Camille Paglia Education Where did Camille go to school? Harpur College at Binghamton University What did she study? I don't know. When did she graduate? She graduated from Harpur as class valedictorian in 1968. What did she do after she graduated? Paglia attended Yale as a graduate student, and she claims to have been the only open lesbian at Yale Graduate School What did she do after graduate school? Paglia, a militant feminist and open lesbian, was working at her first academic job at Bennington College. Did she write anything while at school? I don't know. What happened when she was working at Bennington College? Paglia drove to an appearance by Sontag at Dartmouth, hoping to arrange for her to speak at Bennington, Did she get Sontag to speak at Bennington? Bennington College agreed to pay Sontag $700 (twice what they usually offered speakers but only half Sontag's usual fee)
Did Camille speak with Sontag?
Did Camille Paglia speak with Sontag at Dartmouth?
Paglia entered Harpur College at Binghamton University in 1964. The same year, Paglia's poem "Atrophy" was published in the local newspaper. She later said that she was trained to read literature by poet Milton Kessler, who, "believed in the responsiveness of the body, and of the activation of the senses to literature... And oh did I believe in that". She graduated from Harpur as class valedictorian in 1968.  According to Paglia, while in college she punched a "marauding drunk," and takes pride in having been put on probation for committing 39 pranks.  Paglia attended Yale as a graduate student, and she claims to have been the only open lesbian at Yale Graduate School from 1968 to 1972. At Yale, Paglia quarreled with Rita Mae Brown, whom she later characterized as "then darkly nihilist," and argued with the New Haven, Connecticut Women's Liberation Rock Band when they dismissed the Rolling Stones as sexist. Paglia was mentored by Harold Bloom. Sexual Personae was then titled "The Androgynous Dream: the image of the androgyne as it appears in literature and is embodied in the psyche of the artist, with reference to the visual arts and the cinema."  Paglia read Susan Sontag and aspired to emulate what she called her "celebrity, her positioning in the media world at the border of the high arts and popular culture." Paglia first saw Sontag in person on October 15, 1969 (Vietnam Moratorium Day), when Paglia, then a Yale graduate student, was visiting a friend at Princeton. In 1973, Paglia, a militant feminist and open lesbian, was working at her first academic job at Bennington College. She considered Sontag a radical who had challenged male dominance. The same year, Paglia drove to an appearance by Sontag at Dartmouth, hoping to arrange for her to speak at Bennington, but found it difficult to find the money for Sontag's speaking fee; Paglia relied on help from Richard Tristman, a friend of Sontag's, to persuade her to come. Bennington College agreed to pay Sontag $700 (twice what they usually offered speakers but only half Sontag's usual fee) to give a talk about contemporary issues. Paglia staged a poster campaign urging students to attend Sontag's appearance. Sontag arrived at Bennington Carriage Barn, where she was to speak, more than an hour late, and then began reading what Paglia recalled as a "boring and bleak" short story about "nothing" in the style of a French New Novel.  As a result of Sontag's Bennington College appearance, Paglia began to become disenchanted with her, believing that she had withdrawn from confrontation with the academic world, and that her "mandarin disdain" for popular culture showed an elitism that betrayed her early work, which had suggested that high and low culture both reflected a new sensibility. CANNOTANSWER
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Camille Anna Paglia (; born April 2, 1947) is an American feminist academic and social critic. Paglia has been a professor at the University of the Arts in Philadelphia, Pennsylvania, since 1984. She is critical of many aspects of modern culture and is the author of Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990) and other books. She is also a critic of contemporary American feminism and of post-structuralism, as well as a commentator on multiple aspects of American culture such as its visual art, music, and film history.

Personal life
Paglia was born in Endicott, New York, the eldest child of Pasquale and Lydia Anne (née Colapietro) Paglia. All four of her grandparents were born in Italy. Her mother emigrated to the United States at five years old from Ceccano, in the province of Frosinone, Lazio, Italy. Paglia has stated that her father's side of the family was from the Campanian towns of Avellino, Benevento, and Caserta. Paglia was raised Roman Catholic, and attended primary school in rural Oxford, New York, where her family lived in a working farmhouse. Her father, a veteran of World War II, taught at the Oxford Academy high school and exposed his young daughter to art through books he brought home about French art history. In 1957, her family moved to Syracuse, New York, so that her father could begin graduate school; he eventually became a professor of Romance languages at Le Moyne College. She attended the Edward Smith Elementary School, T. Aaron Levy Junior High, and William Nottingham High School. In 1992, Carmelia Metosh, her Latin teacher for three years, said, "She always has been controversial. Whatever statements were being made (in class), she had to challenge them. She made good points then, as she does now." Paglia thanked Metosh in the acknowledgements to Sexual Personae, later describing her as "the dragon lady of Latin studies, who breathed fire at principals and school boards".

During her stays at a summer Girl Scout camp in Thendara, New York, she took on a variety of new names, including Anastasia (her confirmation name, inspired by the film Anastasia), Stacy, and Stanley.  A crucially significant event for her was when an outhouse exploded after she poured too much quicklime into the latrine. "That symbolized everything I would do with my life and work. Excess and extravagance and explosiveness.  I would be someone who would look into the latrine of culture, into pornography and crime and psychopathology ... and I would drop the bomb into it".

For more than a decade, Paglia was the partner of artist Alison Maddex. Paglia legally adopted Maddex's son (who was born in 2002). In 2007, the couple separated but remained "harmonious co-parents," in the words of Paglia, who lived two miles apart. Paglia describes herself as transgender.

Education
Paglia entered Harpur College at Binghamton University in 1964. The same year, Paglia's poem "Atrophy" was published in the local newspaper. She later said that she was trained to read literature by poet Milton Kessler, who "believed in the responsiveness of the body, and of the activation of the senses to literature ... And oh did I believe in that". She graduated from Harpur as class valedictorian in 1968.

According to Paglia, while in college she punched a "marauding drunk," and takes pride in having been put on probation for committing 39 pranks.

Paglia attended Yale as a graduate student, and she claims to have been the only open lesbian at Yale Graduate School from 1968 to 1972. At Yale, Paglia quarreled with Rita Mae Brown, whom she later characterized as "then darkly nihilist," and argued with the New Haven, Connecticut, Women's Liberation Rock Band when they dismissed the Rolling Stones as sexist. Paglia was mentored by Harold Bloom. Sexual Personae was then titled "The Androgynous Dream: the image of the androgyne as it appears in literature and is embodied in the psyche of the artist, with reference to the visual arts and the cinema."

