From Sontag’s Regarding The Pain of Others


Susan Sontag

Susan Sontag

Photographs that everyone recognizes are now a constituent part of what a society chooses to think about, or delcares that it has chosen to think about.   It calls these ideas “memories,” and that is, over the long run , a fiction.  Strictly speaking, there is no such thing as collective memory—part of the same family of suprious notions as collective guilt. (Italics mine) But there is collective instruction.

All memory is individual, unreproducible—it dies with each person.  What is collective memory is not remembering but a stipulating: that this is important, and this is the story about how it happened, with the pictures that lock the story in our minds.  Ideologies create substantiating archives of images, representative images, which encapsulate common ideas of significance and trigger predictable thoughts, feelings.    Poster-ready photographs—the mushroom cloud of an A-bomb test,  Martin Luther King, Jr., speaking at the Lincoln Memorial in Washington, D.C., the astronaut walking on the moon—are the visual equivalent of sound bites.  They commemorate, in no less blunt fashion than postage stamps, Important Historical Moments…

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Southern Gothic (Airlie Gardens, Wilmington, NC)


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From Sontag’s Regarding The Pain of Others


Susan Sontag

But why is there not already, in the nation’s capital, which happens to be a city whose population  is overwhelmingly  Africa-American, a Museum of the History of Slavery?  Indeed, there is no Museum of the History of Slavery—the whole story, starting with the slave trade in Africa itself, not just selected parts, such as the Underground Railroad—anywhere in the United States.  This, it seems, is a memory judged too dangerous to social stability to activate and to create.  The Holocaust Memorial Museum and the future Armenian Genocide Museum and Memorial are about what didn’t happen in America, so the memory-work doesn’t risk arousing an embittered domestic population against authority.  To have a museum chronicling the great crime that was African slavery in the United States of America would be to acknowledge that the evil was here.  Americans prefer to picture the evil that was there, and from which the United States—a unique nation, one without any certifiably wicked leaders throughout its entire history—is exempt.  That this country, like every other country, has its tragic past does not sit well with the founding, and still all-powerful, belief in American exceptionalism.  The national consensus on American history as a history of progress […] focuses our attention on wrongs, both here and elsewhere, for which America sees itself as the solution or cure.

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Subway Seens


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Ghostlies & Diabolicals


Ghostlies & Diabolicals

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