Susan Sontag, Against Interpretation

Overlooking a few well-meaning over-generalizations, it’s been a while since a writer hit my home from the very first paragraph. Sontag’s view of the role of criticism in the functional world of art is manifest on her recursive watch as critic of critics. If the functional world of art in a post-historical canvas is no longer to reflect reality but rather to elevate reality to a new and altogether more sensual plain, the critic’s role is no less pivotal: it is required of the critic to help art on its way when its step falters, when its message is attenuated by naive symbolism. The underlying truth is that in her view (as well as in mine – this is where I’m truly her choir..) this symbolism, which is an integral part of what she refers to as ‘content’, is inseparable from its manifestation (which she refers to as ‘form’). The dichotomy between the body and the soul of a work of art is thus effectively and gratefully dissipated. The artist is then free to liberate reality himself, and in assistant liberator role a critic is required to be no less of an artist than the author of the work he or she tackles or forever hold their peace.