana Doležalová, Světová literatura (Prague), no. 6 (1985), pp 21–41. (Czech)
"Voyage désorganisé: Une nouvelle inédite de Susan Sontag", trans. Robert Louit, Magazine littéraire (Paris), no. 139 (July–Aug. 1978), pp 8–11. (French)
"Ohne Reiseführung", trans. Marianne Frisch, Zeit Magazin (Hamburg), no. 7 (9 Feb. 1979), pp 32, 34, 37–8, 40. (German)
"Rondreis zonder gids", trans. Carol Limonard, in: Modern Amerikaanse verhalen , ed. Frans Kellendonk and Carol Limonard, Amsterdam: Van Gennep, 1982, pp 172–182. (Dutch)
"Meiyou xiangdao de youlan", trans. Wu Yin, Waiguo Wenyi (Shanghai), no. 5 (Oct. 1982), pp 43–57. (Chinese)
"Descripción (de una descripción)", trans. Margarita de Orellana, Vuelta (Mexico, D.F.), 8.96 (Nov. 1984), pp 19–20. (Spanish)
"Opis (opisa)", trans. Danila Kiša [Danilo Kiš], Putevi (Banja Luka), 32.4 (July–Aug. 1986), pp 90–5. (Serbo-Croatian)
"Description (of a Description)", TLE: Theorie Littérature enseignement (Paris), No. 7 (1989), pp 9–12. (French)
"Description d’une description", [trans. Geneviève Moore.], Lettre internationale (Paris), No. 26 (Autumn 1990), pp 23–4. (French)
"Popis popiso", trans. Alena Jindrová-Spilarová, Spisovatelé (Prague), No. 7 (1992), p 41. (Czech)
"La escena de la carta", Letra internacional , No. 7, (Autumn 1987), pp 5–11. (Spanish)
"A levél-jelenet", trans. László T. András, Nagyvilág (Budapest), No. 33 (June 1988), pp 787–800. (Hungarian)
"The Way We Live Now", New Yorker , 24 Nov. 1986, pp. 42–51.
"A Parsifal", Antaeus , No. 67 (Fall 1991), pp 180–185.
"The View from the Ark", in: Violent Legacies: Three Cantos , by Richard Misrach, New York: Aperture, 1992, pp 9-12.

Monographs [ edit ]

Viagem a Hanoi , trans. Alvaro Cabral, Rio de Janeiro: Expressão e Cultura, 1968, 161 pp. (Brazilian Portuguese)
Hanoi de kangaeta koto , trans. Chūji Kunitaka, Tokyo: Shōbunsha, 1969, 152 pp. (Japanese)
Matka Hanoihin , trans. Ritva Turunen, Hämeenlinna: A.A. Karisto, 1969, 112 pp. (Finnish)
Reise nach Hanoi , trans. Anne Uhde, Reinbek bei Hamburg: Rowohlt, 1969, 86 pp. (German)
Reis naar Hanoi , trans. Guido Prinsen, Antwerp and Utrecht: Bruna, 1969, 88 pp. (Dutch)
Rejse til Hanoi , trans. Anne Marie Bjerg, Copenhagen: Spektrums, 1969, 108 pp. (Danish)
Resa till Hanoi , trans. Erik Sandin, Stockholm: Pan, Norstedt, 1969, 82 pp. (Swedish)
Viaggio a Hanoi , trans. Ettore Capriolo, Milan: V. Bompiani, 1969. 124 pp. (Italian)
Viaje a Hanoi , trans. Louis Guillermo Piazza, Mexico, D.F.: Joaquín Mortiz, 1969, 91 pp. (Spanish)
Voyage à Hanoi , trans. Gérard Durand, Paris: Seuil, 1969, 127 pp. (French)

Sulla fotografia: Realtà e immagine nella nostra società , trans. Ettore Capriolo, Turin: Einaudi, 1978, 179 pp. (Italian)
Über Fotografie , trans. Mark W. Rien and Gertrud Baruch, Munich: Hanser, 1978, 194 pp; Frankfurt am Main: Fischer-Taschenbuch, 1980, 201 pp; Frankfurt am Main: Büchergilde Gutenberg, 1990, 194 pp. (German)
Ha-illumkere’i ha-tequfa , trans. Yoram Bronovsky, Tel Aviv: Am Oved, 1979, 197 pp. (Hebrew)
La photographie , trans. Gérard-Henri Durand and Guy Durand, Paris: Seuil, 1979, 220 pp. (French)
Over fotografie , trans. Henny Scheepmaker, Utrecht and Aartselaar: Bruna, 1979, 160 pp. (Finnish)
Shashinron , trans. Kōjin Kondō, Tokyo: Shōbunsha, 1979, 221 pp. (Japanese)
Sobre la fotografía , trans. Carlos Gardini, Buenos Aires: Sudamericana, 1980; 1981, 217 pp, PDF ; Barcelona: Edhasa, 1981, 217 pp. (Spanish)
A fényképezésröl: Tanulmány , trans. Anna Nemes, Budapest: Európa Könyvkiadó, 1981, 239 pp. (Hungarian)
Ensaios sobre fotografia , trans. Joaquim Paiva, Rio de Janeiro: Arbor, 1981, 198 pp; 2nd ed. as Ensaios sobre a fotografia , Rio de Janeiro: Arbor, 1983. (Brazilian Portuguese)
Om fotografi , trans. Boo Cassel, Stockholm: Norstedts, 1981, 229 pp.; Stockholm: Natur och kultur, 2001, 211 pp. (Swedish)
Eseji o fotografiji , trans. Filip Filipović, Belgrad: Radionica SIC, 1982, 211 pp. (Serbo-Croatian)
Sur la photographie , trans. Philippe Blanchard, Paris: Union générele d’éditions, 1983; 1993, 239 pp.; Paris: Christian Bourgois, 1998. (French)
Valokuvauksesta , trans. Kanerva Cederström and Pekka Virtanen, Helsinki: Love kirjat, 1984, 191 pp. (Finnish)
Fotografi: Essays om billede og virkelighed , trans. Ole Vesterholt, Copenhagen: Fremad, 1985, 212 pp. (Danish)
O fotografii , trans. Sławomir Magala, Warsaw: Wydawnictwa Artystyczne i Filmowe, 1986, 200 pp, PDF ; Kraków: Karakter, 2009, 256 pp. [1] (Polish)
Ensaios sobre fotografia , trans. José Afonso Furtado, Lisbon: Publicações Dom Quixote, 1986, 178 pp. (Portuguese)
Fotograf üzerine , trans. Reha Akcakaya, Istanbul: Altikirkbes, 1993. (Turkish)
Despre fotografie , trans. Delia Zahareanu, essay Erwin Kessler, Bucharest: Vellant, 2014, 231 pp, ch 1 , ch 2 , ch 3 , ch 4 , ch 5 , ch 6 , ch 7 , ch 8 , PDF , IA , ARG . (Romanian)

Krankheit als Metapher , trans. Karin Kersten and Caroline Neubaur, Munich: Hanser, 1978, 95 pp; Frankfurt am Main: Fischer-Taschenbuch, 1981. 103 pp. (German)
Falske forestillinger om sygdomme: Fremkaldt af forkert sprogbrug , trans. Kirsten Jørgensen, Copenhagen: Gyldendal, 1979, 97 pp. (Danish)
La maladie comme metaphor , trans. Marie-France de Paloméra, Paris: Seuil, 1979, 105 pp. (French)
Malattia come metafora , trans. E. Capriolo, Turin: Einaudi, 1979, v+69 pp. (Italian)
Sykdom som metafor , trans. Grethe Schøning, Oslo: Gyldendal [Norsk Forlag], 1979, 80 pp. (Norwegian)
Ha-mala kemetafora , trans. Yehuda Landau, Tel-Aviv: Am Oved, 1980, 82 pp. (Hebrew)
La enfermedad y sus metáforas , trans. Mario Muchnik, Barcelona: Muchnik, 1980; 1981; 1984. 130 pp. (Spanish)
Ziekte als spookbeeld , trans. Gerard Grasman, Utrecht [and Antwerp]: Bruna, 1980, 87 pp. (Dutch)
Sjukdom som metafor , trans. Britt Arenander, Stockholm: Bromberg, 1981, 127 pp. (Swedish)
In’yu to shite no yamai , trans. Takao Tomiyama, Tokyo: Misuzu shobō, 1982, 157 pp. (Japanese)
A betegség mint metafora , trans. László Lugosi, Budapest: Európa, 1983, 102 pp. (Hungarian)
Bolest kao metafora , trans. Zoran Minderović, Belgrade: Pecat, 1983, 171 pp. (Serbo-Croatian)
A Doença como Metáfora , trans. Márcio Ramalho, Rio de Janeiro: Graal: 1984, 108 pp, PDF , IA . (Brazilian Portuguese)
Bir metafor olarak hastalik , trans. Ismail Murat, Istanbul: Bilim/Felsefe/Sanat, 1988. (Turkish)
Boala ca metaforă. SIDA şi metaforele sale , trans., pref. & chronology Aurel Sasu, Cluj-Napoca: Dacia, 1995, IA , ARG . (Romanian)
Boala ca metaforă. SIDA şi metaforele sale , trans. Bogdan Lepădatu, Bucharest: Vellant, 2015. (Romanian)

