Where the Stress Falls
Essays
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- $11.99
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- $11.99
Publisher Description
Susan Sontag has said that her earliest idea of what a writer should be was "someone who is interested in everything." Thirty-five years after her first collection of essays, the now classic Against Interpretation, our most important essayist has chosen more than forty longer and shorter pieces from the last two decades that illustrate a deeply felt, kaleidoscopic array of interests, passions, observations, and ideas.
"Reading" offers ardent, freewheeling considerations of talismanic writers from her own private canon, such as Marina Tsvetaeva, Randall Jarrell, Roland Barthes, Machado de Assis, W. G. Sebald, Borges, and Elizabeth Hardwick. "Seeing" is a series of luminous and incisive encounters with film, dance, photography, painting, opera, and theatre. And in the final section, "There and Here," Sontag explores some of her own commitments: to the work (and activism) of conscience, to the concreteness of historical understanding, and to the vocation of the writer.
Where the Stress Falls records a great American writer's urgent engagement with some of the most significant aesthetic and moral issues of the late twentieth century, and provides a brilliant and clear-eyed appraisal of what is at stake, in this new century, in the survival of that inheritance.
PUBLISHERS WEEKLY
One of the few Americans to manage superbly the dual roles of public intellectual and novelist, Sontag, whose novel In America won a National Book Award in 2000, reaches a big audience even as she divides critics. First and foremost an essayist, Sontag tackles varied interests that are compelling in part for their apparent randomness. This new collection of occasional articles includes punditry on literature, film, photography, theater and her own literary career, among other subjects. Once a champion of then-lesser-known writers like Jorge Luis Borges and Roland Barthes, she now boosts the worthy Brazilian novelist Machado de Assis and Swiss writer Robert Walser. Sometimes her enthused advocacy seems overstated, such as when she argues a little too forcefully for Glenway Wescott as a novelist and for the poet Adam Zagajewski as a prose writer. A sugary memorial for New York City Ballet founder Lincoln Kirstein is also inadequate on many levels. Still, Sontag's appetite for trends and achievements is still so fierce, and she switches subjects so quickly and lithely, that if one short essay does not convince, the next one probably will. One can't help admiring the conviction evident in "Waiting for Godot in Sarajevo," her account of directing a Beckett play in the war-torn city. There is no one quite like Sontag, and her many admirers will enjoy following up on her reading tips and engaging in debate with her via this book.
