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On Women
A pithy and brilliant introduction to Susan Sontag’s writing on women, gathering early essays on aging, equality, beauty, sexuality, and fascism
Susan Sontag was one of the most formidable, original, and influential thinkers of the last century. “The most interesting ideas are heresies,� she remarked, and indeed, her writing rejects the familiar and refuses party lines.
On Women presents seven essays and exchanges, spanning a range of the challenges and humiliations women face as they age; the relationship between women’s liberation and class struggle; beauty, which Sontag calls “that over-rich brew of so many familiar opposites�; feminism; fascism; and film. Taken together, these pieces―relentlessly curious, historically precise, politically robust, and allergic to easy categorization Sontag’s inimitable mind at work.
Susan Sontag was one of the most formidable, original, and influential thinkers of the last century. “The most interesting ideas are heresies,� she remarked, and indeed, her writing rejects the familiar and refuses party lines.
On Women presents seven essays and exchanges, spanning a range of the challenges and humiliations women face as they age; the relationship between women’s liberation and class struggle; beauty, which Sontag calls “that over-rich brew of so many familiar opposites�; feminism; fascism; and film. Taken together, these pieces―relentlessly curious, historically precise, politically robust, and allergic to easy categorization Sontag’s inimitable mind at work.
208 pages, Paperback
First published May 30, 2023
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About the author
Susan Sontag
214books5,002followersSusan Sontag was born in New York City on January 16, 1933, grew up in Tucson, Arizona, and attended high school in Los Angeles. She received her B.A. from the College of the University of Chicago and did graduate work in philosophy, literature, and theology at Harvard University and Saint Anne’s College, Oxford.
Her books include four novels, The Benefactor, Death Kit, The Volcano Lover, and In America; a collection of short stories, I, etcetera; several plays, including Alice in Bed and Lady from the Sea; and nine works of nonfiction, starting with Against Interpretation and including On Photography, Illness as Metaphor, Where the Stress Falls, Regarding the Pain of Others, and At the Same Time. In 1982, Farrar, Straus & Giroux published A Susan Sontag Reader.
Ms. Sontag wrote and directed four feature-length films: Duet for Cannibals (1969) and Brother Carl (1971), both in Sweden; Promised Lands (1974), made in Israel during the war of October 1973; and Unguided Tour (1983), from her short story of the same name, made in Italy. Her play Alice in Bed has had productions in the United States, Mexico, Germany, and Holland. Another play, Lady from the Sea, has been produced in Italy, France, Switzerland, Germany, and Korea.
Ms. Sontag also directed plays in the United States and Europe, including a staging of Beckett's Waiting for Godot in the summer of 1993 in besieged Sarajevo, where she spent much of the time between early 1993 and 1996 and was made an honorary citizen of the city.
A human rights activist for more than two decades, Ms. Sontag served from 1987 to 1989 as president of the American Center of PEN, the international writers� organization dedicated to freedom of expression and the advancement of literature, from which platform she led a number of campaigns on behalf of persecuted and imprisoned writers.
Her stories and essays appeared in newspapers, magazines, and literary publications all over the world, including The New York Times, The New Yorker, The New York Review of Books, The Times Literary Supplement, Art in America, Antaeus, Parnassus, The Threepenny Review, The Nation, and Granta. Her books have been translated into thirty-two languages.
Among Ms. Sontag's many honors are the 2003 Peace Prize of the German Book Trade, the 2003 Prince of Asturias Prize, the 2001 Jerusalem Prize, the National Book Award for In America (2000), and the National Book Critics Circle Award for On Photography (1978). In 1992 she received the Malaparte Prize in Italy, and in 1999 she was named a Commandeur de l'Ordre des Arts et des Lettres by the French government (she had been named an Officier in the same order in 1984). Between 1990 and 1995 she was a MacArthur Fellow.
Ms. Sontag died in New York City on December 28, 2004.
Her books include four novels, The Benefactor, Death Kit, The Volcano Lover, and In America; a collection of short stories, I, etcetera; several plays, including Alice in Bed and Lady from the Sea; and nine works of nonfiction, starting with Against Interpretation and including On Photography, Illness as Metaphor, Where the Stress Falls, Regarding the Pain of Others, and At the Same Time. In 1982, Farrar, Straus & Giroux published A Susan Sontag Reader.
Ms. Sontag wrote and directed four feature-length films: Duet for Cannibals (1969) and Brother Carl (1971), both in Sweden; Promised Lands (1974), made in Israel during the war of October 1973; and Unguided Tour (1983), from her short story of the same name, made in Italy. Her play Alice in Bed has had productions in the United States, Mexico, Germany, and Holland. Another play, Lady from the Sea, has been produced in Italy, France, Switzerland, Germany, and Korea.
Ms. Sontag also directed plays in the United States and Europe, including a staging of Beckett's Waiting for Godot in the summer of 1993 in besieged Sarajevo, where she spent much of the time between early 1993 and 1996 and was made an honorary citizen of the city.
A human rights activist for more than two decades, Ms. Sontag served from 1987 to 1989 as president of the American Center of PEN, the international writers� organization dedicated to freedom of expression and the advancement of literature, from which platform she led a number of campaigns on behalf of persecuted and imprisoned writers.
Her stories and essays appeared in newspapers, magazines, and literary publications all over the world, including The New York Times, The New Yorker, The New York Review of Books, The Times Literary Supplement, Art in America, Antaeus, Parnassus, The Threepenny Review, The Nation, and Granta. Her books have been translated into thirty-two languages.
Among Ms. Sontag's many honors are the 2003 Peace Prize of the German Book Trade, the 2003 Prince of Asturias Prize, the 2001 Jerusalem Prize, the National Book Award for In America (2000), and the National Book Critics Circle Award for On Photography (1978). In 1992 she received the Malaparte Prize in Italy, and in 1999 she was named a Commandeur de l'Ordre des Arts et des Lettres by the French government (she had been named an Officier in the same order in 1984). Between 1990 and 1995 she was a MacArthur Fellow.
Ms. Sontag died in New York City on December 28, 2004.
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Displaying 1 - 30 of 611 reviews
August 17, 2023
If you know me, you know that I am a Susan Sontag girl. If I could talk to one person, dead or alive, it would be her. If I had to name a single favorite author, it would be her. If I could pick my dream career, it would be hers. Susan's diaries have carried me through dark COVID days, her essays have made me, and I firmly believe it, a better thinker, writer and person. Bold statment, I know. i said it anyways.
David Rieff, her son and editor, is thankfully very much alive and the person who still supplies me and the world with new Sontag texts to read. In May, he published yet another collection of essays by his mother: "On Women", texts about, and I quote, "aging, equality, beauty, sexuality and fascism". Of course I read it. And here's how I liked it.
Susan Sontag is brilliant. Period. Her arguments are so precisely worded, so well-thought-out, that I do not envy anyone who ever had to debate her. The first four essays gave me just what I wanted: Susan's take on feminist issues, food for thought, and more quotes than I could underline.
But then, on page 104 of 180, we got started on fascism. And I have to say: I have no idea what moved David Rieff to include the last three chapters in this book. They kept revolving around the same point, which was, arguably, an interesting take on the intersection between fascism and sexuality, but they were so LONG and self-referential that I (I can't believe I am about to type this out) got bored. Yes, bored!