Paglia read Susan Sontag and aspired to emulate what she called her "celebrity, her positioning in the media world at the border of the high arts and popular culture." Paglia first saw Sontag in person on October 15, 1969 (Vietnam Moratorium Day), when Paglia, then a Yale graduate student, was visiting a friend at Princeton. In 1973, Paglia, a militant feminist and open lesbian, was working at her first academic job at Bennington College. She considered Sontag a radical who had challenged male dominance. The same year, Paglia drove to an appearance by Sontag at Dartmouth, hoping to arrange for her to speak at Bennington, but found it difficult to find the money for Sontag's speaking fee; Paglia relied on help from Richard Tristman, a friend of Sontag's, to persuade her to come. Bennington College agreed to pay Sontag $700 (twice what they usually offered speakers but only half Sontag's usual fee) to give a talk about contemporary issues. Paglia staged a poster campaign urging students to attend Sontag's appearance. Sontag arrived at Bennington Carriage Barn, where she was to speak, more than an hour late, and then began reading what Paglia recalled as a "boring and bleak" short story about "nothing" in the style of a French New Novel.

As a result of Sontag's Bennington College appearance, Paglia began to become disenchanted with her, believing that she had withdrawn from confrontation with the academic world, and that her "mandarin disdain" for popular culture showed an elitism that betrayed her early work, which had suggested that high and low culture both reflected a new sensibility.

Career
In the autumn of 1972, Paglia began teaching at Bennington College, which hired her in part thanks to a recommendation from Harold Bloom. At Bennington, she befriended the philosopher James Fessenden, who first taught there in the same semester.

Through her study of the classics and the scholarly work of Jane Ellen Harrison, James George Frazer, Erich Neumann and others, Paglia developed a theory of sexual history that contradicted a number of ideas fashionable at the time, hence her criticism of Marija Gimbutas, Carolyn Heilbrun, Kate Millett and others. She laid out her ideas on matriarchy, androgyny, homosexuality, sadomasochism and other topics in her Yale PhD thesis Sexual Personae: The Androgyne in Literature and Art, which she defended in December 1974.  In September 1976, she gave a public lecture drawing on that dissertation, in which she discussed Edmund Spenser's The Faerie Queene, followed by remarks on Diana Ross, Gracie Allen, Yul Brynner, and Stéphane Audran.

Paglia wrote that she "nearly came to blows with the founding members of the women's studies program at the State University of New York at Albany, when they categorically denied that hormones influence human experience or behavior". Similar fights with feminists and academics culminated in a 1978 incident which led her to resign from Bennington; after a lengthy standoff with the administration, Paglia accepted a settlement from the college and resigned in 1979.

Paglia finished Sexual Personae in the early 1980s, but could not get it published. She supported herself with visiting and part-time teaching jobs at Yale, Wesleyan, and other Connecticut colleges. Her paper, "The Apollonian Androgyne and the Faerie Queene", was published in English Literary Renaissance, Winter 1979, and her dissertation was cited by J. Hillis Miller in his April 1980 article "Wuthering Heights and the Ellipses of Interpretation", in Journal of Religion in Literature, but her academic career was otherwise stalled.  In a 1995 letter to Boyd Holmes, she recalled: "I earned a little extra money by doing some local features reporting for a New Haven alternative newspaper (The Advocate) in the early 1980s". She wrote articles on New Haven's historic pizzerias and on an old house that was a stop on the Underground Railroad.

In 1984, she joined the faculty of the Philadelphia College of Performing Arts, which merged in 1987 with the Philadelphia College of Art to become the University of the Arts.

Paglia is on the editorial board of the classics and humanities journal Arion. She wrote a regular column for Salon.com from 1995 to 2001, and again from 2007 to 2009. Paglia resumed writing a Salon.com column in 2016.

Paglia cooperated with Carl Rollyson and Lisa Paddock in their writing of Susan Sontag: The Making of an Icon, sending them detailed letters from which they quoted with her permission. Rollyson and Paddock note that Sontag "had her lawyer put our publisher on notice" when she realized that they were investigating her life and career.

Paglia participates in the decennial poll of film professionals conducted by Sight & Sound which asks participants to submit a list of what they believe to be the ten greatest films of all time. According to her responses to the poll in 2002 and 2012, the films Paglia holds in highest regard include Ben-Hur, Citizen Kane, La Dolce Vita, The Godfather, The Godfather: Part II, Gone with the Wind, Lawrence of Arabia, North by Northwest, Orphée, Persona, 2001: A Space Odyssey, The Ten Commandments, and Vertigo.

In 2005, Paglia was named as one of the top 100 public intellectuals by the journals Foreign Policy and Prospect. In 2012, an article in The New York Times remarked that  who has been following the body count of the culture wars over the past decades knows Paglia". Paglia has said that she is willing to have her entire career judged on the basis of her composition of what she considers to be "probably the most important sentence that she has ever written": "God is man's greatest idea."

Views

Feminism
Though Paglia admires Simone de Beauvoir and The Second Sex ("the supreme work of modern feminism ... its deep learning and massive argument are unsurpassed") as well as Germaine Greer, Time critic Martha Duffy writes that Paglia "does not hesitate to hurl brazen insults" at several feminists. In an interview, Paglia stated that to be effective, one has to "name names"; criticism should be concrete. Paglia stated that many critics "escape into abstractions", rendering their criticism "intellectualized and tame".

Paglia accused Greer of becoming "a drone in three years" as a result of her early success; Paglia has also criticized the work of activist Diana Fuss. Elaine Showalter calls Paglia "unique in the hyperbole and virulence of her hostility to virtually all the prominent feminist activists, public figures, writers and scholars of her generation", mentioning Carolyn Heilbrun, Judith Butler, Carol Gilligan, Marilyn French, Zoe Baird, Kimba Wood, Susan Thomases, and Hillary Clinton as targets of her criticism. Paglia has accused Kate Millett of starting "the repressive, Stalinist style in feminist criticism." Paglia has repeatedly criticized Patricia Ireland, former president of the National Organization for Women (NOW), calling her a "sanctimonious", unappealing role model for women whose "smug, arrogant" attitude is accompanied by "painfully limited processes of thought". Paglia contends that under Ireland's leadership, NOW "damaged and marginalized the women's movement".

