Susan Sontag, Social Critic With Verve, Dies at 71 By MARGALIT FOX New York Times Published: December 28, 2004 Susan Sontag, the novelist, essayist and critic whose impassioned advocacy of the avant-garde and equally impassioned political pronouncements made her one of the most lionized presences - and one of the most polarizing - in 20th-century letters, died yesterday morning in Manhattan. She was 71 and lived in Manhattan. The cause was complications of acute myelogenous leukemia, her son, David Rieff, said. Ms. Sontag, who died at Memorial Sloan-Kettering Cancer Center, had been ill with cancer intermittently for the last 30 years, a struggle that informed one of her most famous books, the critical study "Illness as Metaphor" (1978). A highly visible public figure since the mid-1960's, Ms. Sontag wrote four novels, dozens of essays and a volume of short stories and was also an occasional filmmaker, playwright and theater director. For four decades her work was part of the contemporary canon, discussed everywhere from graduate seminars to the pages of popular magazines to the Hollywood movie "Bull Durham." Ms. Sontag's work made a radical break with traditional postwar criticism in America, gleefully blurring the boundaries between high and popular culture. She advocated an aesthetic approach to the study of culture, championing style over content. She was concerned, in short, with sensation, in both meanings of the term. "The theme that runs through Susan's writing is this lifelong struggle to arrive at the proper balance between the moral and the aesthetic," Leon Wieseltier, literary editor of The New Republic and an old friend of Ms. Sontag's, said in a telephone interview yesterday. "There was something unusually vivid about her writing. That's why even if one disagrees with it - as I did frequently - it was unusually stimulating. She showed you things you hadn't seen before; she had a way of reopening questions." Through four decades, public response to Ms. Sontag remained irreconcilably divided. She was described, variously, as explosive, anticlimactic, original, derivative, na?ve, sophisticated, approachable, aloof, condescending, populist, puritanical, sybaritic, sincere, posturing, ascetic, voluptuary, right-wing, left-wing, profound, superficial, ardent, bloodless, dogmatic, ambivalent, lucid, inscrutable, visceral, reasoned, chilly, effusive, relevant, pass?, ambivalent, tenacious, ecstatic, melancholic, humorous, humorless, deadpan, rhapsodic, cantankerous and clever. No one ever called her dull. Ms. Sontag's best-known books, all published by Farrar, Straus & Giroux, include the novels "Death Kit" (1967), "The Volcano Lover" (1992) and "In America" (2000); the essay collections "Against Interpretation" (1966), "Styles of Radical Will" (1969) and "Under the Sign of Saturn" (1980); the critical studies "On Photography" (1977) and "AIDS and Its Metaphors" (1989); and the short-story collection "I, Etcetera" (1978). One of her most famous works, however, was not a book, but an essay, "Notes on Camp," published in 1964 and still widely read. Her most recent book, published last year, was "Regarding the Pain of Others," a long essay on the imagery of war and disaster. One of her last published essays, "Regarding the Torture of Others," written in response to the abuse of Iraqi prisoners by Americans at Abu Ghraib, appeared in the May 23, 2004, issue of The New York Times Magazine. An Intellectual With Style Unlike most serious intellectuals, Ms. Sontag was also a celebrity, partly because of her telegenic appearance, partly because of her outspoken statements. She was undoubtedly the only writer of her generation to win major literary prizes (among them a National Book Critics Circle Award, a National Book Award and a MacArthur Foundation genius grant) and to appear in films by Woody Allen and Andy Warhol; to be the subject of rapturous profiles in Rolling Stone and People magazines; and to be photographed by Annie Leibovitz for an Absolut Vodka ad. Through the decades her image - strong features, wide mouth, intense gaze and dark mane crowned in her middle years by a sweeping streak of white - became an instantly recognizable artifact of 20th-century popular culture. -- 不能接受一个快乐的人生 就是我不快乐的原因.陈绮贞 --

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