Tennessee Williams’ forceful psychological melodrama now became intelligible: it was about something, about… — Susan Sontag
Tennessee Williams’ forceful psychological melodrama now became intelligible: it was about something, about the decline of Western civilization. Apparently, were it to go on being a play about a handsome brute named Stanley Kowalski and a faded mangy belle named Blanche Du Bois, it would not be manageable.
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Art today is a new kind of instrument, an instrument for modifying consciousness and organizing new modes of sensibility. And the means for practicing art have been radically extended. ... Painters no longer feel themselves confined to canvas and paint, but employ hair, photographs, wax, sand, bicycle tires, their own toothbrushes and socks. Musicians have reached beyond the sounds of the traditional instruments to use tampered instruments and (usually on tape) synthetic sounds and industrial noises.
p. 296
What is most beautiful in virile men is something feminine; what is most beautiful in feminine women is something masculine.
p. 279
The discovery of the good taste of bad taste can be very liberating. The man who insists on high and serious pleasures is depriving himself of pleasure; he continually restricts what he can enjoy; in the constant exercise of his good taste he will eventually price himself out of the market, so to speak. Here Camp taste supervenes upon good taste as a daring and witty hedonism. It makes the man of good taste cheerful, where before he ran the risk of being chronically frustrated. It is good for the digestion.
p. 291