In 1999, Martha Nussbaum wrote an essay called "The Professor of Parody", in which she criticized Judith Butler for retreating to abstract theory disconnected from real world problems. Paglia reacted to the essay by stating that the criticism was "long overdue", but characterized the criticism as "one PC diva turning against another". She criticized Nussbaum for failing to make her criticisms earlier while accusing her of borrowing Paglia's ideas without acknowledgement. She called Nussbaum's "preparation or instinct for sex analysis ... dubious at best", but nevertheless stated that "Nussbaum is a genuine scholar who operates on a vastly higher intellectual level than Butler".

Many feminists have criticized Paglia; Christina Hoff Sommers calls her "Perhaps the most conspicuous target of feminist opprobrium," noting that the Women's Review of Books described Sexual Personae as patriarchy's "counter-assault on feminism". Sommers relates that when Paglia appeared at a Brown University forum, feminists signed a petition censuring her and demanding an investigation into procedures for inviting speakers to the campus. Some feminist critics have characterized Paglia as an "anti-feminist feminist", critical of central features of much contemporary feminism but holding out "her own special variety of feminist affirmation".

Naomi Wolf traded a series of sometimes personal attacks with Paglia throughout the early 1990s. In The New Republic, Wolf wrote that Paglia "poses as a sexual renegade but is in fact the most dutiful of patriarchal daughters" and characterized Paglia as intellectually dishonest. In a 1991 speech, Paglia criticized Wolf for blaming anorexia on the media. Gloria Steinem said of Paglia that, "Her calling herself a feminist is sort of like a Nazi saying they're not anti-Semitic." Paglia called Steinem "the Stalin of feminism". Katha Pollitt calls Paglia one of a "seemingly endless parade of social critics [who] have achieved celebrity by portraying not sexism but feminism as the problem". Pollitt writes that Paglia has glorified "male dominance", and has been able to get away with things "that might make even Rush Limbaugh blanch," because she is a woman.

Paglia's view that rape is sexually motivated has been endorsed by evolutionary psychologists Randy Thornhill and Craig T. Palmer; they comment that "Paglia ... urges women to be skeptical toward the feminist 'party line' on the subject, to become better informed about risk factors, and to use the information to lower their risk of rape".

In an essay critiquing the Hollywood/celebrity fad of "Girl Squads", made popular in 2015 by pop-icons like Taylor Swift, Paglia argued that rather than empowering women the cliquish practice actually harms the self-esteem of those who are not rich, famous, or attractive enough to belong to the group, while further defining women only by a very narrow, often sexualized stereotype. She challenged that to be truly empowering, these groups need to mentor, advise, and be more inclusive, for more women to realize their true, individual potential.

Transgender people 
Paglia identifies as transgender. She reports having gender dysphoria since childhood, and says that "never once in my life have I felt female". She says that she was "donning flamboyant male costumes from early childhood on". 

Nevertheless, Paglia says that she is "highly skeptical about the current transgender wave" which she thinks has been produced by "far more complicated psychological and sociological factors than current gender discourse allows". She writes that "In a democracy, everyone, no matter how nonconformist or eccentric, should be free from harassment and abuse. But at the same time, no one deserves special rights, protections, or privileges on the basis of their eccentricity." 

Paglia's views led to a petition demanding University of the Arts to remove her from their faculty, but the university rejected it. Paglia considered it "a publicity stunt" and praised the university's "eloquent statement affirming academic freedom [as] a landmark in contemporary education."

Climate change 

Paglia has long rejected global warming, which she describes as "the political agenda that has slowly accrued" around the issue of climate change. In a 2017 interview with The Weekly Standard, Paglia stated, "It is certainly ironic how liberals who posture as defenders of science when it comes to global warming (a sentimental myth unsupported by evidence) flee all reference to biology when it comes to gender."

French academia
Paglia is critical of the influence modern French writers have had on the humanities, claiming that universities are in the "thrall" of French post-structuralists; that in the works of Jean Baudrillard, Jacques Derrida, Jacques Lacan and Michel Foucault, she never once found a sentence that interested her. François Cusset writes that Paglia, like other major American public intellectuals after World War II, owes her broader recognition mainly to the political repercussions of polemics that first erupted on college campuses, in her case to a polemic against foreign intellectualism. He says she achieved phenomenal success when she called Foucault a "bastard", thereby providing (together with Alan Sokal's Social Text parody) the best evidence for Paul de Man's view that theory should be defined negatively, based on the opposition it arouses. However, Paglia's assessment of French writers is not purely negative. She has called Simone de Beauvoir's The Second Sex (1949) "brilliant" and identified Jean-Paul Sartre's work as part of a high period in literature. Paglia has praised Roland Barthes's Mythologies (1957) and Gilles Deleuze's Masochism: Coldness and Cruelty (1967), while finding both men's later work flawed. Of Gaston Bachelard, who influenced Paglia, she wrote "[his] dignified yet fluid phenomenological descriptive method seemed to me ideal for art", adding that he was "the last modern French writer I took seriously".

Politics
Paglia characterizes herself as a libertarian. She opposes laws against prostitution, pornography, drugs, and abortion. She is also opposed to affirmative action laws. Some of her views have been characterized as conservative, although when asked in 2017 if she considers herself a cultural Conservative she replied: "No, not at all.... Conservative would mean I was cleaving to something past which was great, and no longer is.... and usually I'm not saying we should return to anything. I do believe we're moving inexorably into the future." 

Paglia criticized Bill Clinton for not resigning after the Monica Lewinsky scandal, which she says "paralyzed the government for two years, leading directly to our blindsiding by 9/11". In the 2000 U.S. presidential campaign, she voted for the Green Party candidate Ralph Nader "[because] I detest the arrogant, corrupt superstructure of the Democratic Party, with which I remain stubbornly registered."

In the 2004 U.S. presidential election, Paglia supported John Kerry, and in 2008 she supported Barack Obama. In 2012, she supported Green Party candidate Jill Stein. Paglia was highly critical of 2016 presidential candidate Hillary Clinton, calling her a "fraud" and a "liar". Paglia refused to support either Hillary Clinton or Donald Trump in the 2016 U.S. presidential election, indicating in a March Salon column that if Hillary Clinton won the Democratic Party's nomination, she would either cast a write-in vote for Bernie Sanders or else vote for Green Party candidate Stein, as she did in 2012. Paglia later clarified in a statement that she would vote for Stein.
In 2017, she stated that she is a registered Democrat who voted for Bernie Sanders in the 2016 Democratic primary and for Jill Stein in the 2016 general election. For the 2020 U.S. presidential election, Paglia criticized the Democratic Party for lacking a coherent message and a strong candidate. She disavowed Sanders as being "way too old and creaky" and retracted her initial support for Kamala Harris for missing "a huge opportunity to play a moderating, statesmanlike role." Citing the "need to project steadiness, substance, and warmth," Paglia expressed interest in Cheri Bustos and Steve Bullock as potential candidates.

