By Susan Sontag
Sontag's incisive intelligence, expressive brilliance, and deep interest approximately artwork, politics, and the writer's accountability to undergo witness have secured her position as some of the most very important thinkers and writers of the 20th century.
At a similar Time gathers 16 essays and speeches written within the final years of Sontag's existence, while her paintings used to be being commemorated at the foreign level. She writes of the liberty of literature, approximately braveness and resistance, and fearlessly addresses the dilemmas of post-9/11 the US, from the degradation of our political rhetoric to the appalling torture of prisoners in Abu Ghraib.
David Rieff describes his mother's ardour in his foreword: "She desired to event every thing, style every little thing, cross in every single place, do every little thing. certainly, if I had just one note with which to awaken her, it'd be avidity. . . . i believe that, for her, the enjoyment of dwelling and the enjoyment of understanding relatively have been one and the same."
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Extra resources for At the Same Time: Essays and Speeches
Again came the anticlimax, again the slackening of the stream, but not such a sudden slackening as in Florence. The two streams joined, became sluggish. Both Florence and Venice had drawn their vitality from excitement at their own visual discoveries - in the one case the discovery of structure, with its attendant emphasis on line, in the other the discovery of colour with its attendant emphasis on surface. To unite the two discoveries was an artistic problem but it was not in itself a discovery.
In the same way in a technical exposition of the three-colour process of reproduction one would show separate prints of the yellow, red, and blue blocks, although none of them has any real meaning except as a contribution to the final print. Imagine the artist as a sort of chef, a man whose purpose mind's eye of what he that in painting his is Madonna he 35 EUROPEAN PAINTING AND SCULPTURE an amalgam of three interdependent yet conand who adds to this amalgam a fourth ingredient - his medium - and then stirs all four together into a kind of dough, which he bakes in the oven of his craftsmanship.
The artist who is capable of being moved or excited by something - some aspect of visual experience - that has never moved or excited any artist before him, is certain to be either ignored or detested until he has succeeded in persuading others to share his excitement, unless he is serving so vital a social need that his originality of vision passes unnoticed. At first a few exceptionally sensitive people will grasp the new message and welcome it. Others, slower at in their response, will follow, until there tance.
At the Same Time: Essays and Speeches by Susan Sontag