AIDS och dess metaforer , trans. Berit Skogsberg, Stockholm: Bromberg, 1988, 110 pp. (Swedish)
Aids en zijn beeldspraken , trans. A.Daalder-Neukircher, Baarn: Anthos, 1989, 110 pp. (Dutch)
AIDS e suas metáforas , trans. Paolo Henriques Britto, São Paulo: Companhia das Letras, 1989, 111 pp. (Brazilian Portuguese)
AIDS og dens metaforer , trans. John Theodor Thomsen, Århus: Klim, 1989, 100 pp. (Danish)
Aids und seine Metaphern , trans. Holger Fliessbach, Munich: Hanser, 1989, 100 pp. (German)
El SIDA y sus metáforas , trans. Mario Muchnik, Barcelona: Muchnik, 1989, 103 pp. (Spanish)
L’aids e le sue metafore , trans. Carmen Novella, Turin: Einaudi, 1989, 96 pp. (Italian)
Le sida et ses métaphores , trans. Brice Matthieussent, Paris: Christian Bourgeois, 1989, 123 pp. (French)
Az AIDS és metaforái , trans. Zsuzsa Rakovzky, Budapest: Európa Könyvkiadó, 1990. (Hungarian)
Eizu to sono in’yu , trans. Takao Tomiyama, Tokyo: Misuzu shobō, 1990, 152 pp. (Japanese)
La Enfermedad y Sus Metaforas y el Sida y Sus Metaforas , Barcelona: Taurus, 2003, PDF . (Spanish)
Sairaus vertauskuvana Aids ja sen vertauskuvat , trans. Osmo Saarinen, Helsinki: Love-kirjat, 1991. (Finnish)
In’yu to shite no yamai eizu to sono in’yu , trans. Takao Tomiyama, Tokyo: Misuzu shobō, 1992. 304 pp. (Japanese)
Malattia come metafora, Aids e cancro , trans. Ettore Capriolo and Carmen Novella, Turin: Einaudi Contemporanea, 1992. (Italian)
La maladie comme métaphore et Le sida et ses métaphores , trans. Marie-France de Paloméra and Brice Matthieussent, Paris: Christian Bourgois, 1993. 235 pp. (French)
Ziekte als metafoor; AIDS en zijn metaforen , trans. Gerard Grasman and A. Daalder-Neukircher, Baarn: Anthos, 1993, 218 pp. (Dutch)

Ante el dolor de los demás , trans. Aurelio Major, Madrid, 2004, ARG . (Spanish)
Widok cudzego cierpienia , trans. Sławomir Magala, Kraków: Karakter, 2010, 160 pp. [2] (Polish)
Privind la suferinţa celuilalt , trans. Laura Cruceru, Bucharest: Humanitas, 2011, 128 pp, PDF , IA , ARG . (Romanian)

Essay collections, lectures [ edit ]

Contro l’interpretazione , trans. Ettore Capriolo, Milan: Mondadori, 1967, 399 pp. (Italian)
Kunst und Antikunst: 24 literarische Analysen , trans. Mark W. Rien, Reinbek bei Hamburg: Rowohlt, 1968, 315 pp.; Munich: Hanser, 1980, 315 pp.; Frankfurt am Main: Fischer-Taschenbuch-Verlag, 1982,374 pp. (German)
L’oeuvre parle , trans. Guy Durand, Paris: Seuil, 1968, 340 pp. (French)
Contra la interpretation , trans. Javier González-Pueyo, Barcelona: Seix Barral, 1969, 358 pp. (Spanish)
Konst och antikonst , trans. Erik Sandin, Stockholm: Pan, Norstedt, 1969, 259 pp. (Swedish)
Tegen interpretatie: Essays , trans. P.H.H. Hawinkels, Antwerp and Utrecht: Bruna, 1969, 239 pp. (Dutch)
Han-kaishaku , trans. Yasunari Takahashi et al., Tokyo: Takeuchi shoten, 1971, 360 pp. (Japanese)
Interpretazioni tendenziose: Dodici temi culturali , trans. Ettore Capriolo, Turin: Einaudi, 1975, vii+337 pp. (Italian)
Contra la interpretación y otros ensayos , trans. Horacio Vásquez Rial, Filmography by Homero Alsina Thevenet, Barcelona: Seix Barral, 1984, 342 pp. (Spanish)
Contra a interpretação , trans. Ana Maria Capovilla, Porto Alegre, Brazil: L&PM Editores, 1986, 350 pp. (Portuguese)
Przeciw interpretacji i inne eseje , trans. Małgorzata Pasicka, Anna Skucińska and Dariusz Żukowski, Kraków: Karakter, 2012, 460 pp. [3] (Polish)
Împotriva interpretării , trans. Loreta Isac, Bucharest: Vellant, 2016, 360 p. [4] (Romanian)
Stilovi radikalne volge , trans. Mario Susko, Zagreb: Izabranih Eseja, 1971. (Serbo-Croatian)
Radikaruna ishi no sutairu , trans. Kyōichi Kawaguchi, Tokyo: Shōbunsha, 1974, 227 pp. (Japanese)
Interpretation tendenziose: Dodici temi culturali , trans. Ettore Capriolo, Turin: Einaudi, 1975, vii+337 pp. (Italian)
Estilos radicales: Ensayos , trans. Eduardo Goligorsky, Barcelona: Muchnik Editores, 1984; 1985, 292 pp. (Spanish)
A vontade radical: Estilos , trans. João Roberto Martins Filho, São Paulo: Companhia das Letras, 1987, 262 pp. (Portuguese)
Ich, etcetera: Erzählungen , trans. Marianne Frisch, Munich: Hanser, 1979, 258 pp.; Frankfurt am Main: Fischer-Taschenbuch-Verlag, 1982, 232 pp. (German)
Io, eccetera , trans. Stefania Bertola. Turin: Einaudi, 1980, 249 pp. (Italian)
Jag, etc. , trans. Harriet Alfons, Uppsala: Bromberg, 1980, 327 pp. (Swedish)
Watashi etosetora , trans. Akio Namekata, Tokyo: Shinchōsha, 1981, 274 pp. (Japanese)
Moi, etcetera , trans. Marie-France de Paloméra, Paris: Seuil, 1983, 283 pp. (French)
Yo, etcétera , trans. Eduardo Goligorsky, Barcelona: Seix Barral, 1983, 278 pp. (Spanish)
Ik, etcetera , trans. J.J. de Wit, Weesp: Agathon, 1985,323 pp. (Dutch)
Ja, i tako dalje , trans. Mladen Jovanovic, Nis: Gradina, 1985, 53 pp. (Serbo-Croatian)
Ben, vesaire , trans. Gökcin Taskin, Istanbul: Can Yayinlari, 1988. (Turkish)
I Saturnus tecken , trans. Eva Liljegren, Stockholm: Bromberg, 1981, 218 pp. (Swedish)
Bajo el signo de Saturno , trans. Juan Utrilla Trejo, Mexico, D.F.: Lasser Press Mexicana, 1981, 195 pp; Barcelona: Edhasa, 1987, 226 pp. (Spanish)
Im Zeichen des Saturn , trans. Werner Fuld et al., Munich: Hanser, 1981, 203 pp; Frankfurt am Main: Fischer-Taschenbuch-Verlag, 1983, 204 pp. (German)
Dosei no shirushi no moto ni , trans. Takao Tomiyama, Tokyo: Shōbunsha, 1982, 1983 240 pp. (Japanese)
Sotto il segno di Saturno , trans. Stefania Bertola, Turin: Giulio Einaudi, 1982, 165 pp. (Italian)
In het teken van Saturnus , trans. David Brisk, Weesp: Uitgeverij Villa, 1984, 267 pp. (Dutch)
Sous le signe de Saturne , trans. Philippe Blanchard et al., Paris: Seuil, 1985, 183 pp. (French)
Sob o signo de Saturno , trans. Ana Maria Capovilla and Albino Poli, Jr., Porto Alegre: L&PM, 1986, 152 pp. (Brazilian Portuguese)
Pod znakiem Saturna , trans. Dariusz Żukowski, Kraków: Karakter, 2014. [5] (Polish)
A Susan Sontag Reader , intro. Elizabeth Hardwick, New York: Farrar, Straus & Giroux, 1982, xv+446 pp.
Geist als Leidenschaft: Ausgewählte Essays zur modernen Kunst und Kultur , trans. Gertrud Baruch, Werner Fuld, and Mark W. Rien, ed. & afterw. Eva Manske, Leipzig: Gustav Kiepenheuer, 1989, 297 pp. (German)
Tradities van het nieuwe of: Moeten wij modern zijn? , trans. René Kurpershoek, Amsterdam: Uitgeverij Bert Bakker, 1990, 49 pp. Lecture held in Leiden, the Netherlands, in December 1989. (Dutch)
Where the Stress Falls: Essays , New York: Farrar, Straus & Giroux, 2001, 347 pp, ARG/epub .
Ao Mesmo Tempo , trans. Rubens Figueiredo, Sao Paolo: Companhia das Letras, 2012, PDF . [6] (Brazilian Portuguese)

Film books [ edit ]

Pornografien som forestillingsverden , trans. Aase Rørvik, Oslo: J.W. Cappelens, 1971, 59 pp.; 2d ed., 1991, 63 pp. (Norwegian)
A pusztulás képei , edited by Levente Osztovits, trans. Árpád Göncz et al., after. István Bart, Budapest: Európa Könyvkiadó, 1972, 333 pp. [A collection of essays] (Hungarian)
Brother Carl , New York: Farrar, Straus & Giroux; Toronto: Doubleday Canada, 1974, xvi+174 pp.

Plays [ edit ]

So leben wir jetzt , trans. Karin Graf, Zurich: Parkett/ Der Alltagg, 1991. (German)
"A Parsifal", in Trevor Fairbrother, Robert Wilson’s Vision , Boston: Museum of Fine Arts, and New York: Harry N. Abrams, 1991, pp 19-27.
Alice a letto , trans. Dauide Tortorella, Milan: Leonardo Mondadori Editore, 1991. (Italian)
Alice in Bed: A Play in Eight Scenes , New York: Farrar, Straus & Giroux, 1993; Harper Collins Canada, 1993, 117 pp.
Sanatci: Ornek bir cilekes , trans. Yurdanur Salman, Muge Gursoy, Zafer Aracagok, Istanbul: MY [Metis Yayinlari], 1991. (Turkish)

Diaries [ edit ]

Diários (1947-1963) , trans. Rubens Figueiredo, Sao Paulo: Companhia das Letras, 2009. [7] (Brazilian Portuguese)
Odrodzona. Dzienniki, tom 1, 1947–1963 , trans. Dariusz Żukowski, Kraków: Karakter, 2012, 384 pp. [8] (Polish)
Jak świadomość związana jest z ciałem. Dzienniki, t. 2 , trans. Dariusz Żukowski, Kraków: Karakter, 2013, 592 pp. [9] (Polish)
Ich schreibe, um herauszufinden, was ich denke: Tagebücher 1964-1980 , trans. Kathrin Razum, Carl Hanser, 2013. (German)
Diários II: (1964-1980) , trans. Rubens Figueiredo, Sao Paulo: Companhia das Letras, 2016, EPUB , ARG . [10] . (Brazilian Portuguese)

Edited books [ edit ]