Child sexuality
In 1993, Paglia signed a manifesto supporting NAMBLA, a pederasty and pedophilia advocacy organization. In 1994, Paglia supported lowering the legal age of consent to 14. She noted in a 1995 interview with pro-pedophile activist Bill Andriette, "I fail to see what is wrong with erotic fondling with any age." In a 1997 Salon column, Paglia expressed the view that male pedophilia correlates with the heights of a civilization, stating "I have repeatedly protested the lynch-mob hysteria that dogs the issue of man-boy love. In Sexual Personae, I argued that male pedophilia is intricately intertwined with the cardinal moments of Western civilization." Paglia noted in several interviews, as well as Sexual Personae, that she supports the legalization of certain forms of child pornography.

She later had a change of heart on the matter. In an interview for Radio New Zealand's Saturday Morning show, conducted on April 28, 2018 by Kim Hill, Paglia was asked, "Are you a libertarian on the issue of pedophilia?", to which she replied, "In terms of the present day, I think it's absolutely impossible to think we could reproduce the Athenian code of pedophilia, of boy-love, that was central to culture at that time. ... We must protect children, and I feel that very very strongly. The age of consent for sexual interactions between a boy and an older man is obviously disputed, at what point that should be. I used to think that fourteen (the way it is in some places in the world) was adequate. I no longer think that. I think young people need greater protection than that. ... This is one of those areas that we must confine to the realm of imagination and the history of the arts."

Books

Sexual Personae

Paglia's Sexual Personae was rejected by at least seven different publishers before it was published by Yale University Press, whereupon it became a best seller, reaching seventh place on the paperback best-seller list, a rare accomplishment for a scholarly book. 'Paglia called it her "prison book", commenting, "I felt like Cervantes, Genet. It took all the resources of being Catholic to cut myself off and sit in my cell." Sexual Personae has been called an "energetic, Freud-friendly reading of Western art", one that seemed "heretical and perverse", at the height of political correctness; according to Daniel Nester, its characterization of "William Blake as the British Marquis de Sade or Walt Whitman and Emily Dickinson as 'self-ruling hermaphrodites who cannot mate' still pricks up many an English major's ears".

In the book, Paglia argues that human nature has an inherently dangerous Dionysian or chthonic aspect, especially in regard to sexuality. Culture and civilization are created by men and represent an attempt to contain that force. Women are powerful, too, but as natural forces, and both marriage and religion are means to contain chaotic forces. A best seller, it was described by Terry Teachout in a New York Times book review as being both "intellectually stimulating" and "exasperating". Sexual Personae received critical reviews from numerous feminist scholars. Anthony Burgess described Sexual Personae as "a fine disturbing book" that "seeks to attack the reader's emotions as well as his or her prejudices".

Sex, Art and American Culture
 
Sex, Art and American Culture: Essays (1992) is a collection of short pieces, many published previously as editorials or reviews, and some transcripts of interviews. The essays cover such subjects as Madonna, Elizabeth Taylor, rock music, Robert Mapplethorpe, the Clarence Thomas Supreme Court nomination, rape, Marlon Brando, drag, Milton Kessler, and academia. It made The New York Times bestseller list for paperbacks.

Vamps and Tramps
Vamps and Tramps: New Essays (1994) is a collection of 42 short articles and a long essay, "No Law in the Arena: a Pagan Theory of Sexuality". It also contains a collection of cartoons from newspapers about Paglia. Writing for The New York Times, Wendy Steiner wrote "Comic, camp, outspoken, Ms. Paglia throws an absurdist shoe into the ponderous wheels of academia". Michiko Kakutani, also writing for The New York Times, wrote: "Her writings on education ... are highly persuasive, just as some of her essays on the perils of regulating pornography and the puritanical excesses of the women's movement radiate a fierce common sense ...  Unfortunately, Ms. Paglia has a way of undermining her more interesting arguments with flip, hyperbolic declarations".

The Birds
In 1998, in commemoration of the 35th anniversary of the release of Alfred Hitchcock's film The Birds, the British Film Institute commissioned Paglia to write a book about the film. The book interprets the film as "in the main line of British Romanticism descending from the raw nature-tableaux and sinister femme-fatales of Coleridge". Paglia uses a psychoanalytic framework to interpret the film as portraying "a release of primitive forces of sex and appetite that have been subdued but never fully tamed".

Break, Blow, Burn
Break, Blow, Burn: Camille Paglia Reads Forty-three of the World's Best Poems (2005) is a collection of 43 short selections of verse with an accompanying essay by Paglia. The collection is oriented primarily to those unfamiliar with the works. Clive James wrote that Paglia tends to focus on American works as it moves from Shakespeare forward through time, with Yeats, following Coleridge, as the last European discussed, but emphasized her range of sympathy and her ability to juxtapose and unite distinct art forms in her analysis.

Glittering Images

Glittering Images: A Journey Through Art from Egypt to Star Wars (2012) is a series of essays about notable works of art from ancient to modern times, published in October 2012. Writer John Adams of The New York Times Book Review was skeptical of the book, accusing it of being "so agenda driven and so riddled with polemic asides that its potential to persuade is forever being compromised". Gary Rosen of The Wall Street Journal, however, praised the book's "impressive range" and accessibility to readers.

Free Women, Free Men
 
Paglia's Free Women, Free Men: Sex, Gender, and Feminism was published by Pantheon in 2017. It is a series of essays from 1990 onward. Dwight Garner in The New York Times wrote Paglia's essays address two main targets: modern feminism, which, Paglia writes, "has become a catchall vegetable drawer where bunches of clingy sob sisters can store their moldy neuroses," and modern American universities, of which she asks, "How is it possible that today’s academic left has supported rather than protested campus speech codes as well as the grotesque surveillance and overregulation of student life?"

Provocations 
Paglia's fourth essay collection, Provocations: Collected Essays on Art, Feminism, Politics, Sex, and Education, was published by Pantheon on October 9, 2018.

