Brian Dillon is an Irish-born writer, critic and curator. His first book In the Dark Room was a startlingly fastidious childhood memoir, viewed through the prism of familial illness and grief and poignant reflection.
On the occasion of publishing Susan Sontag‘s Essays of the 1960s & 70s, the Library of America blog talk to her son, David Rieff.
In Sontag’s view, who were the most important European writers undiscovered or neglected in the U.S.? Did she think of herself as a critic who bridged the intellectual worlds of Europe and America?
As an American, my mother was uncompromisingly engaged in the great political issues of her time — the Vietnam War, feminism, American power after the Cold War. But as a writer, and without denying or repudiating her “American-ness,” my mother saw herself as an international person, if you will, a citizen of the Republic of Letters — an idea that, while of course she knew it to be metaphoric, counted for her. So the idea that the U.S. and Europe were two separate and distinct worlds did not make much sense to her. That said, as someone steeped in French culture particularly, early in her career she brought writers like Nathalie Sarraute, Roland Barthes, E. M. Cioran, and others to the attention of New York publishers. Later in her career, my mother often offered to write prefaces to works she hoped U.S. publishers would have translated.
Great essay by Darryl Pinckney on Hannah Arendt, Mary McCarthy, Elizabeth Hardwick and Susan Sontag in the Threepenny Review.