A la rencontre d’Artaud , trans. Gérard H.Durand, Paris: Christian Bourgois, 1976, 123 pp. (French)
Antonan Aruto-ron , trans. Tsutomu Iwasaki, Kōbe: Kōbe Books, 1976, 105 pp. (Japanese)
Approximation a Artaud , trans. Francesc Parcerisas, Barcelona: Lumen, 1976, 68 pp. (Spanish)
Lihan estetiikka: Teatteri Artaud’n mukaan , trans. Riikka Stewen, Helsinki: Kustannus Oy Odessa, 1986, 94 pp. (Finnish)
L’écriture même: A propos de Barthes , trans. Philippe Blanchard and Susan Sontag, Paris: Christian Bourgois, 1982, 62 pp. (French)
Al-kitaba bid-datbi-sadad Barthes , trans. Mohammed Souirti, Casablanca: Afrique-Orient, 1987, 54 pp. (Arabic)

Articles, papers, chapters, reviews [ edit ]

Review of H.J.Kaplan, "The Plenipotentiaries", Chicago Review 5.1 (Winter 1950), pp. 49–50.
"History in the Drama", Supplement (Columbia Daily Spectator) , 18 Nov. 1960, pp. 3–4, 8. Review.
"Of Freud and the New Resurrection of the Flesh", Supplement (Columbia Daily Spectator) , 28 Apr. 1961, pp. 3–4.
"Some Notes on Antonioni and Others", Supplement (Columbia Daily Spectator) , 27 Oct. 1961, pp. 3–5. Published under the pseudonym of "Calvin Koff".
"Demons and Dreams", Partisan Review 29 (Summer 1962), pp. 460–463.
"Is the Reader Necessary?", Partisan Review 30 (Summer 1963), pp. 260–268.
"A Hero of Our Time", New York Review of Books , 28 Nov. 1963, pp. 6–8. Parts of this article becomes a new text "The Anthropologist as Hero" (1963), published in Claude Lévi-Strauss, The Anthropologist as Hero , ed. E. Nelson Hayes and Tanya Hayes, Cambridge: M.I.T. Press, 1970, pp. 184–96; repr. in Against Interpretation , London: Vintage, 1994, pp. 69-81. Review
"Spiritual Style in the Films of Robert Bresson", Seventh Art 2.3 (Summer 1964) pp. 2–7, 23–5. excerpts published in: Contemporary Literary Criticism , Vol. 16, ed. Sharon R.Gunton, Detroit: Gale Research, 1981, pp. 106-108.
"Going to Theater", Partisan Review 31 (Winter 1963), pp. 95–102.
"Going to Theater (and the Movies)", Partisan Review 31 (Spring 1964), pp. 284–93.
"Gedanken zu Hochhuths 'Der Stellvertreter'", trans. Mark W.Rien., in: Rolf Hochhuth: Eingriff in die Zeitgeschichte , ed. Walter Hinck, Reinbek bei Hamburg: Rowohlt Verlag, 1981, pp. 107-116. (German)
"Going to Theater, Etc.", Partisan Review 31 (Summer 1964), pp. 389–99.
"Camp", trans. Torsten Manns, Chaplin (Stockholm), No. 68 (1966), pp. 336–343. (Swedish)
"Notas sobre 'Camp'", Revista de accidente (Madrid), 2d sen, 14 (July, Aug., Sept. 1966), pp. 310–27. (Spanish)
"Anmerkungen zu 'Camp'". trans. Mark W. Rien, Akzente (Munich) 13 (Dec. 1966), pp. 501–521; repr. in Falsche Dokumente: Postmoderne Texte aus den USA , Leipzig: Reclam Verlag, 1993, pp. 109-130. (German)
"La sensibilité 'camp'", in Les U.S.A. à la recherche de leur identité: Rencontres avec 40 écrivains américans , ed. Pierre Dommergues, Paris: Bernard Grasset, 1967, pp. 88–95. (French)
"'Kyanpu' towa nanika", Paideia , No. 5 (1969), pp. 103–21. (Japanese)
"Notes on 'Camp'", in "Les États-Unis d’aujourd’hui par les textes", ed. Pierre Dommergues, Marianne Debousy, and Hélène Cixous, Paris: Librairie Armand Colin, 1969, pp. 188–192. (French)
"Notatki o kampie", trans. Wanda Wertenstein, Literatura na świecie (Warsaw) No. 9 (1979), pp. 307–23. (Polish)
"On Godard’s 'Vivre Sa Vie'", Moviegoer , no. 2 (Summer-Autumn 1964), pp. 2–10; repr. in. Jean-Luc Godard, ed. Toby Mussman, New York: E.P. Dutton & Co., 1968, pp. 87-99.
"Imod fortolkning", trans. Erik Wiedemann, Vindrosen (Copenhagen) No. 4 (Aug. 1966), pp. 13–23. (Danish)
"Contrainterpretación", Mundo nuevo (Paris) No. 7 (Jan. 1967), pp. 75–80. (Spanish)
"Przeciw interpretacji", trans. Maria Olejniczak, Literatura na świecie (Warsaw) no. 9 (1979), pp. 292–305. (Polish)
"Pret interpretāciju", trans. Sandra Rutmane, Kentaurs XXI (Riga) no. 2 (1992), pp. 66–75. (Latvian)
"Protiv interpretatsii", trans. V. Golysheva, Inostrannaia literatura (Moscow) No. 1 (1992), pp. 212–216. (Russian)
"Marat-Sade-Artaud", trans. Ettore Capriolo, Teatro Milano , no. 1 (Spring 1967). (Italian)
"En kultur och den nya sensibiliteten", trans. Leif Zern, BLM (Stockholm) nr. 35 (Oct. 1966), pp. 609–613. (Swedish)
"Kultura a nový způsob vnímání", trans. Ivana Doležalová, Světová literatura (Prague) no. 6 (1985), pp. 41–46. (Czech)
"O stilu", trans. Vesna Gaspari, Delo (Belgrade) no. 30 (Oct. 1984), pp. 75–97. (Serbo-Croatian)
"Za Stila", trans. Hristina Kochemidova, S’vremennik , No. 1 (1989), pp. 360–73. (Bulgarian)
"Tuhon fantasiat", trans. Pentti Lumirae, in: Uuteen elokuvaan , ed. Peter Von Bagh, Porvoo: Werner Söderström Osakeyhtiö, 1967, pp. 49-65.
"Obraz zagłady", trans. Maja Gottesman, Kultura (Warsaw) no. 27 (2 July 1978), p. 14. (Polish)
"Burroughs y el futuro de la novela", Mundo nuevo (Paris) no. 23 (May 1968), pp. 27–33. (Spanish)
"Film and Theatre", The Tulane Drama Review 11:1 (Autumn 1966), pp 24-37, PDF ; repr. in Perspectives on the Study of Film , ed. John Stuart Katz, Boston: Little, Brown, & Co., 1971, pp. 73-90.
"Carta del congreso del Pen Club", Dialogos (Mexico), Jan.–Feb. 1966, pp 30–32. (Spanish)
"What’s Happening to America (A Symposium)", Partisan Review 34 (Winter 1967), pp 13–82.
"La imagination pornográfica", Revista de Occidente (Madrid), 2d ser., 19 (Oct. 1967), pp 14–32. (Spanish)
"L’immaginazione pornografica", trans. Ettore Capriolo, Paragone (Florence), n.s., No. 34 (Dec. 1967), pp 37–73. (Italian)
"De pornografishe verbeelding", trans. Theodoor van Vliet, RAAM (Utrecht) No. 41 (Jan. 1968), pp 32–57. (Danish)
"Die pornographische Phantasie I.", trans. Mark W.Rien, Akzente (Munich) 15 (Feb. 1968), pp 77–95. (German)
"Die pornographische Phantasie II.", trans. Mark W.Rien, Akzente (Munich) 15 (Apr. 1968), pp 169–90. (German)
"Pornografin som litteratur", trans. Erik Sandin, BLM (Stockholm) 37 (Apr. 1968), pp 252–69. (Swedish)
"Wyobraźnia pornograficzna", trans. Ignacy Sieradzki, Teksty (Warsaw) No. 2 (1974), pp 36–58. (Polish)
"Sade y Bataille", trans. Rafael Vargas, Revista de la Universidad de Mexico , no. 32.3–4 (Nov.-Dec. 1977), pp 86–8. (Spanish)
"La imaginació pornogràfica", trans. Enric Sullà, Els marges (Barcelona) No. 21 (1981), pp 3–25. (Spanish)
"Pornografin som litteratur", trans. Erik Sandin, In : Georges Bataille, Ögats historia , Stockholm: Alba, 1983, pp 87-140. (Swedish)
"Ima li pornografsko v’obrazhenie?", trans. Dimit’r Zlatarev, ABV , No. 51 (Dec. 19, 1989), p. 8. Only paragraphs excerpted (Bulgarian)
"Pornografická fantasie", trans. Alena Smutná, Vokno , No. 22 (1991), pp 76–82. (Czech)
"Pornografická fantasie: II. část", trans. Alena Smutná, Vokno , No. 23 (1991), pp 83–6. (Czech)
"Persona: The Film in Depth", In: Ingmar Bergman: Essays in Criticism , ed. Stuart M. Kaminsky, New York: Oxford Univ. Press, 1975, pp 253-69; repr. in: Great Film Directors , ed. Leo Braudy and Morris Dickstein, 78–86, New York: Oxford Univ. Press, 1978, pp 78-86; repr. in: Contemporary Literary Criticism , Vol. 16, ed. Sharon R. Gunton, Detroit: Gale Research, 1981, pp 56-7. Excerpts.
"Tolscha filma", trans. Nikolai Paltsev, Iskusstvo kino (Moscow) No. 8 (1991), pp 150–5. (Russian)
¡Viva Che!: Contributions in Tribute to Ernesto ‘Che’ Guevara , ed. Marianne Alexandre, London: Lorrimer, 1968, pp 106-10. Untitled contribution.
"Chi è Jean Luc Godard?: Due o tre cose che so di lui", La fiera letteraria (Rome), 28 Nov. 1968, pp 16–8. (Italian)
"Chi è Jean Luc Godard?: Flaubert e Proust non sanno raccontare", La fiera letteraria (Rome), 5 Dec. 1968, pp 16–8. (Italian)
"Chi è Jean Luc Godard?: Tutto si svolge nel presente", La fiera letteraria (Rome), 12 Dec. 1968, pp 19–20. (Italian)
"El cine de Godard", trans. Edgardo Cozarinsky, Sur (Buenos Aires) Nos. 316–317 (Jan.–Apr. 1969), pp 125–41. (Spanish)
"Mott ett nytt kulterbegrepp", trans. Lars Helander, BLM (Stockholm) 37 (May–June 1968), pp 351–3. (Swedish)
"Trip to Hanoi: Notes on the Enemy Camp", Esquire, Dec. 1968, 131–41, 287–90; repr. as "Trip to Hanoi", In: Journeys: Autobiographical Writings by Women , ed. Mary Grimley Mason and Carol Hurd Green, Boston: G.K.Hall & Co., 1979, pp. 225-8.
"Enkelegedachten over de juste manier om van de Cubaanse revolutie te houden (1): De Cubanen zijn minder erotisch geworden", Vrij Nederland (Amsterdam), 19 July 1969, p 13. (Swedish)
"Carta de Suecia", Revista de occidente (Madrid), 2d ser., 28 (Feb. 1970), pp 169–212. (Spanish)
"Ein Brief aus Schweden", trans. Ellen Lindemann, Monat (Hamburg), Apr. 1970, pp 62–81. (German)
"Ein Brief aus Schweden (II.)", trans. Ellen Lindemann, Monat (Hamburg), May 1970, pp 98–106. (German)
"Primitivism", In: Encyclopaedia Britannica , Vol. 18, Chicago: Encyclopaedia Britannica, 1970, pp 531-2. Article where she distinguishes "chronological" from "cultural" primitivism.
"Réflections sur la libération des femmes (réponses à un questionnaire)", trans. Gérard Durand, Les temps modernes , no. 29 (Dec. 1972), pp 907–44.
"The Third World of Women", Partisan Review 40 (Summer 1973), pp 181–206.
"Manner als Kolonialherren Frauen als Eingeborene: Zur Struktur des Sexismus", trans. Alice Schwarzer, Neues Forum (Vienna), Mar. 1973, pp 31–3. (German)