And I DON'T think that that was Susan's fault, but that these texts were poorly contextualized. If you pick up this book, you need to know what you can expect, which is 60% feminism and 40% nazism, fascism and comments on propaganda.
So: 3/5 stars for the collection, but 5/5 stars for Susan Sontag's writing, because duh, this woman just can't go wrong, can she?
David Rieff, her son and editor, is thankfully very much alive and the person who still supplies me and the world with new Sontag texts to read. In May, he published yet another collection of essays by his mother: "On Women", texts about, and I quote, "aging, equality, beauty, sexuality and fascism". Of course I read it. And here's how I liked it.
Susan Sontag is brilliant. Period. Her arguments are so precisely worded, so well-thought-out, that I do not envy anyone who ever had to debate her. The first four essays gave me just what I wanted: Susan's take on feminist issues, food for thought, and more quotes than I could underline.
But then, on page 104 of 180, we got started on fascism. And I have to say: I have no idea what moved David Rieff to include the last three chapters in this book. They kept revolving around the same point, which was, arguably, an interesting take on the intersection between fascism and sexuality, but they were so LONG and self-referential that I (I can't believe I am about to type this out) got bored. Yes, bored!
And I DON'T think that that was Susan's fault, but that these texts were poorly contextualized. If you pick up this book, you need to know what you can expect, which is 60% feminism and 40% nazism, fascism and comments on propaganda.
So: 3/5 stars for the collection, but 5/5 stars for Susan Sontag's writing, because duh, this woman just can't go wrong, can she?
November 6, 2023
این کتاب که درواقع کتاب هم نیست، بنظر میاد یکسری بدیهیات رو مطرح میکنه که برای امروز دنیا خیلی از اونها حل شده هستند. و البته توی فرهنگ ایرانی هم تا اونجایی که من میبینم در حال حل شدن ان.
بنابراین هیچ حرف تازه ای برای گفتن نداره و ما دیر خوندیم یا بهتر بگم برای خوندنش دیره. شاید هم بعضیا باشن که از حرفهای تکراری کتاب خوششون بیاد نمیدونم.
بهرحال من گوش دادم که کاری کرده باشم، اما نکردم.
بنابراین هیچ حرف تازه ای برای گفتن نداره و ما دیر خوندیم یا بهتر بگم برای خوندنش دیره. شاید هم بعضیا باشن که از حرفهای تکراری کتاب خوششون بیاد نمیدونم.
بهرحال من گوش دادم که کاری کرده باشم، اما نکردم.
October 9, 2023
Despite much engaging writing, this occasionally laborious collection fails to really showcase Sontag’s capabilities. And the title is slightly unnecessary too.
November 23, 2022
حقیقتش خوندن فصل اولش حجم عظیمی از ناامیدی رو بهم تحمیل کرد... ادامه دادم و همچنا� دیدم همینطور�...
ولی خب از واقعیته� گریزی نیست...
ولی خب از واقعیته� گریزی نیست...
August 10, 2022
یه بحثی که معمولاً وقتی صحبت از برابری میشه� آدمها� بهخصو� انواع مذکر سریع مطرحش میکن� اینه که برابری زن و مرد برای زن میتون� دردسرساز بشه و میگ� مثلاً زنه� حاضرن برن سربازی؟ و مثالهای� از این دست. سانتاگ درباره برابری خیلی توضیح خوبی داده که متأسفانه هیچکدو� از اون آدمهای� که درباره معایب برابری سخنرانی میکن� این کتاب رو نمیخون�. یکی از مواردی که توی برابری ازش حرف زده شده، موضوع قدرته. قدرت از اون� چیزهاست که کمت� زنه� میتون� واردش بشن. منظور هم لزوماً قدرتها� رأس جامعه نیست.
درباره کتاب که بخوام بگم، جستار اول شرح بدیهیاته. از اون موضوعاتیه که احتمالاً مشمول گذشت زمان شده ولی جستار دوم خیلی خوبه. مثلاً یه موضوع چالشبرانگیز� که سانتاگ درباره� حرف زد، انتقاد به کانون و بنیان خانواده بود. سانتاگ میگ� خانواده از اساس متضاد با حقوق زنه و به همین صورت شکل گرفته، به امروز رسیده و ما هم داریم ادامه� میدی�. طرفداران خانواده هم نگران نباشن چون منظورش این نیست که خانواده باید از هم بپاشه. داره میگ� که ما چطور و کجا میتونی� تحولی ایجاد کنیم.
درباره کتاب که بخوام بگم، جستار اول شرح بدیهیاته. از اون موضوعاتیه که احتمالاً مشمول گذشت زمان شده ولی جستار دوم خیلی خوبه. مثلاً یه موضوع چالشبرانگیز� که سانتاگ درباره� حرف زد، انتقاد به کانون و بنیان خانواده بود. سانتاگ میگ� خانواده از اساس متضاد با حقوق زنه و به همین صورت شکل گرفته، به امروز رسیده و ما هم داریم ادامه� میدی�. طرفداران خانواده هم نگران نباشن چون منظورش این نیست که خانواده باید از هم بپاشه. داره میگ� که ما چطور و کجا میتونی� تحولی ایجاد کنیم.
