You’ll notice that I haven’t talked about love. Or about happiness. I’ve talked about becoming - or remaining – the person who can be happy, a lot of the time, without thinking that being happy is what it’s all about. It’s not. It’s about becoming the largest, the most inclusive, most responsive…
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Susan Sontag
Susan Sontag (/ˈsɒntæɡ/; January 16, 1933 – December 28, 2004) was a Jewish-American writer, film-maker, teacher, and political activist. She published her first major work, the essay "Notes on 'Camp'", in 1964. Her best-known works include On Photography, Against Interpretation, Styles of Radical Will, The Way We Live Now, Illness as Metaphor, Regarding the Pain of Others, The Volcano Lover, and In America. Sontag was active in writing and speaking about, or travelling to, areas of conflict, including during the Vietnam War and the Siege of Sarajevo. She wrote extensively about photography, culture and media, AIDS and illness, human rights, and communism and leftist ideology. Although her essays and speeches sometimes drew controversy, she has been described as "one of the most influential critics of her generation." 2Early life and education Sontag was born Susan Rosenblatt in New York City, the daughter of Mildred (née Jacobson) and Jack Rosenblatt, both Jews of Lithuanian and Polish descent. Her father managed a fur trading business in China, where he died of tuberculosis in 1939, when Susan was five years old. Seven years later, her mother married U.S. Army Captain Nathan Sontag. Susan and her sister, Judith, took their stepfather's surname, although he did not adopt them formally. Sontag did not have a religious upbringing and claimed not to have entered a synagogue until her mid-20
Surrealism lies at the heart of the photographic enterprise: in the very creation of a duplicate world, of a reality in the second degree, narrower but more dramatic than the one perceived by natural vision.
Although there is a sense in which the camera does indeed capture reality, not just interpret it, photographs are as much an interpretation of the world as paintings and drawings are.
All photographs testify to time’s relentless melt.
Time eventually positions most photographs, even the most amateurish, at the level of art.
Photographs are a way of imprisoning reality.