"Entrevista a Susan Sontag", In: El feminismo: Nuevos conceptos , ed. Ana Fernández et al., Medellín, Colombia: Ediciones Hombre Nuevo, n.d. [1975?], pp. 17-56. (Spanish)
"En memoria de Paul Goodman", trans. Flora Botton Burlá, Plural (Mexico, D.F) 2.6 (Feb. 1973), pp 10–1. (Spanish)
"The Double Standard of Aging", Saturday Review , 23 Sept. 1972, pp 29–38.
"Have You Lied About Your Age Today?", Nova (London), Sept. 1973, pp 40–8.
"Las mujeres: Un doble patrón para envejecer", trans. Sara Sefchovich, Fem. (Mexico, D.F.) 6.24 (Aug.–Sept. 1982), pp 10–20. (Spanish)
"Puraton no doukutsude", trans. K. Kondou, Trends 45 (1979), pp 8–14. (Japanese)
"Susan Sontag: Un traité sur la ‘philosophie’ de la photo", Photo (Paris), No. 142 (July 1979), pp 100–2, 104 and Photo (Paris), No. 143 (Aug. 1979), pp 17–9, 112–4. (French)
"La photographie", trans. Gérard-Henri Durand and Guy Durand, Lire magazine (Paris), No. 49 (Sept. 1979), pp 117–26. (French)
"Att fotografera", trans. Lena Johannesson, In: Folklig och kommersiell konst: En antologi , ed. Bengt Jacobsson et al., Stockholm: Norstedt, 1980, pp 142-50. (Swedish)
"O fotografii", trans. Sławomir Magala, Odra (Warsaw) No. 7–8 (July–Aug. 1981), pp 36–9. (Polish)
"Narkomani obrazu", trans. Sławomir Magala, Fotografia (Warsaw) No. 2 (1983), pp 1–3. Excerpts. (Polish)
"Sobre la fotografia", APSI (Santiago) No. 281 (1988), p xiv. (Spanish)
"Amerika im Spiegel von Photographien, dunkel", trans. Hans-Horst Henschen, Akzente (Munich) 23 (Dec. 1976), pp 556–75. (German)
"Ameryka wyłania się z wolna zza fotograffi", trans. Sławomir Magala, Miesięcznik literacki (Warsaw), No. 9 (Sept. 1983), pp 79–88. (Polish)
"Shooting America", Annotated as "Melancholy Objects", New York Review of Books , volume 21, No. 6 (18 April 1974), pp 17–24, HTML ; repr. as ch 5 in On Photography , 1977, pp 51-82; reprint in Time magazine, 26 Dec. 1977, p. 66. Excerpt; reprint In: Jonathan Green, American Photography: A Critical History 1945 to the Present , New York: Harry N. Abrams, 1984, p. 192.
"People Are Talking about…(“Susan Sontag Tells How It Feels to Make a Movie”)", Vogue magazine, July 1974, No. 84, pp 118–9.
with David Rieff, "Notes on Optimism", Vogue magazine, Jan. 1975, No. 100, p 148, p 154.
"Verzückt von den Primitiven: Leni Riefenstahl und die bleibende Faszination faschistischer Kunst", trans. Mark W. Rien, Die Zeit (Hamburg), 2 May 1975, pp 17–8. Excerpts. (German)
"Verzückt von den Primitiven (II): Der Ekstase der Gemeinschaft: Leni Riefenstahl oder die anhaltende Faszination faschistischer Kunst", rtans. (Ger.) Mark W. Rien, Die Zeit (Hamburg), 9 May 1975, pp 22–3. Excerpts. (German)
"La fascinación del fascismo", Nueva politica (Mexico, D.F.), No. 1 (Jan.–Mar. 1976), pp 261–81. (Spanish)
"Fascination du fascisme", trans. Robert Louit, Magazine littéraire (Paris), No. 120 (Jan. 1977), pp 70–4. (French)
"Fascynujący faszyzm", trans. Sławomir Magala, Pismo literacko-artystyczne (Krakow), No. 4 (1984), pp 142–9. Excerpts. (Polish)
"Magicheskij fascism", trans. N. Tzirkin, Iskusstvo kino (Moscow), No. 6 (1991), pp 50–7. (Russian)
"Fascinující fašismus", trans. Martin Weiss, Revolver revue (Prague), No. 20 (1992), pp 192–217. (Czech)
"Heroizm widzenia", trans. Sławomir Magala, Fotografia (Warsaw) No. 1 (1982), pp 1–3. (Polish)
"Photography Unlimited", The New York Review of Books , volume 24, No. 11 (23 June 1977), pp 26– 31; repr. as "The Image-World", ch 6 in Sontag, On Photography , 1977; 1978, pp. 153-180, PDF . Review
"A Note on Bunraku", The Threepenny Review 16 (1984).
"Ein Raum ohne Zweitracht", Zeit Magazin (Hamburg), 25 Dec. 1987, pp 10, 12, 38–9. (German)
"De genoegens van het beeld", trans. Bab Westerveld, In Gezicht op het Mauritshuis: Poëtische visies op een uitzonderlijk museum , ed. H.R. Hoetink, The Hague: Meulenhoff/Landshoff, 1989, pp 130-9. (Danish)
"Ein Raum ohne Zwietracht", In: Zeit-Museum der 100 Bilder , ed. Fritz J. Raddatz, Frankfurt am Main: Insel Verlag, 1989, pp 32-42. (German)
"In Conclusion...", East-West Film Journal 2:1 (December 1987), pp 93-106.
"Los fluidos de Wagner", trans. Jorge Ortiz Barili, La Natión (Buenos Aires), 24 Jan. 1988, sec. 4a, pp 1–2. (Spanish)
"Los fluidos en Wagner", trans. Raúl Ortiz, Vuelta (Mexico, D.F.) 12.141 (Aug. 1988), pp 22–7. (Spanish)
"Wagner’s Fluids", In: Les Symbolistes et Richard Wagner/Die Symbolisten und Richard Wagner , ed. Wolfgang Storch and Josef Mackert, Berlin: Edition Hentrich, 1991, pp 89-94. (English) / (German)
"Wagner und das Flüssige", trans. Guntram Weber, In: Die Symbolisten und Richard Wagner: Übersetzung der fremdsprachigen Texte , Berlin: Edition Hentrich, 1991, pp 20-4. (German)
"Wagners Flüssigkeiten: Neuschöpfung des Erhabenen—Letalität des Lyrischen", trans. Martin Hielscher, Lettre international (Berlin) No. 21 (Summer 1993), pp 77–80. (German)
"Pilgrimsfard", trans. (Swed.) Jan Söderqvist, Allt om böcker [Stockholm?], No. 4 (1988), pp 10–4, 56–60. (Swedish)
"Tōmasu Man ni atta hi: Watashi no sekai bungaku nyūmon", trans. Takao Tomiyama, Subaru (Tokyo), 10, 4 (Apr. 1988), pp 134–51. (Japanese)
"Pellegrinaggio", Lettera internationale (Rome), 4.17 (Summer/July–Aug., 1988), pp 27–33. (Italian)
"Peregrinatión", trans. C. Scavino, El País Semanal (Madrid), 18 Sept. 1988, pp 2–15. (Spanish)
"Wallfahrt", trans. Wulf Teichmann, Akzente (Munich), No. 6 (Dec. 1988), pp 523–46. (German)
"Na poklonenie", trans. Nevyana Nikolova, Panorama , No. 2 (1989), pp 31–46. (Bulgarian)
"Peregrinación", trans. Jesús Cabanillas, El Paseante (Madrid), No. 13 (1989), pp 40–51. (Spanish)
"Wallfahrt", trans. Wulf Teichmann, Neue deutsche Literatur (Berlin), 37.4 (Apr. 1989), pp 149–70. (German)
"Zarándokút", trans. Mária Borbás, Nagyvilág (Budapest), 34 (Dec. 1989), pp 1760–76. (Hungarian)
"Pielgrzymka", trans. Teresa Truszkowska, Zeszyty literackie (Paris), No. 34 (Spring 1991), pp 31–50. (Polish)
"Pèlerinage", trans. Dominique Rueff, La règle du jeu (Paris), Aug. 1991, pp 96–123. (French)
"Noch eine Elegie", trans. Marianne Frisch, In: Literaturmagazin (Hamburg), No. 22 (1988), pp 131–6. (German)
"Elegie auf Europa: Gegenwart und Zukunft einer Idee", Frankfurter Allgemeine , 28 May 1988, p 27. (German)
"Susan Sontag om Europa som idé: Det borde vara fullständigt misskrediterat", trans. Maria Ekman, Dagens Nyheter (Stockholm), 30 Nov. 1988, “Kultur” sec., 4. (Swedish)
"La noción de Europa (una elegía más)", trans. Jorge Ortiz Barili, La Nación (Buenos Aires), 11 Dec. 1988, sec. 4a, pp 1–2. (Spanish)
"L’idée d’Europe (une élégie de plus)", trans. Anne Dominique Balmès, Les temps modernes , no. 44 (Jan. 1989), pp 77–82. (French)
"Jeszcze jedna elegia", trans. Jan Zieliński, Res Publica (Warsaw), 3.6 (June 1989), pp 6–8. (Polish)
"Europa: Noch ein Elegie", In: Im Osten erwacht die Geschichte: Essays zur Revolution in Mittel- und Osteuropa , ed. Frank Schirrmacher, Stuttgart: Deutsche Verlags-Anstalt, 1990, pp 13–8. (German)
"Evropa: Još jedna elegija", trans. Ranko Sladojević, Radio-Sarajevo-treći program (Sarajevo), No. 68–69 (1990), pp 297–9. (Serbo-Croatian)
"Aids—sjukdomen ingen vill ha men samhället behöver", trans. Berit Skogsberg, Dagens Nyheter (Stockholm), 23 Oct. 1988, pp 42–3. (Swedish)
"Metafory AIDS", trans. Mieczysław Orski, Odra (Warsaw), No. 4 (1989), pp 24–9. (Polish)
"AIDS v metaforách", [trans. Alena Jindrová-Spilarová], Lettre internationale (Prague), No. 2 (Spring 1991), pp 34–41. (Czech)
"AIDS i njegove metafore", trans. Senada Kreso, Odjek (Sarajevo), July 1993, pp 4–5. (Serbo-Croatian)
"Godot in Sarajevo: Eine Theaterinszenierung unter dem Belagerungszustand", Lettre international (Berlin) (Winter 1993), pp 4–9. (German)
"Beckett en Bosnie (1): En attendant Godot à Sarajevo", trans. Pierre Alien, Libération (Paris), 2 Nov. 1993, pp 39–40. (French)
"Beckett en Bosnie (2): Auditions à Sarajevo", trans. Pierre Alien, Libération (Paris), 3 Nov. 1993, p 48. (French)
"Beckett en Bosnie (3): Un détour par la bougie la plus proche", trans. Pierre Allen, Libération (Paris), 4 Nov. 1993, p 42. (French)
"Beckett en Bosnie (4): Pas de corde pour Pozzo", trans. Pierre Allen, Libération (Paris), 5 Nov. 1993, p. 37. (French)
"Beckett en Bosnie (fin): L’endroit le plus réel du monde", trans. Pierre Allen, Libération (Paris), 5–7 Nov. 1993, p 33. (French)
"Godot arriva a Sarajevo", trans. Rosa Rita D’Acquarica, La rivista dei libri (Milan), No. 3.12 (Dec. 1993): supplement pp 1–7. (Italian)
"The Decay of Cinema" , New York Times , 1996.
"Why are we in Kosovo?" , New York Times Magazine , 2 May 1999.
"A Photograph is not an Opinion. Or is it?" , Women exposition by Leibovitz, Corcoran Gallery in Washington, DC, 1999. 1999, catalogue ”essay”, [11] .
"Pop, the Aesthetics of Silence, and the New Sensibility" (chapter 7), in Sylvia Harrison, Pop art and the origins of post-modernism , Cambridge University Press, 2001, pp 171-207, PDF , IA .
"Looking at War" , The New Yorker , 9 Dec 2002, pp 82-98.
"Regarding the torture of others" , New York Times , 23 May 2004, p 24, HTML .
"At the same time... (the novelist and moral reasoning)" , English Studies in Africa 48:1 (2005), pp 5-17.
"An argument about beauty" , Dædalus (Fall 2005), pp 208-213.