December 27, 2022
من خیلی ذوق داشتم برای سانتاگخوند� اما خب راستش اونقدری که ذوق داشتم خوب نبود. شایدم با سانتاگ خوبی شروع نکردم. ممکنه تاثیر ترجمه هم بوده باشه چون نظرات مترجم تو مقدمه هم خیلی اعصابخوردک� بود. کلا پیشپی� برای کتابی ذوق نکنید. :)
احساساتم نسبت به جستارها خیلی مختلف بود. یه جاهایی اصلا نمیتونست� ارتباط برقرار کنم و یه جاهایی خیلی چیزها برام شخصی میش� و یادآوریها� کثافتی رو میآور� بالا که خب جاش احتمالا تو ریویو� گودریدز نیست. :)
احساساتم نسبت به جستارها خیلی مختلف بود. یه جاهایی اصلا نمیتونست� ارتباط برقرار کنم و یه جاهایی خیلی چیزها برام شخصی میش� و یادآوریها� کثافتی رو میآور� بالا که خب جاش احتمالا تو ریویو� گودریدز نیست. :)
June 3, 2023
چند جستار مختلف از خانم سانتاگ که در قالب یک کتاب و در مورد زن جمعآور� شدن
فمینیسم محترم و بشدت جذاب خانم سانتاگ باعث میشه اکثر اثارشون جذای باشه
فمینیسم محترم و بشدت جذاب خانم سانتاگ باعث میشه اکثر اثارشون جذای باشه
December 6, 2024
READING VLOG
*3.5 rounded up
“𝘋𝘪𝘷𝘪𝘥𝘪𝘯� 𝘵𝘪𝘮𝘦 𝘪𝘯𝘵𝘰 𝘗𝘢𝘴𝘵, 𝘗𝘳𝘦𝘴𝘦𝘯𝘵, 𝘢𝘯𝘥 𝘍𝘶𝘵𝘶𝘳𝘦 𝘴𝘶𝘨𝘨𝘦𝘴𝘵 𝘵𝘩𝘢𝘵 𝘳𝘦𝘢𝘭𝘪𝘵𝘺 𝘪𝘴 𝘥𝘪𝘴𝘵𝘳𝘪𝘣𝘶𝘵𝘦𝘥 𝘦𝘲𝘶𝘢𝘭𝘭𝘺 𝘢𝘮𝘰𝘯𝘨 𝘵𝘩𝘳𝘦𝘦 𝘱𝘢𝘳𝘵𝘴, 𝘣𝘶𝘵 𝘪𝘯 𝘧𝘢𝘤𝘵, 𝘵𝘩𝘦 𝘱𝘢𝘴𝘵 𝘪𝘴 𝘵𝘩𝘦 𝘮𝘰𝘴𝘵 𝘳𝘦𝘢𝘭 𝘰𝘧 𝘢𝘭𝘭. 𝘛𝘩𝘦 𝘧𝘶𝘵𝘶𝘳𝘦 𝘪𝘴, 𝘪𝘯𝘦𝘷𝘪𝘵𝘢𝘣𝘭𝘺, 𝘢𝘯 𝘢𝘤𝘤𝘶𝘮𝘶𝘭𝘢𝘵𝘪𝘰𝘯 𝘰𝘧 𝘭𝘰𝘴𝘴, 𝘢𝘯𝘥 𝘥𝘺𝘪𝘯𝘨 𝘪𝘴 𝘴𝘰𝘮𝘦𝘵𝘩𝘪𝘯𝘨 𝘸𝘦 𝘥𝘰 𝘢𝘭𝘭 𝘰𝘶𝘳 𝘭𝘪𝘷𝘦𝘴. 𝘐𝘧 𝘢𝘳𝘵𝘪𝘴𝘵 𝘴 𝘢𝘳𝘦 𝘮𝘦𝘮𝘰𝘳𝘺 𝘴𝘱𝘦𝘤𝘪𝘢𝘭𝘪𝘴𝘵𝘴, 𝘱𝘳𝘰𝘧𝘦𝘴𝘴𝘪𝘰𝘯𝘢𝘭 𝘤𝘶𝘳𝘢𝘵𝘰𝘳𝘴 𝘰𝘧 𝘤𝘰𝘯𝘴𝘤𝘪𝘰𝘶𝘴𝘯𝘦𝘴𝘴, 𝘵𝘩𝘦𝘺 𝘢𝘳𝘦 𝘰𝘯𝘭𝘺 𝘱𝘳𝘢𝘤𝘵𝘪𝘤𝘪𝘯𝘨 � 𝘸𝘪𝘭𝘭𝘧𝘶𝘭𝘭𝘺 𝘰𝘣𝘴𝘦𝘴𝘴𝘪𝘰𝘯𝘢𝘭𝘭𝘺 � 𝘢 𝘱𝘳𝘰𝘵𝘰𝘵𝘺𝘱𝘪𝘤𝘢𝘭 𝘥𝘦𝘷𝘰𝘶𝘵𝘯𝘦𝘴𝘴. 𝘛𝘩𝘦𝘳𝘦 𝘪𝘴 𝘢 𝘵𝘪𝘭𝘵 𝘪𝘯 𝘵𝘩𝘦 𝘷𝘦𝘳𝘺 𝘦𝘹𝘱𝘦𝘳𝘪𝘦𝘯𝘤𝘦 𝘰𝘧 𝘭𝘪𝘷𝘪𝘯𝘨 𝘸𝘩𝘪𝘤𝘩 𝘢𝘭𝘸𝘢𝘺𝘴 𝘨𝘪𝘷𝘦𝘴 𝘮𝘦𝘮𝘰𝘳𝘺 𝘢𝘯 𝘢𝘥𝘷𝘢𝘯𝘵𝘢𝘨𝘦 𝘰𝘷𝘦𝘳 𝘢𝘮𝘯𝘦𝘴𝘪𝘢.�
With at The Strand in September of 2019, he came across a question from his biography of Lispector in regards to Sontag’s viewpoint on taste: “What is a woman on the page?� What makes feminine writing? And then how or why, then, does it become feminist?
The construction of this collection of essays is clever in that it ends with an interview, but before that, we get an exchange between Rich and Sontag about queer tastes surrounding fascist fashion and the desired brutality of the patriarchy.
With Sontag’s response, she’s hard-headed, but consistent in her thinking that expresses growth and strength. It’s grounded. Sound. Difficult. Hard to persuade that the beginnings of her initial argument are still there. Refined. It’s constant work, to think, and to be that work entirely is an art in itself.
I’ve come to the conclusion that we read Sontag to become better speakers or writers. That there is context behind every catch-grab word, every headline. That there is a beyond that must be lived and thought-through. Because if not, all if you have is literally every other single person on Tiktok, out on the street, clueless.
It’s of its time and I’m quite curious to know whyabouts of this recent publication, but I always find it fascinating when we go back to the archives to see what thinking was at the forefronts of cultural movements or stirrings. She’s right. We are made up mostly of the past. And it’s beautiful to see some of her past, as she saw It, spoke it, wrote it. Lived it.
*3.5 rounded up
“𝘋𝘪𝘷𝘪𝘥𝘪𝘯� 𝘵𝘪𝘮𝘦 𝘪𝘯𝘵𝘰 𝘗𝘢𝘴𝘵, 𝘗𝘳𝘦𝘴𝘦𝘯𝘵, 𝘢𝘯𝘥 𝘍𝘶𝘵𝘶𝘳𝘦 𝘴𝘶𝘨𝘨𝘦𝘴𝘵 𝘵𝘩𝘢𝘵 𝘳𝘦𝘢𝘭𝘪𝘵𝘺 𝘪𝘴 𝘥𝘪𝘴𝘵𝘳𝘪𝘣𝘶𝘵𝘦𝘥 𝘦𝘲𝘶𝘢𝘭𝘭𝘺 𝘢𝘮𝘰𝘯𝘨 𝘵𝘩𝘳𝘦𝘦 𝘱𝘢𝘳𝘵𝘴, 𝘣𝘶𝘵 𝘪𝘯 𝘧𝘢𝘤𝘵, 𝘵𝘩𝘦 𝘱𝘢𝘴𝘵 𝘪𝘴 𝘵𝘩𝘦 𝘮𝘰𝘴𝘵 𝘳𝘦𝘢𝘭 𝘰𝘧 𝘢𝘭𝘭. 𝘛𝘩𝘦 𝘧𝘶𝘵𝘶𝘳𝘦 𝘪𝘴, 𝘪𝘯𝘦𝘷𝘪𝘵𝘢𝘣𝘭𝘺, 𝘢𝘯 𝘢𝘤𝘤𝘶𝘮𝘶𝘭𝘢𝘵𝘪𝘰𝘯 𝘰𝘧 𝘭𝘰𝘴𝘴, 𝘢𝘯𝘥 𝘥𝘺𝘪𝘯𝘨 𝘪𝘴 𝘴𝘰𝘮𝘦𝘵𝘩𝘪𝘯𝘨 𝘸𝘦 𝘥𝘰 𝘢𝘭𝘭 𝘰𝘶𝘳 𝘭𝘪𝘷𝘦𝘴. 𝘐𝘧 𝘢𝘳𝘵𝘪𝘴𝘵 𝘴 𝘢𝘳𝘦 𝘮𝘦𝘮𝘰𝘳𝘺 𝘴𝘱𝘦𝘤𝘪𝘢𝘭𝘪𝘴𝘵𝘴, 𝘱𝘳𝘰𝘧𝘦𝘴𝘴𝘪𝘰𝘯𝘢𝘭 𝘤𝘶𝘳𝘢𝘵𝘰𝘳𝘴 𝘰𝘧 𝘤𝘰𝘯𝘴𝘤𝘪𝘰𝘶𝘴𝘯𝘦𝘴𝘴, 𝘵𝘩𝘦𝘺 𝘢𝘳𝘦 𝘰𝘯𝘭𝘺 𝘱𝘳𝘢𝘤𝘵𝘪𝘤𝘪𝘯𝘨 � 𝘸𝘪𝘭𝘭𝘧𝘶𝘭𝘭𝘺 𝘰𝘣𝘴𝘦𝘴𝘴𝘪𝘰𝘯𝘢𝘭𝘭𝘺 � 𝘢 𝘱𝘳𝘰𝘵𝘰𝘵𝘺𝘱𝘪𝘤𝘢𝘭 𝘥𝘦𝘷𝘰𝘶𝘵𝘯𝘦𝘴𝘴. 𝘛𝘩𝘦𝘳𝘦 𝘪𝘴 𝘢 𝘵𝘪𝘭𝘵 𝘪𝘯 𝘵𝘩𝘦 𝘷𝘦𝘳𝘺 𝘦𝘹𝘱𝘦𝘳𝘪𝘦𝘯𝘤𝘦 𝘰𝘧 𝘭𝘪𝘷𝘪𝘯𝘨 𝘸𝘩𝘪𝘤𝘩 𝘢𝘭𝘸𝘢𝘺𝘴 𝘨𝘪𝘷𝘦𝘴 𝘮𝘦𝘮𝘰𝘳𝘺 𝘢𝘯 𝘢𝘥𝘷𝘢𝘯𝘵𝘢𝘨𝘦 𝘰𝘷𝘦𝘳 𝘢𝘮𝘯𝘦𝘴𝘪𝘢.�
With at The Strand in September of 2019, he came across a question from his biography of Lispector in regards to Sontag’s viewpoint on taste: “What is a woman on the page?� What makes feminine writing? And then how or why, then, does it become feminist?
