Work
Susan Sontag was a writer, professor, film-director, and advocate.
Sontag's literary career began and ended with works of fiction. While working on her fiction, Sontag taught philosophy at Sarah Lawrence College and City University of New York and the philosophy of Religion under Jacob Taubes in the Religion Department at Columbia University from 1960 to 1964. Sontag held a writing fellowship at Rutgers University for 1964 to 1965 before ending her relationship with academia in favour of full-time, freelance writing. At age 30, she published an experimental novel called The Benefactor (1963), following it four years later with Death Kit (1967). Despite a relatively small output, Sontag thought of herself principally as a novelist and writer of fiction. Her short story "The Way We Live Now" was published to great acclaim on 26 November 1986 in The New Yorker. Written in an experimental narrative style, it remains a significant text on the AIDS epidemic. She achieved late popular success as a best-selling novelist with The Volcano Lover (1992). At age 67, Sontag published her final novel In America (2000). The last two novels were set in the past, which Sontag said gave her greater freedom to write in the polyphonic voice.
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Famous quotes containing the word work:
“Hemingway is great in that alone of living writers he has saturated his work with the memory of physical pleasure, with sunshine and salt water, with food, wine and making love and the remorse which is the shadow of that sun.”
—Cyril Connolly (1903–1974)
“The slightest living thing answers a deeper need than all the works of man because it is transitory. It has an evanescence of life, or growth, or change: it passes, as we do, from one stage to the another, from darkness to darkness, into a distance where we, too, vanish out of sight. A work of art is static; and its value and its weakness lie in being so: but the tuft of grass and the clouds above it belong to our own travelling brotherhood.”
—Freya Stark (b. 1893–1993)
“Just as a chemist “isolates” a substance from contaminations that distort his view of its nature and effects, so the work of art purifies significant appearance. It presents abstract themes in their generality, but not reduced to diagrams.”
—Rudolf Arnheim (b. 1904)