Bibliographies [ edit ]

Leland A. Poague, Kathy A. Parsons, Susan Sontag: An Annotated Bibliography, 1948-1992 , Garland Publishing, 2000, 445 pp.
in Chris Murray (ed.), Key Writers on Art: The Twentieth Century , Routledge, 2002.

Interviews [ edit ]

Evans Chan, "Against Postmodernism, etcetera--A Conversation with Susan Sontag" , Postmodern Culture , 2001
"Art and Consciousness" (Susan Sontag interviewed by Bonnie Marranca and Gautam Dasgupta), Performing Arts Journal", 80 (2005):1–9.
Myśl to forma odczuwania , trans. Dariusz Żukowski, Kraków: Karakter, 2014, 160 pp. [12] (Polish)

Films and Recordings [ edit ]

The Original Read-In for Peace in Vietnam , compiled by Rosalind Wells and Louis Menashe, Broadside Records, 1967. L.P. record.
Duett för kannibaler / Duet for Cannibals , Feature Film, Black and White, English Subtitles, 106 minutes. Writer/Director: Susan Sontag, Producer: Göran Lindgren, Produced by Sandrew Film & Teater AB, Sweden, 1969.
"Spotlight on Susan Sontag: A ‘Modern’ Critic Discusses Literature and the Ascendancy of Films", 56 minutes. with Edwin Newman, Motivational Programming Corp., Tucson, AZ, 1969 [1970]. Audiocassette.
"Ideas and Visions", Two Audiocassettes, 118 minutes, Round table discussion with Murray Bookchin, Ti-Grace Atkinson, Allen Ginsberg, Susan Sontag. Los Angeles: Pacifica Tape Library, 1970 [or 1977]. (Held in the California Polytechnic State University library).
Brother Carl . Feature Film, Black and White, 97 minutes. Writer/Director: Susan Sontag, Executive Producer: Göran Lindgren, Production Manager: Peter Hald, Produced by Sandrew Film & Teater AB and Svenska Filminstitutet, Sweden, 1971.
Susan Sontag , Audiocassette, 59 minutes. [Canadian Broadcasting Corp. "Ideas" program. With: David McPherson.] Center for Cassette Studies, North Hollywood, CA. n.d. [cca. 1971].
Promised Lands , Documentary Film, Color, 87 minutes. Writer/Director: Susan Sontag, Assistant Director: David Rieff, New Yorker Films, New York, 1974.
Marxism Today , Audiocassette, 55 minutes. With: Susan Sontag, Michael Harrington, Robert Nesbitt. Center for Cassette Studies, 1975.
Agnes Varda and Susan Sontag: Lions and Cannibals , Videocassette, Color, 27 minutes. Host: Jim McAndrew, for "Camera Three", Producer/Director: Merrill Brockway, Writer: Stephan Chodorov. With: Susan Sontag, Agnès Varda, Jack Kroll. Creative Arts Television Archive, Kent, CT, 1977.
Illness as Metaphor: Susan Sontag Discusses Her Latest Book , Audiocassette, 60 minutes. With Heywood Hale Broun. Center for Cassette Studies, North Hollywood, CA, n.d. [cca. 1978].
In Dark Places: Remembering the Holocaust , Documentary Film, Color, 58 minutes. Director: Gina Blumenfeld, Editing: Sara Fishko, Cinematography: Affonso Beato, Fred Goodich, Judy Irola. With: Armand Volkas, Glenn Benest, Alan Kanter, Lisa Kanter, Peter Mann, Anna Mindess, Dev Rosenblatt, Andy Rothstein (The New Artef Players). Phoenix Films, 1978.
Susan Sontag on Photography , Audiocassette, 59 minutes. Washington, D.C.: National Public Radio, Options II, 1978.
Debriefing: A Reading by Susan Sontag , Stereo L.P., 36 minutes. Tanam Press, New York, 1979.
La Spirale / Spiral , Videocassette Documentary, 145 minutes. Directors: Armand Matellart, Jacqueline Meppiel, Valérie Mayoux, with Chris Marker , Silvio Tendler, Pierre Flament. With: Susan Sontag and Donald Sutherland. A Les Films Molière release of a Films Molière-Reggane Films-Seuil Audiovisuel production, Paris, 1975. Released on video by Idera, Vancouver, BC. n.d. [1979].
Town Bloody Hall , Documentary Film, Color, 88 minutes. Directors: D.A. Pennebaker, Chris Hegedus, Producer: D.A. Pennebaker, Associate, Producer: Shirley Broughton. With: Norman Mailer, Germaine Greer, Diana Trilling, Jacqueline Ceballos, Jill Johnston [and Susan Sontag, in the audience]. Produced by Pennebaker Inc., 1980.
Writer’s Workshop: Susan Sontag , Videocassette, Color, 29 minutes. Executive Producer: Tom Stepp, Producer: William Price Fox, Director: Dave Smalley, Host: George Plimpton. University of South Carolina/South Carolina ETV Network, 1982.
On Paul Goodman , Audiocassette, 29 minutes. Interviewer and Executive Editor: David Ray. New Letters on the Air: Contemporary Writers on Radio, Univerity of Missouri, Kansas City, Oct. 1982.
Shadows from Light , Documentary Film, 60 minutes. Director: Stephen Dwoskin, Narrator: Susan Sontag. BBC Channel 4. [cca. 1983].
Unguided Tour , Feature Film, Color, 72 minutes. Writer/Director (from her short story): Susan Sontag, Producer: Giovannella Zannoni. Produced by Lunga Cittata Cooperative, RAI channel 3, [Italy] 1983.

Literature [ edit ]

Essays [ edit ].

Toback, James, "Whatever You'd Like Susan Sontag to Think, She doesn't", Esquire 70 (1968), pp 58-61.
Sohnya Sayres, "Susan Sontag and the Practice of Modernism" , American Literary History 1:3 (Autumn 1989), pp 593-611.
Steven Drukman, "Notes on Fornes (with Apologies to Susan Sontag)", American Theatre 17:7 (2000), p 36.
Barbara Clow, "Who's Afraid of Susan Sontag? or, the Myths and Metaphors of Cancer Reconsidered" , Social History of Medicine 14:2 (2001), pp 293-312.
Sarah Parsons, "Sontag’s Lament: Emotion, Ethics, and Photography" , Photography & Culture 2:3 (Nov 2009), pp 289-302.