The construction of this collection of essays is clever in that it ends with an interview, but before that, we get an exchange between Rich and Sontag about queer tastes surrounding fascist fashion and the desired brutality of the patriarchy.
With Sontag’s response, she’s hard-headed, but consistent in her thinking that expresses growth and strength. It’s grounded. Sound. Difficult. Hard to persuade that the beginnings of her initial argument are still there. Refined. It’s constant work, to think, and to be that work entirely is an art in itself.
I’ve come to the conclusion that we read Sontag to become better speakers or writers. That there is context behind every catch-grab word, every headline. That there is a beyond that must be lived and thought-through. Because if not, all if you have is literally every other single person on Tiktok, out on the street, clueless.
It’s of its time and I’m quite curious to know whyabouts of this recent publication, but I always find it fascinating when we go back to the archives to see what thinking was at the forefronts of cultural movements or stirrings. She’s right. We are made up mostly of the past. And it’s beautiful to see some of her past, as she saw It, spoke it, wrote it. Lived it.
February 27, 2023
کتاب اثری مستقل از سوزان سانتاگ نیست و شامل مصاحبه و جستارهایی از ایشونه که گردآوری شده و در این کتاب به صورت یکجا منتشر شدهان�.
جستار اول به بررسی سن و جایگاه مهم اون در زندگی زنان میپرداز� و این موضوع رو مطرح میکن� که زنان در جوامع و فرهنگها� گوناگون، بعد از دوران جوانی و ورود به میانسالی از بیان سنشو� پرهیز میکن� چون پیر شدن برای اونه� به معنی فرسوده شدن و از دست رفتن شادابی و انرژیه بدون اینکه به مابقی ویژگیها� شخصیتی اونها توجهی بشه. اونه� دائما در پی تغییرات ظاهری برمیان تا شادابی خودشون رو حفظ کنن. همچنین به الزاماتی که در سنین جوانی برای زنان مطرح میشن مثل ازدواج میپرداز� و اینکه انگار زنان به دنیا میان که ازدواج کنن و این ازدواج یا در رابطه بودنه که جایگاه زنان رو تعیین میکن�. سانتاگ در نهایت از زنه� میخواد که در هر سنی که هستن واقعیت رو بیان کنن و از فرصتهای� که طی اون دوره براشون وجود داره استفاده کنن به جای اینکه تلاش کنن دائما خود را کم سن و سالت� از آنچه هستن نشون بدن.
جُستا� دوم که یک پرسش و پاسخه، موضوعات مختلفی مثل تاثیر خانوادهه� در ایجاد باید و نبایدها� نخنم� برای دختران و پسران (و شکلده� سرکوب های نخستین) و اقدام برای متوقف کردن این چرخه، عدم امکان دستیابی به برابری و عدالت با یک روش واحد جهانی و هزینههای� که باید در این راه پرداخت کرد، عدم اشتغال زنان به مشاغل مهم، حساس (یا تعداد اندک شمارِ آنها در چنین مشاغلی) و نقش ثابت زنان در کمک خرج بودن و نه تاثیرگذار بودن، و ... رو پوشش مید�.
دو جُستار آخر هم به طور دقیق مفهوم زیبایی زنان رو از زاویهها� مختلف مانند مسیحیت و فرهنگ یونان باستان () و تغییر مفهوم زیبایی در آینده با توجه به تغییر نگرش به زیبایی، سوژهها� زیبا، تغییر سلیقه مردم و ... میپرداز�.
پ.ن: اگر تابه حال کتابی در حوزه زنان نخوندید، خوندن این کتاب گزینه� خوبیه در کنار آثار دیگه.
پ.ن2: انتقادم به کتاب «باید و نباید» تعیین کردن نویسندهست� به نظرم بیان عقاید و طرز فکر به خودی خود در یک اثر جالب هستن اما اینکه سعی کنیم به مخاطب دستور بدیم چه انجام بده و چه انجام نده جالب نیست. در اصل من (به شخصه) ارائه راهکارها رو دوست دارم، در عین بازتاب دادنِ مشکلات و مسائل، اما دستور دادن رو خیر. علت کم کردن دو ستاره هم همین هستش، اما در کل کتاب اثر خواندنی به حساب میاد. یه جاهایی هم ترجمه و مشکلات نگارشی کتاب اذیت کننده بود برای من.
جستار اول به بررسی سن و جایگاه مهم اون در زندگی زنان میپرداز� و این موضوع رو مطرح میکن� که زنان در جوامع و فرهنگها� گوناگون، بعد از دوران جوانی و ورود به میانسالی از بیان سنشو� پرهیز میکن� چون پیر شدن برای اونه� به معنی فرسوده شدن و از دست رفتن شادابی و انرژیه بدون اینکه به مابقی ویژگیها� شخصیتی اونها توجهی بشه. اونه� دائما در پی تغییرات ظاهری برمیان تا شادابی خودشون رو حفظ کنن. همچنین به الزاماتی که در سنین جوانی برای زنان مطرح میشن مثل ازدواج میپرداز� و اینکه انگار زنان به دنیا میان که ازدواج کنن و این ازدواج یا در رابطه بودنه که جایگاه زنان رو تعیین میکن�. سانتاگ در نهایت از زنه� میخواد که در هر سنی که هستن واقعیت رو بیان کنن و از فرصتهای� که طی اون دوره براشون وجود داره استفاده کنن به جای اینکه تلاش کنن دائما خود را کم سن و سالت� از آنچه هستن نشون بدن.
