Abrilliant,clear-eyedconsiderationofthevisualrepresentationofviolenceinourculture--itsubiquity,meanings,andeffects.Consideredoneofthegreatestcriticsofhergeneration,SusanSontagfolloweduphermonumentalOnPhotographywithanextendedstudyofhumanviolence,reflectingonaquestionfirstposedbyVirginiaWoolfinThreeGuineas:Howinyouropinionarewetopreventwar?“Foralongtimesomepeoplebelievedthatifthehorrorcouldbemadevividenough,mostpeoplewouldfinallytakeintheoutrageousness,theinsanityofwar.“Oneofthedistinguishingfeaturesofmodernlifeisthatitsuppliescountlessopportunitiesforregarding(atadistance,throughthemediumofphotography)horrorstakingplacethroughouttheworld.Butareviewersinured--orincited--toviolencebythedepictionofcruelty?Istheviewer’sperceptionofrealityerodedbythedailybarrageofsuchimages?Whatdoesitmeantocareaboutthesufferingsofothersfaraway?FirstpublishedmorethantwentyyearsafterhernowclassicbookOnPhotography,whichchangedhowweunderstandtheveryconditionofbeingmodern,RegardingthePainofOtherschallengesourthinkingnotonlyabouttheusesandmeansofimages,butabouthowwaritselfiswaged(andunderstood)inourtime,thelimitsofsympathy,andtheobligationsofconscience.
