Regarding the Pain of Others FROM THE PUBLISHER
"One of the distinguishing features of modern life is that it supplies countless opportunities for regarding (at a distance, through the medium of photography) horrors taking place throughout the world. Images of atrocities have become, via the little screens of the television and the computer, something of a commonplace. But are viewers inured - or incited - to violence by the depiction of cruelty? Is the viewer's perception of reality eroded by the daily barrage of such images? What does it mean to care about the sufferings of people in faraway zones of conflict?" "Susan Sontag's now classic book On Photography defined the terms of this debate twenty-five years ago. Her new book is a profound rethinking of the intersection of "news," art, and understanding in the contemporary depiction of war and disaster. She makes a fresh appraisal of the arguments about how pictures can inspire dissent, foster violence, or create apathy, evoking a long history of the representation of the pain of others - from Goya's The Disasters of War to photographic documents of the American Civil War, lynchings of blacks in the South, the First World War, the Spanish Civil War, the Nazi death camps, and contemporary images from Bosnia, Sierra Leone, Rwanda, Israel and Palestine, and New York City on September 11, 2001." This is also a book about how war itself is waged (and understood) in our time, replete with vivid historical examples and a variety of arguments advanced from some unexpected literary sources. Plato, Leonardo da Vinci, Edmund Burke, Wordsworth, Baudelaire, and Virginia Woolf all figure in this passionate reflection on the modern understanding of violence and atrocity. It includes as well a stinging attack on the provincialism of media pundits who denigrate the reality of war, and a political understanding of conflict, with glib talk about a new, worldwide "society of spectacle." Just as On Photography challenged how we understand the very condition of being modern, Re
FROM THE CRITICS
Los Angeles Times
Sontag is in top form: firing devastating questions and providing no answers for shelter. She hands us no morality meter, designed to scan a picture and flash up "necessary experience" in green or "atrocity-porn" in red. Instead, she quotes Plato -- the tale of Leontius reluctantly feasting his eyes on executed criminals -- to show that "the attraction of mutilated bodies" has always been recognized, not least in the obsession of Christian art with naked bodies in pain. Only in the 17th century are depictions of atrocity hitched to the notion that war is cruel and should be prevented. But "most depictions of tormented, mutilated bodies do arouse a prurient interest.... All images that display the violation of an attractive body are, to a certain degree, pornographic." (Sontag exonerates Goya, whose brutalized victims are, like their torturers and violators, "heavy, and thickly clothed"). — Neal Ascherson
The New York Times
As usual, she provokes. It probably isn't true that ''not even pacifists'' any longer believe war can be abolished, that photos have a ''deeper bite'' in the memory bank than movies or television, that ''the appetite for pictures showing bodies in pain is as keen, almost, as the desire for ones that show bodies naked,'' and that ''most depictions of tormented, mutilated bodies do arouse a prurient interest.'' I don't know, and neither does she. On the other hand, when she revises her own conclusions from On Photography to say she's no longer so sure that shock has ''term limits,'' or that ''repeated exposure'' in ''our culture of spectatorship neutralizes the moral force of photographs of atrocities,'' I agree with her for no other reason than I want to. Her job is not to win a verdict from a jury, but to make us think. — John Leonard
The Washington Post
Sontag's book does not anticipate the current role of photographers in Iraq. (Part of the book's argument was delivered as an Amnesty Lecture at Oxford University in February 2001 and took much of its inspiration from Sontag's reconsideration of Holocaust photography.) But the Iraq war transforms Regarding the Pain of Others into more than a smart-set sideshow about an intellectual's reversal. As the images come out of Iraq, Sontag's plainspoken, self-questioning book furnishes meditation of a high order. At times, she seems almost afraid to reach conclusions. But her oscillating and humbled mindfulness restores photography to its place in the humanist tradition. — Lorraine Adams
Book Magazine - Susan Tekulve
This gripping debut novel examines how easily shrewd lies can be mistaken for acts of love. Spanning twenty-five years, it recounts the stories of three women who marry the same elusive man in succession. Alternately wise, charming and cold blooded, Ken Kimble is as charismatic as Mephistopheles, a sweet liar who promises each woman what she wants most of all in exchange for her complete devotion. To his first wife, Birdie Bell, he offers a way out of her small Southern town. To his second wife, Joan Cohen, a lonely heiress and breast cancer survivor, he offers hope for a final chance at love. His third wife, Dinah Whitacre, is a woman half his age who is disfigured by a birthmark on her face. Before marrying her, Kimble provides an operation that restores her beauty. With each successive marriage, Kimble gains wealth and worldly experience while his wives compromise themselves and fall apart. Haigh renders Kimble's sociopathic behavior in quiet, understated prose, carefully examining the mitigating circumstances that draw each woman to him. Though Kimble's rise to power drives the plot, the sophisticated portraits of his three wives provide the substance and intrigue in this book.
Publishers Weekly
Twenty-six years after the publication of her influential collection of essays On Photography (1977), Sontag (In America) reconsiders ideas that are "now fast approaching the status of platitudes," especially the view that our capacity to respond to images of war and atrocity is being dulled by "the relentless diffusion of vulgar and appalling images" in our rapaciously media-driven culture. Sontag opens by describing Virginia Woolf's essay on the roots of war, "Three Guineas," in which Woolf described a set of gruesome photographs of mutilated bodies and buildings destroyed during the Spanish Civil War. Woolf wondered if there truly can be a "we" between man and woman in matters of war. Sontag sets out to reopen and enlarge the question. "No `we' should be taken for granted when the subject is looking at other people's pain," she writes. The "we" that Sontag has come to be much more aware of in the decades since On Photography is the world of the rich. She has come to doubt her youthful contention that repeated exposure to images of suffering necessarily shrivels sympathy, and she doubts even more the radical yet influential spin that others put on this critique-that reality itself has become a spectacle. "To speak of reality becoming a spectacle... universalizes the viewing habits of a small, educated population living in the rich part of the world...." Sontag reminds us that sincerity can turn a mere spectator into a witness, and that it is the heart rather than fancy rhetoric that can lead the mind to understanding. (Mar.) FYI: In a letter published in the January 13, 2003, issue of the New Yorker, Woolf scholar Jane Marcus asserts that Woolf never published the horrible war photos that she described-they appeared only in later editions of her antiwar essay. Instead, Woolf substituted images of a general, an archbishop, a judge-wordlessly insisting that her readers constantly consider the men of power who make wars. Marcus assumes that Sontag was drawing her conclusions from a later edition without realizing that she was crying Woolf. Copyright 2003 Reed Business Information.
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