Books [ edit ]

David Rieff, Swimming in a Sea of Death: A Son's Memoir , London: Granta, 2009.
Phillip Lopate, Notes on Sontag , Princeton University Press, 2009, PDF , ARG .
Daniel Schreiber, Susan Sontag. A Biography , trans. David Dollenmayer, Chicago: Northwestern University Press, 2014. [14]
Jerome Boyd Maunsell, Susan Sontag , London: Reaktion Books, 2014, ARG .
Sigrid Nunez, Sempre Susan: A Memoir of Susan Sontag , Atlas & Co., 2014, 144 pp.

Documentaries [ edit ]

Regarding Susan Sontag , dir. Nancy D. Kates, 100 min, 2014. [15] , [16]

Links [ edit ]

http://www.gettyimages.no/editorial/susan-sontag-pictures?page=2
http://www.susansontag.com/SusanSontag/archive.shtml
http://unitproj.library.ucla.edu/special/sontag/sontag.htm
http://edulibs.org/susan-sontag/

Featured articles

Susan Sontag

Major works: “Notes on Camp” • Against Interpretation • “Fascinating Fascism” • On Photography • Illness as Metaphor • The Volcano Lover • Regarding the Pain of Others

On Photography

The final reason for the need to photograph everything lies in the very logic of consumption itself. To consume means to burn, to use up—and, therefore, to need to be replenished. As we make images and consume them, we need still more images; and still more. But images are not a treasure for which the world must be ransacked; they are precisely whatever is at hand wherever the eye falls. The possession of a camera can inspire something akin to lust. And like all credible forms of lust, it cannot be satisfied: first, because the possibilities of photography are infinite; and, second, because the project is finally self-devouring. The attempts by photographers to bolster up a depleted sense of reality contribute to the depletion. Our oppressive sense of the transience of everything is more acute since cameras gave us the means to “fix” the fleeting moment. We consume images at an ever faster rate, and, as Balzac suspected cameras used up layers of the body, images consume reality. Cameras are the antidote and the disease, a means of appropriating reality and a means of making it obsolete.

A champion of America’s great writers and timeless works, Library of America guides readers in finding and exploring the exceptional writing that reflects the nation’s history and culture.

Benefits of Using Safe Crypto Casinos. One of the most captivating reasons people drift towards Australian casinos online-casino-au com is the promise of anonymity. Safe platforms guarantee that your identity remains a secret. Quick Payouts and Minimal Fees. No one likes waiting, especially for winnings. Safe crypto casinos ensure that payouts are swift and the fees minimal, if not non-existent.

With contributions from donors, Library of America preserves and celebrates a vital part of our cultural heritage for generations to come. Ozwin Casino offers an exciting array of top-notch slots that cater to every player's preferences. From classic fruit machines to cutting-edge video slots, Ozwin Casino Real Money collection has it all. With stunning graphics, immersive themes, and seamless gameplay, these slots deliver an unparalleled gaming experience. Some popular titles include Mega Moolah, Gonzo's Quest, and Starburst, known for their massive jackpots and thrilling bonus features. Ozwin Casino's slots are not just about luck; they offer hours of entertainment and the chance to win big, making it a must-visit for slot enthusiasts.

Misunderstanding Susan Sontag

Her beauty and celebrity eclipse the real source of her allure—her commitment to aesthetic self-discipline.

“T o experience a thing as beautiful means: to experience it necessarily wrongly,” Friedrich Nietzsche wrote in The Will to Power . It is a line that Susan Sontag quotes toward the end of her 1977 essay collection, On Photography , about how photographs aestheticize misery. It is a line that Sontag’s authorized biographer, Benjamin Moser, quotes to describe Sontag’s susceptibility to beautiful, but punishing, lovers. And it is a line that I am quoting to summarize how Moser’s monumental and stylish biography, Sontag: Her Life and Work , fails its subject—a woman whose beauty, and the sex appeal and celebrity that went along with it, Moser insists upon to the point of occluding what makes her so deeply interesting.

The fascination of Sontag lies in her endurance as a cultural icon, the model of how a woman should think and write in public, even though her thinking and writing weren’t very rigorous. What is intriguing about Sontag is less who she was than how we understand our desire for her, or someone like her, to occupy a rare position in American literary culture: that of a dark-haired, dark-eyed, apparently invulnerable woman capable of transforming intellectual seriousness into an erotic spectacle. What need does such a presence and performance satisfy?

Sontag herself was wary of the impulse to anoint. In her 1975 essay “A Woman’s Beauty: Put-Down or Power Source?” she argues that conceiving of a woman’s beauty as antithetical to her other virtues makes beauty morally suspect: “We not only split off—with the greatest facility—the ‘inside’ (character, intellect) from the ‘outside’ (looks); but we are actually surprised when someone who is beautiful is also intelligent, talented, good.” The power of beauty is self-negating, Sontag warns. It is a “power … always conceived in relation to men; it is not the power to do but the power to attract.” We need “some critical distance” from beauty if we are to avoid the “crude trap” of treating a woman’s self-presentation as separable from, and opposed to, her interior self.

One imagines that Sontag would have been dismayed to see her biographer adopting exactly these dichotomies to frame her life and work. “Susan Sontag was America’s last great literary star,” Moser proclaims in his introduction. “She was incongruous: a beautiful young woman who was intimidatingly learned.” In public she was “The Dark Lady of American Letters.” (The title was, in fact, originally given by Norman Podhoretz to Mary McCarthy, who upon meeting Sontag was said to have remarked, “Oh, you’re the imitation me.”) In private she was “Miss Librarian,” Sontag’s name for her studious self. “The camera-ready version of Susan Sontag would always remain at odds with Miss Librarian,” Moser continues. “Never, perhaps, had a great beauty worked less hard at being beautiful. She often expressed her astonishment at encountering the glamorous woman in the photographs.”

Sontag: Her Life and Work assumes this same attitude of astonishment as Moser sets out to measure the distance between “the individual” who was Sontag—brilliant, studious, insensitive, dishonest, ashamed of her sexuality, a glutton for emotional pain—and “the representation of the individual” that became Sontag, the “Sibyl of Manhattan.” For Sontag, Moser argues, the gap between “a thing and its symbol,” between metaphor and reality, was “a matter of life and death.”

Her life began ordinarily enough, on the West Side of Manhattan in the winter of 1933. She was born Susan Lee Rosenblatt, daughter of Mildred, a vain and cruel alcoholic, and Jack, a tubercular fur salesman who died when Sue was 5. She was a precocious and lonely child. Her friends were her books: Madame Curie , Les Misérables , The Sorrows of Young Werther , Martin Eden . Her mother, who was intimidated by Sue’s intelligence, dragged her and her sister, Judith, from New York to Miami Beach to Tucson—where Mildred met and married an Army pilot named Nat Sontag—and finally to Los Angeles in 1946. “Sue, if you read so much you’ll never find a husband,” her stepfather warned her. But Sue didn’t listen.

At 16, Sontag left home for UC Berkeley. There she discovered Djuna Barnes’s tale of lesbian desire and despair, Nightwood , and, while browsing at a bookstore, met the woman who would be her on-again, off-again lover for the next decade, Harriet Sohmers. (“Have you read Nightwood ?” was Sohmers’s excellent pickup line.) Sontag was unnerved by her attraction to women, determined to “force” herself “to have sex with men,” she wrote in her diary. When she transferred to the University of Chicago at the end of the academic year, “her kind of beauty found fervent admirers,” Moser writes. She began working as a research assistant for a young economics professor named Philip Rieff, whom she married after one week of diligent note-taking. (“Don’t laugh! he’s not handsome,” she told her mother.) While pregnant with their son, David, she began co-writing Rieff’s first book, Freud: The Mind of the Moralist. Rieff (who did not credit her) got a job at Brandeis University, and in the fall of 1952, they moved east. Two years later, she began graduate school in English at Harvard.

Sontag grew to hate marriage and Harvard, so she left them both, as well as her son, to study philosophy at the University of Oxford, which she also hated. (“There is a type—the male virgin—lots of them in England,” she complained. Also, the weather was bad.) When she left “boring Oxford” in 1957, first for France, then for New York, she embarked on the most productive period of her life. New Left publications like The New York Review of Books and The Partisan Review championed her. In 1963, she published her first novel, The Benefactor , and one year later “Notes on ‘Camp,’ ” a list of playful, exhilarating observations about camp as a sensibility, and its “love of the unnatural: of artifice and exaggeration.” The essay landed her in Time magazine, where she was identified as “one of Manhattan’s brightest young intellectuals,” transforming her from a mere essayist into “a midcult commodity,” according to Nora Ephron. “Notes on ‘Camp’ ” was followed, in rapid succession, by Against Interpretation (1966), Death Kit (1967), and Styles of Radical Will (1969), all published before her 37th birthday.

But the more Sontag wrote, the more she fretted about writing. Periods of intense productivity were interspersed with periods of “lacerating insecurities,” Moser writes. After expressing disdain for the “exclusiveness, the possessiveness of marriage,” she spent the 1960s and ’70s in a series of devastating entanglements with women: a downtown party girl, a European duchess, a modern dancer, a filmmaker. “There is something Olympian about her sex life,” Moser opines. “How many American women of her generation had lovers, male and female, as numerous, beautiful, and prominent?” Her affairs left her in childlike states of bewilderment, shattered and sleepless. Overly possessive of her son, she “groomed him as a companion,” clutching David closer than a mother should. As she entered her 40s, her friends “remarked that she was even more than usually insensitive to others, more prone to fabrication.”

Yet Sontag’s lack of awareness and her insecurity were almost never on public display—not when, at 42, she was diagnosed with breast cancer, not when chemotherapy turned her hair white. She dyed all but a front shock black and finished two books during her treatments: On Photography and Illness as Metaphor (1978), the latter of which railed against psychological accounts of cancer as a disease of “repression” without ever mentioning her cancer. Her illness prompted her to reevaluate her youthful leftism. She broke with the New Left in 1982, at a Town Hall event where she denounced communism, flanked by one of the great loves of her life, the morose Soviet dissident Joseph Brodsky. “She became a liberal,” Moser writes, and as she entered her 50s, the pace of her writing slowed. Intermittently estranged from her son, who was installed as her editor at Farrar, Straus and Giroux, she did not produce another book, aside from a collection of essays, until AIDS and Its Metaphors , in 1989. She finished it as she tended to a friend dying of AIDS.