Works
 
 
 
 
 The Birds (BFI Film Classics) (1998) 
 Break, Blow, Burn: Camille Paglia Reads Forty-three of the World's Best Poems (2005) 
 Glittering Images: A Journey Through Art from Egypt to Star Wars (2012) 
 Free Women, Free Men: Sex, Gender, and Feminism (2017) 
 Provocations: Collected Essays (2018)

References

Sources

External links

 
 
 Salon Articles by Camille Paglia
 
 In Depth interview with Paglia, August 3, 2003
 

1947 births
Living people
20th-century American writers
20th-century atheists
20th-century scholars
20th-century American women writers
21st-century American essayists
21st-century atheists
21st-century scholars
21st-century American women writers
American art historians
Women art historians
American atheists
American columnists
American cultural critics
American feminist writers
American film critics
American film historians
American former Christians
American humanities academics
American libertarians
American literary critics
Women literary critics
American political writers
American women academics
American women historians
American writers of Italian descent
Atheist feminists
Bennington College faculty
Binghamton University alumni
Bisexual feminists
Bisexual women
Bisexual writers
Critics of postmodernism
Feminist theorists
Female critics of feminism
Feminist critics of feminism
Former Roman Catholics
Free speech activists
Individualist feminists
Journalists from New York (state)
LGBT historians
LGBT people from New York (state)
LGBT people from Pennsylvania
LGBT writers from the United States
Transgender and transsexual writers
New York (state) Democrats
Nottingham High School (Syracuse, New York) alumni
Pedophile advocacy
Pennsylvania Democrats
People from Endicott, New York
Writers from Syracuse, New York
People of Lazian descent
People of Campanian descent
Salon (website) people
Sex-positive feminists
Social critics
University of the Arts (Philadelphia) faculty
American women columnists
Women film critics
Writers from Philadelphia
Yale University alumni
Historians from Pennsylvania
Transgender and transsexual academics
Historians from New York (state)
Sontag is a surname. Notable people with the surname include:

 Alan Sontag (born 1946), American bridge player and author
 Andrzej Sontag (born 1952), Polish triple jumper
 Brett Sontag (born 1970), American racecar driver
 Eduardo Daniel Sontag (born 1951), American/Argentine mathematician
 Frank Sontag (born 1955), American talk radio show host
 Frederick Sontag (1924–2009) American author and educator
 George Contant Sontag (1864–unknown), American outlaw
 Henriette Sontag (1806–1854), German operatic soprano
 John Sontag (1861–1893, American outlaw
 Susan Sontag (1933–2004), American essayist, novelist, filmmaker, and activist
 Tiga Sontag (born 1974), Canadian DJ/producer
 Tony Sontag, English darts player

See also
 Sontag, Mississippi, community in north west Lawrence County, Mississippi
 
 Sonntag (disambiguation) Susan Sontag (; January 16, 1933 – December 28, 2004) was an American writer, filmmaker, philosopher, teacher, and political activist. She mostly wrote essays, but also published novels; she published her first major work, the essay "Notes on 'Camp'", in 1964. Her best-known works include the critical works Against Interpretation (1966), Styles of Radical Will (1968), On Photography (1977), and Illness as Metaphor (1978), as well as the fictional works The Way We Live Now (1986), The Volcano Lover (1992), and In America (1999).

Sontag was active in writing and speaking about, or travelling to, areas of conflict, including during the Vietnam War and the Siege of Sarajevo. She wrote extensively about photography, culture and media, AIDS and illness, human rights, and leftist ideology. Her essays and speeches drew controversy, and she has been described as "one of the most influential critics of her generation."

Early life and education
Sontag was born Susan Rosenblatt in New York City, the daughter of Mildred (née Jacobson) and Jack Rosenblatt, both Jews of Lithuanian and Polish descent. Her father managed a fur trading business in China, where he died of tuberculosis in 1939, when Susan was five years old. Seven years later, Sontag's mother married U.S. Army captain Nathan Sontag. Susan and her sister, Judith, took their stepfather's surname, although he did not adopt them formally. Sontag did not have a religious upbringing and said she had not entered a synagogue until her mid-20s.

Remembering an unhappy childhood, with a cold, distant mother who was "always away", Sontag lived on Long Island, New York, then in Tucson, Arizona, and later in the San Fernando Valley in southern California, where she took refuge in books and graduated from North Hollywood High School at the age of 15. She began her undergraduate studies at the University of California, Berkeley but transferred to the University of Chicago in admiration of its prominent core curriculum. At Chicago, she undertook studies in philosophy, ancient history, and literature alongside her other requirements. Leo Strauss, Joseph Schwab, Christian Mackauer, Richard McKeon, Peter von Blanckenhagen and Kenneth Burke were among her lecturers. She graduated at the age of 18 with an A.B. and was elected to Phi Beta Kappa. While at Chicago, she became best friends with fellow student Mike Nichols. In 1951, her work appeared in print for the first time in the winter issue of the Chicago Review.

At 17, Sontag married writer Philip Rieff, who was a sociology instructor at the University of Chicago, after a 10-day courtship; their marriage lasted eight years. While studying at Chicago, Sontag attended a summer school taught by the sociologist  who became a friend and subsequently influenced her study of German thinkers. Upon completing her Chicago degree, Sontag taught freshman English at the University of Connecticut for the 1952–53 academic year. She attended Harvard University for graduate school, initially studying literature with Perry Miller and Harry Levin before moving into philosophy and theology under Paul Tillich, Jacob Taubes, Raphael Demos and Morton White. After completing her Master of Arts in philosophy, she began doctoral research into metaphysics, ethics, Greek philosophy and Continental philosophy and theology at Harvard. The philosopher Herbert Marcuse lived with Sontag and Rieff for a year while working on his 1955 book Eros and Civilization. Sontag researched for Rieff's 1959 study Freud: The Mind of the Moralist before their divorce in 1958, and contributed to the book to such an extent that she has been considered an unofficial co-author. The couple had a son, David Rieff, who went on to be his mother's editor at Farrar, Straus and Giroux, as well as a writer in his own right.

Sontag was awarded an American Association of University Women's fellowship for the 1957–1958 academic year to St Anne's College, Oxford, where she traveled without her husband and son. There, she had classes with Iris Murdoch, Stuart Hampshire, A. J. Ayer and H. L. A. Hart while also attending the B. Phil seminars of J. L. Austin and the lectures of Isaiah Berlin. Oxford did not appeal to her, however, and she transferred after Michaelmas term of 1957 to the University of Paris (the Sorbonne). In Paris, Sontag socialized with expatriate artists and academics including Allan Bloom, Jean Wahl, Alfred Chester, Harriet Sohmers and María Irene Fornés. Sontag remarked that her time in Paris was, perhaps, the most important period of her life. It certainly provided the basis of her long intellectual and artistic association with the culture of France. She moved to New York in 1959 to live with Fornés for the next seven years, regaining custody of her son and teaching at universities while her literary reputation grew.

