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Regarding the Pain of Others Hardcover – Mar 15 2003


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Product Details

  • Hardcover: 144 pages
  • Publisher: Farrar, Straus and Giroux; First Edition edition (March 15 2003)
  • Language: English
  • ISBN-10: 0374248583
  • ISBN-13: 978-0374248581
  • Product Dimensions: 21.1 x 14.5 x 2 cm
  • Shipping Weight: 318 g
  • Average Customer Review: 3.6 out of 5 stars  See all reviews (10 customer reviews)
  • Amazon Bestsellers Rank: #641,072 in Books (See Top 100 in Books)


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In June 1938 Virginia Woolf published Three Guineas, her brave, unwelcomed reflections on the roots of war. Read the first page
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2 of 2 people found the following review helpful By Professor Presto on April 1 2003
Format: Hardcover
As I watch the constant war show on CNN, am I a spectator experiencing war vicariously as entertainment, and if so, should I not be watching? On the other hand, if I choose not to watch am I hiding from reality and turning my back on the soldiers who after all represent me?
If you experience any kind of discomfort with the constant coverage, then Sontag can offer some guidance.
She concentrates mainly on photographs rather than video, but this enables her to draw comparisons between the present and past conflicts. Her elegant potted history of war photography from the Crimean war to today is in some ways a rebuttal to the notion that the ubiquity of media renders modern war substantially different to historical war. If video footage defines our experience of war, photographs become our memories, and this is no less true now than in the 1860's.
If this sounds dry, then I do the book an injustice. First of all, Sontag is able to maintain page-turning readability without sacrificing scholarship. Second, even the most careful reading won't take more than 3 hours. Third, her arguments are forceful and in some cases passionate.
I found "regarding the pain of others" erudite, persuasive and strangely moving.
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Format: Paperback
Regarding the Pain of OthersSusan Sontag has presented us with a challenge. She asks us to examine the photographs of war, unimaginable suffering and death. (To catch a death actually happening and embalm it for all time is something only cameras can do, and pictures taken by photographers out in the field of the moment of (or just before) death are among the most celebrated and often reproduced of war photographs...There can be no suspicion about the authenticity of what is being shown...)Susan Sontag. This book, often as unrelenting in its prose as the exposing camera lens, discusses the consequences of looking at human suffering and degregation brought about by atrocities at a distance through photography and how it is different for (us) as onlookers than any other artform. (Images have been reproached for watching suffering at a distance, as if it were some other way of watching. But watching up close-without the mediation of an image-is still just watching.)Susan Sontag. She also discusses with length the causes and gender of war itself. The challenge is to become conscious, informed and intelligent viewers of what we see as it sometimes taps the very depths of our humanity and its many failings of sympathy and compassion.
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Format: Hardcover
It is photography, beginning with the Civil War, that almost exclusively provides us a window to the suffering of others. Ms. Sontag's essay explores the capacity of the photographic arts to convey such suffering. Throughout, she identifies photographs that have seemed to distill the image of war in a particularly unforgettable way, that is, to imprint elements of suffering, both uniquely associated with a specific war at a specfic point in time and more generally attributable to war. Although she refers to her book's "argument," it seems more precise to maintain that, like the subject of her essay, her aim here is to assess the power and the limits of photography to convey pain to those viewers who enjoy the luxury of being detached from the specific suffering so depicted. Stated differently, her essay itself develops an "image" of the art of photography and its effect on spectators who enjoy various degrees of detachment from images before them.
Having been one of the more "provincial" spectators she describes in her book, Regarding the Pain of Others appears to provide an excellent source to discover particularly powerful photographs, at least as commended by Ms. Sontag who has been seriously contemplating the "war image" in all its manifestations for at least two decades. It would have been helpful for the book to have included some of the examples she describes. (This is Art History without the art.) There are times, too, when she seems to forget that suffering is not a stranger in the so-called developed, modern world. The haunting images, captured by photographers on 9/11, of men and women jumping to certain death from the upper floors of the World Trade Center to avoid consumption in the inferno that it had become, will forever retain the sad distinction of being among this century's first "representations" of the continuing horror of suffering in war.
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Format: Hardcover
In my experience, a non-fiction book on history, sociology or politics generally does one of two things. It reports and/or it opines. However, it seemed to me that this little essay, though making a number of interesting observations about war and photography, did neither. Indeed, virtually the whole time, I kept waiting for her ultimate opinion on the issue to come out. By the end, I never saw it. And yet, in the very first sentence of her acknowledgments (and elsewhere therein), she refers to "the argument of this book." Even after reading the laudatory reviews of this book, I couldn't tell what others perceived the "argument" to be either. I am assuming that her "argument" has something to do with the effect that photography has on war. For example if I had to guess (and if it turns out that I am totally off base, it wouldn't shock me), it may be that too many photos of the suffering of others may numb the senses to it and thus should be discouraged. Or maybe, she is making the exact opposite "argument"--that we don't see enough such photos and thus people can't really appreciate how horrible war is. In addition, whatever her argument, is she suggesting that we as a people do something different than what we do now, or is she simply offering neutral observations on the way of the world as it exists now? I have no doubt that others smarter than I could answer all of these questions, but I would have appreciated a little synopsis of her self-described "argument" so I knew what it was.
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