جُستا� دوم که یک پرسش و پاسخه، موضوعات مختلفی مثل تاثیر خانوادهه� در ایجاد باید و نبایدها� نخنم� برای دختران و پسران (و شکلده� سرکوب های نخستین) و اقدام برای متوقف کردن این چرخه، عدم امکان دستیابی به برابری و عدالت با یک روش واحد جهانی و هزینههای� که باید در این راه پرداخت کرد، عدم اشتغال زنان به مشاغل مهم، حساس (یا تعداد اندک شمارِ آنها در چنین مشاغلی) و نقش ثابت زنان در کمک خرج بودن و نه تاثیرگذار بودن، و ... رو پوشش مید�.
دو جُستار آخر هم به طور دقیق مفهوم زیبایی زنان رو از زاویهها� مختلف مانند مسیحیت و فرهنگ یونان باستان () و تغییر مفهوم زیبایی در آینده با توجه به تغییر نگرش به زیبایی، سوژهها� زیبا، تغییر سلیقه مردم و ... میپرداز�.
پ.ن: اگر تابه حال کتابی در حوزه زنان نخوندید، خوندن این کتاب گزینه� خوبیه در کنار آثار دیگه.
پ.ن2: انتقادم به کتاب «باید و نباید» تعیین کردن نویسندهست� به نظرم بیان عقاید و طرز فکر به خودی خود در یک اثر جالب هستن اما اینکه سعی کنیم به مخاطب دستور بدیم چه انجام بده و چه انجام نده جالب نیست. در اصل من (به شخصه) ارائه راهکارها رو دوست دارم، در عین بازتاب دادنِ مشکلات و مسائل، اما دستور دادن رو خیر. علت کم کردن دو ستاره هم همین هستش، اما در کل کتاب اثر خواندنی به حساب میاد. یه جاهایی هم ترجمه و مشکلات نگارشی کتاب اذیت کننده بود برای من.
October 26, 2023
First half of this book was positively fantastic. Sontag loses some steam when she starts talking about fascism and the book begins to read more like an academic journal.
January 8, 2025
For women, aging is failure, and Sontag wastes no time sugarcoating it. Society tells us our worth is youth, and youth has an expiration date.
We’re taught to fear time. Every wrinkle feels like a countdown to our inevitable irrelevance. Some men gladly benefit exploiting this artificially implanted fear: “Hurry. Marry. Have children. Settle for me, or you’ll end up discarded, unwanted, and bitter.� They call it advice, but it’s a threat and a reminder that, in their eyes, our value is diminishing.
Too often, we comply. We see ourselves through their eyes, fighting the inevitable with needles and scalpels, chasing approval from a world ready to reject us. We tell ourselves we do it to feel better, but rarely ask ourselves why.
Sontag’s sharp, unputdownable essays expose society’s distorted standards for women. Her words punch hard; they feel vulnerably personal because they are—for every woman, I’m sure. I felt deeply understood and inspired reading this book. Truly, I loved every word of hers.
She doesn’t leave us in defeat. Sontag reminds us our strength lies in how we see ourselves in OUR eyes. Our true worth grows with time. It’s in our intellect and individuality—not in the youthful look society expects us to chase.
P.S.
The high rating is solely for the essays on women. The essays on fascism, also for some reason included in this book, were uninteresting, so I skipped them and left them out of my rating.
We’re taught to fear time. Every wrinkle feels like a countdown to our inevitable irrelevance. Some men gladly benefit exploiting this artificially implanted fear: “Hurry. Marry. Have children. Settle for me, or you’ll end up discarded, unwanted, and bitter.� They call it advice, but it’s a threat and a reminder that, in their eyes, our value is diminishing.
Too often, we comply. We see ourselves through their eyes, fighting the inevitable with needles and scalpels, chasing approval from a world ready to reject us. We tell ourselves we do it to feel better, but rarely ask ourselves why.
Sontag’s sharp, unputdownable essays expose society’s distorted standards for women. Her words punch hard; they feel vulnerably personal because they are—for every woman, I’m sure. I felt deeply understood and inspired reading this book. Truly, I loved every word of hers.
She doesn’t leave us in defeat. Sontag reminds us our strength lies in how we see ourselves in OUR eyes. Our true worth grows with time. It’s in our intellect and individuality—not in the youthful look society expects us to chase.
P.S.
The high rating is solely for the essays on women. The essays on fascism, also for some reason included in this book, were uninteresting, so I skipped them and left them out of my rating.
December 20, 2024
I liked the first essay about aging a lot, and the one about the aesthetics of facsism was interesting in parts, but beside that I think there are much better essays on most of these topics.
March 29, 2025
Povremeno razmišljam o ljudima s kojima često imamo priliku da se sretnemo u javnom prostoru. Obično je reč o intelektualcima, izuzetno uspešnim u nekoj oblasti, koji, međutim, tom uspehu duguju samopouzdanje čije se granice prostiru i nedogled i koje kao takvo mora biti neosnovano. Prema mom mišljenju Suzan Sontag (ili Zontag?) je jedna od tih ljudi, a meni još teže pada kad su ti ljudi žene.
Kada piše o onome što zaista poznaje, autorka je maestralna. Međutim, ova knjiga pretenduje da bude studija o položaju žena u društvu i kada je o toj temi reč, ona je prepuna opštih mesta, a to što je nešto istina ne znači da ga treba ponavljati u nedogled. Takođe, za ženu koja sebe naziva feministkinjom, Susan Sontag je zapanjujuće neizanteresovana za feminističku teoriju, na primer, pa dozvoljava sebi da se vrlo proizvoljno služi određenim terminima i donosi jednako proizvoljne zaključke koji ne slede iz prethodno izrečenog.
Uprkos tome, ova knjiga je zanimljiva za čitanje, naročito pojedini delovi, poput eseja o Leni Rifenštal.
Kada piše o onome što zaista poznaje, autorka je maestralna. Međutim, ova knjiga pretenduje da bude studija o položaju žena u društvu i kada je o toj temi reč, ona je prepuna opštih mesta, a to što je nešto istina ne znači da ga treba ponavljati u nedogled. Takođe, za ženu koja sebe naziva feministkinjom, Susan Sontag je zapanjujuće neizanteresovana za feminističku teoriju, na primer, pa dozvoljava sebi da se vrlo proizvoljno služi određenim terminima i donosi jednako proizvoljne zaključke koji ne slede iz prethodno izrečenog.
Uprkos tome, ova knjiga je zanimljiva za čitanje, naročito pojedini delovi, poput eseja o Leni Rifenštal.
March 11, 2025
On Women is a posthumously published collection of Sontag's essays and interviews on women and feminist thought/social criticism. Many of these essays had already been published before and concerns feminists debates in the 70s or early 80s. The introduction is by a rising literary scholar, Merve Emre, who is known for caring about the form/style distinctions that made Sontag prominent.
I've enjoyed Sontag's criticism. She's a clear, forceful writer. I think she has real expertise and valuable critical insights on meaningful works of literature. She also makes aesthetic arguments that are worth wrestling with. The most important aspect of this is that she does actually focus on substantial literature (as opposed to many of her political compatriots in the academy who increasingly became obsessed with triviality and dressing it in obscurant prose). Her later focus on film as a medium made sense given her critical position on art and literature, but it also presaged dire things for literature in Western culture.