Fiction

While working on her stories, Sontag taught philosophy at Sarah Lawrence College and City University of New York and the Philosophy of Religion with Jacob Taubes, Susan Taubes, Theodor Gaster, and Hans Jonas, in the Religion Department at Columbia University from 1960 to 1964. She held a writing fellowship at Rutgers University for 1964 to 1965 before ending her relationship with academia in favor of full-time freelance writing.

At age 30, she published an experimental novel called The Benefactor (1963), following it four years later with Death Kit (1967). Despite a relatively small output, Sontag thought of herself principally as a novelist and writer of fiction. Her short story "The Way We Live Now" was published to great acclaim on November 24, 1986 in The New Yorker. Written in an experimental narrative style, it remains a significant text on the AIDS epidemic. She achieved late popular success as a best-selling novelist with The Volcano Lover (1992). At age 67, Sontag published her final novel In America (2000). The last two novels were set in the past, which Sontag said gave her greater freedom to write in the polyphonic voice:

She wrote and directed four films and also wrote several plays, the most successful of which were Alice in Bed and Lady from the Sea.

Nonfiction
It was through her essays that Sontag gained early fame and notoriety. Sontag wrote frequently about the intersection of high and low art and expanded the dichotomy concept of form and art in every medium. She elevated camp to the status of recognition with her widely read 1964 essay "Notes on 'Camp,'" which accepted art as including common, absurd and burlesque themes.

In 1977, Sontag published the series of essays On Photography. These essays are an exploration of photographs as a collection of the world, mainly by travelers or tourists, and the way we experience it. In the essays, she outlined her theory of taking pictures as you travel:
The method especially appeals to people handicapped by a ruthless work ethic—Germans, Japanese and Americans. Using a camera appeases the anxiety which the work driven feel about not working when they are on vacation and supposed to be having fun. They have something to do that is like a friendly imitation of work: they can take pictures. (p. 10)

Sontag writes that the convenience of modern photography has created an overabundance of visual material, and "just about everything has been photographed." This has altered our expectations of what we have the right to view, want to view or should view. "In teaching us a new visual code, photographs alter and enlarge our notion of what is worth looking at and what we have the right to observe" and has changed our "viewing ethics." Photographs have increased our access to knowledge and experiences of history and faraway places, but the images may replace direct experience and limit reality. She also states that photography desensitizes its audience to horrific human experiences, and children are exposed to experiences before they are ready for them.

Sontag continued to theorize about the role of photography in real life in her essay "Looking at War: Photography's View of Devastation and Death," which appeared in the December 9, 2002 issue of The New Yorker. There she concludes that the problem of our reliance on images and especially photographic images is not that "people remember through photographs but that they remember only the photographs ... that the photographic image eclipses other forms of understanding—and remembering. ... To remember is, more and more, not to recall a story but to be able to call up a picture" (p. 94).

She became a role-model for many feminists and aspiring female writers during the 1960s and 1970s.

Activism
Sontag became politically active in the 1960s, opposing the Vietnam War. In January 1968, she signed the "Writers and Editors War Tax Protest" pledge, vowing to refuse to pay a proposed 10% Vietnam War surtax. In May 1968, she visited Hanoi; afterwards, she wrote positively about North Vietnamese society in her essay Trip to Hanoi.

During 1989 Sontag was the President of PEN American Center, the main U.S. branch of the International PEN writers' organization. After Iranian leader Ayatollah Khomeini issued a fatwa death sentence against writer Salman Rushdie for blasphemy after the publication of his novel The Satanic Verses that year, Sontag's uncompromising support of Rushdie was crucial in rallying American writers to his cause.

A few years later, during the Siege of Sarajevo, Sontag gained attention for directing a production of Samuel Beckett's Waiting for Godot in a candlelit theater in the Bosnian capital, cut off from its electricity supply for three and a half years. Sarajevo's besieged residents reaction was noted as:To the people of Sarajevo, Ms. Sontag has become a symbol, interviewed frequently by the local newspapers and television, invited to speak at gatherings everywhere, asked for autographs on the street. After the opening performance of the play, the city's Mayor, Muhamed Kreševljaković, came onstage to declare her an honorary citizen, the only foreigner other than the recently departed United Nations commander, Lieut. Gen. Phillippe Morillon, to be so named.

"It is for your bravery, in coming here, living here, and working with us," he said.

Personal life
Sontag's mother died of lung cancer in Hawaii in 1986.

Sontag died in New York City on December 28, 2004, aged 71, from complications of myelodysplastic syndrome which had evolved into acute myelogenous leukemia. She is buried in Paris at Cimetière du Montparnasse. Her final illness has been chronicled by her son, David Rieff.

Sexuality and relationships

Sontag became aware of her bisexuality during her early teens and at 15 wrote in her diary, "I feel I have lesbian tendencies (how reluctantly I write this)." At 16, she had a sexual encounter with a woman: "Perhaps I was drunk, after all, because it was so beautiful when H began making love to me...It had been 4:00 before we had gotten to bed...I became fully conscious that I desired her, she knew it, too."

Sontag lived with 'H,' the writer and model Harriet Sohmers Zwerling, whom she first met at U. C. Berkeley from 1958 to 1959. Afterwards, Sontag was the partner of María Irene Fornés, a Cuban-American avant garde playwright and director. Upon splitting with Fornés, she was involved with an Italian aristocrat, Carlotta Del Pezzo, and the German academic Eva Kollisch. Sontag was romantically involved with the American artists Jasper Johns and Paul Thek. During the early 1970s, Sontag lived with Nicole Stéphane, a Rothschild banking heiress turned movie actress, and, later, the choreographer Lucinda Childs. She also had a relationship with the writer Joseph Brodsky. With Annie Leibovitz, Sontag maintained a relationship stretching from the later 1980s until her final years.

Sontag had a close romantic relationship with photographer Annie Leibovitz. They met in 1989, when both had already established notability in their careers. Leibovitz has suggested that Sontag mentored her and constructively criticized her work. During Sontag's lifetime, neither woman publicly disclosed whether the relationship was a friendship or romantic in nature. Newsweek in 2006 made reference to Leibovitz's decade-plus relationship with Sontag, stating, "The two first met in the late '80s, when Leibovitz photographed her for a book jacket. They never lived together, though they each had an apartment within view of the other's." Leibovitz, when interviewed for her 2006 book A Photographer's Life: 1990–2005, said the book told a number of stories, and that "with Susan, it was a love story." While The New York Times in 2009 referred to Sontag as Leibovitz's "companion," Leibovitz wrote in A Photographer's Life that, "Words like 'companion' and 'partner' were not in our vocabulary. We were two people who helped each other through our lives. The closest word is still 'friend.'" That same year, Leibovitz said the descriptor "lover" was accurate. She later reiterated, "Call us 'lovers.' I like 'lovers.' You know, 'lovers' sounds romantic. I mean, I want to be perfectly clear. I love Susan."