The year the book came out, she met her last love, the photographer Annie Leibovitz. They spent the final decade and a half of Sontag’s life living like divas in their extravagant New York apartments, Sontag loving and abusing Leibovitz—“You’re so dumb,” she would yell—while also traveling the world. During the Bosnian war, Sontag and Leibovitz went to Sarajevo, where the couple became what Sontag, in her last book, Regarding the Pain of Others (2003), called “star witnesses” to the ethnic cleansing in Bosnia. Eager to capture the despair of waiting for international intervention, she arrived with a script of Samuel Beckett’s Waiting for Godot . The production, with a set made from United Nations plastic sheeting, “became a cultural event in the highest sense of the term,” Moser writes in all earnestness. Sontag returned to Sarajevo often before her death from cancer, in 2004. Her last words, to her son, “I want to tell you …,” revealed that she still had things to say.

Moser packs in an extraordinary amount of detail. Yet the book feels strangely vacuous, or at least no more psychologically revealing than either Sontag’s diaries or the earlier unauthorized biography by Carl Rollyson and Lisa Paddock. Aptly enough, the problem is one of interpretation. Moser’s analysis of Sontag’s life as an unwinnable battle between her public self and her private self traffics in the crudest of oppositions: appearance versus character, mind versus body, intellectualism versus eroticism, persona versus private self. Erecting these dichotomies is the biography’s narrative mode, its method of building intrigue and suspense. Can you believe, Moser wonders, that a beautiful and intelligent woman could be insecure about her professional success? Can you believe that inhuman productivity, fueled by chronic insomnia, a violent disdain for napping, and an addiction to speed, might be an attempt to compensate for social isolation? Can you believe that having sex and falling in love with many people, of many persuasions, might trouble the divide between mind and body? “Susan—human—drove people away,” Moser concludes. “But the symbolic Sontag was tremendously attractive.”

Moser’s interpretations often fall back on armchair psychology, pathologizing Sontag’s relationships by making everything symptomatic of something else. Too many roads lead back to her mother, who emerges as Sontag and Moser’s shared villain. “Many of the apparently rebarbative aspects of Sontag’s personality are clarified in light of the alcoholic family system,” Moser writes, describing how Mildred’s addiction impressed itself on Sontag. She “would turn lovers into parents,” he suggests, as if this reading were original. (Sontag admits as much in her diaries.) He diagnoses her as having a Cluster B personality disorder, whose symptoms include “fears of abandonment and feelings of inconsolable loneliness, which trigger frantic neediness.” The more clinically Moser tries to pin down Sontag’s inner life, the more it wriggles away from him.

“She warned against the mystifications of photographs and portraits: including those of biographers,” Moser writes in the closing sentence of Sontag: Her Life and Work . It’s hard to know how to read the line. Is Moser asking for our understanding, given the inherent limitations of biography as a genre? All biographies are, to an extent, mystifications. But some methods of reading and writing can resurrect the dead not as a series of tedious oppositions, but as flesh-and-blood individuals animated by their commitments to their ideas. What this would require is more sensitive probing of human contradictions than Moser has yet mastered.

The best answer to the question I opened with—why do we want and need a Susan Sontag?—comes from the literary critic Deborah Nelson’s fantastic 2017 book, Tough Enough: Arbus, Arendt, Didion, McCarthy, Sontag, Weil . In Nelson’s view, Sontag’s thoughts on art and modernity are neither original nor systematic. What is enchanting about her writing is her style: an associative and aphoristic approach to talking about, or around, intense emotions without indulging in them. “An aphorism is not an argument; it is too well-bred for that,” Sontag wrote in her diary—a glimpse of how her style served as an exercise in emotional self-regulation, in modeling aesthetic decorum. Her essays aspired to teach her readers how to “ feel more sensually” as “the antidote to feeling too much or too little emotion,” Nelson writes, offering a more nuanced reading than Moser does of Sontag’s desire “to see more, to hear more, to feel more.”

The Photographer Fighting Visual Clichés of Africa

How to raise a child: 10 rules from susan sontag.

Twins, Separated at Birth, Reunite as Adults

“She was Athena, not Aphrodite,” Moser suggests, a comparison that is instructive for understanding Sontag’s place in a long lineage of female archetypes that make our attraction to a figure like her legible. In Greek mythology, Athena was the favorite daughter of Zeus, the child born from his forehead. She caused her tyrannical father such pain that he had his head cleaved open. Out she sprang, armor-plated and golden, imperishable, eager to counsel mortal men against foolishness and vulgarity, to teach them the virtues of self-control and courage. Sontag, too, distrusted immoderation, preferring instead “coolness,” “distance,” “disinterestedness and impartiality” when such responses were most necessary—when the subject matter was hardest to bear. The art she championed, and the art she made, valued the eternal postponement of emotional involvement, the containment of soft Aphrodite’s passions in a brisk, impersonal prose.

Where Moser perceives a striking, irreconcilable gap between Sontag’s private and public selves, Nelson finds a dialectical unity. Sontag’s embrace of a cool aesthetic intelligence is all the fiercer for her personal experiences of desire and distress; her style is a critical rejection of the “Romantic drama of individuality, emotional intensity, and powerlessness” that she was living. Nelson refers to this as “disciplined self-transcendence,” and it is, I suspect, the source of both Sontag’s productivity and her appeal—an appeal that far outstrips her physical appearance. There is something mesmerizing about the lifelong performance of discipline, something beautiful about the artifice required to exercise control over one’s turbulent or painful inner life. What we are attracted to in Sontag is the idea of a woman whose writing can induct readers into a style of feeling, of attachment, of vulnerability, while also appearing to refuse those feelings, those attachments, that vulnerability, for herself—a woman who wears her armor exactly where it was meant to be worn, on her sleeve.

When you buy a book using a link on this page, we receive a commission. Thank you for supporting The Atlantic.

About the Author

Susan Sontag

Ms. Sontag is a human rights activist, playwright, essayist and cultural critic. Her books include novels, a collection of short stories, an… read more

Ms. Sontag is a human rights activist, playwright, essayist and cultural critic. Her books include novels, a collection of short stories, and works of non-fiction, including Against Interpretation and Other Essays , On Photography , Illness as a Metaphor , Where the Stress Falls , and her latest book, Regarding the Pain of Others , which is expected to be published by Farrar, Strauss and Giroux in early 2003. She talked about her writing and career as well as responded to viewer comments and questions. close

Javascript must be enabled in order to access C-SPAN videos.

Text type Closed Captioning Record People Graphical Timeline
Filter by Speaker All Speakers Susan Sontag Susan Swain
Search this text

*This text was compiled from uncorrected Closed Captioning.

People in this video

Hosting Organization

C-SPAN C-SPAN

In Depth with Susan Sontag

Airing details.

Mar 02, 2003 | 11:59am EST | C-SPAN 2
Mar 02, 2003 | 5:01pm EST | C-SPAN 2
Mar 03, 2003 | 12:00am EST | C-SPAN 2
Dec 28, 2004 | 5:00pm EST | C-SPAN 2
Dec 29, 2004 | 2:00am EST | C-SPAN 2

In Depth with Harold Bloom

Harold Bloom, Sterling Professor of Humanities at Yale University and Berg Professor of English at New York University w…

In Depth with Bob Woodward

Author and investigative reporter Bob Woodward talked about his journalism career and his writings and responded to audi…

In Depth with George Will

Mr. Will talked about his life and his writing and responded to audience telephone calls, faxes and electronic mail. He …

In Depth with David Halberstam

Author David Halberstam talked about his career as a journalist and author as well as about his complete body of work. T…

User Created Clips from This Video

User Clip: JSIS 202

User Clip: When I turned 40

User Clip: I think fiction

User Clip: "Being 70 sounds very awesome"

Share full article

The Morning

A head-spinning debut.

Breaking, the hip-hop dance style born in the Bronx five decades ago, is now an Olympic sport.

A woman spins on her head while grabbing one foot on a dance floor with a purple and white PARIS 2024 perimeter wall.

By Jonathan Abrams

Breaking is a new sport at this year’s Summer Olympics — at least we’ll call it a sport for the sake of the Games. You probably know it as break dancing, the art form in which performers spin, pose, glide and dance across the floor with incredible athleticism and charisma. The event debuted yesterday in Paris with the women’s, or B-Girls’, competition. Ami Yuasa of Japan, known as B-Girl Ami, bested Lithuania’s Dominika Banevic, or B-Girl Nicka, to win breaking’s first gold medal. The men, or B-Boys, are competing today.

This week, I published an article that explores the history of breaking . In today’s newsletter, I’ll explain how breaking made its way from the streets of New York to the Olympic stage, and what you can expect from the competition. I’ll also show three moves that are at the core of many breakers’ routines.

Three questions

1. How did breaking get into the Olympics?

Innovative Black and brown youth in the Bronx invented breaking in the 1970s as one of the core elements of hip-hop, along with lyricism, graffiti and D. J.ing. The dance spread nationally and globally through movies like “Beat Street” and pioneering crews providing demonstrations in countries like Japan and England.

Breaking has always centered on competition. Individuals and crews battled with dances that involved style, flair, confidence and one-upmanship. Competitions grew more popular in Europe in the 1990s, and the art form took a turn toward sports in 2001, when Red Bull sponsored the first Lords of the Floor, a tournament featuring crews from around the world.

The International Olympic Committee has not hidden its intent to attract a younger and more diverse audience with new events like breaking and skateboarding. It added breaking to the Paris program in 2021, after the sport made a splashy introduction at the Buenos Aires 2018 Youth Olympic Games. Still, some pioneers and purists are skeptical about breaking at the Olympics .

2. How is the competition being judged?

How to objectively assess an art form was one of the most vexing questions around bringing breaking to the Olympics. The answer? With judges. A lot of them.

We are having trouble retrieving the article content.

Please enable JavaScript in your browser settings.

Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.

Thank you for your patience while we verify access.

Already a subscriber? Log in .

Want all of The Times? Subscribe .