Unfortunately, the arguments presented in On Women are antiquated, having been outrun by an onslaught of scientific knowledge about the consequences of sexual difference on biology and psychology. For example, in one of Sontag's essays she exhorts women to behave like men, including catcalling men on street. She envisions this turnabout of gendered behavior as some empowering gesture. There's since been no such turnabout because such behavior runs contrary to the natural inclinations of women, and it is decidedly unlikely to result in empowerment. Men are not intimidated by sexual attention from unknown women. They eagerly welcome, if not thirst, for it. On the other hand, unwanted sexual attention is generally quite alarming to women. There simply isn't a universe where women are generally asserting more social dominance or authority. This is deeply rooted in biological difference and is something our ideas and institutions cannot abolish.
However, I do feel it is unfair perhaps to hold Sontag to my standards for informed contemporary debates about sexual politics. In some ways her work still resonates with contemporary complaints about the social position of aging women and the status value of beauty. These again are complaints that have roots in biology. There are also available solutions to these complaints, but they generally require a re-introduction of institutions and practices that are considered reactionary or traditional. Subsequently, they tend to be rejected by those championing feminist complaints.
There are some positives to the arguments presented by Sontag. She deftly illustrates that socialist and communists movements don't offer anything special to those championing women's liberation. She also defends elite cultural preferences and distinguishes them from what can be available to those participating in mass politics. In other words, Sontag can often be a shrewd observer, identifying problems with ideas or trends in human behavior and emotion, but oftentimes her shrewdness ends before real prescriptions can be postulated.
I have trouble envisioning modern young women with feminist leanings enjoying Sontag's arguments. They would likely be received as profoundly enervating. Almost a half-century later, which in some ways can be characterized by remarkable liberation from the sociosexual norms and obligations of the past, has done nothing to address many of feminism's core complaints.
I've enjoyed Sontag's criticism. She's a clear, forceful writer. I think she has real expertise and valuable critical insights on meaningful works of literature. She also makes aesthetic arguments that are worth wrestling with. The most important aspect of this is that she does actually focus on substantial literature (as opposed to many of her political compatriots in the academy who increasingly became obsessed with triviality and dressing it in obscurant prose). Her later focus on film as a medium made sense given her critical position on art and literature, but it also presaged dire things for literature in Western culture.
Unfortunately, the arguments presented in On Women are antiquated, having been outrun by an onslaught of scientific knowledge about the consequences of sexual difference on biology and psychology. For example, in one of Sontag's essays she exhorts women to behave like men, including catcalling men on street. She envisions this turnabout of gendered behavior as some empowering gesture. There's since been no such turnabout because such behavior runs contrary to the natural inclinations of women, and it is decidedly unlikely to result in empowerment. Men are not intimidated by sexual attention from unknown women. They eagerly welcome, if not thirst, for it. On the other hand, unwanted sexual attention is generally quite alarming to women. There simply isn't a universe where women are generally asserting more social dominance or authority. This is deeply rooted in biological difference and is something our ideas and institutions cannot abolish.
However, I do feel it is unfair perhaps to hold Sontag to my standards for informed contemporary debates about sexual politics. In some ways her work still resonates with contemporary complaints about the social position of aging women and the status value of beauty. These again are complaints that have roots in biology. There are also available solutions to these complaints, but they generally require a re-introduction of institutions and practices that are considered reactionary or traditional. Subsequently, they tend to be rejected by those championing feminist complaints.
There are some positives to the arguments presented by Sontag. She deftly illustrates that socialist and communists movements don't offer anything special to those championing women's liberation. She also defends elite cultural preferences and distinguishes them from what can be available to those participating in mass politics. In other words, Sontag can often be a shrewd observer, identifying problems with ideas or trends in human behavior and emotion, but oftentimes her shrewdness ends before real prescriptions can be postulated.
I have trouble envisioning modern young women with feminist leanings enjoying Sontag's arguments. They would likely be received as profoundly enervating. Almost a half-century later, which in some ways can be characterized by remarkable liberation from the sociosexual norms and obligations of the past, has done nothing to address many of feminism's core complaints.
Read
November 3, 2023Betere titel was “over witte vrouwen�. De volgorde van essays was zeker een tactische keuze : van 90% onderlijnde zinnen in “De dubbele moraal van het ouder worden� tot gauw horizontaal de zinnen doornemen in “Het Salmagundi-interview�.
August 30, 2023
30 Books in 30 days / Book #23
February 13, 2024
E prima mea întâlnire cu Susan Sontag și m-a cucerit la fel cum a făcut-o și Bell Hooks, a fost grozav să fac această călătorie în mintea ei. Avem aici o colecție de eseuri pe diverse teme, preferatele mele sunt cele care ating problematica sexismului, frumuseții, dublului standard al îmbătrânirii și problematici asemănătoare. În ultima parte avem și un interviu suculent, dar și un dialog între ea și poeta Adrienne Rich pornind de la un eseu pe care Susan Sontag l-a scris despre fascism („Fascinantul fascism�, prezent în carte) și regizoarea Leni Riefenstahl (considerată, paradoxal sau nu, și o mare feministă și o susținătoare a fascismului prin filmele ei). Mi s-au părut interesante gândurile lui Susan Sontag și despre artă, interpretare, modul în care apare sau nu apare feminismul în toate celelalte practici de analiză și gândire (ca articolele despre regizori și filme, de exemplu).
Sută la sută recomand.
Sută la sută recomand.
May 26, 2024
My brain hurts. Send help.
Sontag is a fierce intellect. A force to be reckoned with. The kind of agile mind that can distract from her own contradictions with sophisticated wordplay and verbal a***-kickery. Convince you that you've got it all wrong regardless of reality.
She'll elegantly explain the patriarchy, but then pooh-pooh advances in equal human rights as "reformist" & suggest we should politicise our sexual preferences (ideas I can't get behind despite largely agreeing with her critique of the system.)
I didn't live through the 70s. This was my first foray into Sontag's writing. Reading other reviews, I'm assured this isn't her best work.
Sontag fans... what would you recommend?
Sontag is a fierce intellect. A force to be reckoned with. The kind of agile mind that can distract from her own contradictions with sophisticated wordplay and verbal a***-kickery. Convince you that you've got it all wrong regardless of reality.
She'll elegantly explain the patriarchy, but then pooh-pooh advances in equal human rights as "reformist" & suggest we should politicise our sexual preferences (ideas I can't get behind despite largely agreeing with her critique of the system.)
I didn't live through the 70s. This was my first foray into Sontag's writing. Reading other reviews, I'm assured this isn't her best work.
Sontag fans... what would you recommend?
July 5, 2023
Lordy Lordy sontag helped me turn 40
January 29, 2024
Susan Sontag is without a doubt one of my literary heroes, and it’s in her critical writing that I think we really gage the height of her fierce intellect and literary powers. ‘On Women�, this most recent 2023 collection of essays compiled and edited by her son David Rieff, is certainly no let down.
Mostly written during the early 1970s, the compilation feels (unofficially) split into two halves. The first half deals mainly with misogynistic societal issues, with essay titles such as, ‘The Double Standard of Aging�, ‘A Woman’s Beauty: Put Down or Power Source?� and ‘Beauty: How Will it Change Next?�. The but second half takes an unexpected turn, and moves on to looking at feminism and fascism.