In an interview in The Guardian in 2000, Sontag was quite open about bisexuality:

Many of Sontag's obituaries failed to mention her significant same-sex relationships, most notably that with Annie Leibovitz. In response to this criticism, Daniel Okrent, public editor of The New York Times defended the newspaper's obituary, stating that at the time of Sontag's death, a reporter could make no independent verification of her romantic relationship with Leibovitz (despite attempts to do so). After Sontag's death, Newsweek published an article about Annie Leibovitz that made clear references to her decade-plus relationship with Sontag.

Sontag was quoted by Editor-in-Chief Brendan Lemon of Out magazine as saying "I grew up in a time when the modus operandi was the 'open secret.' I'm used to that, and quite OK with it. Intellectually, I know why I haven't spoken more about my sexuality, but I do wonder if I haven't repressed something there to my detriment. Maybe I could have given comfort to some people if I had dealt with the subject of my private sexuality more, but it's never been my prime mission to give comfort, unless somebody's in drastic need. I'd rather give pleasure, or shake things up."

Legacy
Following Sontag's death, Steve Wasserman of the Los Angeles Times called her "one of America’s most influential intellectuals, internationally renowned for the passionate engagement and breadth of her critical intelligence and her ardent activism in the cause of human rights." Eric Homberger of The Guardian called Sontag "the 'Dark Lady' of American cultural life for over four decades." He observed that "despite a brimming and tartly phrased political sensibility, she was fundamentally an aesthete [who] offered a reorientation of American cultural horizons."

Writing about Against Interpretation (1966), Brandon Robshaw of The Independent later observed that "Sontag was remarkably prescient; her project of analysing popular culture as well as high culture, the Doors as well as Dostoevsky, is now common practice throughout the educated world." In Critique and Postcritique (2017), Rita Felski and Elizabeth S. Anker argue that the title essay from the aforementioned collection played an important role in the field of postcritique, a movement within literary criticism and cultural studies that attempts to find new forms of reading and interpretation that go beyond the methods of critique, critical theory, and ideological criticism.

Reviewing Sontag's On Photography (1977) in 1998, Michael Starenko wrote that the work "has become so deeply absorbed into this discourse that Sontag's claims about photography, as well as her mode of argument, have become part of the rhetorical 'tool kit' that photography theorists and critics carry around in their heads."

Criticism

White civilization as a cancer
Sontag drew criticism for writing in 1967 in Partisan Review:

According to journalist Mark M. Goldblatt, Sontag later made a "sarcastic retraction, saying the line slanders cancer patients." According to Eliot Weinberger, "She came to regret that last phrase, and wrote a whole book against the use of illness as metaphor." However, he writes, this didn't lead to any "public curiosity about those who are not cancerously white." "She may well have been the last unashamed Eurocentrist."

Allegations of plagiarism
Ellen Lee accused Sontag of plagiarism when Lee discovered at least twelve passages in In America (1999) that were similar to, or copied from, passages in four other books about Helena Modjeska without attribution. Sontag said about using the passages, "All of us who deal with real characters in history transcribe and adopt original sources in the original domain. I've used these sources and I've completely transformed them. There's a larger argument to be made that all of literature is a series of references and allusions."

In a 2007 letter to the editor of the Times Literary Supplement, John Lavagnino identified an unattributed citation from Roland Barthes' 1970 essay "S/Z" in Sontag's 2004 speech "At the Same Time: The Novelist and Moral Reasoning," delivered as the Nadine Gordimer Lecture in March 2004. Further research led  Lavagnino to identify several passages which appeared to have been taken without attribution from an essay on hypertext fiction by Laura Miller, originally published in the New York Times Book Review six years earlier. Writing for the Observer, Michael Calderone interviewed Sontag's publisher about the allegations, who argued, “This was a speech, not a formal essay,” and that “Susan herself never prepared it for publication.”

On Communism
At a New York pro-Solidarity rally in 1982, Sontag stated that "people on the left," like herself, "have willingly or unwillingly told a lot of lies." She added that they:

Sontag's speech reportedly "drew boos and shouts from the audience." The Nation published her speech, excluding the passage contrasting the magazine with Reader's Digest. Responses to her statement were varied. Some said that Sontag's current sentiments had been, in fact, held by many on the left for years, while others accused her of betraying "radical ideas."

On the September 11 attacks
Sontag received angry criticism for her remarks in The New Yorker (September 24, 2001) about the immediate aftermath of 9/11. In her commentary, she referred to the attacks as a "monstrous dose of reality" and criticized U.S. public officials and media commentators for trying to convince the American public that "everything is O.K." Specifically, she opposed the idea that the perpetrators were "cowards," a comment George W. Bush made among other remarks on September 11. Rather, she argued the country should see the terrorists' actions not as "a 'cowardly' attack on 'civilization' or 'liberty' or 'humanity' or 'the free world' but an attack on the world's self-proclaimed superpower, undertaken as a consequence of specific American alliances and actions."

Criticisms from other writers
Tom Wolfe dismissed Sontag as "just another scribbler who spent her life signing up for protest meetings and lumbering to the podium encumbered by her prose style, which had a handicapped parking sticker valid at Partisan Review."

In "Sontag, Bloody Sontag", an essay in her 1994 book Vamps & Tramps, critic Camille Paglia describes her initial admiration and subsequent disillusionment. She mentions several criticisms of Sontag, including Harold Bloom's comment of "Mere Sontagisme!" on Paglia's doctoral dissertation, and states that Sontag "had become synonymous with a shallow kind of hip posturing." Paglia also tells of a visit by Sontag to Bennington College, in which she arrived hours late and ignored the agreed-upon topic of the event.

Nassim Nicholas Taleb in his book Skin in the Game criticizes Sontag and other people with extravagant lifestyles who nevertheless declare themselves "against the market system". Taleb assesses Sontag's shared New York mansion at $28 million, and states that "it is immoral to be in opposition to the market system and not live (somewhere in Vermont or Northwestern Afghanistan) in a hut or cave isolated from it." Taleb also argues that it is even more immoral to "claim virtue without fully living with its direct consequences."

