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" Escribir. Es corruptor escribir con intención moralizante, para enaltecer los criterios morales de la gente.
Nada me impide, salvo la pereza, convertirme en una escritora. En una buena escritora.
¿Por qué es importante escribir? Sobre todo, por egotismo, supongo. Porque quiero ser ese personaje, una escritora, y no porque haya algo que deba decir. Pero ¿Por qué no también por eso? Con un poco de construcción del ego -tal como muestra el fait accompli de este diario- saldré adelante con la confianza de que yo (yo) tiene algo que decir, que debe ser dicho.
Mi "yo" es enclenque, precavido, demasiado cuerdo. Los buenos escritores son estruendosamente egotistas, hasta el extremo de la fatuidad. Los cuerdos, los críticos, los corrigen - pero su cordura es un parásito de la facultad creativa del genio. "
― Susan Sontag , Reborn: Journals and Notebooks, 1947-1963
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" What are the implacable values of Homer? Honor, status, personal courage—the values of an aristocratic military class? But this is not what the Iliad is about. It would be more correct to say, as Simone Weil does, that the Iliad—as pure an example of the tragic vision as one can find—is about the emptiness and arbitrariness of the world, the ultimate meaninglessness of all moral values, and the terrifying rule of death and inhuman force. If the fate of Oedipus was represented and experienced as tragic, it is not because he, or his audience, believed in “implacable values,” but precisely because a crisis had overtaken those values. It is not the implacability of “values” which is demonstrated by tragedy, but the implacability of the world. The story of Oedipus is tragic insofar as it exhibits the brute opaqueness of the world, the collision of subjective intention with objective fate. After all, in the deepest sense, Oedipus is innocent; he is wronged by the gods, as he himself says in Oedipus at Colonus. Tragedy is a vision of nihilism, a heroic or ennobling vision of nihilism. "
― Susan Sontag , Against Interpretation and Other Essays