I’ve read quite a few reviews here on GoodReads criticising the book for this, saying that the second half doesn’t feel at all well placed with the first. On the contrary, I disagree entirely with this. To me it seems clear that Rieff’s intention to include that latter essays is that in them Sontag fully explains her stance on the feminist movement and political issues of the time, which Sontag does not always affiliate herself with. Anyone reading this for the first time, I urge you to stick with the second half, as the initial essays on fascism lay the groundwork for the final pieces.
Sontag’s work is one of a kind, and I only wish we were able to hear her thoughts and views on our current societal and global issues.
Mostly written during the early 1970s, the compilation feels (unofficially) split into two halves. The first half deals mainly with misogynistic societal issues, with essay titles such as, ‘The Double Standard of Aging�, ‘A Woman’s Beauty: Put Down or Power Source?� and ‘Beauty: How Will it Change Next?�. The but second half takes an unexpected turn, and moves on to looking at feminism and fascism.
I’ve read quite a few reviews here on GoodReads criticising the book for this, saying that the second half doesn’t feel at all well placed with the first. On the contrary, I disagree entirely with this. To me it seems clear that Rieff’s intention to include that latter essays is that in them Sontag fully explains her stance on the feminist movement and political issues of the time, which Sontag does not always affiliate herself with. Anyone reading this for the first time, I urge you to stick with the second half, as the initial essays on fascism lay the groundwork for the final pieces.
Sontag’s work is one of a kind, and I only wish we were able to hear her thoughts and views on our current societal and global issues.
December 10, 2023
i might never stop being fascinated by Sontag's intelligence and the complexity of her thinking! this is definitely one of must-reads on feminism.
March 30, 2023
- یک ستاره را به خاطر قدیمی بودن و بعضا عدم تطابق برخی از مسائل با زمان حاضر، کم کردم.
December 16, 2024
Dit boek las ik in de zomervakantie toen ik aan het zeilen was op de waddenzee. Het was een lange tocht, dus ik had de tijd om te lezen. Ik had mijn bikini aangetrokken en lag op mijn boek het boek te lezen. Het was ontzettend interessant en ik heb die hele tocht zo gelegen om het boek uit te lezen. Hierdoor ben ik natuurlijk heel erg verbrand op mijn rug, want ik was vergeten mij in te smeren en daarom moest ik de dagen hier na ook op mijn buik slapen, omdat het anders te erg pijn deed.
De concentratie die ik kreeg om dit boek in een keer uit te lezen, ondanks dat het misschien beter was als ik stopte om mij bijvoorbeeld in te smeren, zegt veel over dit boek.
Susan Sontag schrijft heel interessant over feminisme, niet alleen waar de maatschappij verantwoordelijk voor is, maar ook de verantwoordelijkheid die je draagt als je jezelf feminist noemt. Sommige dingen in dit boek zijn nog heel actueel, andere onderwerpen zijn (gelukkig) minder actueel en er zijn onderwerpen die er nu minder progressief voorliggen op het gebied van vrouwenemancipatie dan in de jaren '60 (Sontag zou ontzettend schrikken als ze zou zien hoeveel mensen nu botox gebruiken...).
Ze grijpt je aandacht, legt haar mening uit en doet dit consequent, toegankelijk en soms fel. Ik ben het niet met alles eens, maar het was heel interessant om te lezen.
De concentratie die ik kreeg om dit boek in een keer uit te lezen, ondanks dat het misschien beter was als ik stopte om mij bijvoorbeeld in te smeren, zegt veel over dit boek.
Susan Sontag schrijft heel interessant over feminisme, niet alleen waar de maatschappij verantwoordelijk voor is, maar ook de verantwoordelijkheid die je draagt als je jezelf feminist noemt. Sommige dingen in dit boek zijn nog heel actueel, andere onderwerpen zijn (gelukkig) minder actueel en er zijn onderwerpen die er nu minder progressief voorliggen op het gebied van vrouwenemancipatie dan in de jaren '60 (Sontag zou ontzettend schrikken als ze zou zien hoeveel mensen nu botox gebruiken...).
Ze grijpt je aandacht, legt haar mening uit en doet dit consequent, toegankelijk en soms fel. Ik ben het niet met alles eens, maar het was heel interessant om te lezen.
July 8, 2024
Esta é uma primeira leitura que faço de Sontag e deu para perceber que era uma mulher com uma mente astuta e excelente capacidade de argumentação.
Este livro, um conjunto de ensaios publicados no início dos anos 70 sobre o tema mulher, é uma leitura densa e que existe atenção. Vale a pena o investimento mental, pois o tema e muitas das ideias continuam atuais e pertinentes.
"Um exemplo da diferença de que falo: exigir que as mulheres recebam salário igual para trabalho igual é reformista; exigir que as mulheres tenham acesso a todos os empregos e profissões, sem excepção, é radical. Exigir igualdade salarial não ataca o sistema de estereótipos sexuais. Pagar a uma mulher o mesmo salário que a um homem se ela tiver o mesmo trabalho que ele cria tão-só uma igualdade meramente formal. Quando as mulheres forem à volta de metade das pessoas que fazem todo e qualquer tipo de trabalho, quando todas as formas de emprego e de responsabilidade pública se tornarem inteiramente mistas, os estereótipos sexuais acabarão - e não antes."
Este livro, um conjunto de ensaios publicados no início dos anos 70 sobre o tema mulher, é uma leitura densa e que existe atenção. Vale a pena o investimento mental, pois o tema e muitas das ideias continuam atuais e pertinentes.
"Um exemplo da diferença de que falo: exigir que as mulheres recebam salário igual para trabalho igual é reformista; exigir que as mulheres tenham acesso a todos os empregos e profissões, sem excepção, é radical. Exigir igualdade salarial não ataca o sistema de estereótipos sexuais. Pagar a uma mulher o mesmo salário que a um homem se ela tiver o mesmo trabalho que ele cria tão-só uma igualdade meramente formal. Quando as mulheres forem à volta de metade das pessoas que fazem todo e qualquer tipo de trabalho, quando todas as formas de emprego e de responsabilidade pública se tornarem inteiramente mistas, os estereótipos sexuais acabarão - e não antes."
April 23, 2024
pretty disappointed for this being my first susan sontag book, but I know it will not be the last.
the first chapter contains the meat of the book, however the ideas are pretty rudimentary in my opinion and very repetitive; women are held to a higher standard of beauty and are judged more harshly as they age, men are judged less harshly as they age, blah blah blah.. it may also be because i’m a woman that I feel the urge to say “well yeah duh� but there was genuinely no deeper analysis.
that being said, it did make me feel a bit upset having this reaction because it made me realize these ideas have been in my head for so long that it seems silly to even point them out� let alone write a whole book about it? maybe that was her point? idk
other than that, I did enjoy her style of writing for the most part. last half of the book is about fascism which is pretty random and unexpected so I skimmed most of it.
I guess I was hoping for a fuller discussion “on women� ..
the first chapter contains the meat of the book, however the ideas are pretty rudimentary in my opinion and very repetitive; women are held to a higher standard of beauty and are judged more harshly as they age, men are judged less harshly as they age, blah blah blah.. it may also be because i’m a woman that I feel the urge to say “well yeah duh� but there was genuinely no deeper analysis.
that being said, it did make me feel a bit upset having this reaction because it made me realize these ideas have been in my head for so long that it seems silly to even point them out� let alone write a whole book about it? maybe that was her point? idk
other than that, I did enjoy her style of writing for the most part. last half of the book is about fascism which is pretty random and unexpected so I skimmed most of it.