Works

Fiction
 (1963) The Benefactor 
 (1967) Death Kit 
 (1977) I, etcetera (Collection of short stories) 
 (1991) "The Way We Live Now" (short story) 
 (1992) The Volcano Lover 
 (1999) In America  – winner of the 2000 U.S. National Book Award for Fiction

Plays
 The Way We Live Now (1990) about the AIDS epidemic
 A Parsifal (1991), a deconstruction inspired by Robert Wilson's 1991 staging of the Wagner opera
 Alice in Bed (1993), about 19th century intellectual Alice James, who was confined to bed by illness
Lady from the Sea, an adaptation of Henrik Ibsen's 1888 play of the same name, premiered in 1998 in Italy. Sontag wrote an essay about it in 1999 in Theatre called "Rewriting Lady from the Sea."

Nonfiction

Collections of essays
 (1966) Against Interpretation  (includes Notes on "Camp")
 (1969) Styles of Radical Will 
 (1980) Under the Sign of Saturn 
 (2001) Where the Stress Falls 
 (2003) Regarding the Pain of Others 
 (2007) At the Same Time: Essays & Speeches  (edited by Paolo Dilonardo and Anne Jump, with a foreword by David Rieff)

Sontag also published nonfiction essays in The New Yorker, The New York Review of Books, Times Literary Supplement, The Nation, Granta, Partisan Review and the London Review of Books.

Monographs
 (1959) Freud: The Mind of the Moralist
 (1977) On Photography 
 (1978) Illness as Metaphor 
 (1988) AIDS and Its Metaphors (a continuation of Illness as Metaphor) 
 (2003) Regarding the Pain of Others

Films
(1969) Duett för kannibaler (Duet for Cannibals)
(1971) Broder Carl (Brother Carl)
(1974) Promised Lands
(1983) Unguided Tour AKA Letter from Venice

Other works
(2002) Liner notes for the Patti Smith album Land
(2004) Contribution of phrases to Fischerspooner's third album Odyssey
(2008) Reborn: Journals and Notebooks 1947–1963
(2012) As Consciousness Is Harnessed to Flesh: Journals and Notebooks, 1964–1980.

Awards and honors
 1977: National Book Critics Circle Award for On Photography
 1990: MacArthur Fellowship
 1992: Malaparte Prize, Italy
 1999: Commandeur des Arts et des Lettres, France
 2000: National Book Award for In America
 2001: Jerusalem Prize, awarded every two years to a writer whose work explores the freedom of the individual in society.
 2002: George Polk Award, for Cultural Criticism for "Looking at War," in The New Yorker
 2003: Honorary Doctorate of Tübingen University
 2003: Friedenspreis des Deutschen Buchhandels during the Frankfurt Book Fair
 2003: Prince of Asturias Award on Literature.
 2004: Two days after her death, Muhidin Hamamdzic, the mayor of Sarajevo announced the city would name a street after her, calling her an "author and a humanist who actively participated in the creation of the history of Sarajevo and Bosnia." Theatre Square outside the National Theatre was promptly proposed to be renamed Susan Sontag Theatre Square. It took 5 years, however, for that tribute to become official. On January 13, 2010, the city of Sarajevo posted a plate with a new street name for Theater Square: Theater Square of Susan Sontag.

Digital archive
A digital archive of 17,198 of Sontag's emails is kept by the UCLA Department of Special Collections at the Charles E. Young Research Library. Her archive—and the efforts to make it publicly available while protecting it from bit rot—are the subject of the book On Excess: Susan Sontag's Born-Digital Archive, by Jeremy Schmidt and Jacquelyn Ardam.

Documentary
A documentary about Sontag directed by Nancy Kates, titled Regarding Susan Sontag, was released in 2014. It received the Special Jury Mention for Best Documentary Feature at the 2014 Tribeca Film Festival.

See also
 LGBT culture in New York City
 List of LGBT people from New York City

Notes

References
 Poague, Leland (ed.) Conversations with Susan Sontag, University of Mississippi Press, 1995 
 Rollyson, Carl and Lisa Paddock, Susan Sontag: The Making of an Icon, W. W. Norton, 2000

 Weingrad, Michael. The Sorry Significance of Susan Sontag, online 'Mosaic,' November 12, 2019; (a review of B. Moser's book 'Sontag').

Further reading
 Susan Sontag: The Elegiac Modernist by Sohnya Sayres,  (1990)
 Susan Sontag: The Making of an Icon by Carl Rollyson and Lisa Paddock,  (2000)
 Sontag and Kael by Craig Seligman,  (2004)
 The Din in the Head by Cynthia Ozick,  (2006; Sontag is discussed in the foreword, "On Discord and Desire")
 Swimming in a Sea of Death: A Son's Memoir by David Rieff,  (2008)
 Notes on Sontag by Phillip Lopate,  (2009)
 Susan Sontag: A Biography by Daniel Schreiber (trans. David Dollenmayer), Northwestern  (2014)
 Sempre Susan: A Memoir of Susan Sontag by Sigrid Nunez,  (2014)
 Tough Enough: Arbus, Arendt, Didion, McCarthy, Sontag, Weil by Deborah Nelson,  (2017)
 Susan Sontag und Thomas Mann by Kai Sina,  (2017)
 Sontag: Her Life and Work by Benjamin Moser, HarperCollins,  (2019)

External links

  
 
 "with Ramona Koval," Books and Writing, ABC Radio National, January 30, 2005
 Susan Sontag and Richard Howard from "The Writer, The Work," a series sponsored by PEN and curated by Susan Sontag
 Susan Sontag wrote an essay: On American Language and Culture from PEN American Center
 The Politics of Translation: Discussion, with panel members Susan Sontag, Esther Allen, Ammiel Alcalay, Michael Hofmann & Steve Wasserman, PEN American Center
 Susan Sontag – Photos by Mathieu Bourgois.
 The Friedenspreis acceptance speech (2003-10-12)
 Fascinating Fascism illustrated text of Sontag's foundational 1974 article on Nazi filmmaker Leni Riefenstahl's aesthetics, from Under the Sign of Saturn
 Sontag's comments in The New Yorker, September 24, 2001 about the September 11 attack on the United States
 Terry Castle, Desperately Seeking Susan, London Review of Books, March 2005
 Sheelah Kolhatkar, "Notes on camp Sontag" New York Observer, January 8, 2005
 
 'Susan Sontag: The Collector,' by Daniel Mendelsohn, The New Republic
A review of "Reborn" by James Patrick
 
In Depth interview with Sontag, March 2, 2003
 

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