By Sontag, Susan; Dilonardo, Paolo; Jump, Anne
Sontag's incisive intelligence, expressive brilliance, and deep interest approximately paintings, politics, and the writer's accountability to endure witness have secured her position as probably the most vital thinkers and writers of the 20th century. This assortment gathers 16 essays and addresses written within the final years of Sontag's existence, whilst her paintings used to be being commemorated at the foreign level, which contemplate the individually freeing nature of literature, her private dedication, and on political activism and resistance to injustice as a moral accountability. She considers the works of writers, from the little-known Soviet novelist Leonid Tsypkin, who struggled and at last succeeded in publishing his simply publication days ahead of his demise; to the greats, corresponding to Nadine Gordimer, who amplify our capability for ethical judgment. Sontag additionally 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.--From writer description. Read more...
summary: 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 probably the most vital thinkers and writers of the 20th century. This assortment gathers 16 essays and addresses written within the final years of Sontag's existence, whilst her paintings was once being venerated at the foreign level, which give some thought to the in my view releasing nature of literature, her private dedication, and on political activism and resistance to injustice as a moral responsibility. She considers the works of writers, from the little-known Soviet novelist Leonid Tsypkin, who struggled and at last succeeded in publishing his basically publication days prior to his demise; to the greats, similar to Nadine Gordimer, who amplify our ability for ethical judgment. Sontag additionally 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.--From writer description
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From the foreword through Geneva Overholser. what's it approximately quite wonderful writers, how they satisfaction, intrigue, compel us? sort, you are saying. yet type isn't whatever you start with. fairly, it really is what you find yourself with, as a result of way more basic qualities. characteristics reminiscent of an ear and an eye fixed and a middle, features that Madeliene Blais has honed beautifully good.
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For in the arts—unlike life—beauty was not assumed to be necessarily apparent, evident, obvious. The problem with taste was that, however much it resulted in periods of large agreement within communities of art lovers, it issued from private, immediate, and revocable responses to art. And the consensus, however firm, was never more than local. To address this defect, Kant—a dedicated universalizer—proposed a distinctive faculty of “judgment” with discernible principles of a general and abiding kind; the tastes legislated by this faculty of judgment, if properly reflected upon, should be the possession of all.
Communities dedicated by their leaders to stemming what is perceived as a noxious tide of innovative views have no interest in modifying the bulwark provided by the use of beauty as unexceptionable commendation and consolation. It is not surprising that John Paul II—and the preserve-and-conserve institution for which he speaks—feels as comfortable with beauty as with the idea of the good. It also seems inevitable that when, almost a century ago, the most prestigious communities concerned with the fine arts dedicated themselves to drastic projects of innovation, beauty would turn up on the front line of notions to be discredited.
Rilke, in his turn, falls silent. ) The flow of rhetoric reaches the precipice of the sublime and topples over into hysteria, anguish, dread. But curiously, death seems quite unreal. How astonished and shattered the Russians are when this “phenomenon of nature” (so they thought of Rilke) is in some sense no more. Silence should be full. Silence that now has the name of death seems too great a diminishment. So the correspondence has to continue. Tsvetayeva writes a letter to Rilke a few days after being told he has died at the end of December, and addresses a long prose ode to him (“Your Death”) the following year.