I guess I was hoping for a fuller discussion “on women� ..
Read
January 20, 2025i don't like to rate memoirs/nonfic so i just state if i would recommend something or not� i will always recommend sontag, especially the first half of this collection.
the latter half of this focused on fascism and that's where it lost steam for me, and i can see that is a common experience in the other reviews of this. although the 'in conversation with' + interview parts were interesting because of the argumentative and reflective nature of them, they were just so heavily self-referential and came off more academic than the first half of this collection, which isn't to say they were particularly bad, only that it feels like we could have split this collection in half.
but in the end, it's sontag. read it
the latter half of this focused on fascism and that's where it lost steam for me, and i can see that is a common experience in the other reviews of this. although the 'in conversation with' + interview parts were interesting because of the argumentative and reflective nature of them, they were just so heavily self-referential and came off more academic than the first half of this collection, which isn't to say they were particularly bad, only that it feels like we could have split this collection in half.
but in the end, it's sontag. read it
August 5, 2023
tenía muchas expectativas del libro, pero me decepcionó un poco. si bien los ensayos eran de un contenido increíble, a ratos se ponía (bastante) latero.
pd: 'the double standard of aging' fue mi favorito, definitivamente uno de los ensayos que mas me han marcado.
To be sure, beauty is a form of power. And deservedly so. What is lamentable is that it is the only form of power that most women are encouraged to seek. This power is always conceived in relation to men; it is not the power to do but the power to attract. It is a power that negates itself. For this power is not one that can be chosen freely -at least, not by women- or renounced without social censure.
pd: 'the double standard of aging' fue mi favorito, definitivamente uno de los ensayos que mas me han marcado.
To be sure, beauty is a form of power. And deservedly so. What is lamentable is that it is the only form of power that most women are encouraged to seek. This power is always conceived in relation to men; it is not the power to do but the power to attract. It is a power that negates itself. For this power is not one that can be chosen freely -at least, not by women- or renounced without social censure.
September 24, 2024
3,5*
Καταρχήν ίσως ο τίτλος του βιβλίου παραπέμπει σε αμιγώς φεμινιστικο βιβλίο. Αποτελείται ομως από 7 κείμενα (δοκίμια,άρθρα,συνεντεύξεις) που αναφέρονται σε θέματα όπως φεμινισμός, ναζισμός, φασισμός, σεξουαλικότητα, καταπίεση, εξουσία, κλπ.
Τα πρώτα 4 κειμενα αναλύουν κριτικά τον τρόπο με τον οποίο η κοινωνία αντιλαμβάνεται και αντιμετωπίζει τις γυναίκες, ιδιαίτερα σε θέματα ομορφιάς, ηλικίας και ταυτότητας, και τονίζουν τις κοινωνικές ανισότητες και τα στερεότυπα που επιβάλλονται στις γυναίκες, αναδεικνύοντας τη συνθετοτητα των ζητημάτων σε ένα κοινωνικοπολιτικό πλαίσιο. Στα γραπτά της δε διστάζει και να κριτικάρει το φεμινιστικο κίνημα (της εποχής της) ούσα η ίδια φεμινίστρια, αποδεικνύοντας την ακεραιότητα της ως στοχαστρια.
Στα υπολοιπα 3 κείμενά της μιλά για τον φασισμό, την προπαγάνδα, την αισθητική του ναζισμού.
Η "γοητεία του φασισμού" είναι ένα εκπληκτικό κείμενο που αναλύει πώς η τέχνη χρησιμοποιείται ως ισχυρό εργαλείο προπαγάνδας του φασισμού, αναλύοντας τα "έργα" της Ρίφενσταλ, όπου η αισθητική γοητεύει, μα πίσω από αυτή κρύβονται η εξύψωση της απολυταρχίας και της καταπίεσης. Έτσι, η Σόνταγκ υπογραμμίζει ότι η τέχνη δεν μπορεί να είναι πολιτικά ουδέτερη.
Πρώτη φορά διαβάζω έργο της και εχω μείνει άφωνη με τη διεισδυτική σκεψη και ανάλυση σε ότι καταπιάνεται, είτε είναι ο φεμινισμος είτε είναι ο φασισμός. Δεν χρειάζεται να συμφωνήσεις μαζί της, ούτε να διαφωνήσεις, είναι ένα βιβλίο τροφή για σκέψη.
ΥΓ: Πάντως δεν χρειάζεται να κάψουμε κανένα σουτιέν μετά από την ανάγνωσή του!
Καταρχήν ίσως ο τίτλος του βιβλίου παραπέμπει σε αμιγώς φεμινιστικο βιβλίο. Αποτελείται ομως από 7 κείμενα (δοκίμια,άρθρα,συνεντεύξεις) που αναφέρονται σε θέματα όπως φεμινισμός, ναζισμός, φασισμός, σεξουαλικότητα, καταπίεση, εξουσία, κλπ.
Τα πρώτα 4 κειμενα αναλύουν κριτικά τον τρόπο με τον οποίο η κοινωνία αντιλαμβάνεται και αντιμετωπίζει τις γυναίκες, ιδιαίτερα σε θέματα ομορφιάς, ηλικίας και ταυτότητας, και τονίζουν τις κοινωνικές ανισότητες και τα στερεότυπα που επιβάλλονται στις γυναίκες, αναδεικνύοντας τη συνθετοτητα των ζητημάτων σε ένα κοινωνικοπολιτικό πλαίσιο. Στα γραπτά της δε διστάζει και να κριτικάρει το φεμινιστικο κίνημα (της εποχής της) ούσα η ίδια φεμινίστρια, αποδεικνύοντας την ακεραιότητα της ως στοχαστρια.
Στα υπολοιπα 3 κείμενά της μιλά για τον φασισμό, την προπαγάνδα, την αισθητική του ναζισμού.
Η "γοητεία του φασισμού" είναι ένα εκπληκτικό κείμενο που αναλύει πώς η τέχνη χρησιμοποιείται ως ισχυρό εργαλείο προπαγάνδας του φασισμού, αναλύοντας τα "έργα" της Ρίφενσταλ, όπου η αισθητική γοητεύει, μα πίσω από αυτή κρύβονται η εξύψωση της απολυταρχίας και της καταπίεσης. Έτσι, η Σόνταγκ υπογραμμίζει ότι η τέχνη δεν μπορεί να είναι πολιτικά ουδέτερη.
Πρώτη φορά διαβάζω έργο της και εχω μείνει άφωνη με τη διεισδυτική σκεψη και ανάλυση σε ότι καταπιάνεται, είτε είναι ο φεμινισμος είτε είναι ο φασισμός. Δεν χρειάζεται να συμφωνήσεις μαζί της, ούτε να διαφωνήσεις, είναι ένα βιβλίο τροφή για σκέψη.
ΥΓ: Πάντως δεν χρειάζεται να κάψουμε κανένα σουτιέν μετά από την ανάγνωσή του!
August 21, 2024
Sometimes books find you at the perfect time in your life. This book coincides with so may things, even just finishing Hannah Arendt's *Origins of Totalitarianism* earlier this summer.
I'm going to have to reread this for sure, especially loved the analogy of the treatment of women as neocolonialism.
I'm going to have to reread this for sure, especially loved the analogy of the treatment of women as neocolonialism.
April 16, 2024
os primeiros ensaios eram os mais interessantes, a partir do meio começou a ser secante
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