IMAGES

Women. Essay by Susan Sontag.
Susan Sontag: Essays Of The 1960s & 70s (loa #246)
Against Interpretation and Other Essays by Susan Sontag (English
Exclusive Excerpt From Susan Sontag’s New Essay Collection, On Women
Against Interpretation And Other Essays by Susan Sontag
PaperbackIncludes the essay Notes on Camp, the inspiration for the 2019

COMMENTS

Against interpretation, and other essays : Sontag, Susan, 1933-2004
Against interpretation, and other essays by Sontag, Susan, 1933-2004. Publication date 1966 ... Sontag's first collection of essays -- quickly became a modern classic, and has had an enormous influence in America and abroad on thinking about the arts and contemporary culture. As well as the title essay and the famous "Notes on Camp," Against ...
Against Interpretation
Against Interpretation (often published as Against Interpretation and Other Essays) is a 1966 collection of essays by Susan Sontag.It includes some of Sontag's best-known works, including "On Style," and the eponymous essay "Against Interpretation." In the latter, Sontag argues that the new approach to criticism and aesthetics neglects the sensuous impact and novelty of art, instead fitting ...
Against Interpretation and Other Essays
Susan Sontag (1933-2004) was born in Manhattan and studied at the universities of Chicago, Harvard and Oxford. She is the author of four novels - The Benefactor, Death Kit, The Volcano Lover and In America, which won the 2000 US National Book Award for fiction - a collection of stories, several plays, and six books of essays, among them Illness ...
Essays of the 1960s & 70s : Sontag, Susan, 1933-2004, author : Free
Styles of radical will; Sontag, Susan, 1933-2004. On photography; Sontag, Susan, 1933-2004. Illness as metaphor Autocrop_version ..14_books-20220331-.2 Bookplateleaf 0004 Boxid IA40610311 Camera Sony Alpha-A6300 (Control) Collection_set printdisabled
Susan Sontag's Radical Essays "On Photography" Still ...
Nevertheless, Sontag's radical thoughts on photography are as potent as ever. Born in 1933, Sontag wrote plays, essays, and fiction until her death in 2004. She had no formal training in art or photography—she studied English and philosophy at Harvard—but immersed herself in the New York cultural scene from 1959 onward.
Essays of the 1960s & 70s
Susan Sontag was an incandescent presence in American culture, whether as essayist, fiction writer, filmmaker, or political activist. As a critic, she became the most provocative and influential voice of her time. ... With the publication of her first collection of critical essays, Against Interpretation (1966), Sontag took her place at the ...
Against Interpretation: And Other Essays
Includes the essay "Notes on Camp," the inspiration for the 2019 exhibition Notes on Fashion: Camp at the Costume Institute of the Metropolitan Museum of Art Against Interpretation was Susan Sontag's first collection of essays and is a modern classic. Originally published in 1966, it has never gone out of print and has influenced generations of readers all over the world.
Susan Sontag, Against Interpretation: And Other Essays
Susan Sontag (1933-2004) was born in Manhattan and studied at the universities of Chicago, Harvard and Oxford. She is the author of four novels - The Benefactor, Death Kit, The Volcano Lover and In America, which won the 2000 US National Book Award for fiction - a collection of stories, several plays, and six books of essays, among them Illness ...
Styles of Radical Will
In her second essay collection, Sontag "displays an enlightened, energetic intellect exploring the margins of contemporary consciousness." "Susan Sontag's essays are great interpretations, and even fulfillments of what is really going on." " [Susan Sontag] is one of the most interesting and valuable critics we possess, a writer from whom it's ...
The Double Standard Of Aging by Susan Sontag
susan sontag, double standard of aging, essay Collection opensource Language ... 22257002. THE DOUBLE STANDARD OF AGING By Susan Sontag ( Essay published in The Saturday Review, September 23, 1972, pp. 29-38 ) Addeddate 2021-05-30 11:27:13 Identifier the-double-standard-of-aging Identifier-ark ark:/13960/t7bt03s6j Ocr tesseract 5.0.0-alpha ...
Susan Sontag Papers
Susan Sontag (1933-2004) was an American writer, director, and political activist. She authored numerous essays, short stories, novels, and non-fiction books, as well as films and plays that she also directed in the United States and abroad. The recipient of many honors and awards throughout her life, Sontag's works have been translated into ...
The Books of Susan Sontag, Ranked ‹ Literary Hub
But the dreaded Overly Serious Sontag emerges in her essay on staging Beckett in Sarajevo (for a hilarious and indelible image of Overly Serious Sontag at her prime let's-see-if-existentialism-can-save-the-former-Yugoslavia see Terry Castle's wonderful essay on Sontag, "Desperately Seeking Susan," in her collection The Professor ...
Susan Sontag. Styles of Radical Will
A collection of essays on important phenomena of twentieth century culture by the renowned American philosopher.. In the essays collected in Styles of Radical Will (1969), Susan Sontag broadens her inquiry started in the acclaimed Against Interpretation (1966). This collection features essays on art, literature, film, and politics that are rightly believed to be among the best examples of ...
Sontag (Susan) papers
Susan Sontag (1933-2004) was an American writer, director, and political activist. She authored numerous essays, short stories, novels, and non-fiction books, as well as films and plays that she also directed in the United States and abroad. The recipient of many honors and awards throughout her life, Sontag's works have been translated into ...
On Photography
On Photography is a 1977 collection of essays by American writer Susan Sontag.The book originated from a series of essays Sontag published in the New York Review of Books between 1973 and 1977.. In On Photography, Sontag examines the history and contemporary role of photography in society.She contrasts the work of Diane Arbus with Depression-era documentary photography and explores the ...
Regarding the Pain of Others, by Susan Sontag
Susan Sontag (1933 - 2004) was an American writer, critic, cultural philosopher and political activist.She achieved widespread recognition through her collections of essays, Against Interpretation (1966), On Photography (1977) and Regarding the Pain of Others (2004).
Susan Sontag. Under the Sign of Saturn
The collection comprises some of the key critical essays written by Susan Sontag between 1972 and 1980. The book includes Sontag's texts exploring her emotional experience of Paul Goodman's death, intense memories of Roland Barthes, an essay on Walter Benjamin, and a thorough study of Antonin Artaud's philosophy and art.
Susan Sontag
Susan Lee Sontag (/ ˈ s ɒ n t æ ɡ /; January 16, 1933 - December 28, 2004) was an American writer, critic, and public intellectual.She mostly wrote essays, but also published novels; she published her first major work, the essay "Notes on 'Camp' ", in 1964.Her best-known works include the critical works Against Interpretation (1966), On Photography (1977), Illness as Metaphor (1978) and ...
Susan Sontag
About. Against Interpretation is an essay written by American critic Susan Sontag. It is included in her 1966 collection Against Interpretation and Other Essays. This seminal essay argues that ...
Susan Sontag
Susan Sontag (16 January 1933 - 28 December 2004) was an American writer and filmmaker, novelist, writer of screenplays, professor, literary icon, and political activist. Contents. 1 Works. ... Essay collections, lectures . Against Interpretation, 1966.
Susan Sontag
Books. Susan Sontag: Later Essays LOA N°292. Susan Sontag: Essays of the 1960s & 70s LOA N°246. Library of America. CURATOR. A champion of America's great writers and timeless works, Library of America guides readers in finding and exploring the exceptional writing that reflects the nation's history and culture. Learn More.
Review: Benjamin Moser's Sontag Biography
It is a line that Susan Sontag quotes toward the end of her 1977 essay collection, On Photography, about how photographs aestheticize misery. It is a line that Sontag's authorized biographer ...
In Depth with Susan Sontag
Ms. Sontag is a human rights activist, playwright, essayist and cultural critic. Her books include novels, a collection of short stories, and works of non-fiction, including [Against ...
A Head-Spinning Debut
Style secrets: Debbie Harry took inspiration for a new collection from her personal wardrobe. Fefé: Dolce & Gabbana has released a fragrance specifically for dogs. Veterinarians are raising red ...


	, Susan Sontag's second collection of essays, extends the investigations she undertook in with essays on film, literature, politics and a ground-breaking study of pornography. In her second essay collection, Sontag "displays an enlightened, energetic intellect exploring the margins of contemporary consciousness." — "Susan Sontag's essays are great interpretations, and even fulfillments of what is really going on." —Carlos Fuentes "[Susan Sontag] is one of the most interesting and valuable critics we possess, a writer from whom it's continually possible to learn." —Richard Gilman, "She has come to symbolize the writer and thinker in many variations: as analyst, rhapsodist, and roving eye, as public scold and potable conscience." — "Miss Sontag emerges from Styles of . . . as an open and vulnerable intellect, a consciousness in process of transformation. . . . Her first essay, 'The Aesthetics of Silence,' is a brilliant and important account of the Western tradition of artistic revolt against language, against thinking, against consciousness." —Robert Sklar, "It should be remembered that Miss Sontag has now written four of the most valuable intellectual documents of the past ten years: 'Against Interpretation,' 'Notes on Camp,' 'The Aesthetics of Silence,' and 'Trip to Hanoi.' In the world in which she's chosen to live, she continues to be the best there is." —

Against Interpretation: And Other Essays

Buy this book

PhilArchive

Through your library

Similar books and articles

Internet Archive Audio

Mobile Apps

Browser Extensions

Save Page Now

The Double Standard Of Aging by Susan Sontag

plus-circle Add Review comment Reviews

DOWNLOAD OPTIONS

SIMILAR ITEMS (based on metadata)

Susan Sontag Papers

Collection Overview

The Books of Susan Sontag, Ranked

Previous Article

to the Lithub Daily

Follow us on Twitter

Stand With Us at the 2019 Border of Lights Virtual Vigil

Literary Hub

Become a Lit Hub Supporting Member : Because Books Matter

Susan Sontag. Under the Sign of Saturn

Against Interpretation 1-5

Genius is the world’s biggest collection of song lyrics and musical knowledge

Susan Sontag

Works [ edit ]

Novels [ edit ]

Short fiction [ edit ]

Monographs [ edit ]

Essay collections, lectures [ edit ]

Film books [ edit ]

Plays [ edit ]

Diaries [ edit ]

Edited books [ edit ]

Articles, papers, chapters, reviews [ edit ]

Bibliographies [ edit ]

Interviews [ edit ]

Films and Recordings [ edit ]

Literature [ edit ]

Books [ edit ]

Documentaries [ edit ]

Links [ edit ]

Navigation menu

Susan Sontag

On Photography

Misunderstanding Susan Sontag

Recommended Reading

The Photographer Fighting Visual Clichés of Africa

Twins, Separated at Birth, Reunite as Adults

About the Author

Susan Sontag

People in this video

Hosting Organization

In Depth with Susan Sontag

Related Video

In Depth with Harold Bloom

In Depth with Bob Woodward

In Depth with George Will

In Depth with David Halberstam

User Created Clips from This Video

User Clip: JSIS 202

User Clip: When I turned 40

User Clip: I think fiction

User Clip: "Being 70 sounds very awesome"

The Morning

Three questions

IMAGES

COMMENTS